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The horse will make you happy

IPA Venice 2016 – Webgallerie selection

Posted by: JFS In: artists preview, IPA Venice 2016, official news 30 Mrz 2017 0 comments

IPA Venice 2016 –

May 25th – Sunday, June 5th, 2016

Workshop Jürgen Fritz.

Artists: Vincent Campos, France; Kimi Nguyen, UK; Ieva Savickaite, Lithuania; Laura Gildner, Canada; Inês Miguel, Portugal; Lisa Freeman, Ireland; Gulhatun Yildirim, Turkey; Hannah Clark, UK; Graham Martin, UK; Larysa Bauge, Netherlands; Tyśka Samborska, Poland;

IPA Venice 2016 - Photographer Jürgen Fritz
IPA, International, Kunst, Performance. Art, Vendedig, Venice

IPA Venice 2016 – Registration deadline at January 31st 2016

Posted by: JFS In: IPA Venice 2016, official news 28 Jan 2016 0 comments

IPA Autumns Bristol 2015
Workshop Jürgen Fritz

We closed the registration for IPA Venice 2016

The workshops are fully booked. If you register now, we will put you on the waiting list. Normally, some registrations are withdrawn, so that again places will be available. The next IPA event will take place in The Hague, Netherlands together with Black Market International from 12. – 25. September 2016.

IPA Venice 2016 – artists preview

Posted by: JFS In: IPA Venice 2016, official news 24 Jan 2016 0 comments

Registration deadline passes – but there is still the possibility to request a place on the waiting list

<p style="text-align: justify;">Paz's art practice is about the political power of a body in transition, it’s an inquiry into the scars of displacement. This practice is intrinsically autobiographical formulating a highly diverse and very organic methodology; ranging in media from drawing, to object making, and video to performance. These are used to transpose her memories of a past, temporal state onto the present and allow a window of personal, emotional experience to the audience.</p>
<p style="text-align: justify;"><a href="http://fabiolapaz.com" target="_blank">Homepage</a></p>

Paz's art practice is about the political power of a body in transition, it’s an inquiry into the scars of displacement. This practice is intrinsically autobiographical formulating a highly diverse and very organic methodology; ranging in media from drawing, to object making, and video to performance. These are used to transpose her memories of a past, temporal state onto the present and allow a window of personal, emotional experience to the audience.

Homepage

Fabiola Paz, UK

<p style="text-align: justify;">Cure and poison / Like a feeding mouth / Willing to learn
How to speak / To those who cannot hear / The beating sound
Of a warm soul</p>
<p style="text-align: justify;">WHY.
I have tried to express myself through different means, convinced that one had to be preferred to the others, struggling because of my incapability to choose, eventually coming to the conclusion that THERE’S JUST ONE QUESTION, YET THE ANSWERS ARE MANY. I feel I have something to say, but the question is rooted so deep inside that I just feel there is something down there, asking to come out, willing to, so badly, pushing from within.
I communicate through WORDS. Words that mean and sound. GENETICS, COMMUNICATION, INTERACTION and IDENTITY. Big things from tiny ones. Small things from huge ones.</p>
<p style="text-align: justify;"></p>

Cure and poison / Like a feeding mouth / Willing to learn How to speak / To those who cannot hear / The beating sound Of a warm soul

WHY. I have tried to express myself through different means, convinced that one had to be preferred to the others, struggling because of my incapability to choose, eventually coming to the conclusion that THERE’S JUST ONE QUESTION, YET THE ANSWERS ARE MANY. I feel I have something to say, but the question is rooted so deep inside that I just feel there is something down there, asking to come out, willing to, so badly, pushing from within. I communicate through WORDS. Words that mean and sound. GENETICS, COMMUNICATION, INTERACTION and IDENTITY. Big things from tiny ones. Small things from huge ones.

Cristiana Rolla, Italy

<p style="text-align: justify;">Radage's work moves away from body as item. It often incorporates the blending and collision of raw materials and natural environment. Looking at the image as a starting point, the body, the skin and its everyday readings are stretched across to unchartered territory and reinscribed upon their framing. The work moulds around themes of body image and post gender politics. The (female) form fluxes between bleeding into the background and framing, consuming and appropriating the materials that share the image.</p>
<p style="text-align: justify;"><a href="http://www.aliciaradage.com" target="_blank">Homepage</a></p>

Radage's work moves away from body as item. It often incorporates the blending and collision of raw materials and natural environment. Looking at the image as a starting point, the body, the skin and its everyday readings are stretched across to unchartered territory and reinscribed upon their framing. The work moulds around themes of body image and post gender politics. The (female) form fluxes between bleeding into the background and framing, consuming and appropriating the materials that share the image.

Homepage

Alicia Radage, UK

<p style="text-align: justify;">Connecting with the body, doing something with the body is arduous and unconscious. All you need is your body; it is with you wherever you go. Open to all deformations and steering of the thoughts towards good or bad. When I’m expressing my thoughts, extracting them with my body; first and foremost the things I do when I’m directly communicating with my body, my wrinkled up body which has stayed in the water for hours, my silence before sleep‐death, my rituals, my repetitions, the nature in which I heal and become dull… By forming relationships between body and image – location – objects, I do mainly performance based works on becoming mechanical, openness, shelter, values and rituals, which I constrain by the public space or the venue I’m in.</p>

Connecting with the body, doing something with the body is arduous and unconscious. All you need is your body; it is with you wherever you go. Open to all deformations and steering of the thoughts towards good or bad. When I’m expressing my thoughts, extracting them with my body; first and foremost the things I do when I’m directly communicating with my body, my wrinkled up body which has stayed in the water for hours, my silence before sleep‐death, my rituals, my repetitions, the nature in which I heal and become dull… By forming relationships between body and image – location – objects, I do mainly performance based works on becoming mechanical, openness, shelter, values and rituals, which I constrain by the public space or the venue I’m in.

Gulhatun Yildirim, Turkey

<p style="text-align: justify;">Doing art may be a way of self-resistance. Trying to interrogate conservative minds and their consequences, social/gender codes, woman sexuality, taboos, immigration issues. Trying to survive.
60s and 70s feminist art movement. Happenings and love.
At the end, i just want to be a companion to the flux.
On its right side, on its left side, in front of it, behind it, above it, under it, inside of it and outside of it.</p>
<p style="text-align: justify;"><a href="http://oykuaras.tumblr.com" target="_blank">Homepage</a></p>

Doing art may be a way of self-resistance. Trying to interrogate conservative minds and their consequences, social/gender codes, woman sexuality, taboos, immigration issues. Trying to survive. 60s and 70s feminist art movement. Happenings and love. At the end, i just want to be a companion to the flux. On its right side, on its left side, in front of it, behind it, above it, under it, inside of it and outside of it.

Homepage

Öykü Aras, Turkey

Currently living and working in London, cwl is an artist and sensory researcher playing with the material world. Following process in order to share the fantasy narratives that drift through form, work incorporates sculpture, sound, image, and text, to develop into temporary installations of participatory performance scenarios. Her sensory research, such as the unfolding, cutting, re-folding, and melting of a roof into 23 ingots, or burning designer goods in the volcanic desert, is often un-witnessed and only the relics remain to infuse and inform further actions.
Charlotte Law, UK

<p style="text-align: justify;">I draw on ideas and subjects related to the unconscious mind and its encapsulation in the human body. My aim is to trigger a seemingly unconnected chain of associations in a person's interchangeable perception and offer them a distinctive synthesis in the artwork itself. Each work is a transformative encounter, binding the materialized work with the content. In the artworks I provoke the lines drawn between the constructed social perspectives and the prevalent standpoints of individuals by reflecting the blind spots of both.</p>
<p style="text-align: justify;"><a href="http://www.anamrovlje.com" target="_blank">Homepage</a></p>

I draw on ideas and subjects related to the unconscious mind and its encapsulation in the human body. My aim is to trigger a seemingly unconnected chain of associations in a person's interchangeable perception and offer them a distinctive synthesis in the artwork itself. Each work is a transformative encounter, binding the materialized work with the content. In the artworks I provoke the lines drawn between the constructed social perspectives and the prevalent standpoints of individuals by reflecting the blind spots of both.

Homepage

Ana Mrovlje, Slovenia

Homepage
Giulia Colletti, Italy

<p style="text-align: justify;">My practice, broadly speaking, is process-driven and research focused spanning across video, performance and installation. I am interested in probing the boundaries between successful and failed communications and idiosyncrasies between form and content. I use familiar forms and structures and then excavate and fill them with different content, to show something not sitting comfortably in its form. Jacques Derrida’s essay ‘Parergon' serves as a platform for me to establish a broad research-based pursuit, as the foundation for my work.</p>

My practice, broadly speaking, is process-driven and research focused spanning across video, performance and installation. I am interested in probing the boundaries between successful and failed communications and idiosyncrasies between form and content. I use familiar forms and structures and then excavate and fill them with different content, to show something not sitting comfortably in its form. Jacques Derrida’s essay ‘Parergon' serves as a platform for me to establish a broad research-based pursuit, as the foundation for my work.

Lisa Freeman, Ireland

<p style="text-align: justify;">Images, sounds, movement… those are the things that truly fascinate Inês and make her live filled with passion by the world. As it often occurs with her dadaist friends, she finds herself upset with having to identify and label her work within one specific field. However, nowadays, she express herself through the means of performance art. For now she hopes continue to live.</p>
<a href="http://www.inesmiguel.com/" target="_blank">Homepage</a>

Images, sounds, movement… those are the things that truly fascinate Inês and make her live filled with passion by the world. As it often occurs with her dadaist friends, she finds herself upset with having to identify and label her work within one specific field. However, nowadays, she express herself through the means of performance art. For now she hopes continue to live.

Homepage
Inês Miguel, Portugal

<p style="text-align: justify;">A means of expression. A natural progression. An unspoken dialogue that converses with the soul. Engaging with all aspects of being; mental, physical and spiritual. Responding to spaces which captivate compulsive visions. Considering how the body relates to this in a dynamic rather than static fashion. Pushing boundaries to identify and overcome limitations. Authenticity and honesty are requisite. A ritualistic approach achieving a deeper meditative state, allowing transformation to occur –a liberating rebirth.</p>

A means of expression. A natural progression. An unspoken dialogue that converses with the soul. Engaging with all aspects of being; mental, physical and spiritual. Responding to spaces which captivate compulsive visions. Considering how the body relates to this in a dynamic rather than static fashion. Pushing boundaries to identify and overcome limitations. Authenticity and honesty are requisite. A ritualistic approach achieving a deeper meditative state, allowing transformation to occur –a liberating rebirth.

Ashley-Louise McNaughton, Scotland

<p style="text-align: justify;">My art practice is a juxtaposition of contemporary crime scenes. Art for me is a collection of methods and techniques that enable shaping and re-writing history. Mostly I do collective stuff, but then there is this periods of “painting”. The process has cleared now. I think I walk alone for a while until someone introduce me to a personality I can`t resist. This is usually a dead artist. We hang out true books ,videos and stuff from internet. The relationship get`s really intense and at some moment my old master disappears at some late night discotecka. I try to recreate what we were discussing. It becomes an infected conflict. I form an archive of gaps and misunderstandings. There is a small machine inside my mind, which generates what I believe is poetry, tho I know it`s already half a lie. </p>
<a href="http://hildakahra.blogspot.se/" target="_blank">Homepage</a>

My art practice is a juxtaposition of contemporary crime scenes. Art for me is a collection of methods and techniques that enable shaping and re-writing history. Mostly I do collective stuff, but then there is this periods of “painting”. The process has cleared now. I think I walk alone for a while until someone introduce me to a personality I can`t resist. This is usually a dead artist. We hang out true books ,videos and stuff from internet. The relationship get`s really intense and at some moment my old master disappears at some late night discotecka. I try to recreate what we were discussing. It becomes an infected conflict. I form an archive of gaps and misunderstandings. There is a small machine inside my mind, which generates what I believe is poetry, tho I know it`s already half a lie.

Homepage
Hilda Kahra, Finland

<p style="text-align: justify;">While moving my body in space and time I create shapes and lines. Movement to me is first and foremost a sensation , auditory, visual or corporeal, i.e. passage between me and the other. Using my body as a medium to create art, I try to make that passage or moment of in- between visible and shift the attention to the possibilities it offers for alternative modes of being and alternative forms of community. What happens once we become aware of our possibilities in responding?</p>
<p style="text-align: justify;"><a href="http://www.ronaldbal.com" target="_blank">Homepage</a></p>

While moving my body in space and time I create shapes and lines. Movement to me is first and foremost a sensation , auditory, visual or corporeal, i.e. passage between me and the other. Using my body as a medium to create art, I try to make that passage or moment of in- between visible and shift the attention to the possibilities it offers for alternative modes of being and alternative forms of community. What happens once we become aware of our possibilities in responding?

Homepage

Ronald Bal, Netherlands

<p style="text-align: justify;">In my work I investigate a composite psyche of the collective ‘landscapes’ that are created by separate psychological parts of individuals through repeated histories, individual memories and expressions. Working with the body as an archive I attempt correlationist experiments with alternative forms of knowledge that go beyond thought to understand the co-relation between body and reality. Currently I am working towards a project planned to commemorate 100 years since the Russian revolution in 2017.</p>
<a href="http://ekatsky.tumblr.com" target="_blank">Homepage</a>

In my work I investigate a composite psyche of the collective ‘landscapes’ that are created by separate psychological parts of individuals through repeated histories, individual memories and expressions. Working with the body as an archive I attempt correlationist experiments with alternative forms of knowledge that go beyond thought to understand the co-relation between body and reality. Currently I am working towards a project planned to commemorate 100 years since the Russian revolution in 2017.

Homepage
Katya Petetskaya, Australia

<p style="text-align: justify;">CREATION OF REALITY
TRANSFORMATION OF REALITY
EXPANSION OF REALITY
THE ANSWER TO MY LIFE IS EXPANSION
I DARE TO SAY THAT THE ANSWER TO YOUR LIFE IS EXPANSION</p>
<p style="text-align: justify;">BY YOU
BY ME
THE UNIVERSE EXPAND
THAT IS WHY WE ARE HERE</p>
<p style="text-align: justify;">I INVITE
DO YOU ACCEPT?</p>

CREATION OF REALITY TRANSFORMATION OF REALITY EXPANSION OF REALITY THE ANSWER TO MY LIFE IS EXPANSION I DARE TO SAY THAT THE ANSWER TO YOUR LIFE IS EXPANSION

BY YOU BY ME THE UNIVERSE EXPAND THAT IS WHY WE ARE HERE

I INVITE DO YOU ACCEPT?

Siri Osterman, Sweden

<p style="text-align: justify;">Art it is a tool of changes, performance it is a language. Artist should be responsible for the community and for delivered message. As a performance artist I'm pointing the problems through the action. Exaggeration of the situations and changing the social rules - are my methods. My art is: ephemeral, responsible, provocative. My art practice revolves around: BODY - crisis of body, post humanism, body is obsolete, fragile body, biological and virtual body, political body. COMMUNITY - local, fragile, liminal. ACTIVISM - how art activity could influence social challenges, raise voice of the group, reframe the problems, and reinvent public space by art practice. In performances the series of actions intervened into my body, they change body identity, they anonymise it and shape it, challenge it. The sharp ritual of shifts from defacement to suggests a mode of improvisation and with simplicity of the complicity makes visible antibodies as an embodied metaphor.</p>
<p style="text-align: justify;"><a href="http://www.annakosarewska.com" target="_blank">Homepage</a></p>

Art it is a tool of changes, performance it is a language. Artist should be responsible for the community and for delivered message. As a performance artist I'm pointing the problems through the action. Exaggeration of the situations and changing the social rules - are my methods. My art is: ephemeral, responsible, provocative. My art practice revolves around: BODY - crisis of body, post humanism, body is obsolete, fragile body, biological and virtual body, political body. COMMUNITY - local, fragile, liminal. ACTIVISM - how art activity could influence social challenges, raise voice of the group, reframe the problems, and reinvent public space by art practice. In performances the series of actions intervened into my body, they change body identity, they anonymise it and shape it, challenge it. The sharp ritual of shifts from defacement to suggests a mode of improvisation and with simplicity of the complicity makes visible antibodies as an embodied metaphor.

Homepage

Anna Kosarewska, Ukraine

<p style="text-align: justify;">My artistic practice is dedicated to the performativity and materiality of the drawing discipline. It focuses on drawing as the trace of an action made by the body in motion. The idea of control is explored through physical and psychological limitations, and working to the state of exhaustion. By investigating the liminal space between input and output it looks to the movement through time, body, and space. The work becomes a cathartic experience. For me, it is the movement between the passive and the active.</p>
<a href="http://www.brooke-carlson.com" target="_blank">Homepage</a>

My artistic practice is dedicated to the performativity and materiality of the drawing discipline. It focuses on drawing as the trace of an action made by the body in motion. The idea of control is explored through physical and psychological limitations, and working to the state of exhaustion. By investigating the liminal space between input and output it looks to the movement through time, body, and space. The work becomes a cathartic experience. For me, it is the movement between the passive and the active.

Homepage
Brooke Carlson, Australia

<p style="text-align: justify;">Anthropologist, dancer, performance and video artist. Investigates the embodiment in contemporary society and its relation with time and existence. Her work addresses various issues related to being in time and space, how we are affected by our social, political and natural environment, and how we transform it simultaneously, constantly with every single action. Lives and works in Mexico City.</p>
<a href="https://www.flickr.com/photos/carol_montealegre/page1" target="_blank">Homepage</a>

Anthropologist, dancer, performance and video artist. Investigates the embodiment in contemporary society and its relation with time and existence. Her work addresses various issues related to being in time and space, how we are affected by our social, political and natural environment, and how we transform it simultaneously, constantly with every single action. Lives and works in Mexico City.

Homepage
Carol Montealegre, México

<p style="text-align: justify;">La question du curateur est donc posée comme une construction de sens. Impératif sérieux de son activité, la relation dialogique avec l’artiste. Forme de recherche, d’apprentissage et de partage pour le développement du savoir, la recherche et la création d’un espace éthique et esthétique entre artiste et curateur se donne comme forme et trace des perspectives inédites par rapport au contexte socio-politique de la contemporanéité.</p>

La question du curateur est donc posée comme une construction de sens. Impératif sérieux de son activité, la relation dialogique avec l’artiste. Forme de recherche, d’apprentissage et de partage pour le développement du savoir, la recherche et la création d’un espace éthique et esthétique entre artiste et curateur se donne comme forme et trace des perspectives inédites par rapport au contexte socio-politique de la contemporanéité.

Francesca Carol Rolla, Italy

<p style="text-align: justify;">I am an artist, writer, and thinker concerned with the communication and development of art with the non-art expert in mind. I believe that works, no matter how difficult, can be explored in a variety of ways from highly theoretical and technical to familiar and contextual. In taking a more “every day” approach, works, once alienating and confusing to a non-expert, can be accessed by a broader and more diverse audience.</p>
<p style="text-align: justify;"><a href="http://www.duchampintheoffice.com" target="_blank">Homepage</a></p>

I am an artist, writer, and thinker concerned with the communication and development of art with the non-art expert in mind. I believe that works, no matter how difficult, can be explored in a variety of ways from highly theoretical and technical to familiar and contextual. In taking a more “every day” approach, works, once alienating and confusing to a non-expert, can be accessed by a broader and more diverse audience.

Homepage

Joy Harris, USA

<p style="text-align: justify;">I am an artist, writer, activist and academic. My writing, research and performance practice centre around intersectionality and narratives of otherness, isolation and the end of the world. I attempt to expose established ways of looking and modes of representation – particularly the civilised/savage duality – and flip them to see how they survive on their metaphorical backs. I've performed underground (Shunt Vaults, These Brutal Queens), in bawdy spaces (Purex (Lisbon), Duckie, Cruising for Art), white cubes (Nuit Blanche Brussels, Hayward Gallery), art festivals (Spill, ANTI) and once in a bungalow in the process of falling off a cliff (The House, Scarborough.</p>
<a href="http://seasonbutler.com" target="_blank">Homepage</a>

I am an artist, writer, activist and academic. My writing, research and performance practice centre around intersectionality and narratives of otherness, isolation and the end of the world. I attempt to expose established ways of looking and modes of representation – particularly the civilised/savage duality – and flip them to see how they survive on their metaphorical backs. I've performed underground (Shunt Vaults, These Brutal Queens), in bawdy spaces (Purex (Lisbon), Duckie, Cruising for Art), white cubes (Nuit Blanche Brussels, Hayward Gallery), art festivals (Spill, ANTI) and once in a bungalow in the process of falling off a cliff (The House, Scarborough.

Homepage
Season Butler, UK

<p style="text-align: justify;">She works with her body and it's boundaries searching and exploring what can happen after several hours in a battle with "chorochronos". In real Time and Space. She sometimes uses material and is interested in the seen and unseen field in the present. Keywords: Long term duration, body exhaustion, investigate, ritual.</p>
<p style="text-align: justify;"></p>

She works with her body and it's boundaries searching and exploring what can happen after several hours in a battle with "chorochronos". In real Time and Space. She sometimes uses material and is interested in the seen and unseen field in the present. Keywords: Long term duration, body exhaustion, investigate, ritual.

Sophie Terlega, Greece

<p style="text-align: justify;">I consider myself as a visual artist, experienced in theatre, dance, video art, installation and performance art. That means my understanding and awareness of communication, exchanging and sharing is image and action based. I don’t trust verbal language we are used to control and manipulate, but I like to use the complex construction of language to transform these aspects to artistical expressions. Therefore I’m looking for a direct encounter which is open enough to touch a certain subject first on an emotional and then on an abstract or intellectual level. In this sense, performance art is for me the most interesting and challenging art form; because it’s most direct one.</p>
<a href="http://marcelsparmann.com" target="_blank">Homepage</a>

I consider myself as a visual artist, experienced in theatre, dance, video art, installation and performance art. That means my understanding and awareness of communication, exchanging and sharing is image and action based. I don’t trust verbal language we are used to control and manipulate, but I like to use the complex construction of language to transform these aspects to artistical expressions. Therefore I’m looking for a direct encounter which is open enough to touch a certain subject first on an emotional and then on an abstract or intellectual level. In this sense, performance art is for me the most interesting and challenging art form; because it’s most direct one.

Homepage
Marcel Sparmann, Germany

<p style="text-align: justify;">My practice explores the fragile tensions between struggle and absurdity that are born from a deconstruction of the self. Investigating identity as an unstable and constantly evolving signifier, I negotiate how ritual, intimacy, and memory inform how the body occupies space and time. Employing the audience or camera as a tool to generate a sense of invited voyeurism, my works welcome a co-existence of vulnerability between viewer and artist to create an activated connection and dynamic means to examine perceptions of gender, femininity, and the monstrous.</p>
<p style="text-align: justify;"><a href="http://lauragildner.com" target="_blank">Homepage</a></p>

My practice explores the fragile tensions between struggle and absurdity that are born from a deconstruction of the self. Investigating identity as an unstable and constantly evolving signifier, I negotiate how ritual, intimacy, and memory inform how the body occupies space and time. Employing the audience or camera as a tool to generate a sense of invited voyeurism, my works welcome a co-existence of vulnerability between viewer and artist to create an activated connection and dynamic means to examine perceptions of gender, femininity, and the monstrous.

Homepage

Laura Gildner, Canada

<p style="text-align: justify;">I question myself about shifts, burlesque, absurdity. Rituals,Transformation, fragility, instability interest me a lot. I like to play with environment, place and relate a poetic point of view with my actions. Presence is at the center of my work. Territory, directions,resonance are some points of reflexions. Also, I experiment sound in my work like a material, an experience that can be felt with our entire body.</p>
<a href="http://cargocollective.com/vincentcampos" target="_blank">Homepage</a>

I question myself about shifts, burlesque, absurdity. Rituals,Transformation, fragility, instability interest me a lot. I like to play with environment, place and relate a poetic point of view with my actions. Presence is at the center of my work. Territory, directions,resonance are some points of reflexions. Also, I experiment sound in my work like a material, an experience that can be felt with our entire body.

Homepage
Vincent Campos, France

<p style="text-align: justify;">As a gender deformer and shape shifter, Va-Bene Fiatsi (crazinisT artisT) uses his body to confront and exploit the stereotypical aesthetics of marginalized citizens. His works investigate and question the quest for socio-cultural supremacy, political injustice, social hypocrisy, gender and sexual prejudice, xenophobic violence and objectification of humans. He considers his body as a thought provoking tool and material that will generate many possible dialogues of cultural identities and subversions. crazinisT also explores the spontaneous reactions and indecisive involvement of his audience as co-performers, breaking the boundaries between art, artist and audience. <a href="http://www.crazinistartist.com" target="_blank">Homepage</a></p>

As a gender deformer and shape shifter, Va-Bene Fiatsi (crazinisT artisT) uses his body to confront and exploit the stereotypical aesthetics of marginalized citizens. His works investigate and question the quest for socio-cultural supremacy, political injustice, social hypocrisy, gender and sexual prejudice, xenophobic violence and objectification of humans. He considers his body as a thought provoking tool and material that will generate many possible dialogues of cultural identities and subversions. crazinisT also explores the spontaneous reactions and indecisive involvement of his audience as co-performers, breaking the boundaries between art, artist and audience. Homepage

Va-Bene Elikem Fiatsi, Ghana

<p style="text-align: justify;">My practice is strongly influenced by theater background and main source of inspirations are limits and borders of my mind and body understood as a material. I like to put a body in a competition with other materials or underline one of his aspects, like liquidity or capacity for absorbing and mixing with other materials.
I try to create a space for imagination more then searching for an answer.
I work with performance, photo and video.</p>

My practice is strongly influenced by theater background and main source of inspirations are limits and borders of my mind and body understood as a material. I like to put a body in a competition with other materials or underline one of his aspects, like liquidity or capacity for absorbing and mixing with other materials. I try to create a space for imagination more then searching for an answer. I work with performance, photo and video.

Tyśka Samborska, Poland

Giorgia de Santi, Italy

<p style="text-align: justify;">Artist and curator concerned with the sociopolitical in a playful and humanistic way. Use various mediums but increasingly concerned with actions with others and by myself. In this concerned with individual and collective ‘presence’. My last action was ‘Conversation as Artwork’. Am drawn to ideas of ‘non performance’. Have art connections with Germany, ex Beuys students and contemporary African artists. Don’t view myself as a performance artist but involved in creative act of being human. Have collaborated with Jelili Atiku and did workshop with Bruce Lacey years ago.</p>
<a href="http://www.g-martin.net" target="_blank">Homepage</a>

Artist and curator concerned with the sociopolitical in a playful and humanistic way. Use various mediums but increasingly concerned with actions with others and by myself. In this concerned with individual and collective ‘presence’. My last action was ‘Conversation as Artwork’. Am drawn to ideas of ‘non performance’. Have art connections with Germany, ex Beuys students and contemporary African artists. Don’t view myself as a performance artist but involved in creative act of being human. Have collaborated with Jelili Atiku and did workshop with Bruce Lacey years ago.

Homepage
Graham Martin, UK

<p style="text-align: justify;">Art has the privilege of a certain freedom towards political issues; so-called “non-political” art can be abused the easiest and is therefore sometimes much more dangerous to human comfort than so-called “political“ art. All art is political. The only problem lies with our confusion of politics with power. We all perform our roles within our lives, the role of the performance artist is to investigate, reflect and react to them. Performance art is a „spontaneous ritual.</p>

Art has the privilege of a certain freedom towards political issues; so-called “non-political” art can be abused the easiest and is therefore sometimes much more dangerous to human comfort than so-called “political“ art. All art is political. The only problem lies with our confusion of politics with power. We all perform our roles within our lives, the role of the performance artist is to investigate, reflect and react to them. Performance art is a „spontaneous ritual.

Keike Twisselmann, Germany

<a href="http://kimvi.co.uk" target="_blank">Homepage</a>

Homepage
Kimvi Nguyen, UK

<a href="http://www.larysabauge.com" target="_blank">Homepage</a>

Homepage
Larysa Bauge, Netherlands

<p style="text-align: justify;">I recognise the necessity of reflecting every day life and asking very simple questions, which, in my opinion, can point out some main misunderstandings in the structure of our society and mindset of individual human beings. I admire the way children perceive their surroundings and ask questions rather than trust their intellectual knowledge. Through the naive look of vulnerability, I believe, the true knowledge and strength can be obtained.
The aim of my practise is to live consciously, while using the power of action, reaction and change. Therefore I seek for the dialogue.</p>

I recognise the necessity of reflecting every day life and asking very simple questions, which, in my opinion, can point out some main misunderstandings in the structure of our society and mindset of individual human beings. I admire the way children perceive their surroundings and ask questions rather than trust their intellectual knowledge. Through the naive look of vulnerability, I believe, the true knowledge and strength can be obtained. The aim of my practise is to live consciously, while using the power of action, reaction and change. Therefore I seek for the dialogue.

Ieva Savickaite, Lithuania

„IPA News December 2015“ published

Posted by: JFS In: IPA Venice 2016, official news 12 Dez 2015 0 comments

Themes:
– Review IPA Autumn 2015
– IPA Venice 2016 – First Call
– Black Market International in Aalborg and Bern

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