On International Women's Day 2016, we are incredibly excited to announce Art Represent's upcoming art initiative Flowers of Democracy (FoD) with our artist Maria Kulikovska. The FoD will be Part I to Kulikovska’s first solo show in London. Part II – 9th May – will open on the 9th May in our space in Bethnal Green.
Gili Karev is an independent curator/writer from Tel Aviv. Together with her fellow curator and supported by Art Represent, she is realising the exhibition 'The Roar of Waters'. Inspired by the poetry of renowned Israeli poet and political activist Dahlia Ravikovitch. Here is her day in the life.
BiBi is a female Nigerian artist, proud of her African heritage. An autodidact, she has been schooled by life and her travels, creating artworks which are a product of her experiences. She employs a combination of different styles, media and processes for each piece, depending on where she draws her inspiration from. Here is her day in the life.
Juliet is the head of Artist Liaison at Art Represent, but is involved in many other aspects of the business next to that. See what she is up to in this 'day in the life' blog post!
2015 was a year of so many firsts for Art Represent, and what a year it's been.
It was only in December 2014 that I had the idea to create a designated platform for artists affected by conflict and social upheaval, a decision influenced greatly by my interactions with some fantastic artists from my homeland, Tibet. By January 2015, we began devising a sustainable, ethical business model that would offer artists the fair arrangement they deserve, without limiting Art Represent's impact.
At Art Represent, our recent exhibition of prints by displaced Syrian artist Imranovi underlined the brutal cost of conflict on Syria’s people, and the role that art can play as a form of activism. Whilst Imranovi’s works focus on the role of the Assad regime as the driving force for what has since unfolded in his homeland, the Institute for Digital Archaeology’s project instead sends a powerful message to those attempting to fill the power vacuum in Syria: that their attempts to erase both history and cultural memory will not succeed.
In 2015, we left off with a December newsletter focusing on the ever-increasing democratization of the art world from the perspective of gallery owners and artists. But what about collectors? It seems that despite a number of positive changes to the dynamics of the art world, little has changed for the better for those looking to collect the art they love. At Art Represent, we've been racking our brains for ideas as to how we can allow a far broader range of collectors access to great art, and we're delighted to introduce our pay-in-instalments scheme, as well as an upcoming range of unlimited editions.
Over 30 artists from all over the world have already signed with Art Represent, but we are always looking to expand that group with more talent, and what better time to introduce you to some of our new faces than at the beginning of the new year. Their profiles and artworks will be available online in the upcoming weeks, so keep an eye out for them!
In her upcoming exhibition with Art Represent (dates TBC), Venezuelan artist Violette Bule will be exploring the complexities surrounding migration in the US with her signature dose of dark humour. Currently an immigrant in New York City, Bule draws on her personal experiences for inspiration, and her exhibition is set to address the treatment of migration in American society at large, particularly in the context of the forthcoming US presidential elections which has seen widespread focus on this sensitive area.
This month's newsletter is dedicated to the merger between the artist and the business owner. We look at how to navigate through the complex art ecosystem to create more value, the relationship between ethics and the market, as well as the power of social media when mixed with conflict and art. It is my belief that by innovating the way we create and sell art, we can develop true sustainability and empower the role of artists.
The exponential growth of new forms of media in the early years of the 21st Century has perhaps defined our generation like nothing else, and in the context of the contemporary art world, the likes of Instagram and Facebook are becoming increasingly valuable tools for identifying emerging talent. Given the worldwide use of the internet, it could also be argued that the art world has undergone something of a democratization process in recent times, whereby non-Western artists, traditionally marginalised by the markets and institutions of the West, are able to share and promote their works more successfully than ever before.
Zooming in on contemporary art in particular, the value-differences between artists become even more extreme, and while there are a lucky few artists who operate at the top of the market, the majority of the contemporary artists will probably never be able to sell their works at that price level, and this has everything to do with the ecosystem in which the contemporary art world operates.
Q&A: Maria Kulikovska
Nominee for the Saatchi Gallery's prestigious UK/Raine competition, Maria Kulikovska is an undeniable talent. Her politically-motivated 'art actions' have established her reputation as one to watch in the contemporary art world, and her story is truly inspiring. Read the extended interview, in which Maria reveals more about her practice, her most recent projects and what inspires her creations.
The media play a fundamental role in feeding how we imagine migrants and in our failure to recognise them. Media representations constitute perhaps the most significant symbolic resources that people draw on to make sense of and make judgements about migration and migrants. So how are we invited by contemporary media images and narratives to imagine migrants? How might we imagine them differently? Read more...
I Am Sun Mu
Having been trained as a propaganda artist in North Korea, Sun Mu fled his hometown to avoid famine. He arrived in Seoul in 2001 and was unwilling to give up his trade as an artist. However, he was unsure how his training and style would be relevant in his new surroundings. It was after a while that the artist realised that the same treatment he used to glorify North Korea’s leaders on propaganda posters back home would, when shown in a different context, result in an ironic critique of the nation that suppresses its people. Read more...
Artist Imran Faour, who fled Syria to avoid conscription into Bashar Al Assad’s army has been a resident in the UAE where he creates graphic works in support of the Syrian revolution. The artist began exploring computer graphics and software while living in Syria to create his own visual style, and it was soon after being witness to the ravages of war that he began using this language to vocalise his views and communicate to the wider world what he was observing around him. Read more...
Having watched a brutal conflict unfold in his native Syria, Riyadh-based artist Yaser Al Gharbi acknowledges the paradoxical role these devastating developments have played in influencing his artistic practice. Whilst the country’s recent history - and the resulting psychological trauma experienced by all Syrians - has dealt a huge blow to Yaser’s own future plans and internal thinking, it has also strengthened his motivation to inspire a sense of hope in others through his art.
In her work, Maria uses her body and natural materials such as salt, milk and sugar to comment on the perpetuation, transformation and decay of the human form. With a background in architecture, she also uses unconventional materials to deal with ideas of production, construction and deconstruction. Read more...