March 2015Carla Forte, filmmaker
IIJulia Überreiter Marta Kosieradzka 22Alexander IngramFabian Freese88Carla Forte 42Dee Hood66Peripheral ARTeriesA R T R E V I E WMarch 2015I see my dance research, learning new techniques and creative work as a personal path of development as well as a contribution to the society and a way of sharing my thoughts and comments on surrounding world with other people. Both artistic freedom and discipline are eqally important to me in creative process. \"I walk the border between painting and photography, using one to augment the other in terms of visual interest. Normally I travel around and do shootings at different places like Rome, Florence, Munich, London, Luxembourg and especially at old castles and at the sea. Usually I do a time exposure with my camera to fix about 1 to 3 minutes per picture. \"4\"Art is always a way of communication. During the centuries both, definition and function of art has changed. What is characteristic to contemporary art is simply to raise questions. It emerges from presence and also communicates in presence. \"Compositing video is just an extension of painting in layers or assemblage in sculpture. I have a background in these areas so I easily connect them to the work I do in video. Coming from that place makes it easy for me to degrade and or reinvent images because I’m less concerned with photographic purity. \"My primary intent as a Filmmaker is to communicate my personal and social concerns, transforming them into a magical realm where anything becomes possible. Images, dialogues, silences, colors and movement join to create a visual equilibrium, speaking for themselves.\" Polymathic in nature my work embraces a multimedia approach that relishes the processes and techniques I've come to learn as a result of a combination of fine art and commercial art theory and practice with a fine attention to styling and detail derived from a fashion photography background. 108
III126\"My drawings, copper plate, and linocut prints areabout creating images of a world where slaverywould not have existed in West Africa. My researchhas revealed that Africa has a rich history ofproducing works on paper and my work will continuethis tradition adding an Afrofuturism twist to theprints. \"Sini Majuri 108Erin O’Malley“With digital macro photography I have been exploring the interaction of light with transparent and reflective surfaces. I consider my photography a series of experiments, a process of trial and error that builds upon past succes-ses through the manipulation of variables”Tonya Amyrin Rice 138 158David Wilde 170In order to submit your artworks to our art review please contact [email protected] is as a magical medium to work with. If you don’t break it, it lasts for thousands of years. When you are working with it, you cannot touch it with your hands. You shape it with your breath. My goal is to exhibit glass art in uncommon places and especially to viewers who don’t spend time in glass I am energized by the diversity of human expression thatcontinuously activates our vast communication networks. I amawed by the scale and varied histories of the built environmentand urban infrastructure. I grew up in eastern Pennsylvania surrounded bytrees and constant rain. I currently live in LA, California surrounded by mountains and dry air. Ihave a B.S. from La Salle University. Working asa scientist greatly compliments my art;showcasing my analytical nature with regards tocompartmentalization or experimenting withcolors.184 The process of creating and the presentation of art is a fundamental blessing and encouragement for human society that arises from the artists' ability to open to the primal elements of life's appearances. Feeling the heart of events and finding the freedom to express that in media and terms beyond the distortions of ego is a liberating thing that wakes people up to the natural benevolent vividness of circumstances. Andie Jairamhttp://peripheralarteries.yolasite.com/submit-your-artworks.phpBorja Rodriguez
In der Haltung des Körpers verrät sich der Zustand des Geistes (Zitat: Ambrosius 340-397), 2014 (The character of our mind may be perceived in the attitude of our body(Citation: Ambrosius 340- 397), 2014This work is about challenging gender specific poses in advertisements found at public spaces. There are typically “male” and “female” codes used in advertisement which communicate stereotype capacities of women and men. Women are often shown in a very passive and weak pose like lying at the ground, sitting on the edge of furniture orstanding without enough road adhesion to suggest the role of a fragile person. Men are often shown more active with tense and strong bearing, symbolizing corresponding properties.The male sculpture on the photo reflects a typically „female“ display format in advertisements, which is also shown on a placard in the background of the photograph. But also other placards on the pictures deal with this theme in different ways.The sculpture is made with tape and got filled with magazines, which communicate normative concepts of gender.(Austria)PeripheralARTeriesJulia ÜbeJulia Überreiter
PeripheralARTeriesIn der Haltung des Körpers verrät sich der Zustand des Geistes (Zitat Ambrosius), 2014Digitalprint, 30x45cmSkulptur, 180x45x50cm
PeripheralARTeriesAn interview withJulia ÜberreiterWhat has immediately impacted on me of Julia Überreiter's work is the way she establishes an effective combination between conceptual and socio politicised practice, giving birth to a stimulating mix of pure art and deep social engagement.Her refined multidisciplinary approach could be described as a sceptical examination of social conventions, and through an incessant recontextualization, she provides the viewers of an extension of the basic human perception, in order to manipulate it, releasing it from its most primordial, limbic parameters. In particular, her recent In der Haltung des Körpers verrät sich der Zustand des Geistes that we'll be discussing in the following pages, condenses the permanent flow of the perception of concepts from media, questioning their inner nature in the socio politic context they are inserted. So, I'm particularly pleased to introduce our readers to her multifaceted artistic production. Hello Julia, and a very warm welcome to Peripheral ARTeries: I would start this interview with my usual introductory question: what in your opinion defines a work of Art? By the way, what could be the features that mark the contemporariness of an artwork? Moreover, do you think that there's a dichotomy between tradition and contemporariness?I think art is always a way of communication. During the centuries both, definition and function of art has changed. What is characteristic to contemporary art is simply to raise questions. It emerges from presence and also communicates in presence. Contemporary art is imbedded in present experiences, takes up a present issue or accounts for the past thereby creating a connecting way of communication. If art is understood as language then it is an universal language. An artwork can be exhibited in Vienna, New York, Peking or Moscow, peoples approach towards it will be different - based on cultural aspects. At the best, it will cause communication - to further communication in Vienna, New York, Peking or Moscow. Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? The driving force of a an artistic process can be - for example - a newspaper article, an image in the media, a conversation or a specific situation - simply aspects - that somehow effect and touch me content-wise. Also different materials or objects which I collect over time often inspire me. For this reason I go to junk yards in order to collect discarded metal or rifle through a storing place of a junk dealer. There I find different junk goods which catch my attention because of their materials, form or their original function. Sometimes the process of collecting these items is intuitive which means I take them without having a clear idea in which way I will use them. Sometimes I store these found items myself for several years before using it in an artwork, sometimes I find a piece and know exactly in which way I apply it because it either evokes an idea or it simply fulfils a function for which I was searching for.Depending on a project or topic I am working on, I firstly collect information, draw a sketch, brainstorm catchwords, thoughts and ideas for implementation or experiment with different materials. Thereby the time in-between the phases when I am dealing with a project are of An interview by Dario Rutigliano, curator
Julia Überreiter Peripheral ARTeriesJulia ÜberreiterCredit: 2012-FACES.werner-streitfelder.com
major importance. Ideas of project implementation do not emerge while sitting on my desk cerebrating but when I least expect them and actually when I deal with something else. In these cases I take notes or make sketches and in so doing I slowly approaching these thoughts. The period of time from an idea to the finished work can differ a lot and is difficult to define. I often work on different project simultaneously because some projects need to sit during their implementation process and after a while I come back to them again and take a look and they get my attention. The final work often looks very different than the original idea. In general I would define the process of creating an art piece as balancing act in which on one side I let my imagination, associations and inspirations run wild and allow my thoughts to wander, on the other side I also integrate a kind of analytic thinking in order to pass on certain information through my work, thereby reflecting on the effect it might indicated in the dialog with the viewer. Now let's focus on your artistic production: I would start from the aforesaid In der Haltung des Körpers verrät sich der Zustand des Geistes, an extremely interesting work that our readers have already started to get to know in the introductory pages of this article: would you tell us something about the genesis of this interesting project? What was your initial inspiration? In my works I like to deal with the floods of images and their \"messages\" that daily confront us. Advertising images are of special interest to me because they are a very powerful medium. Especially in terms of gender roles, images used in advertisements are very behind the times, one-sided - and simply brainwashing. In that regard a very stereotyped billboard advertisement - permanently placed in the city centre of Vienna - triggered me to approach this specific advertising image in an artistic way. Thus, this work is about challenging gender specific poses in advertisements. There are typically “male” and “female” codes used in advertisement which communicate stereotype capacities of women and men. Women are often shown in a very passive and weak pose Peripheral ARTeries Julia ÜberreiterVerlorene Väter und MütterAnalog photography, slide projection23x27cm2007
Julia Überreiter Peripheral ARTerieslike lying on the ground, sitting on the edge of furniture or standing with less grip of reality thereby resuming a role of a fragile person. Men are often shown more active with tense and strong bearing, symbolizing corresponding properties.The male sculpture in the photo reflects a typically „female“ display format in advertisements like seen on the background of the photograph- a kind of counterstatement. But also other placards in the pictures deal with this theme. The sculpture itself is made out of tape and isfilled with magazines - current transmitter of normative concepts of gender.The title of the work \"In der Haltung des Körpers verrät sich der Zustand des Geistes\" derives from a quotation of an Italian bishop and pedagogues from ancient times who warned men for the danger of \"feminisation\". The \"state of the soul\" deduces from facial expressions and gestures, posture as well as from someone's choice of clothing and the way of body care. Depending on certain patterns of behaviour conclusions were drawn regarding the character of a human. The ideal of beauty in ancient times - an ideal body as measure of things - leaves its marks also nowadays. But also conventions of depiction - such as physical tension and a straight, upright posture to highlight \"masculinity\" can be often found in nowadays advertising imagery. The phrase \"Zustand des Geistes\" (\"State of Mind\") used in the title refers to the mentality of a whole society, its daily life which is still very much characterised by normative concepts of gender-roles. While exploring the compulsion of our modern society, I daresay that your work urges the viewer to follow not only your process, but even and especially the cultural and politic substratum on which you build your creations: I have particularly appreciated the way this forces us to evolve from being a passive spectators to a more conscious participants... By the way, although I'm aware that this might sound a bit naïf, I have to admit that I'm sort of convinced that Art -especially nowadayscould play an effective role in sociopolitic issues: not only just by offering to people a generic platform for expression... I would go as far as to state that Art could even steer
Peripheral ARTeries Julia ÜberreiterWas bleibtDigital photography with slide projection60x45cm2010
people's behaviour... what's your point about this? Does it sound a bit exaggerated?Art has a great potential to issue socio-political aspects and to reflected on social conventions - thereby raising awareness and sensitise people on specific topics. This opportunity is what I take through my artworks. The way how this succeed - e.g. in a irritating, humours, provocative, ambivalent or another way - also depends on willingness and openness of viewers. Art - for sure - neither intends to convince or manipulate a viewer nor to provide solutions in form of a recipe. If an artwork evokes one's own ideas or causes a discussion on a certain topic - then I would say it has reached its aim. The way in which people deal with art in our society - is a very elitist and exclusive one. Therefore it was a very enriching experience for me to take the photographs of the work \"In der Haltung des Körpers verrät sich der Zustand des Geistes\" in public space being surrounded by people randomly passing by who do not have a great interest in art but were simply interested in what is going on. That gave me the opportunity to talk to people about the intentions of this work. Your art practice takes a participatory line with the viewer. Your socio political engaged and often humourous creations are strictly based on the chance to create a deep involvement with your audience, both on a on a emotional level, as well as on an intellectual one: for example, when in Was bleibt (What remains) you have manipulated the photographs of your great-grandmother and your great-grandfather, you seem to remove the historic gaze from the depicted reality, offering them up for perception in a more atemporal form. So I would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?I think personal experience is not totallyJulia Überreiter Peripheral ARTeries
Peripheral ARTeries Julia ÜberreiterFashion SlaveDigital photography60x45cmwelded sculpture10x25x10cm2011
essential for a creative process but can work as a trigger which fires someone's imagination. I can only speak for myself, but when I decide to work on a specific topic through an artistic approach, it is always something that somehow touches me. However, this does not mean that you have to experience it in person. For example there is this piece \"Land Grabbing\". Land Grabbing is a global phenomenon but in my case it does not directly affect my personal life. Anyway there was this personal concern of creating an artistic work on this issue. But of course I am often dealing with topics that personal affect me. One of the most convincing aspects of your work is your exploration of the overwhelming power of perception: in particular, I can recognize a subtle but effective investigation about the emerging of language due to an extreme manipulation of objects, and in this sense I refer to the way the magazines that fills the sculpture of In der Haltung des Körpers verrät sich der Zustand des Geistes not only with hard matter, but also with such a meaning, as well as cutlery is juxtaposed to feet in Fashion Slave... what has mostly impacted on me is the way you have been capable of bringing a new level of significance to objects, recontextualizing the concepts behind them: and I would go as far as to state that in a certain sense your works force the viewers' perception in order to challenge the common way to perceive not only the outside world, but our inner dimension... By the way, I'm sort of convinced that some information & ideas are hidden, or even \"encrypted\" in the environment we live in, so we need -in a way- to decipher them. Maybe that one of the roles of an artist could be to reveal unexpected sides of Nature, especially of our inner Nature... what's your point about this?Same as every person - also artists have the opportunity to look behind the scene thereby detecting excesses and absurdities of our so Julia Überreiter Peripheral ARTeries
called \"normality\". I apply art as a tool of expression being aware that art is only one of many tools to question everyday situations - together with their social determined automatisms, hierarchies, conventions and power relations and to take a closer look on things through a different point of view which is then communicated. Another interesting work of yours that has impacted on me and on which I would like to spend some words is entitled Eierlegendes Wollmilchschwein, (German expression for an all-round talent)is a crucial aspect of your approach: while crossing the borders of different artistic fields have you ever happened to realize that a synergy between Peripheral ARTeries Julia ÜberreiterStadtLEBEN, 3 dimensional model of Vienna, metal, acrylic glass, 150x95cmdetail of map, drawing, 30x45cm2014
different disciplines is the only way to achieve some results, to express some concepts? Moving freely between different disciplines is very attractive to me and encourages to experiment. The main aim for me is always to define my own way of expressing and transporting a specific idea. Often it is a combination of more and different means which I turn to account. Also haptic and material characteristics of a medium are of great importance to me during the phase of finding the best and most adequate form of expression. For example I have a preference for metal. In the processes of welding metal the metaphorical level of meaning of the material - as something very rigid and hard - increases.\"Eierlegendes Wollmilchschwein\" (German expression for an all-round talent) is one of my works, where the use and combination of different media forms makes a lot of sense and additionally enriches the expression of the work. It is the first of a series of works dealing with different rigid social structures. \"Eierlegendes Wollmilchschwein\" addresses constrains of our performance-oriented society which declares humans as multifunctional - accurately functioning \"beings\". Completion on the labour market is intensive and human capital can be replaces easily at any time. \"In applying all means available\" - in this case for example a milking machine and a loom - the idea of extracting and utilisation of workers resources - is expressed here. Also the reward system of awarding (e.g. an academic) title - a method that works very well in Austria - is questioned in a humours way. Modified or original definitions of certain machine components provide more detailed information. The work is presented in an acrylic glass housing - thereby consciously playing with the association of display cases in which the most important scientific findings are exhibited - which aims to conduct itself ad absurdum. The combination of different media - such as text, drawing, collage, acrylic painting but also materials like metal, wood and acrylic glass - lead to a mutual, interactive enhancement and is significant to communicate the relevant issues in a very compressed form. For example, through fine lines of pencil drawing on paper vulnerability and uniqueness of human beings are expressed. They find Julia Überreiter Peripheral ARTeries
Peripheral ARTeries Julia ÜberreiterEierlegendes WollmilchschweinMixed Media100x67cm2015
Julia Überreiter Peripheral ARTeries
Peripheral ARTeries Julia ÜberreiterLandgrabbingMixed Media100x67cm2014
themselves in great contrast to a strict schematic depiction of machines but even more to a punched aluminium plate behind which they are installed. Thereby the aluminium plate functions as metaphor of a bulky, uncompromising set of regulations in our societal system. A schema of punched geometric forms give rise to the appearance of stereotyped societal processes, that provides little space for individuality. During these years your works have been international exhibited in several occasions: from Vienna, where you are currently based, to London, Berlin and the United States, where you recently took part to Center Forward 2014 in Fort Collins. So, before taking leave from this interesting conversation I would like to pose a but cliché question, but an interesting one that I'm sure will interest our readers around the world... During these years you have exhibited in several occasions, so I would like to ask you what are the main differences that you had the chance to notice between the European scene and the American one... By the way, how would you define the nature of the relation with your audience?That is hard to say because I have exhibited different works. For sure it is always a great enrichment and satisfaction when people approached me and give me the feeling that I can reach them through my art works.Thank you very much for your time and for sharing your thoughts, Julia. Finally, would you like to tell us readers something about your future projects? Anything coming up for you professionally that you would like readers to be aware of?Currently I work - besides others - on an interactive, trans-media installation called \"Schwarze Löcher\" ( \"Black Holes\") which deals with life and creation of fine artists thereby aiming to connect with other professional sectors and concepts of realities of life. Julia Überreiter Peripheral ARTeries
Thereby issues such as freedom or exclusion mechanisms are addressed. The freedom of an artist through his /her creative self-expression and self-development also leads to an exclusion or a more difficult access to economic and social security and subsequently to a very precarious situation . Besides economic challenges also the \"defined job description\" of a \"professional artist\" has changed. Artistic talent is not enough to gain success. Artists, musicians and generally spoken - people of the so called creative sector - need to be great project managers and networkers in order to be able to remain successful the intensive competition.The question where you decide for or against being an artist - is a very profound and existential one. The title of this work - \"Schwarze Löcher\" - refers to the same named natural phenomenon. Same as an artistic life journey, the phenomenon of the natural phenomenon \"Black Hole\" is unpredictable and inexplicable - maybe it ultimately threatens Im Wechselspiel der LustInstallation100x100x150cm2011LeibstückInstallation40x40x100cm2008
survival; maybe it opens unexpected, enriching, transformative states of being. This aspect is depicted through a sculptural object consisting of different materials such as aluminium, acrylic glass but also collected items. Based on the situation of artists, visitors are encouraged to contribute to the installations in their own personal way - based on their own experiences and ideas. Through an openly accessible social media platform, these interactions are documented on a digital way and mutually connected with the local installation. This leads to an inclusion on several levels which should also make experiences and thought of absent people present. Leiden_schaftC-Print60x40cm2009
Marta KosieradzkaI see my dance research, learning new techniques and creative work as a personal path of development as well as a contribution to the society and a way of sharing my thoughts and comments on surrounding world with other people. Both artistic freedom and discipline are eqally important to me in creative process. Besides dancing I'm also a visual artist ( I've graduated from graphic department) and I'm searching for the influences and connections between different art forms to find my own language and way of communication with the audience. I create photographs and drawings, I’m inspired by people, their stories and characters and city as a moving, living organism.Marta Kosieradzka
Birth Bird Baby Blue, photo by Eva Campos Suarez
PeripheralARTeriesAn interview withMarta KosieradzkaMarta Kosieradzka's practice is marked with an intense multidisciplinary feature: by an effective combination of dance, music and visual arts she she brings a new level of significance to each discipline, conveying the creative potential of movement and still images into a consistent and coherent unity: her works overtly play with the unheimlich nature of gestural movements, revealing that images tend to exist in continuum, residing somewhere in memory, whereas sound tends to evoke the present moment. It is with a real pleasure that I would like to introduce our readers to her stimulating works.Hello Marta, and a warm welcome to Peripheral ARTeries. To start this interview would you like totell us something about your background? You have a solid multidisciplinary training: you studied Graphic Techniques at the European Academy of Arts in Warsaw and you refined your education in Dance in several institutions: how much have these experiences impacted on the way you currently conceive and creates your artworks and on your evolution as an artist?I definitelly see dance as a visual art form that’s why it makes perfect sense to me to combine fine arts and dance. I’ve started my professional art education from learning drawing, painting and traditional graphic printing techniques in my home town- Warsaw. After obtaining a M.A degree in Graphic Art and a dance teaching diploma I’ve decided that I want to deepen my knowledge of dance that has been my passion for many years already. I went to study dance in Austria and then in Belgium where I’ve decided to stay and where I liveuntil now. I really appreciate the fact that I had a privilige to An interview by Dario Rutigliano, curator
Marta Kosieradzka Peripheral ARTeriesMarta Kosieradzkaphoto by Juliette Bogers
study many different art forms and techniques. Dance is a very technically demending art that asks a lot of training and discipline and very often dancers are trained to be skilled craftmans and not necesarrilly independent artists. In graphic art education there is a lot ofspace for developing personal style and a free and open way of thinking. Dancers almost always work in a group and are tought to be a part that perfectly suits the bigger picture that is beeing drawn by a choreographer. Painters or drawing artists are creating their own, independent world and vision. For me that combination of two different points of view worked perfectly and showed me what I want to do and gave me many different tools. Weather I draw a picture, make a photo or create a dance performance I have the same intention and process, just that I use a different language. I’ve decided to put most of my attention into my practice as a dance artist because I see this art form as a one that contains all others in it. Whilst performing or choreographing I’m creating a multidimentional experience, it is not only something that you can see with your Peripheral ARTeries Marta KosieradzkaDance Photo (photo by William Apers)
Marta Kosieradzka Peripheral ARTerieseyes like a painting hanging on a wall, but something that you can experience with all your senses. The difference between creating a dance and drawing a picture is also that dance is far more personal, it involves your full self: body, mind and spirit. When you go on stage you can have full contact with your audience and eperience that is happening here and now, that would not be a case if you’d hang a painting in a gallery.Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? Inspiration for my pieces most of the time comes from the things, ideas or experinces I had that really interested or moved me in some way. I’m not an artist that starts from a lot of thinking and outlining a theoretical concept. I’m a person that likes phisical and sensual experiences and for me practical work is the Dance Photo (photo by William Apers)
most important. Very often I just find something that triggerst me in some way and I start from that, but afterwards it develops to a compleatelly different thing as I work on it.In the beggining I deffinitelly take a lot of time to find out how the idea that I have for the piece relates to the body and how can it be shown/expressed by it. I’m searching for a state of the body that is resembling my idea. Sometimes but not always I’m also creating a stage character that I’m trying to embody and what does that character experience during the performance. I see a creation of a dance piece like sketching on sheets of papers, noting many different ideas and impressions that after a long process make sense together.I belive in a wisdom of the body and that it contains everything that we cosiciously or unconsiciouslly experience during our lifetime, so I try to stick to that in the process of creation. I also take a lot of time to study and get to know new movement techniques and deepen the ones that I already know, so I see my work as an ongoing everyday process.That is not only working on a specific task but also searching for elements, inspirational things in my daily life and practice of my craft.During the work on a particular performance I try to widen the view an a subject as much as I can, so I search for inspirational texts, paintings, musical compositions, books, anything that can broaden my experience. A lot of my works are inspired by other art works that I refer to as a starting point. Now let's focus on your artistic production: I would start from Windmills in the ocean, an extremely interesting work that our readers have already started to admire in the introductory pages of this article: and I would suggest to our readers to visit your website directly at http://www.dailymotion.com/video/x260eat_birthbirdbabyblue_creation in order to get a wider idea of your artistic production. In the meanwhile, would you tell us something about the genesis of this interesting project? What was your initial inspiration? ‘’Windmills in the ocean’’ is a dance film that I made in a collaboration with two video artists Vincent Pieraerd and Marnik Boekaerts. It is based on my performance ‘’BirthBirdBabyBlue’ Peripheral ARTeries Marta Kosieradzkaphoto by William Apers
that I’ve realized in the frame of a programme for young choreographers '' 20 Jeunes Choreographe pour Brussel 2013’’. The performance was merging two art disciplines: dance and music, exploring transformation from organic, basic life force that drives us into emotions, creativity and search for inspiration.The creation of the piece initially started from an inspiration taken of a painting ''Little Girl with a dead bird'' from a collection of Royal Museum of Arts in Brussels. Later it evolved into a landscape created around images connected to longing, searching for freedom and breaking the limitations. Dialog between thoughts, internal world and physical reality. Transformation from an unconscious Marta Kosieradzka Peripheral ARTeries
Peripheral ARTeries Marta Kosieradzka''Future'' photo by Eva Campos Suarez, dancer Inez Verhille
state of mind towards a poetic language that allows to speak out and reveal freedom of expression. In different stages of work on the project musical landscape was developed simultaneously with the choreography crating a dialog between movement and sound. Through experimenting with different sounds, recorded music, instruments finally evolvedto the stage when all the music is produced live during the performance. Dance is constantly interacting with voice, word, poetry and instrumental music creating an independent universe of movement and sound. I’ve used a text of Patti Smith as one of my main inspirations during the process :‘’ let us geather on the summit of a cool volcano…plunge into the infinite pit in a jet spitting an ec-static dialogue of sound until the attar of our being permeates the red field…blood, tongue and new noise- a sonic dart-from deep in the heart of…’’ (Patti Smith)At a certain point in the process I wanted to broaden the context that I was working in and use video as a tool that allows to create more abstract forms than a live act allows. I also wanted to find a location that would fit the atmosphere of the piece when I came across a beautiful old magazine an old town in Antwerp. The place visually fitted the choreography in a perfect way and helped to show the choreography in a new way. I’ve also enjoyed a collaboration with Vincent and Marnik, they had their own view on my performance and they’ve entered the process with their own ideas.They've synthetihised the ideas and themes that I've been working on during my process and transformed them into cinematic images.Working with the video allows me to relate to my visual arts background and helps me to take the choreography out of it’s usual theatrical context. I have been particularly impressed with the way you have been capable of bringing a new level of significance to the act of dancing, especially in Future, in which you seem to re-contextualize the main idea behind gestures and movement: and I would go as far as to state that in a certainsense your works force the viewers' perception in Marta Kosieradzka Peripheral ARTeries
order to challenge the common way to perceive not only the outside world, but our inner dimension... By the way, I'm sort of convinced that some informations & ideas are hidden, or even \"encrypted\" in the environment we live in, so we need -in a wayto decipher them. Maybe that one of the roles of an artist could be to reveal unexpected sides of Nature, especially of our inner Nature... what's your point about this?‘’Future’’ is a part of a trilogy ‘’ The three oddest words’’ , dance film based on the poem by polish nobel -prize wiining poet Wislawa Szymborska. Three words described in the poem: future, silence and nothing were turned into three choreographic scenes each one set in a different space and location and performed by different dancer. The poetry of Wislawa Szymborska leaves the questions without giving precise answers and triggers the mind and imagination to look at everyday subjects in a new way. It is also very sober and simple in it’s form and because of that I see a possibility in it to connect it to dance and movement creating a bridge between those two art forms.The words that are very definied and have a lot of conotations are transformed into an abstract and poetic language of dance which brings the Peripheral ARTeries Marta Kosieradzkastill from ''Handful of dust'' film
words and their meaning into a different context. The choreography is strongly connected to the locations where the scenes were shoot and the movement is defined by the space and the context it brings to the dance.''Future'' is a film about passing of time, we impatiently wait for the future to come and although it imediatelly turns into past. The poem questions the meaning of words, their importance and precision of how they describe world. I think this is also one of the aims of creating an art piece- to question existing things and as you say decipher their hidden side, or reorganise their existing order. This can especially apply to dance, because in our culture today we have forgotten that spoken/written language is not the only language that we have. In many ways we've denied the body and it's expression and became compleately unaware of it. This is also why very often people see dance as something very abstract and far away from daily life. For me the body is never abstract, it is obviously the only tool we've been given to communicate and experience the world therefore movement is just a part of our human nature. I think it's important to remark the multidisciplinary nature of your artistic Marta Kosieradzka Peripheral ARTeries
Peripheral ARTeries Marta Kosieradzka''Handful of dust'' performance, photo by Yoanis Pallas
approach: for example in Handful of dust you have highlighted the relation between music, dance and environment: experimenting with dance as well as with visual arts, you seem to be in an incessant research of an intimate symbiosis between apparently different disciplines: while the performative aspect of your approach provides the viewers of what I would define an augmented perceptual experience and if I have been asked to sum up in a single word your artistic production, I would say that it's kaledoiscopic... while crossing the borders of different artistic fields have you ever happened to realize that a symbiosis between different disciplines is the only way to achieve some results, to express some concepts?''Handful of dust'' is inspired by the portugese music fado, which origins lay in melancholic feelings, life of the poor and longing for something unreachable. The music is usually linked to the portugese word ‘saudade’ which symbolizes a permanent, irreparable loss and its consequent life lasting damage. In the project we want to research and take a closer look at fado, it’s many faces and characteristics. Not only the sad, melancholic one, but also a more playfull side of it . The dance is inspired by the feeling and rhythm of fado and also by characteristics and expression of the fado female singers, their body language. In the music cruelty and deep dark emotions are mixed with softness and playfulness of a child, we want to bring this feeling to the dance and live music, performance. During the work on this project I’ve researched the character of a traditional fado singer that is just by it’s name associated to a café somewhere by the shore in Lisboa or Porto. I wanted to see again what would happen if I put the fado singer in a busy, chaotic city of Brussels. How can I find a place that would remind me of the nostalgic, emotional images of the sea pictured in fado songs. This is how I found a roof situated above the busy city center of Brussels that for me Marta Kosieradzka Peripheral ARTeries
symbolized the border that cannot be crossed, the edge of the roof is like the border of an endless sea, city is like unknown waters.So I think that symbiosis and collaboration of many different art disciplines in my work comes simply from curiosity and constantly asking the question ‘’what if…?’’. I wouldn’t say it comes from wanting to express the same concept, but definitely from the search for synergy and relationship between everything I see, hear and experience in my life and that triggers my attention. Your practice is intrinsically connectde to the chance of establishing collaborative relationships with other artistsI do believe that interdisciplinary collaboration today is an ever growing force in Contemporary Art and that that most exciting things happen when creative minds from different fields of practice meet and collaborate on a project... could you tell us something about this effective synergy? By the way, I can clearly remember the well-known Peter Tabor's quote, when he remarked that \"collaboration is working together with another to create something as a synthesis of two practices, that alone one could not\": what's your point about this? Can you explain how your work demonstrates communication between several artists?Indeed collaborating with other artists is very important to me, whenever I want to create a new universe that is united I need to work with other people that might have skills in the areas that I don't have. Through working with musicians, video artist, designers I constantly learn and I'm beeing challenged to step out of my comfort zone and see the subject from another perspective. Artists who are really devoted to their practice tend to focus very much on one particular aspect of the world, weather it's sound, or movement, or the image. The viewer sees the whole picture when he is looking at the art piece. In order to create a new reality, an independent world that appears Peripheral ARTeries Marta Kosieradzka
Marta Kosieradzka Peripheral ARTeriesConcert of the saxophone and a spine photo by Eva Campos Suarez
on stage or in a video we need to look at it as a whole, every detail is important to let the thought of the artist be visible for the audience.Collaborating with people from different art disciplines also helps to reach much broader audience, not only people who are interested in dance, but maybe also those who would normally never thought of watching it.In the creation of my solo ''BirthBirdBabyBlue'' I've worked on developing music and dance simultaniously, so that it would grow organically together. This kind of process takes a lot of time obviously, but I definitelly think it's worth it. Ithas led us to many discoveries that we've both did not expected to find ourselves in. On other occasions I've just let another artist to take my existing work and transform it in their own way, like it was with ''Windmills in the ocean'' that I've mentioned before.In the initial phase of working on the film trilogy ''The three oddest words'' I was looking for people who would fulfill my vision that I've already had for that production. I wrote a scenario and from the beggining till the end with the help of a composer Adriano Fontana and film maker Eva Campos Suarez we Peripheral ARTeries Marta KosieradzkaConcert of the saxophone and a spine photo by Eva Campos Suarez
consequently executed our plan. But this was the only time that making a plan before I start really worked for me...In my most recent collaboration I've entered a world of improvised jazz music that I didn't really know very well before. I'm working on a film project that will be a collaboration between me and a Polish jazz band ''Olbrzym i Kurdupel'' and a film maker Eva Campos Suarez. I've learned a totally new way of seeing the act of 'writing' dance or music. By listening to that music I had imediatelly a clear picture of what I want to do and which character I want to portray in my film, it was like I was sucked into the world of jazz music just by listening to it...Your work is intrinsically connected with the chance of creating a deep interaction with your viewers, urging them to follow your process and pushing them to not play as a passive audience: as you have remarked once, you see your process and your work also as a contribution to the society and a way of sharing my thoughts and comments on surrounding world with other people: although I'm aware that this might sound a bit naïf, I have to admit that I'm sort of convinced that Art -especially nowadaysMarta Kosieradzka Peripheral ARTeriesConcert of the saxophone and a spine photo by Eva Campos Suarez
could play an effective role in sociopolitic questions: not only just by offering to people a generic platform for expression... I would go as far as to state that Art could even steer people's behaviour... what's your point about this? Does it sound a bit exaggerated?Yes, of course I belive that Art can stimulate people's behaviour and really change their view of the world, otherwise, why would we ever want to show our works to the audience? I see now a lot of performances or art pieces that deal with the subjects that are popular or known as 'controvertial' and it's sort of 'fashion' to be talking about them. Often those works seem very artificial to me. When I watch an art piece I want to have a sort of conversation with the author. I want to know his thoughts and opinions, I do not want to hear slogans and things that I already hear on TV or radio and that are politically correct.So in other words I belive in Art that is an honest statement of an artist and I think only then it can really change or touch people and make them think out of the box.Nowadays I also see a contradition- one one hand we live in a world where we can share An object An object
freely any information and talk about whatever we want, but on the other hand it is very superficial. It is hard to find a person which talks openly about what is important to them. And this is why I belive artists have an important work to do.I have highly appreciated the way your approach reveals a desire to create a concrete aesthetic from experience and memories: and as you have once stated you draw inspiration from people, their stories and characters and city as a moving, living organism... so I would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?I think the most important quality for a creator of any kind is sesitivity and ability to observe surrounding world as well as himself. I hate when people say that artist ''express themselves'' throught dance, painting or another form. I think this is absolutely not true. If we look at the greatest masterpieces of all times, we think it's something really beautiful, divine and great above all measure. I really don't think we could say the same words about their authors, could we? So if they would be only 'expressing themselves' could those masterpieces ever be produced?Of course anything we observe in our life and anything that we drive inspiration from gets 'filtred' through the prism of our own luggage of experiences and this we can never avoid. During my working process I try to relate both to the things and ideas I observe as well to the ones that are directly a part of my life experience.As one of the most famous pioneers of modern dance Martha Graham has said: ''I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracle that is a human being.'' It is not really possible to become somene else that you already are, but still I see the role of performer as someone who should be open to everything that surrounds him and should be able to channel it to the audience even though it might not refer to his direct experience.An object
Some of my works that I've mentioned before were inspired by works of other artists or stories that I've heard but there was probably a reason in me why those particular things grabbed my attention. ''BirthBirdBabyBlue'' was inspired by a painting ''Little girl with a dead bird'' of an unknown painter from 16th century that I've seen in a Royal Museum of Fine Arts in Brussels. Old painting might seem as something very distant for a person who lives in 21th century but still it was an art work that has struck me imediatelly when I saw it and later became a great source of inspiration in which I've found a lot of meaning and references to my own life.Other works were based on a very direct experience, like for instance my solo ''An object''. At that time I was studying in a foreign country where I lived alone in a very small student room where the only furniture were a table, bed,cubboard and a chair. At a certain point I felt really lonely and disconnected from people. Then I started to think about the objects, which meaning they have, which stories they bring. I had a chair but I was dreaming to have someone sitting on that chair keeping me ''Silence'', photo by Eva Campos Suarez,
company. So that's how the piece was made, just by going through a very common daily life experience.Besides producing your stimulating artworks, you also teach: have you ever happened to draw inspiration from the works of your students? By the way, times ago I had the chance to interview Yotam Zohar, an interesting painter and experienced art teacher from the New York scene who once stated that our culture trains people to be visually illiterate...I think art education is very important. I cannot express my gratitude to all the teachers that I've met on my path and how much their teaching affected my life and my choices. I would definitelly not be who I am today and not be doing what I'm doing. Therefore I know how important it is to inspire students and give them a solid technical base that they can build on. I work with many different kinds of people af all ages, mostly amateurs. I can definitelly refer to the opinion of the artist you quoted and it's not only that the ''Nothing'', photo by Eva Campos Suarez, dancer Anna Tytus
culture makes people visually illiterate but also trains them to be very unaware of their body and all of it's dimentions. This is something that is bother me a lot...Dance is one of the most organic and natural things to do and in our times it has been neglected. The body is beeing seen as a sexual object or as another item that you can have to get you more money, better job or higher social status. We've compleately disasocciated it from spiritual, emotional or even intelectual values. I really don't belive there is or ever be a computer or a machine that is so perfectly made and so worth of studying as a human body...yet we put more attention to technological news than we do to our own body, the only thing that we really own...Our culture values technical, analitical and scientific skills and pushes creativity, sensitivity and art aside.Very often children who have artistic talents feel very unworthy and neglected at schools and have no chances to develop. Later they become frustrated and unfulfilled adults. This is why I find extremally important to encourage and guide people in exploring art, I think this can really change societies and change the world. Definitelly teaching takes me out of my comfort zone and helps me from beeing an artist closed in a very hermetical world of art.Now, as usual, I would pose you some questions about your relation with your audience. During your over fifteen years career your works have been extensively exhibited in several occasions and you had many solos... It goes without saying that feedbacks and especially awards are capable of supporting an artist: I was just wondering if an award -or just the expectation of positive feedbackcould even influence the process of an artist... By the way, how much important is for you the feedback of your audience? I sometimes wonder if it could ever exist a genuine relationship between business and Art...I had a privilage to perform in many different places, also those non-theatrical like museums, galleries, historical monuments or even on the street. Those spaces create a possibility for very close contact and an interraction with the audience, you can see them, you can hear them, you can even touch them. It's different than performing in the theatre where the stage is a symbolical place that separate perfomer from the viewer. Nowaydays dance is definitelly reaching outside the thetres which I find a very positive thing. There are more and more site specific projects that explore the relationship with a particular space. I've made a site specific video project ''Tunnel'' where the choreography was performed in a tunell for pedestrians that runs under the river Schelde in Antwerp. During rehearsals and shootings we've got so many people, citizens of Antwerp telling us how much the appreciated what we do, some of them wanted to discuss, some wanted to join, some just watch or even sing us a song so that we have music to dance on! I find it incredible that just a simple act of dancing in a public space can relase so much openness, curiosity!For me every encounter with the audience is different and each one is intensive for me and very important. I think dance is a language and as we all know it doesn't make much sense to talk to youself, you always need someone who listens and answers in one or the other way. I enjoyed very much sharing my art works with my friends and getting their opinion on it. During creation process it's easy to get very closed in your own imagination and focus on working without thinking what do you accually want to communicate and which tools you're going to use.About business and art I really don't have an answer to that...I think every artist knows how extremally difficult is to find money or sell your work. This goes especially for performing arts where there is no ''product'', there is nothing that people can buy and take home, we're only
Peter Soetewey photography
selling short experiences. I see more and more projects beeing sponsored by crowdfunding campaigns, I did that myself too, maybe this is a link that in the future is going to connect dance to other sources of sponsoring than traditional state subsidies and institutions.Thanks a lot for your time and for sharing your thoughts, Marta. Finally, would you like to tell us readers something about your future projects. How do you see your work evolving?As I said already before I belive in collaborations of different artists, so I definitelly want to continue doing that. So far I've tried out working on smaller projects with the video art, music, fashion. My dream would be to create a perfomance in which all those things could come together to create a full evening thetre performance so this would be definitelly something I'm aiming for. After all the experiments with video work, site specific performances and working in non theatrical spaces I'd like to try to go back to stage again.I'd like to continue developing as a performer as well and search for more interesting encounters with different types of audiences.At some point I like to find a way to combine my graphic art practice with dance, but I don't have an idea how can I do it yet, but there is hopefully a lot to discover there for me. I'd like to also find a way or a systhem that would help me to organise and support my work financially, that would help me a lot to have more structure and develop my works better.''three Oddest Words'' rehearsal, photo by Eva Campos Suarez
My primary intent as a Filmmaker is to communicate my personal and social concerns, transforming them into a magical realm where anything becomes possible. Images, dialogues, silences, colors and movement join to create a visual equilibrium, speaking for themselves.Within my cinematographic work, movement is a key element for narrative and visual development; achieving a frame in motion from the image.Beyond an unorthodox narrative and aesthetic, my work focuses on experimenting new visual sensations through conflict: reflecting a world of emotions that can be both very near reality and on the side of the nonexistent, creating a parallel universe in which the palpable and the desired become possible at the same time.Throughout my career, I have discovered the need to incorporate into my images and scripts messages that promote social consciousness. As a humanist, I am passionate about the idea of being part of the change; it is for that reason that within my artistic production, I find it valid and valuable to present social issues, along with fictional stories, that the spectator can identify with as a human being, but that also present a new realm of sensations that we can be a part of.Carla Forte is a performer, writer and director. She has performed in and directed VideoArt works like Interrupta, Imaginarium Life, Assassins for One Night, among others featured at important venues and festivals such as: 20th Cucalorus Film Festival 27th Festival (2014); Les Instants Vidéo Italy (2014); Pool 14 Internationale TanzFilmPlattform Berlin; 21st Quinzena de Danca de Almada, Portugal (2013); La Biennale di Venezia Marathon of the Unexpected (2012); Non-Verbal Theatre Festival San Vicente, Croatia (2009).; Adrienne Arsht Center, Miami (2009); A Desert for Dancing, México (2007).Her cinematographic work includes the documentary The Holders Official Selection 32th Miami International Film Festival; Short films Imaginarium and Reset, selected for Cannes Film Festival's Court Metrage - Short Film Corner in 2012 and 2013, respectively; as well as the feature Urban Stories, Winner of Best Script, Best Cinematography and Best Feature at Bootleg Film Festival, Toronto (2012); and Honorable Mention at both Los Angeles Movies Awards (2011) and Lucerne International Film Festival, Switzerland (2012).(Switzerland)PeripheralARTeriesCarla ForteAn artist's statementCarla Forte
PeripheralARTeriesAn interview withCarla ForteCarla Forte's work explores the notions of the Time and Experience: by translating direct experience into a parallel dimension, her refined filmmaking gives birth to a magical realm where subtle but effective bonds with everyday reality.From the first time I have got to know her works I have been impressed with the stunning way she conceives cinema as an anthropological tool to explore the incommunicable. While Interrupta overtly plays with the unheimlich nature of gestural movements, it also discusses the notion that images tend to exist in continuum, residing somewhere in memory, whereas sound tends to evoke the present moment. It is with a real pleasure that I would like to introduce our readers to her stimulating works. Hello Carla, and welcome to Peripheral ARTeries: to start this interview, would you like to tell us something about your background? Are there any particular experiences that has influenced you as an artist and on the way you currently produce your works?First of all I would like to say that I'm thankful forthe opportunity to be part of Peripheral ARTeries and to share with every one of you my artistic work and my essence as a human being.I was born and raised in the city of Caracas, Venezuela. There I attended the Instituto Universitario de Danza (Dance Institute), and specialized in movement, composition, performance and improvisation. In 2005, Alexey Tarán (Guggenheim Fellow 2007) and I founded Bistoury Physical Theatre, a multi-disciplinary company based in the city of Miami, for which I am currently Executive Producer and Film Director.