Swedish Artist - Peter Hammar Interview
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H A M M A R T I M E
Peter Hammar works with everyday objects as sculpture with smart placement of lights and composition in spaces. We first saw his work during Scope Art Fair during Art Basel 2013 and his booth was a wonderful arrangement of simplicity and beauty. Hammar has an upcoming exhibition "Mapping Empty Spaces" at the Swedish American Museum in Chicago on March 7th. We had a chance to talk to him before the opening about his new work which addressses immigration and the many stories of the past and present.
Most of your latest work consists of everyday objects. What happens in the creative process that makes you select the objects that you do?
I use whatever materials I have at hand, it used to be paint and canvas, now I take whatever discarded material I find that is forgotten and has outlived it's purposes, I re-vamp it, give it a second life. Usually the object talks to me in regards to the subject matter/thought process I'm working on currently. It sort of falls into place naturally. And not to forget, as a struggling artist money is also part of it, out of necessity I have to look elsewhere for affordable materials.
How does light play into your installations, what is the relationship between object and illumination for you?
When I use moving programmed LED-lights it's a notion for time, when static light, it's more of painting the object/installation or highlighting some specific part that I wanna draw attention to. I find that light is a great way to emphasis negative space and shadows, which is a lot of times more fascinating and open ended. The light also works a in set designs for theater, it immediately sets the mood and carries multiple.
I love the balloon installation. Could you tell us a little about it?
The piece is titled 'Status Quo', it is a very experimental piece that I still have not quiet completed.. The fan on top of the plexiglas box is supposed to push down the helium balloon and keep it suspended, in a status quo, which seems to be an impossible state of being for just about anything, as it proved to be for the balloon, hence I had to use magicians thread to keep it in place. And it failed, somehow the constant failure of the piece and the Sisyphus task that it
(interview continues below)
became in keeping the piece alive was great since that was the actual intent. At the time I just had not quite realized it. I'm still in the process of making this piece complete, maybe it's impossible and by so I love it even more. The unattainable status quo.
You have a show opening March 7th in Chicago at the Swedish American Museum. What do you have in store for the public to view?
It's going to be a modern take on the immigrants story, having researched the museums archives, statistics and my own experience of being an immigrant for more than a decade. The tonality will be universal so that everybody and not only Swedish immigrants can relate. Questions about identity, loss, gain, dreams, myths and selective memory that comes into play after years of disunion.
How do you feel about being picked? How was the selection process?
I was very honored and extremely happy of course for the opportunity given. I did a fantastic artist residency in Chicago last summer at ACRE, Artist Cooperative Residency and Exhibitions, the residency actually turned out to be miles and miles away from Chicago in beautiful Steuben, Wisconsin. Before the trip I researched a little about Chicago and that's when I found the Swedish American Museum. To my great surprise a museum dedicated to Swedish culture and heritage. It fascinated me so much that I immediately felt a want and need to connect my own practice and work with this institution. So, I wrote a proposal a little more than a year ago and here we are after a museum committee accepted it.
(Interview continues below)
You are a transplant living in Miami. Is there a general aesthetic you feel is apparent from both places artistically? How do they differ? How do they unite?
The art world is pretty homogenous where ever you turn today. In Sweden though strong use of color is still considered a bit too decorative and not really tasteful art. I figure the climate and Swedish mentality makes up for a careful approach to boldness. But good conceptual art in Sweden as elsewhere is always recognized. Then of course there's only 9 million Swedes and their local exposure or gene pool of artists isn't that big, no matter how much you Google or travel to NY once a year, will never reach the multitude and mixture that we have here in America and Miami. Everybody is here!
To learn more about Peter Hammar's work visit his website right here.
"Mapping Empty Spaces" opens March 7th at the Swedish American Museum. For more information on the exhibit visit the museums website right here.
Around Kansas Feb.2014
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Around Kansas
Magazine
| Events | Art | Food | Visit | Business | History |
February 2014
JOURNEY to the
HISTORY of
State Capital.
Kansas State
Capitol - Timeline
1862 - 2014
Feb. 2014
Angry Artist Smashes Ai Weiwei's Work (Video Stills)
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Maximo Caminero is caught on camera smashing a $1 million vase from Chinese artist Ai Weiwei's collection at Perez Art Museum Miami, Sunday, Feb. 16, 2014. Caminero, 51, was arrested on criminal mischief charges. (VIDEO STILL/CNN, WSVN, Viewer Video)
THE BREAKING POINT.
FAILED A R T I S T WITHOUT A CAUSE
Via: Bay News 9
Art Wynwood 2014
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Art Wynwood 2014 turned out to be an interesting mix of works displayed by international galleries, special projects and street art showcase.
Nearly 70 international galleries like Pan American Projects and Robert Fontaine Gallery from Miami, Aureus Contemporary from Rhode Island, Dillon Gallery and Emmanuel Fremin Gallery from New York, Byard Art from Cambridge, UK and Witzenhausen Gallery from Amsterdam in The Netherlands, showcased a diverse range of works by established,
mid-career and emerging urban street artists. Noteworthy was definitely also the special project by Spinello Projects featuring neons by Typoe, a 24ft drawing by Santiago Rubino and a video installation by Antonia Wright.
Street art received a lot of attention at the third edition of the fair. In collaboration with Cash, Cans & Candy, an international festival of street art from Vienna, Austria, curator Katrin-Sophie Dworczak lined up a global who’s who of street artists like Miami locals Douglas Hoekzema and Brandon Opalka, Stinkfish of Colombia / Mexico, The Stencil Network and Alexis Diaz of Puerto Rico and Stephen Tompkins of Cleveland to create original works onsite. Additionally, Jessica Goldman of Goldman Properties commissioned the murals for the VIP Lounge, including works by top street artists like Miss Van and Fafi.
Typoe "Untitled"
Spinello Project
Miss Van
Malcolm T. Liepke "Streetwise"
Cyril Le Van "Ghetto Blaster Radio"
Cyril Le Van "Polaroid Camera"
Johnny Robles
Raphael Mazzucco "The Beginning"
Brandon Opalka "Cape of Good Hope" and "Age of Discovery"
Hoxxoh "Untitled"
Carol Young "Archive Series"
Peter Demetz
Simon Procter "Chanel, High Line"
Phillip Munoz "Walking in the Shadow of the Blues"
Victoria F. Gaitan "Cake Face"
Michael Carson "Before the Show"
Leah Yerpe
Stephen Mackey "An Unspeakable Fortune"
Pedro Ruiz "Bijao"
Joseph Simeone "Midas Washing"
Stephen Mackey "Immortelles"
Claire Shegog
Drew Tal "Daydream"
Fernandon Mastrangelo "Medallion"
Kiseok Kim
Damien Hirst
Erro "Popmelon"
Mari Kim "Farewell my Concubine"
Mari Kim
FAFI
Drew Tal
Augusto Esquivel
Luciano Ventrone "Nuovo Roccolta"
Andy Burgess
Federico Uribe
Jorge Perianes "Untitled"
Antonio Segui
Carmelo Nino "Grupo Familiar"
Dulce Pinzon "Superheroe Series"
An Interview with GG
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Tell us a bit about your current exhibitions in Miami and New York please.
"FADO 101" is an exhibition that explains the learning process of the artist through the character FADO. With a wide creation of symbols and characters the artist has been able to create his own language, but the one character that stays consistent in the work is FADO. This character has served as a way of personal expression and also as a tool of learning and understanding life. The pieces in this exhibition are based on different topics such as popular culture, social issues and personal experiences all represented through the character FADO.
Your newer works are more whimsical and you do not paint as flat. Can you talk a bit about how your work has changed and your style evolved?
I wanted to combine the flat/ two dimensional imagery that I have been working on for a few years and add more energy to it. I'm at a stage of my life where the amount of knowledge I am getting is abundant and there is a big urge to express every piece of knowledge on the canvases. The strokes on the canvases are more loose and whimsical because they represent that urge.
How would you describe your current style?
The work is Urban-pop with influences of conceptual art.
Your character FADO still features prominently. Share the story of FADO with us please.
FADO is a character that represents the idea of confusion and curiosity. I first created FADO with the idea of personal expression, but I've quickly learned that the simplicity and originality of this character is able to represent many concepts and connect with many people.
Your pop art inspiration is obvious in subject and style. Where lies the appeal in pop art for you?
For me, it is interesting to create things that no one has ever created and share them with the world. The imagination is the most powerful thing we have and as I paint or animate these ideas I am able to express that. The popular culture aspect of this "pop art" is interesting to me because it is able to travel and affect many people around the world.
You reference Andy Warhol especially often . What do you admire about his work?
What is most interesting about Andy and his work is the simplicity and the ability to create work that can transcend into different cultures all over the world.
You also created your interpretation of the Campbell’s noodle soup can for your current exhibit at Wyn317 in Miami. Can you elaborate on your version?
My take on the Campbell's soup is very similar to some of the other popular tributes. I usually base tributes on people but in this case the soup can is a symbol that is able to take people to a personal mind set and connect on a more personal way because of their actual experiences.
Where do you see your art going?
I see my work grasping on to conceptuality and social awareness more than anything at this moment.
How has your work been received in New York versus Miami?
Both cities have been great. Miami is a city that is growing as an artistic town, so people are very much receptive of art but it lacks on constructive criticism and collectors. Miami is also a city that has a unique essence of creativity. New York is already an established city for art so there is constant appreciation and criticism which is very convenient for an artist like myself who looks for constant change and inspiration.
What projects are you currently working on?
Upcoming exhibitions in New York, California, Miami and new concept in collaborations with a space/furniture designer. We call it "urban architecture". It involves imagery of my art turned into a 3D creation that serves as public furniture and art installation.
You are also working on some new murals. Can you share the locations and your vision for those murals please?
The last mural I created is on NW 54th Street and 6th Avenue in Miami. It references Steve Jobs and Apple Corporation. It's a piece that explores the idea of technology and how it has affected us in a positive and negative way.
How important is it to you to do both, murals and gallery work?
It's very important but only because I enjoy working in both scenarios.
GG
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CROCS AND SLIDES
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UGGS AND NIKE SHORTS
DISTRESSED CLOTHES
Clean Dressed, Dirty Mouth
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A group exhibition curated by David Marsh featuring works by Atomik, Hest, David Marsh, Arnaud Pages, Pucho,Kiki Valdes and Kerry Ware
CLEAN DRESSED, DIRTY MOUTH
Atomik
Pucho
Jel Martinez
Arnaud Pages
Atomik
Pucho
Arnaud Pages
David Marsh
Hox
Hest
Kristen Soller Marsh, Jill Weisberg
Luis Berros
Kiki Valdes
Kerry Ware
Pucho
Pucho
Atomik
Luis Valle
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FACIAL HAIR
NOT MATCHING OR ALL ONE COLOR
Beards are tricky to pull off, and most often end up looking a little
Add some text, Yo! Click this text box to change the text, style, color and fonts.
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Baggy clothes like sweats and basketball shorts are meant for wearing when participating in athletics. If you would like to wear them at other times, keep it in your home.
People you've seen:
Nina Newman
Henry Benschoter
Peter Rees-Eissler
Accessories that don't match aren't very pleasing to the eye. When wearing an accessory of one color, try to incorporate it in your look at least one other piece.
People you've seen:
John Walters
Antonio Skillicorn
Brian Mayor
SWEATS OR BASKETBALL SHORTS
ACCESSORIES THAT DON'T MATCH
3
4
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DRESSING FOR THE WRONG SEASON
Dressing for winter while it's summer, or dressing for summer while it's winter is just dumb, not to mention you look very out of place. Your outfit may be cute, but please save it for the right season.
You've seen:
Abigail Boswell
Deborah Zachgo
Darrion Williams
Wearing similar shades of denim is awkward, and not very pleasing to the eye. If you want to wear multiple pieces of denim, try drastically different shades.
You've seen:
Kendall Brice
Grace Fullerton
Don Haynes
DENIM ON DENIM
1
2
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H E L L E
TYRA BANKS
WEIGHS IN
WORST FASHION FAUX PAS FROM
TIM GUNN
Add some text, Yo! Click this text box to change the text, style, color and fonts.
9
CELEBRITIES
SPOTTED
&
ESPLENDOR GEOMETRICO INTERVIEW
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Where and When did Esplendor Geometrico form?
AL:Esplendor Geométrico was born in Madrid in 1980. At the beginning we were three: Me (Arturo Lanz), Juan Carlos Sastre and Gabriel Riaza. All of us belonged to a previous group, El Aviador Dro y sus Obreros Especializados, that I funded with Servando Carballar in 1978. After few time Juan Carlos left the group and for nearly ten years EG was formed by two members until Saverio joined the group at the beginning of the nineties. Now we are two since when Gabriel decided to leave the group.
What was your main inspiration? Was EG's sound ultimately a product of the environment you were in at the time?
AL:At the beginning, but just at the beginning, our main inspiration was TG. I found their very first LP in a record shop in Zurich. Our music was completely different from the music that you could listen to in Spain at that time, so we cannot consider ourself as a product of the environment.
The music of EG can be harsh and sombre, yet meditative and deeply immersive, how would you yourselves describe your sound?
AL:Yes, you can find in our music all the aspects that you described in your question. Since the beginning, our music was considered "industrial", and perhaps at the beginning was correct. But very soon we begun to change. We don't know, but probably we could define our music "tribal" or even "ethnic" but we don't know exactly from which continent...
What music do you listen to when you are at home?
AL:A lot of years ago I stopped listening to electronic music. Except traditional Asian music, usually I don't listen music at home: I prefer to compose my music.
SE: There is a lot of different genres of music that I like to listen to at my home: electronic, contemporary, dance music, etc.
The earlier works of EG feature extremely controversial and uncompromising themes -were these personal obsessions or shock tactics to attack a social or political mindset inherent in Spain?
AL:We did't have any political strategy: just till the first album we liked to provoke because we hated the "movida" scene in Madrid. That scene was a sort of spanish new wave and we considered it a "pose". As a result EG was isolated from spanish musical scene during these years.
Tell us about the Spanish music scene at that time, were you unique in your vision and aesthetic or were there any other groups perhaps languishing in obscurity now you could shed light upon?
AL:To be honest, at that time, EG was the only group in that kind of music but after short time new projects appeared like La Otra Cara de un Jardin, Francisco López, Comando Bruno, Diseño Corbusier, Orfeon Gagarin, Melodinamika Sensor, etc.
In the middle of the eighties in Spain there was a lesser known underground electronic scene but very well connected with the international network created by cassette labels. That scene disappeared at the end of the eighties and just few of them projects survived.
What was the initial reaction to your music in the Spanish music press?
AL:We didn't exist for Spanish musical magazines until the end of eighties. Curiously the most important Spanish newspaper, El Pais, since the beginning, talked about us reviewing our releases and our performances.
How long did it take to achieve recognition outside of your homeland?
AL:The compilation Fix Planet released in Germany in 1981 by Der Plan helped us a lot to diffuse our name outside of Spain. Since then we began to establish good contacts with the international scene (Masami Akita, Graeme Revell (SPK), Maurizio Bianchi, Nocturnal Emissions, etc)
By the end of the late nineties ex-TG members were remixing EG tracks, were you in contact with TG and the orig indust movement in the late 70's/early 80's or did this acquaintanceship come later?
AL: Since 1980 we was in contact with the industrial scene of that moment, especially with Graeme Revell from SPK, Maurizio Bianchi (MB), Masami Akita (Merzbow), Nocturnal Emissions, Jordi Valls (Vagina Dentata Orga), Hunting Lodge, Ramleh, etc…We exchanged vinyls and tapes. After I stopped to listen any kind of music except Esplendor. Years later, when I was in Beijing, I contacted Chris Carter : I liked a lot the remix that Chris & Cosey made for Japanese CD En-Co-D (1997)
You have built up a huge body of work with EG, did you ever think you music would be considered so influential and regarded as an important part in the development of modern electronic music?
AL: I never thought if our music was important for electronic music scene. We enjoy composing music and that's all. We don't even take care about our releases. There is someone to take care of it: our friend Andrés Noarbe (the manager of Geometrik label).
Sometimes it happens that groups or artists which we play together with in a festival, told us that in some way we were an influence for them.
Having pioneered a repetitive hypnotic sound before the onset of rave culture and seemingly anticipating it, what did you think to the techno/house explosion of the mid to late eighties? Was EG's music embraced by the emergent rave culture?
AL: I abandoned listening to electronic music (except ours) since the middle of the eighties so I don't have an opinion about it. Only few months ago I played alone, without Saverio, in a techno club with some techno artists. At the same time I felt that kind of music was boring for me but good for dancing.
What is your most interesting experience you have had being in EG?Any interesting stories you would like to perhaps share?
AL:As you can imagine, in more than 30 years there are a lot curious things to tell. Perhaps the most funny is when, in the eighties, I played to an audience of spanish military officers. All of them wearing dress uniforms. They invited me because, at that time, I was a lieutenant, but obviously they didn't know what kind of music we were doing! It was really crazy!
In November we went to Japan again, for the fourth time. Playing there is ever really interesting: the people is so nice and sound is perfect.
What are your interests outside of music? Are there any authors or artists you are a fan of?
AL: My family, meditation, running, swimming and cycling. I'm not a fan of any artist.
SE: My daughters, maths. As I told you before, I still enjoy to listen music and while nowadays I'm not a fan but in the past I remember I was a fan of Kraftwerk for example (and before I joined Them, I was a big fan of Esplendor!).
Saverio, in your solo career you have worked with avant noise legend Maurizio Bianchi, how did that come about and how would you describe your sound outside of EG?
SE:I met Maurizio Bianchi a lot of years ago, when he abandoned music for the first time, I bought from him his legendaries Roland rhythm machine and analog Teisco delay. Some years ago, Satoshi Morita, the boss of Gift Records, proposed to both a collaboration and then we released "Micromal Sonorities". Now I'm working to the second chapter of this collaboration that I hope will be soon finished. My sound outside EG is probably much more abstract: I don't want to replicate things that I already make with Esplendor.
Arturo,what motivated your relocation to Beijing, and are there any Beijing based artists you could recommend?
AL: I went to Beijing because of my work. I went back to Madrid in 2012, but probably in few years I'll be back again to China. I don't know very well the scene in China but I had the opportunity to listen to some groups like the “No New York” scene and I liked them. But to be honest I don't remember their names.
Lastly,what are you both currently working on or planning at the moment?What does the future hold for EG? What direction are you taking?
AL:Few months ago we released our album Ultraphoon, so now we are beginning to work at new tracks for a new album. Our direction is ever the same: we will follow to create our music and enjoy while doing it. This is our receipt.--
ESPLENDOR GEOMETRICO
Black Forest interviewed the Spanish Electronic Legends who released their latest LP 'Ultraphoon' last year on Geometrik records, peforming currently as the duo of founder member ARTURO LANZ and SAVERIO EVANGELISTA...
©BLACK FOREST 2014
MICHAEL COWELL INTERVIEW
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MICHAEL COWELL
Black Forest spoke to London based Artist MICHAEL COWELL about his influences,
inspirations and future projects...
When did you start drawing?
I’ve been making artwork for as long as I remember. Some of my earliest memories are of contentedly sitting on the floor with a sketchpad...
What inspires you?
A great number of things find their way into my work. I spend a lot of time looking at other artists who work in a variety of media (Film-makers, photographers, painters, illustrators, etc) and I read a lot. Currently a lot about early Christian separatism, but also a lot of occult history. It seems I’ve not read any fiction in quite a while.
Have your inspirations changed over the years?
A great deal but all the twists of my development are still very much present in my work. When I got serious about becoming an illustrator I started off looking almost exclusively at comic artists such as Dave McKean and Ashley Wood. Shadow, light and loose gestures were very important to me, but as I’ve grown more into creating artwork to be screen printed, it has shifted to people like Gustav Dore, Aubrey Beardsley so I’ve absorbed a lot more pose and iconography. Also, due to the nature of community, I find inspiration through a great many of my peers. It is my fellow artists more than anything, I think, that drive me to improve my skills and ideas.
What work have you been commissioned to do?
As I’ve worked predominantly in gig posters as a medium, I’ve worked for a great variety of bands over the years. Everyone from Queens Of The Stone Age and Kyuss to The National and Dandy Warhols.
What are you currently working on and what are your plans for the future?
I’m currently finishing up a couple of album sleeves to be released by the end of the first quarter of this year. Also there are a few more screen printed art prints in the pipe-line as well as a very exciting project illustrating an early Alchemical manuscript that is requiring a remarkable amount of research.
My plans for the future are to continue making as much work as possible, diversify into working with publishers of the kind of literature mentioned above, and continue to exhibit as widely as I can.
©BLACK FOREST 2014