Hyperlink Athens is the project of two young Greek artists, Alexandra Koumantaki and Yannis Voulgaris. It’s an independent curatorial platform and elastic artistic collaboration. The collective has been re-shaping itself since 2017, through cooperations, off-site and in-situ works that break down and reinterpret the borders of artistic and curatorial work, real and virtual space and the medial frames of what an artwork can be.
Gold und Liebe I. – A conversation with Katie Zazenski on care, (virtual) identities, Stroboskop art space and Poland’s political reality
Located in a small garage in Warsaw’s Ochota district, Stroboskop Art Space is an alternative, exploratory platform that engages with both the Polish and international art community. Through a program of critical exhibitions and performances, lectures, screenings, and community meetings, Stroboskop is a space for experimentation. Stroboskop was founded in 2016 by Norbert Delman, Agnieszka Delman, Przemek Strozek, Franek Buchner, and Jacek Słoniewski. Katie Zazenski joined the team in January, 2018 and Martyna Stołpiec joined in June, 2019. Stroboskop is co-directed by Zazenski and Stołpiec.
For those who are late, forgetful, workaholic, or for anyone who didn’t have time to take a look at the exhibition.
EJTECH (Esteban de la Torre and Judit Eszter Kárpáti) is a polydisciplinary studio working with unstable media, experimental interfaces, electronic textile, and augmented materials. Recently they had a quite grand-scale collaboration with Dior so we interviewed them to know more.
“Contemporary art will have to show more of its process in order to create a larger share of appreciation”
Andrew Herzog is a multidisciplinary conceptual artist and designer who’s projects manifest in public space as installations and interventions. In 2018 he painted a meter wide, one-kilometer diameter circle around the National Museum of Art of Romania – so in 2020, he could create a free, downloadable book reporting about the process of bringing this work to life.
Every spring, our author Gergely Barki presents us with a fantastic story of discovery. This latest tale, as it so happens, is not one story, but at least five, and it thus offers us a nice chance to amuse and amaze ourselves at our leisure in the time of coronavirus.
Il semble que notre auteur, Gergely Barki nous fournit d'une histoire de découverte fantastique chaque printemps. En effet, ceci n'est pas une seule, mais au moins cinq, eh bien c'est une occasion parfaite de nous détendre et de nous émerveiller aux temps du coronavirus.
The Hungarian Pavilion at the 58th International Art Exhibition of the Venice Biennale features the work of new media artist Tamás Waliczky: images of cameras that have never existed. They have been retrieved from the domain of virtual reality to answer the unhistorical question of “what if?”, at least as far as the history of visual representation is concerned. Not incidentally, the author we have invited to write about this is a speculative design researcher.
Everybody Needs Art presents Maja Djordjevic's inaugural solo exhibition titled Everbody Wants To Be Somebody on it’s signature rooftop gallery, the ENA Viewing Space. We talked to Maja about her inspirations, the birth of the naked girl character and her previous project with Selfridges.
Tamás Waliczky (1959) is a new media artist. He started creating animations when he was nine. Eventually, he began working as a painter, illustrator, photographer. He has been involved with computers since 1983. In 1992, he was a guest artist at the ZKM | Institute for Visual Media, later to become a member of the institute’s research team. Between 1998 and 1999, the Japanese IAMAS (Ogaki, Gifu) selected Waliczky as invited artist. After teaching at several art universities in Germany, currently he is a lecturer at the School of Creative Media, City University of Hong Kong. He won numerous international awards, including the Golden Nica at the Prix Ars Electronica, Linz; he participated in a great number of exhibitions worldwide, such as the Bienal Internacional de Arte Contemporáneo, Sevilla. His works can be found in different public collections, for example the Centre Pompidou, Paris or the Ludwig Museum, Budapest.
From now on if you walk along the Grand Boulevard of Budapest, you will know about the passions of some householders. How did the owner spend the rents of the apartments of 23 and 19 Teréz Boulevard?
Our 94th issue featured the first part of the edited, abridged version of the video interview conducted together with Marcell Esterházy. Here we present the second part of that interview, in which we aimed to highlight additional aspects that are relevant not only in terms of the art of the period, but also with regard to how Dóra Maurer’s work process was developed. (The video version of the interview can be accessed online.)
It is always fascinating to be able to trace the development of a career back to certain life events and experiences which have impacted its course. In this case, I was interested to find out what events and attractions shaped Dóra Maurer’s choices as a result of which we now have standing before us an artist of exceptional influence and her internationally relevant art.