Natela Potskhveriya’s Post

Wednesday 21 Feb 2024 19:00 - 21:00 @ Rijksakademie van beeldende kunsten - Schip Sarphatistraat 470, 1018 GW Amsterdam Free entrance, RSVP here : https://lnkd.in/emcKPxXp Donations welcome * 🇵🇸 (Unseen) War and Conflict is a two-day forum and film programme that focuses on the city of Amsterdam and aims to show the complexities of how conflict and war are experienced. We will share, listen and discuss different ways of oppression that have been normalised and even institutionalised in society, giving light to the -most of the times unseen- inner struggles of how communities and individuals have been dealing with political and social crises in their daily lives. This two-day programme started as an initiative of some of the artists participating in the Refresh Amsterdam #2: War and Conflict exhibition together with some Rijksakademie resident artists and team, as a response to the institutional invisibilisation of the many ongoing human crises still occurring outside the centres of (mediatic) power. Questions on the position of art-thinking and making as activism in front of socio-ecological crisis, the agency of images and imagination as critical stance of mediatic manipulation, as well as how war and conflict are continuously embodied and experienced in the temporal and spatial distance of the territory in conflict, will be addressed. This event is part of the public programme of Refresh Amsterdam #2: War and Conflict. This edition of Refresh Amsterdam addresses the impact of international war and conflict on the contemporary city, particularly its inhabitants and social structures. Amsterdam has long viewed itself as a city of freedom and a place of refuge. But what does war do to a city and our social intercourse? Why do certain wars and conflict situations generate more solidarity than others? *Door donations and drink/food sales during the programme will be destined to cover emergency medical care to pregnant women, the sick and seriously injured in Gaza, through Doctors without Borders. https://lnkd.in/eEGbnBCb

When expressing the trauma of Oct 7, Israeli artists have used various mediums to convey difficult emotions to connect with audiences outside of Israel. The recent Art Up Nation exhibition allowed patrons to experience this connection on a deeper level, sharing and processing the challenging narratives of October 7. Volunteers curated over 200 Israeli artworks and showcased them in a week-long, pop-up exhibition in New York City… intending to use art as a healing tool. Around the world, Israelis and Jews are still struggling to grasp the immense pain and trauma brought on by the events of Oct 7, and the current never-ending war. Artists have unique ways of expressing these emotions and processing these events in ways beyond traditional thinking… it’s cathartic not just for the artist and audience alike. I spend my days thinking about the challenges we face and how to tell Israel’s story better. So often, we revert to history and geopolitics, rather than digging deeper to express emotions. It’s time for a pivot. I believe that those of us who support Israel and its right to exist must find new avenues to convey stories that highlight our shared human experience and the emotions that come as a result… this commonality is what we so desperately need. Art Up Nation is one step in the right direction. Today, we need to take those actions and scale them, in a variety of mediums and platforms that connect with the masses.   What do you think? Let me know your thoughts in the Comments section below, and if you want to learn more about the Art Up Nation initiative click here: https://lnkd.in/gTgEUJNR #fridaythoughts #israelunderfire #israelunderattack

Hello Future! ✨ We are overwhelmed and thankful for the amazing news we received last week from Culturele Zaken Gemeente Utrecht and Fonds Podiumkunsten. Thanks for the trust. Thanks for the courage to support our un-disciplinary work. Both funds decided to support us in the next 4 years making it possible to realise many new projects. Together with our partners and collaborators we are looking forward to what lies ahead. This is a big and exciting step for the studio! Four tears 💧 At the same time, we are shocked by the news. More than 50 colleagues, artists and organisation whose work we respect and admire, will not receive funding from 2025. The field of arts and culture is a sensitive biotope in which the elements are related and depended on each other. Chopping some of the most impressive trees might give space ad light for the younger ones to grow; yet, it will affect the entire ecosystem and challenge the existence of its networks. Imagining a future in such precarious and unstable environment is everything but inspiring. And we know how it feels and what it’s like to get positive advice but not the money to realise the works. Been there, done that… So where do we go from here? How can we reimagine the systems of cultural funding? How to perform solidarity in theatres? How to put the money where the mouth is? We invite you to express your support via 👉 https://lnkd.in/erHwVygh #LAATHETDOEKNIETVALLEN Nederlandse Associatie voor Podiumkunsten (NAPK)

What is to be a patron today? The evolution of art patronage reflects significant shifts in societal, cultural, and technological dynamics over time. In the 21st century, art patronage exists within a complex landscape heavily influenced by the commercial market and collectors. Traditional institutions like museums face funding challenges and competition from commercial galleries. The advent of digital technology has revolutionized how art is engaged with and funded, introducing new platforms such as online crowdfunding. Corporate sponsorship has also become a significant force in the art world. Modern art patrons must consider the long-term impact of commissioned artworks and engage with a global audience that is diverse and connected. Furthermore, digitalization has significantly impacted traditional patronage models by increasing accessibility and democratizing art engagement. Digital platforms allow patrons to interact directly with artists, participate in the creative process, and support new art forms like AI-generated art.

UPDATE 1 - MY HEALTH, RESEARCH AND MAJOR PROJECTS, 3rd March 2024 Wonderful people, it's been too long since I posted anything on this platform. What started out as an incredible start of the new year in Lusaka, Zambia, where I came for a 3 months research residency on Dutch and British colonial history and preparation for the realisation of the first Biennale of Contemporary Art in Lusaka Zambia, turned out to be an extremely challenging period of my life. Although I've been silent, giving priority to my wellbeing, I want you to know that I'm still alive and deeply appreciate all the love and support and the wonderful messages you sent, wishing me a speedy recovery. I was deeply moved by them and thank you for your suspport. Even though my neck still hurts and I have difficulties with sleeping, I'm okay. I'm still in Zambia for a few more weeks and look forward to returning home soon. Major projects: As I mentioned above, I came to Lusaka Zambia for two major projects, the first being my long-term research that retraces and visually maps European Colonial histories in Southern Africa. The European histories that I'm focusing on while in Zambia are Dutch and British colonial Histories. After 5 years of research in Southern Africa, the project will move up to the East, West and Northern parts of the African Continent. These projects will include, an ongoing growing body of work that includes collaborations with diverse disciplines. The second major project is the realisation of Lusaka Biennale, a biennale which will include; Art, Design, Dance, Music, Theatre, Documentary Film, Architecture, Literature, Heritage and Environment. The 1st edition of Lusaka Biennale is set to take place in 2026-2027 and will be the first biennale of its kind in the Southern part of Africa that will bring creators and institutions from across the globe interested in collaborating, sharing and exchanging knowledge across cultures. The third amazing project in development that is on hold until I fully recover, is Monarch Africa. More information on this major happening coming soon. Current exhibitions: For those in the US, 3rd of March is the last day for the major exhibition I'm taking part in entitled, World Made Wondrous, Dutch Collector's Cabinet and the Politics of possession, at LACMA, the Los Angeles County Museum. https://lnkd.in/ex2JsDgk

I'm bragging for a good cause for a minute.. The Scholar GPS rankings are out and I'm the #1 researcher in Augmented Reality out of 38,809 researchers globally. According to Scopus I have more publications than anyone else in AR (350), with a 75% acceptance rate. Are you a researcher in AR, and would you like me to help you write a paper? Without taking a co-author credit.. That's one of the items on offer in the Virtual World Society online auction next week. Join the auction and bid on this and many other items and experiences. See: https://lnkd.in/gBQXSJJQ #augmentedreality #virtualreality #virtualworldsociety

On my morning read and research on African art, as I always do daily, I chanced on this insightful article from Africa.com by Ngozi Akinyele FNIMN, MNIPR, which dives into The Art of Investment: The Rise of African Art. read here - https://lnkd.in/dtg9iGZ5 It’s an exciting time for African art, with collectors and investors finally recognizing its value. From the groundbreaking work of El Anatsui to rising stars in Nigeria, the world is waking up to the cultural and financial significance of African artists. Early investors in African art have already reaped the rewards, and the market continues to grow, even outperforming traditional investment sectors in some cases. As I reflect on the current trends, I believe we are witnessing a pivotal moment where African art is not only seen as an aesthetic experience but also as a viable asset class. For collectors and investors alike, this is the time to engage with the continent’s burgeoning art scene. Whether through traditional acquisitions or innovative new models like fractional ownership, there’s a wealth of opportunity to invest in Africa’s creative expression. At Africans Column, we have long championed the power of African art to shape narratives and drive cultural pride, and now, with the rise in global interest, it’s time for collectors—especially from within the continent—to seize the moment. Investing in African art doesn’t just bring financial returns; it also preserves our culture and amplifies our voices on the global stage. What are your thoughts on the future of African art in investment portfolios? Let’s keep the conversation going! #AfricanArt #ArtInvestment #ArtCollectors

New article out now! Tanja Schult & Tim Cole (2024) In your face! Bringing Berlin’s Holocaust Memorial to Thuringia: reaffirming German memory culture through creative place-taking, Journal of Urbanism: International Research on Placemaking and Urban Sustainability, DOI: 10.1080/17549175.2024.2327594 Full version on: https://lnkd.in/d8mber7K This article analyses one act of informal creative place-making/taking: In 2017, the Berlin art collective Centre for Political Beauty installed a partial replica of Peter Eisenman’s 2005 Memorial to the Murdered Jews of Europe in a back garden in the Thuringian village of Bornhagen. The site was chosen because of who lived next door: a leading figure in the right-wing party Alternative für Deutschland (Alternative for Germany), Björn Höcke. This DIY, guerrilla-like intervention by activist artists raises broader questions about both “informality” and “place-making”. As we suggest, the work Deine Stele (2017-ongoing) represents a profound paradox: an otherwise highly critical art collective, not least towards the government, replicates an official state-sanctioned memorial in order to defend and enforce the so painfully won hegemonic memory culture. Both the work and its realisation combine complex elements of formality and informality. Moreover, while located very intentionally in Bornhagen, Deine Stele sits somewhere between, and connects, Berlin, Bornhagen and digital space. Rather than engaging deeply with local stories, it makes a more abstract theme – German commitment to Holocaust memory – concrete. We read this antagonistic intervention as a playfully provocative act of creative place-taking rather than place-making.

The amount of sheer passion put into the preservation of the fashion, design & culture here is astounding.

Thrilled to be part of this upcoming exhibition with these artists at RK Contemporary, South Africa THE DISTANCE BETWEEN There are small places in this world where artists have settled, finding where the spaces between living and creating transform into, in this case, visual artworks. Places where creatives (artists, musicians, poets, chefs and other artisans) are fortunate to be enveloped by calm and appealing environs that are conducive to creativity. With some 120 kilometres between them, covering varied landscapes from the coast moving inland, Riebeek Kasteel and Kommetjie are two such places connected by a metaphoric creative heartbeat. In describing the physicality of these two lovely places, we cannot ignore the spiritual power of the natural world, described by some as a thin place, which is where the veil between the physical and spiritual world becomes permeable and where our perspectives of the world could develop differently. Because of these beautiful places, and an idea of this aesthetic being ‘perfect’, it has to raise awareness of the opposite also being present – a place where there is so much struggle, where life is lived on the edges. However, the sense of being in a thin place can attest to the healing power of the natural world, where one could move into an in-between place, with possibility. This exhibition is a result of a concentration of people who make art, distilling an essence of where they live, continually inspired to develop their work and are also lucky enough to form their own closely knit community within Kommetjie.