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Mapping Sequences is an installation by artist Dina Dressen consisting of prints taken from a big working process. The repeated movements of the paper, combined with water and ink are the central point of the series. These prints are now mapped. Each print is an individual piece, a captivated moment within the process of making.
I become infatuated with memory because of my tendency to remember almost everything that happened to me. It has been a contradiction in trying to forget things and also in the same time I couldn’t resist to reserve all my memories. The process here is a loop, a repetition compulsion of remembering and forgetting.
In my artistic practice, I research the possibilities of Memory to be existed in different degree, for its existence not just in the mind but also in the form. I believe that Memory has many forms in space and in time.
Because my identity also connected with my memory, I question the notion of physical difference and attributes that defines a person's identity. The result becomes a statement that never be a neutral one.
I carefully weave these subjects into my work. I collected objects that have associations with my memory and my surroundings. These are things that are forgotten, or things that are left behind. It is a very personal process for me as I started with my personal experience. My reaction to them and how I deal with them, are the center of my artistic practice. I’m also working with video, remediating my existing installation to create possibility of new memory.
Currently based in Rotterdam, Yoshiyuki Koinuma started a series of new work from 2015 contemplating relationships between human and animal in modern society. Inspired by media and daily conversations, Koinuma started painting portraits with animals, a theme that has been reoccurring since ancient times. Taking motifs from nature, animals, computer games, science fiction and Japanese culture, his works invite spectators to use their imagination and enjoy themselves, evoking their surreal imaginations made of fantasy world and outer space.
From a pagan celebration and a Christian fest to a cultural tradition reincorporated after the war, Carnival has played a great role for those europeans that needed traditional practices to recover their identity. Carnival is to have a justified opportunity to break from standardised ideals; to be and treat each other as equal; and to behave as wanted, without judgment. Starting from the sixth Sunday before Easter, preceding Ash Wednesday and Lent, three days are left on the Prince’s hands as he promises to be in charge of the non-sense and extroverted people present in the city of Maastricht –or as called in Carnival: Mestreech. With an essence of socio-political irony, conventions are inverted just like it used to be in the christian times. Carnival is a chance to 'renew the self', like the ancients renew the land, for the tough cold days to come.
THE TUTORIAL DRAWINGS
JACQUELINE MACHADO DE SOUZA
I will always keep you in my art means that you disappeared.
But that's fine because i am going to see you again.
It´s the same with my tooth:
it disappeared out of my life,
but my dentist told me it will be back next week.
An exploration of fragmented (self-) perception.
Over the past few years, in a rhythm of apart and together the two artists have collaborated by being each others counter-perspective in a process of molding their own ideas, viewpoints and artistic works.
Similarities become differences when working closely together and vice versa.
Now six months after graduation, they encounter each other again for a few days to create an exhibition, within a set of limitations in time, space, impulses and means.
The current state of an ongoing work in progress.
FELICITAS LENZ & NIEK STEEGEMANS
I watch enormous quantities of images, on the street, on the Internet.
Sometimes, a picture strikes me unexpected and triggers feelings of fear and fascination. I try to grasp it, to get as close to it as possible. Collecting is not enough, and osmanthus I draw.
Lisa GAMBEY (New Caledonia, 1987) works and lives in Brussels.
Si yo fuese como una roca y no como una nube, mi pensar que es como el viento, me abandonaría.
Sometimes the encounter of an instant comes unexpectedly as a static spark. Two years ago I looked for the first time at the work of Jacqueline Machado de Souza. Visiting her studio I experienced the constellation of images and videos that she showed me, followed by a feeling of pleasant strangeness that at the moment I couldn’t articulate.
She revealed how images come to her in the form of encounters. Like someone observing the movement of clouds, she is open for experiences that can stop her gaze. She slowly builds an archive of images that interrelate. Pictures that may be taken last week coexist with photographs from years ago. In this way she creates a territory for associations in which the images that she selects can return to the gaze of the eye and be reread or relinked.
At that time she was also starting something new. In a similar explorative gesture she began to draw. She embraces an amateur approach to the practice of drawing, discovering the movement of her hand in relation to different papers and materials. How is anyone supposed to learn how to draw? Jacqueline makes photographs of her sketches and places them next to the ongoing process of her hand. What is frozen in the camera continues in a drawing at a table in her studio. This permits her to relate and see movements among her different practices. What is meant as a practical technique, for this artist is transformed into a field for thinking with images.
The associations that Jacqueline has interweaved in the intimacy of her studio now are presented to the public. One video, photographs and drawings will share a space. The process is open for the viewer to experience the relations and interpret these movements.
Text written by Martín La Roche.
*Born in , Brazil (), now lives and works in Brussels and Maastricht.
 The Icelandic word hugmynd is a good example to interpret this. If we translate it to English we could associate it with the word idea. If we cut it, we have hug that means head and mynd that means image. In Icelandic an idea is made by an image in our head.
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ALL THAT IS SHOWN; THE STREETS AND THE LOOK IN THE PEOPLES EYES IS MADE BY ME AND MADE BY YOU WHEN LOOKING AT THE PHOTO AND WHEN READING THE STORY HERE AND NOW. HERE AND NOW WE WILL Pretend EVERYTHING IN THE PICTURES WERE ME, AND FOR THIS MOMENT YOU ALSO . THERE IS TOO MUCH TO THINK ABOUT JUST SO I ASK YOU TO FEEL WHILE Experiencing THE TEXTS / PHOTOS OR AT LEAST BE AWARE BECAUSE OF THE NEXT; DURING MY TRIP IN BIG CITY TOKYO, JAPAN, I TRIED TO FEEL AND I MUST SAY THAT IT WAS PRETTY HARD TO FEEL SO MUCH THAT WHILE experiencing Distracts FROM YOU FEELING BUT THEN I KNEW I HAD TO PICTURE MY FEELINGS WHEN I COULD NOT FEEL THEM MYSELF BUT NOW THEY AT LAST, -THIS PICTURED-FEELINGS -, CAN SHARE WITH MY FEELINGS YOU AND MAYBE YOU UNDERSTAND ME IN THE END. I DO WANT YOU TO UNDERSTAND ME - PLEASE ENJOY THE MOMENTS OF UN MASKED EYE CONTACT WITH OTHER VISITORS LORD. THAT WAS THE ONLY THING I WAS LOOKING FOR, MAYBE, AND DID / DID NOT FOUND.
The place of our physical existence Has become unimportant in our world nowadays. Our identities are formed by the shield or information we choose rather than the seats That we exist in. In the Circumstances in-which reality and virtuality consistently shifts, the border That Becomes judges our identities vague, and We Become both insiders and outsiders who exist and do not exist at the given location at the sametime.