mika Noh’s Post

Supporting global cultural, arts, and creative movements can have a profound impact on societies and individuals. Here are some ways to support these movements: 1. Financial Support and Sponsorships    - Donations and Grants: Contribute to organisations and foundations that support artists, cultural projects, and creative initiatives globally.    - Crowdfunding: Participate in crowdfunding campaigns for artistic and cultural projects. 2. Promotion and Advocacy    - Social Media: Share and promote artists’ work and cultural events on social media platforms.    - Networking: Connect artists with potential collaborators, sponsors, or audiences. 3. Educational Initiatives    - Workshops and Classes: Support or organise workshops and classes that teach various art forms and cultural practices.    - Cultural Exchange Programmes: Facilitate or participate in cultural exchange programmes to foster mutual understanding and appreciation. 4. Attending and Participating    - Events and Exhibitions: Attend art exhibitions, cultural festivals, theatre performances, and music concerts.    - Workshops and Classes: Engage in workshops and classes to learn about different cultures and art forms. 5. Creating Inclusive Spaces    - Cultural Centre: Support the establishment and maintenance of cultural centres and art spaces where artists can create and exhibit their work.    - Residency Programmes: Fund or participate in artiste residency programmes that provide artistes with the space and resources they need to create. 6. Buying and Commissioning Art    - Purchasing Art: Buy art directly from artists or through galleries that support emerging artists.    - Commissioning Work: Commission artists to create unique pieces for personal or public spaces. 7. Policy and Advocacy    - Lobbying: Advocate for policies that support funding for the arts and cultural initiatives.    - Public Awareness Campaigns: Raise awareness about the importance of cultural and creative industries. 8. Volunteering and Community Engagement    - Volunteer Work: Offer your time and skills to help organise and run cultural events.    - Community Projects: Engage in community-based cultural projects that bring people together through art. 9. Supporting Digital Platforms    - Online Platforms: Support and subscribe to digital platforms that showcase and sell art, music, and other creative works.    - Virtual Events: Participate in and promote virtual cultural events and exhibitions. By taking these steps, individuals and organisations can contribute significantly to the vitality and sustainability of global cultural, arts, and creative movements.

Luanda’s art scene forges a new narrative for Angola In the centre of Luanda, a red neon sign on a three-story building adorns the facade of Hotel Globo. Built in 1950, after years of civil war, its once proud exterior has become a spectre of its former self. Despite its outwardly ruined structure, the hotel, once dubbed the most popular in Luanda, still retains an air of grandeur, representing the peak of modernist architecture in the African nation. “It’s a safe space,” said Luanda-born artist Sandra Poulson, who is presently showing her work in the 60th Venice Biennale, remarking how, unlike other spaces in Luanda, there’s no security guard with a gun at the door. “It’s the kind of place where you just drop in even if you don’t need to—even if Jahmek is not open. There’s an integration between Jahmek and artists’ studios, where some artists also live – that is rare to find. There’s always a conversation to be had and it’s free, anyone can enter.” Oil-rich Angola boasts a young and dynamic art scene sustained without government support. There are no dedicated art museums in the country, very few art schools – and art supplies are difficult to access. For STIR Over the last few years, a newfound energy can be felt pulsating through the building’s walls. Artists, creative producers and gallerists have re-occupied its spaces, transforming it into an arts hub. Jahmek Contemporary Art, one of Angola’s foremost contemporary art galleries, is based there, as is the project Fuckin’ Globo, a leading Angolan platform for intellectual and artistic discourse, bringing together artists, filmmakers, producers, curators and performers. https://lnkd.in/dQFYrPRk

ANNOUNCING GAZA BIENNALE 2024-2025 Deir Al Balah, Gaza, November 20, 2024 – "In April 2024 artists from Gaza began to gather together under a single project, to find ways to utilize art to resist this genocide. Many artists in Gaza have been working throughout this war, defying all challenges, creating works that remind us that art is essential to life and our survival as a species. A collective project has emerged into a global art event, the Gaza Biennale. The significance of this project lies in its ability to place art at the forefront of a global awakening, to challenge the art field to reckon with the weight of genocide, and to present a model of resilience, and fulfill a desperate need to recognize the depth and complexity of human life. The right of a people to exist with dignity on their land is fundamental to the purpose of art itself. The work we present goes beyond breaking news, media coverage, and statistics. Despite the sorrow and pain brought by the circumstances, and amid the scent of death, artists in Gaza plant seeds of hope for humanity, not only in Gaza but across the world, through creativity and innovation. The Gaza Biennale marks a creative step outside the traditional frameworks of exhibitions. It reflects the sensitivity and specificity of our situation, making it an urgent and exceptional event. At the heart of the artistic purpose is the struggle of a people to survive. The Gaza Biennale is a collective event, a growing network, and perhaps a movement. While war has scattered and displaced our people, the biennale gathers over 40 artists on a single platform, uniting their voices. Emerging from deep roots, this Biennale extends an open invitation to local and international institutions to host and produce these exhibitions and to work with us as partners. We offer a unique opportunity to art institutions to exhibit invaluable works that reflect the need for creativity in the darkest of times. Can the art world turn its attention to the reality of Gaza today? Should Gaza’s artists create art under the weight of genocide? Will the art world honor this work rather than exploit it? These are the questions this project contends with.  This biennale proposes new rules of engagement within the context of art. The stakes are too high to wait for the appraisal from some established framework. At the same time, we are witnessing the failure of institutional frameworks to prevent the desecration of human life. So, from these cracks, each artwork exists despite the impossible reality from which it is born, as its material forms emerge in its defiance. With the near total destruction of artworks, monuments, museums, mosques, churches, and cultural heritage sites, how can we reclaim what is lost? There is much to accomplish, and this biennale is only the beginning, as Gaza will continue to begin again and again, just as humanity and art is a perpetual rebirth".   https://lnkd.in/dAy4kwFs

Braggart Contemporary Gallery presents the solo exhibition-installation entitled "Black flo(a)w" by artist Maria Zisopoulou, curated by Yannis Mitrou, from 8-20 November 2024, at art box Papakiriazi 55 & Skarlatou Soutsou in Larissa. The opening will take place on Friday 8 November at 19:30 The logic of formal shapes in pictorial compositions is an assumption of the existence of the supposedly amorphous. After all, it was during and shortly after World War II, from 1943 to 1950, that the art movement of amorphous art (Art Informel) emerged in France. It tried to include the abstract and gestural tendencies that developed both in France and the rest of Europe during the devastating war. Perhaps the very need to express the anguished and ravaged face of Europe and subsequently the hope for a reconstruction of the "ruins", material and non-material, gave birth to the dynamics of such a trend occurring alongside American Abstract Expressionism. Michel Tapier calls this trend, "art autre" (other art) in the book of the same name published in 1952 in relation to non-geometric abstract art. Meaning the geometry of 'pure' shapes. But what about the language proposed by Maria Zisopoulou? A kind of balance occurs between "lyrical abstraction" and the extremity of an intensity materialized by the topology of the visual artist's lines. The surface has "densities of flows" and points of attraction that resemble the "strange attractors" of fractal geometry. That is, the morphoclassical geometry of non-linear systems. The chaotic approach to form that springs from the seemingly amorphousness of non-normality. But where structure exists in the semi-integer dimensions of the shapes. All the elements that constitute the flow lines of the formal transformations "move" in the points of attraction which are the points of mental and physical tension of the visual. At the same time these line-flows seek their spatiality. Their extent in space. Mary produces new materialities as stratifications of the primary surfaces, sometimes in tangential relation and sometimes at a distance so that the depth produced is also defined by the respective shadows that create a multiplicity of the image. Essentially, it is a conversation with the artist's body under tension, which can and does act in space in connection with the corporealities of the art objects she creates in search of her own vital space. As a sustained "construction" of her own present tense where experience is transformed into a "strange attractor" of the living experience that can never exist on a closed surface of a perfected formal drawing. Υ.Mitrou Organization: Braggart Contemporary Art Gallery Curator: Yiannis Mitrou Opening: Friday 8.11.2024, at 19:30 Duration: 8-20 November 2024 Opening hours: Monday Wednesday and Friday17:00-21:00,  Tuesday, Thursday and Saturday 10:30-14:00. By appointment: Τ: 2416007422  Κιν:6908622813 Place: BRAGGART Contemporary Gallery Papakiriazi & Skarlatou Soutsou, Larissa

Braggart Contemporary Gallery presents the solo exhibition-installation entitled "Black flo(a)w" by artist Maria Zisopoulou, curated by Yannis Mitrou, from 8-20 November 2024, at art box Papakiriazi 55 & Skarlatou Soutsou in Larissa. The opening will take place on Friday 8 November at 19:30 The logic of formal shapes in pictorial compositions is an assumption of the existence of the supposedly amorphous. After all, it was during and shortly after World War II, from 1943 to 1950, that the art movement of amorphous art (Art Informel) emerged in France. It tried to include the abstract and gestural tendencies that developed both in France and the rest of Europe during the devastating war. Perhaps the very need to express the anguished and ravaged face of Europe and subsequently the hope for a reconstruction of the "ruins", material and non-material, gave birth to the dynamics of such a trend occurring alongside American Abstract Expressionism. Michel Tapier calls this trend, "art autre" (other art) in the book of the same name published in 1952 in relation to non-geometric abstract art. Meaning the geometry of 'pure' shapes. But what about the language proposed by Maria Zisopoulou? A kind of balance occurs between "lyrical abstraction" and the extremity of an intensity materialized by the topology of the visual artist's lines. The surface has "densities of flows" and points of attraction that resemble the "strange attractors" of fractal geometry. That is, the morphoclassical geometry of non-linear systems. The chaotic approach to form that springs from the seemingly amorphousness of non-normality. But where structure exists in the semi-integer dimensions of the shapes. All the elements that constitute the flow lines of the formal transformations "move" in the points of attraction which are the points of mental and physical tension of the visual. At the same time these line-flows seek their spatiality. Their extent in space. Mary produces new materialities as stratifications of the primary surfaces, sometimes in tangential relation and sometimes at a distance so that the depth produced is also defined by the respective shadows that create a multiplicity of the image. Essentially, it is a conversation with the artist's body under tension, which can and does act in space in connection with the corporealities of the art objects she creates in search of her own vital space. As a sustained "construction" of her own present tense where experience is transformed into a "strange attractor" of the living experience that can never exist on a closed surface of a perfected formal drawing. Υ.Mitrou Organization: Braggart Contemporary Art Gallery Curator: Yiannis Mitrou Opening: Friday 8.11.2024, at 19:30 Duration: 8-20 November 2024 Opening hours: Monday Wednesday and Friday17:00-21:00,  Tuesday, Thursday and Saturday 10:30-14:00. By appointment: Τ: 2416007422  Κιν:6908622813 Place: BRAGGART Contemporary Gallery Papakiriazi & Skarlatou Soutsou, Larissa

HOJE /// TODAY >>> 16h <> 20h >>> Felix Vong | NATARAZ 15 August – 22 September 2024 "𝐴𝑟𝑡𝑖𝑠𝑡-𝑟𝑢𝑛 𝑠𝑝𝑎𝑐𝑒𝑠 𝑓𝑖𝑡 𝑎𝑙𝑙 𝑘𝑖𝑛𝑑𝑠 𝑜𝑓 𝑚𝑜𝑑𝑒𝑙𝑠. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑡𝑒𝑠𝑡𝑖𝑛𝑔 𝑔𝑟𝑜𝑢𝑛𝑑𝑠 𝑎𝑛𝑑 𝑠𝑝𝑟𝑖𝑛𝑔𝑏𝑜𝑎𝑟𝑑𝑠 𝑡𝑜 𝑡ℎ𝑒 𝑐𝑜𝑚𝑚𝑒𝑟𝑐𝑖𝑎𝑙 𝑎𝑟𝑡 𝑤𝑜𝑟𝑙𝑑, 𝑖𝑛𝑡𝑖𝑚𝑎𝑡𝑒 𝑔𝑎𝑡ℎ𝑒𝑟𝑖𝑛𝑔𝑠 𝑖𝑛 𝑎𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡𝑠, 𝑎𝑛𝑑 𝑝𝑙𝑎𝑐𝑒𝑠 𝑓𝑜𝑟 𝑟𝑒𝑎𝑑𝑖𝑛𝑔 𝑔𝑟𝑜𝑢𝑝𝑠 𝑎𝑛𝑑 𝑠ℎ𝑎𝑟𝑒𝑑 𝑚𝑒𝑎𝑙𝑠. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑙𝑖𝑡𝑡𝑙𝑒 𝑝𝑜𝑐𝑘𝑒𝑡𝑠 𝑜𝑓 𝑎𝑐𝑡𝑖𝑣𝑖𝑡𝑦 𝑡ℎ𝑎𝑡 𝑠𝑒𝑟𝑣𝑒 𝑝𝑎𝑟𝑡𝑖𝑐𝑢𝑙𝑎𝑟 𝑎𝑢𝑑𝑖𝑒𝑛𝑐𝑒𝑠 𝑎𝑡 𝑝𝑎𝑟𝑡𝑖𝑐𝑢𝑙𝑎𝑟 𝑡𝑖𝑚𝑒𝑠, 𝑓𝑖𝑙𝑙𝑖𝑛𝑔 𝑔𝑎𝑝𝑠 𝑎𝑛𝑑 ℎ𝑜𝑙𝑒𝑠 𝑓𝑜𝑟 𝑎𝑙𝑙 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝑎𝑟𝑡-𝑤𝑜𝑟𝑙𝑑 𝑓𝑎𝑖𝑙𝑠 𝑡𝑜 𝑝𝑟𝑜𝑣𝑖𝑑𝑒." «Making-do: a pragmatist approach», from «Artist-run Chicago Digest», threewalls/Green Lantern press (2009) "𝐼 𝑐𝑙𝑎𝑖𝑚𝑒𝑑 𝑡ℎ𝑒 𝑠𝑝𝑎𝑐𝑒 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑡 𝑎𝑠 𝑎 𝑤𝑜𝑟𝑘 𝑜𝑓 𝑎𝑟𝑡. 𝐼𝑡 𝑤𝑎𝑠 𝑎 𝑟𝑒𝑎𝑑𝑦𝑚𝑎𝑑𝑒 𝑖𝑛𝑠𝑡𝑎𝑙𝑙𝑎𝑡𝑖𝑜𝑛, 𝑎 𝑝𝑖𝑒𝑐𝑒 𝑜𝑓 𝑟𝑒𝑎𝑙 𝑙𝑖𝑓𝑒 𝑡ℎ𝑎𝑡 𝑏𝑒𝑐𝑎𝑚𝑒 𝑎𝑟𝑡 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑜𝑛𝑡𝑒𝑥𝑡 𝑜𝑓 𝑎𝑛 𝑎𝑟𝑡 𝑚𝑢𝑠𝑒𝑢𝑚." «Tom Marioni, Museum of Conceptual Art (MOCA)» by Gabriele Detterer & Maurizio Nannucci, from «Artist-Run Spaces», JRP Editions (2012) We are thrilled to present NATARAZ, the first solo exhibition of Felix Vong in Portugal. In recent years, he has developed a path of citing and ironically imitating not only the artwork of national and international artists, but also the main entities and actors that compose the art system. In this sense, last year he perpetuated a series of artistic operations: he create a public simulation of an 𝑎𝑟𝑡𝑖𝑠𝑡'𝑠 𝑠𝑡𝑢𝑑𝑖𝑜 in the group show “Adjuntamento Cultural Olisiponense”, curated by João Viotti; he presented his first solo show in Macau, which consisted in the recreation of an 𝑎𝑟𝑡 𝑚𝑢𝑠𝑒𝑢𝑚 ; he created a fake 𝑎𝑟𝑡 𝑓𝑎𝑖𝑟 titled “Drowning Room”, imitating the more known “Drawing Room” in Lisbon. Conceptually to continue this act, this exhibition is referred to as a simulation of an 𝑎𝑟𝑡𝑖𝑠𝑡-𝑟𝑢𝑛 𝑠𝑝𝑎𝑐𝑒 - Zaratan. The name of Zaratan is based on an imaginary animal: a huge sea turtle floating above the ocean and being asleep, from time to time other beings confused this creature for an island in the middle of the sea. Humans and animals started to live there, to build their home, to hunt, to create a society, and so on. At the verge of welcoming the tenth years of its existence in Lisbon, Zaratan meets its reverse spelling NATARAZ, which is also an imaginary animal, its sister (or brother), who only appears every 10 years walking backward to reflect and retrospectively explore the passage of time. OPEN | Thu-Sun, 16:00-20:00 GUIDED TOUR | 7 September, 17:00 SUPPORT | República Portuguesa – Cultura / Direção-Geral das Artes

Two Roads In essence, there are two ways to approach the art scene. The first, and most common, is to learn how it works, understand the rules, and then try to get the best out of it. You might find a small studio in the neighborhood with like-minded people, start meeting in a bar, and after some time, have your first group show in an alternative space. If you're lucky, an art dealer passing by might notice your work and invite you to a group show in their gallery. If collectors respond positively, you become a gallery artist, and soon after, you might have an individual exhibition. Then, a curator from an important museum might include your work in a thematic exhibition, which could catch the eye of a selector for a major international event like the Venice Biennale. By then, you're already a well-known artist with a promising career ahead of you. The second approach, which is less common, also involves understanding how the system works—but with a different question in mind: Why? Why do exhibitions exist? Where did galleries and museums originate? How and when was art itself "invented"? Taking this road, you would discover that museums originated from Pope Julius II’s Belvedere Garden in the Vatican, where he presented his collection of antiquities as beautiful or aesthetic objects. The first permanent display of paintings was at the Uffizi Gallery, and the first temporary exhibition was held by the Académie Royale in Paris, which became a regular event known as the Salon. The first modern museum was the Louvre, where ancient statues (antiquity) and modern paintings (modernity) were brought together under one roof. Then came the 19th-century International Exhibitions, which were structured by "national schools"—a concept that also shaped the structure of museums and art history. This evolved into the Museum of Modern Art's focus on "international movements" (e.g., Cubism and Abstract Art), which dominated throughout the 20th century. Today, however, all of this seems to be losing relevance, and soon we may be left without a unifying story, without a common narrative—hopefully, for not too long... #art #artgallery #artmuseum #arthistory #moma #biennale3h

Starting an art collection may seem intimidating and challenging at first, but it’s a rewarding journey that combines personal passion with the potential for long-term investment. Whether you’re drawn to contemporary works or classic styles, collecting art can transform your space and enrich your life. Here's a simple and easy-to-follow guide to help you take the first steps into the world of art collecting. 1. Understand What You Love Before you make any purchases, it’s essential to understand your personal taste. Visit galleries, attend art fairs, and browse online platforms to discover what resonates with you. Take note of styles, colors, and themes that stand out. The more you explore, the clearer your preferences will become. 2. Set a Budget Art doesn’t always come with a high price tag. You can start collecting with a modest budget, whether it’s a few hundred dollars or several thousand. Knowing your budget helps you focus on pieces that are within reach, whether they are original works or high-quality prints. Remember, you do not have to break the bank to buy an art. 3. Research the Artist Before investing in a piece, take the time to research the artist. Understanding the artist’s background, style, and medium can give insight into the value and future potential of their work. Learning about the artist also adds a personal connection to your collection. 4. Be Present at Exhibitions and Fairs Attending exhibitions and art fairs is an excellent way to discover new artists and observe current market trends. These events allow you to see artwork up close and meet the creators behind the pieces. It’s also an opportunity to ask questions and learn more about the art world. 5. Seek Expert Advice If you’re unsure about where to start, don’t hesitate to seek guidance from gallery curators, art advisors, or experts. Many galleries offer consultations to help match you with artwork that fits your taste, budget, and space. Their insights can save you time and help you make more informed decisions. 6. Buy What You Love While art can be a great investment, the best advice for new collectors is to buy what you love. Choose pieces that speak and resonate well to you and that you’ll enjoy having in your space. Emotional connection should be a key factor in your decision-making process, alongside considerations of value and investment. Starting an art collection is about more than just acquiring pieces—it’s about creating a personal and meaningful collection that reflects your style and interests. As you take your first steps into the art world, remember that every collection begins with a single piece. Embrace the process, educate yourself, and most importantly, enjoy the art you bring into your life. If you’re ready to start your collection or have questions, feel free to reach out. Our gallery offers curated recommendations and expert advice for first-time collectors.

The Biennale 2024 kicked off in Venice and will run until November. 330 artists from 80 countries will exhibit their works under the motto “Foreigners Everywhere”. In addition to art (as in visual art), there will be sections for architecture, film, dance, music and theatre. This leads to the question why these topics, also artistic in nature, are listed separately. But more on that topic later. The Israeli artist Ruth Patir chose to keep her exhibition “M(o)therland” closed, in agreement with her curators Mira Lapidot and Tamar Margalit, combined with the demand to release the remaining 133 Israeli hostages first, and agree on a ceasefire in Gaza. Apparently, Ruth Patir’s works can be seen through the windows of the Israeli pavilion, but one cannot enter - the pavilion remains closed. In her unvisitable exhibition, Ruth Patir deals with the fate of Israeli and Palestinian women who lost their lives in the war: "The archaeological female figurines are palm-sized statuettes that have been enlarged and brought to life, in a sense, through 3D animation. Patir works with excavated artifacts of female figurines from the ancient Levant, shards that are typically stored in museum basements." Without doubt (and according to current opinion), one has to regard what’s inside the pavilion as art - very likely as good art. If it wasn’t, Israel would not have chosen Ruth Patir as its representative at the Biennale. The act of closing the pavilion and the refusal to show the exhibits are also art, maybe even the more important one. If Ruth Patir’s art conveys primarily a political or humanitarian message, the closing and the resulting media impact will most likely amplify her message. Of course, one cannot buy this kind of art, the invisible exhibits may be for sale.

Next year, the 21st century will round off its first quarter, and on this occasion I curated the most comprehensive exhibition of non-male Greenlandic contemporary art of the 21st century. The exhibition BACKBONE asks why women's art is so underrepresented, even though women are the backbone of our society. The exhibition presents work from the last 24 years by 26 contemporary female artists and consists of a dialog between two art collections supplemented by several loaned works. The great diversity presented in this exhibition in terms of materials and techniques (painting, paper, glass, video, installation, textile, digital art, grafik, watercolor) as well as topics, forbids categorization, as this would curtail the complexity of many works. If we were to categorize the works thematically, we would not be able to uncover the multiplicity of layers. A portrait can depict a person's contentment, their psychological turmoil or their emotional depth. At the same time, it can turn into a political statement, when it reflects on the person`s colonial history. Then, even a flag can become a portrait. However, it would also be simplistic to see some of the works as a political indictment. The complexity of Greenland's history requires several raised index fingers. The search for and determination of identity is one of many artistic driving forces that extend the process from nature-focused works to forms of expression that capture the zeitgeist. Man's relationship to nature, however, goes far beyond capturing and reproducing; it also implies questions of responsibility and thus participates in environmental discussions. It is an exhibition without dog sledding, sunsets and northern lights. It presents an image of Greenland that has emerged from within. At the same time, this exhibition offers an alternative answer to the question of what Greenlandic art is by showcasing Greenlandic artists who do not necessarily make Greenlandic art, yet the art is Greenlandic. Alongside well-known artists such as Jessie Kleemann, Aka Høegh, Buuti Pedersen and Julie Edel Hardenberg, the exhibition also presents work by promising young artists working between Qaqortoq and Qaanaaq. Artists presented in this exhibitions: Arnaq, Naja Abelsen, Paarma Brandt, Cecilie Christiansen, Petrine Guldager, Julie Edel Hardenberg, Aka Høegh, Ane Ivik, Jessie Kleemann, Lisa Kreutzmann, Maria Bach Kreutzmann, Mia Lindenhann, Coco Apunnguaq Lynge, Ella Lynge, Madame Disko, Stine Møller, Buuti Pedersen, Paninnguaq Pikilik, Lisbeth Karline Poulsen, Seqininnguaq Qitura L. Poulsen, Naja Rosing-Asvid, Ivinguak Stork Høegh, Anine Thorlejfsen, Irene Thor Jeremiassen, Kirsten Malersorniannguaq Jørgensen