• Profile picture of plamenart
    • plamenart Yordanov
    • Chicago, USA
    • I share the idea of an art that creates new reality instead of offering its conventional model. I want to provoke the birth of view that goes beyond the boundary of reality itself. Viewpoints which stress an order that exists "a priory" in nature and can be developed again and again… Aspect that makes the work to exist as a signal, giving the onlooker a chance to go deep into his/her life experience and mind. Universal signals to which the individual responds in a unique manner and creates his/her own reality.

    • Profile picture of opcabpol
    • opcabpol Ricardo
    • Porto, Portugal
    • I'm a portuguese artist with an interest in sound and light (in it's broader sense).

    • Profile picture of soniqid
    • soniqid Schulte
    • Cologne, Germany and worldwide
    • media arts, expanded media performance, contemporary art forms, sonic architecture, intermedia performances

    • Profile picture of cripave
    • cripave Pavesi
    • Milan, Italy
    • My procedure is somewhat philosophical, if this term can be used to mean the pursuit of knowledge, of getting to know oneself and the world. My videos refer to art history, to classic genres of landscape and still life, a sense of cyclical inevitability of life prevails. My videos since 2002 have consisted of short visual metaphors, brief reflections of thought which the image is the interpreter of. For some years the still life built in studio is linked to the ancient painting. This genre was used to better express the concept of Vanitas. So in my video still lifes the genre revive through the time factor and the movement which intensify this same concept expressing uncertainty, uneasiness due to precarity and continuing evolution of change conflicting the illusory aspiration to the status quo.

    • Profile picture of Neno
    • Neno Belchev
    • Varna, Bulgaria
    • I am a multidisciplinary artist, who believes the most important thing being an artist is to have freedom of thinking. When I work, I try to understand the way, how we, the humans, perceive the world. How we interact with our surrounding environment. Based on this, my last works have been realized on way, representing the idea on many layers, arranged in multiple levels; from the shallow to the deepest, and which can be understood in many different ways.

    • Profile picture of Kalliope
    • Kalliope Amorphous
    • New York, NY, USA
    • Rather than approaching self-portraiture from an autobiographical perspective, I push the boundaries of what I define as “self” and “other” by playing with ideas of identity, gender, archetype, emotion and the visual interpretations and possibilities that exist within them. I do not consider myself a photographer, but rather an artist and storyteller using the camera as a tool to create. I can more deeply explore my conceptual ideas by embracing the roles of both photographer and subject. I am continually drawn to concepts involving the subconscious, alienation, time, memory, transcendence and surrealism. Other sides of my work explore my love of paradox and the juxtaposition of light and dark, beauty and beast. Most of my photographs use experimental in-camera methods, mirror distortions, modified lenses and handmade attachments such as the stroboscope. I enjoy creating unique ways to express the intangible realms of emotions, thoughts, poetry, dreams and nightmares.

    • Profile picture of dcastell
    • dcastell Castellanos Reyes
    • Bogotá, Colombia
    • Massive self & media created images make our bodies incorporate symbolic violence. These images are silent but saturate us through time. Nowadays, when the body and old institutions are falling apart; the age of accumulation is becoming omnipresent due to a virtual self-revolution by subjects and users of new technologies and media. The boundaries of the body are being pushed in a way that reality seems blurred and incomprehensible. Daniel Castellanos is a multimedia artist. He works with spirituality: reading and showing messages coming afloat; not in the media used but in the perversion of the matter. The way he does it is by intuition, humor and spiritual approach to everyday life. Some of the media he uses are Drawing, Photography, NEON signs Video and Video Installation (as a way to incorporate the human condition in to media) and others.

    • Profile picture of Zoran
    • Zoran Dragelj
    • Vancouver, Canada
    • An award-winning auteur filmmaker with mélange of talents like music video and film director, graphic designer, and artist, Zoran remains indefinable and remains dedicated to the aspiration of leaving his mark in the world of motion pictures.

    • Profile picture of celine
    • celine Ali
    • Constanta, Romania
    • I'm 14 years girl of turkish nationality.I was born and I live in Romania. My only passion is painting,and I'm interested to participate at group ehibitions,and to receive news about plastic and fine arts.You can see part of my works and my contact details,on : www.celineartist.com,to mention that soon will appear several other works on my website.

    • Profile picture of Pietro
    • Pietro Reviglio
    • Turin / NewYork, Italy / USA
    • Applying a scientific approach to the analysis of visual elements and using physics as a pictorial medium, his work experiments with the physical process of image formation and perception, visual narrative and the kinematics of images, exploring the borderline between the rational and the irrational, the conceptual and the physical, the mathematically predictable and the stochastic. For more info http://www.reviglio.com

    • Profile picture of Diego
    • Diego Dall Osto
    • Vicenza and Barcelona, Spain and Italy
    • I'am a composer and teacher of music, interested in usign technology for improving experimental creation. I'm interested on music image interaction.

    • Profile picture of Francesca
    • Francesca Fini
    • Rome, Italy
    • I was taught that performance art is an experience and not a representation. In the performance, there is no interpretation, the performer does not "read". As said the italian actor Carmelo Bene, “I do not act, because acting is quoting someone else” (1994). There are no scripts and tests to do, to learn texts by heart, complex movements of the stage and steps to be stored. The performer himself is always here and now, has no excuse, he is not the healthy carrier of the thought of someone else (the author of the piece, the director, the character), but it is always 100% responsible for his actions on stage. The thought is his thought, and there are no scenes but "situations" that he created in order to live until the full consequences in the absolute unpredictability. Performance art is not a representation of reality, but then, again, a unique experience in itself. The risk (first of all the risk to fail) is always present. Performance art is therefore closest to shamanic ritual, not the theater of representation. That said, to understand my work I have to confess that I started out as a videoartist and the subject of my videos, even before doing live performances, was and still is the body in action. The body is always present, in its interaction with real or virtual objects and with other bodies. An art dealer asked me once to perform live one of my videos in an art gallery and I liked it so much that I started producing live performances along with videoart. For me, therefore, the videoperformance and the live performance have always been two distinct art forms, each characterized by its own language. And their meeting does not result in a simple mixture, but in the birth of new and different objects. It is only natural that the live performance and its video documentation are absolutely two different languages, because of the nature of the relationship of the viewer with these two products. This has led to mistrust and rejection by the purists of performance art to the video recording of a performance piece, because the core of this language should be its irreproducibility. The performance art makes sense in the form of a live experience that only happens in one place and for a time, only for those people present at the time. As we can sey, I was taught that performance art should never be “televized”. So how can I reconcile my love for pure performance art and my obsession for the video recording of the whole performing experience (and its subsequent circulation disconnected from time and space under which the experience happened), that for a videographer and doumentarist as I am is somehow crucial? We can say that my work stand out in this borderland between live performance and videoperformance as an independent art form, as I’m convinced that the recording of a performance can never give rise to a mere "documentation" that surrogates it devaluing its impact, but rather leads to a completely different object. In video recording we have a lot of limitations: the use of multiple cameras needs an editing and the editing manipulates the original timing and space of a performance art piece, the inability to return many elements such as the smell in the room, the energy and partecipation of the audience. On the other hand we have the possibility of intervene with visual effects, post-production, graphics and editing, adding multiple layers of meaning in a way that leads to the inevitable relocation of the performance art piece in the "augmented" space of the digital realm. My need is to tell a story that is the product of a personal, abrupt, incidental and unique irripetibile experience – the performance art - and “televize” it, making it freely available to everyone through the releasing of the creative video edition. Performance art, as well as my way to loose myself in a cathartic experience with unpredictable implications, allows me to express my loyalty to Life through genuineness. At the same time, the “digital box” in which the videoperformative version is immortalized, lets me be loyal to myself and to my unreserved love for sharing with the world.

    • Profile picture of Andrea Ebro Barbarossa -
    • Andrea Ebro Barbarossa - www.andreaebrobarbarossa.net - info@andreaebrobarbarossa.net
    • Fabriano (An), Italy
    • Breve biografia di “Ebro” Andrea Barbarossa, in arte “Ebro”, nasce a Ginevra nel Luglio del 1967. Più tardi, con la famiglia, torna a Fabriano dove dal 1982 frequenta l’ Istituto Statale d’ Arte sezione della grafica e della fotografia. Irrequieto, prolifico e insoddisfatto del clima culturale che lo circonda, dopo gli obblighi di leva si trasferisce a Milano dove ben presto entra nel vivo del dibattito sociale e artistico. Nel 1991, incoraggiato dal Critico Nicola Tedesco e dall’ Architetto Claudio Clementi decide di “farsi avanti” alla grande critica presentando il proprio lavoro. Conosce così molti Maestri dell’ Arte Italiana con i quali stringe legami di amicizia e di collaborazione creativa. Nello stesso anno inizia ad approfondire la propria esperienza professionale collaborando con alcune agenzie di grafica pubblicitaria e con prestigiosi studi di designer e di architettura tra i quali lo Studio Architetti Associati Farnese di Milano. Alla fine del 1991 entra a far parte del V.I.E. (Venture Innocent Exil) Multiart dove sempre più profonda è la contaminazione con le realtà creative legate al mondo della comunicazione multimediale che lo proiettano verso opere sempre più legate all’ uso, spesso sperimentale, delle nuove tecnologie. Nel 1992 lavora alla realizzazione della rivista d’ Arte e Cultura “Il cappello sulla folla” di cui diventa responsabile artistico. Arricchito dalle grandi esperienze multimediali milanesi e romane, impegnato a collaborare con realtà sempre più vicine alla video arte, sposta la sua attenzione, per un periodo, verso altre esperienze creative e nel 1994 dopo una breve collaborazione con la Rassegna Nazionale Teatro della Scuola di Serra S. Quirico si avvicina alle realtà teatrali, molto distanti dalle esperienze maturate negli ambienti multimediali, Infatti il teatro, non lo allontana dalle produzioni video e nel 1996 per l’ Aquili Audiovisivi di Roma crea e dirige la realizzazione di spot televisivi indirizzati al mercato turistico russo e video-promo per il mercato nazionale. Innumerevoli le presenze di Ebro dal 1991 al 1999 nel panorama dell’ Arte con mostre di sculture ed istallazioni multimediali e performance: da “Il Campo dell’ Arte”- Festival dei due Mondi di Spoleto a “Urbano Effimero” - San Remo, da “L’ ira di Miriam”-Cetona a “Combines”- Milano. Alla fine del 1999 tornato a Fabriano decide di riprovare con il teatro e proprio sul palco del Teatro Gentile matura l’esperienza tecnica necessaria per tessere una rete di collaborazioni con le principali realtà nazionali legate al teatro e alla musica. Nel 2001 costituisce la Media & Media e nel 2005 l’ Area Service traghettando Ebro nel settore degli allestimenti audio, video e luci. Da allora ha partecipato alla realizzazione tecnica di molti allestimenti e tournèe, al fianco dei più grandi e rappresentativi artisti del panorama teatrale e musicale, per le maggiori produzioni tra le quali: Compagnia della Rancia, Ballandi Entertainment, Fox&Gold, Fidia Film e Il Sistina. Molte altre le collaborazioni tecniche che lo hanno visto sui palchi di diversi teatri italiani con i maggiori spettacoli prodotti e con i grandi del panorama illuminotecnico nazionale. Numerosi i contributi tecnici e creativi condivisi con alcuni Maestri contemporanei del calibro dei M° Mimmo e Armando Cattarinich e del M° Mario Sasso e altrettanto numerosi sono gli spettacoli e gli eventi le cui luci portano la firma di Andrea Barbarossa. Le esperienze maturate nei circuiti multimediali, prima, e negli ambiti legati all’ uso creativo della luce, poi, hanno sviluppato, nella ricerca artistica di Ebro, la creazione di opere dove la componente video è sempre più predominante tanto da produrre realizzazioni esclusivamente legate alla video arte. Considerato dalla Critica internazionale uno dei protagonisti emergenti dell’ Arte contemporanea, Ebro, con le sue Opere video, negli ultimi anni ha raggiunto traguardi prestigiosi tanto che i più importati eventi d’Arte e gallerie internazionali hanno ospitato le sue Opere con riconoscimenti e premi. Presenze recenti: - New York City - Producing Censoship Celeste Prize 2011 - Milano - Producing Censoship – Celeste Prize 2011 - Lecce - AMG Video Gallery 2011 – 2012 - Venezia (Nappe Arsenale)– 6th Arte Laguna Prize 2012 - ("Exil [o-nì-ri-co]"di Ebro, Opera finalista) - Roma (Filmstudio) – ViDay 2012 rassegna di Videoarte e del Cortometraggio - Roma (Galleria M4- Macro) – Inquinati 2012 - Roma (Spazio Casa d’ Aste Bloomsbury Auctions – Palazzo Odescalchi ) – 1 Art day 2012 - Venezia - Art Night Venezia 2012 Telecom Futur Centre - Arte Laguna Prize 2012 - Civitanova alta – Ebro for Giò Rondas Popsophia 2012 - New York City - Art Takes Times Square 2012 www.andreaebrobarbarossa.net www.areaservice.org

    • Profile picture of David Anthony
    • David Anthony Sant
    • London, U.K.
    • Every film I create is an attempt to innovatively explore the visual language of the moving image. My approach to film making can best be described as Extemporaneous Film Making.

    • Profile picture of Susanne
    • Susanne Wiegner
    • Munich, Germany
    • I create 3d-Computeranimations dealing with literature and virtual space

    • Profile picture of David
    • David Dunne
    • Dublin, Ireland
    • Video/ Installation , Sculpture / Collage/Assemblage There is a strange interdependence between thoughtless and evil. Hannah Arendt, A report on the Banality of Evil. My one significant area of artistic enquiry following the past 15 years has been issue surrounding Genocide and Holocaust histories. Investigating these issues has taken me to specific sites of Genocide throughout Eastern Europe and South East Asia.

    • Profile picture of Pier Giorgio
    • Pier Giorgio De Pinto
    • Bellinzona, Switzerland
    • Pier Giorgio De Pinto is a transdisciplinary artist, a performer, a curator, a theorist and a media trainer. De Pinto strongly uses new media as a “thinking medium” in which involves the audience, creating performative experiences and immersive environments. His projects usually involve others – musicians, choreographers and artists – from different cultural backgrounds, styles and identity genres. These collaborations enable De Pinto to undertake new and radical experimental projects, capable of stimulating discussion about stereotypes and prejudices, asking awkward questions in the areas of culture, politics and religion.

    • Profile picture of chus
    • chus dominguez
    • leon, spain
    • visual artist who uses video and film as tools and documentary as language. he works with elements coming directly from reality to develop artistic works between documentary, experimental film and poetry. regarding the audiovisual construction acts as a sort of architect who knows that the framework is the key element of its building. raising a point of view is like building a space, both tasks can end up defining a vision: those of us who get into the room cinema, see what the camera shows us, and therefore, we will and we will embody that person who sees these things. in this sense, the work of chus domínguez makes it clear performative process that makes certain that, in the screen, we build as a look such as a concrete subjectivity. as we see in the film becomes more or less accidental and accessory, and what is important is where he puts us who are in the cinema room.

    • Profile picture of Christian
    • Christian Zanotto
    • Amsterdam, Netherlands
    • Christian Zanotto has been awarded with the “Prize for Digital Art” by the jury of the “Prize for the Arts – Prize for the Culture ”, Milano, IT, 2007 Who exactly is Christian Zanotto? Good question, but do you really think I have an answer for that? Well, I can tell you that I’ve been working on it for a long time and when I look at my artwork that’s where I can find traces and clues of it, of who I am… Talking about your creative work, when did you first realize that you were an artist? I can recall many moments in my life in which drawing and building have been of great importance to me, but my first notion of being an artist became clear when I was at the elementary school, where I came across the concept of “poetic licence”, and I’ve been endlessly fascinated ever since. How did you continue your studies? I’ve always been keen on art, starting from the high school at the Istituto d’Arte to the Academy of Fine Arts in Venice. But my research still continues each and every single day. When exactly did technology become part of your artistic process? I’ve always been attracted by computers, actually I think I’ve owned all sorts of computers, from the oldest models on, but most of all I’ve always been fascinated by calculators, quartz watches, robots and lunar expeditions… I started including all this material in my creative process while I was attending the Academy in Venice and all this has become a means through which I could mix with my paintings, sculptures, photographs and my video making knowledge. What about your choice of figurativeness? Through working with figures, particularly human figures, I’ve found that it is like working in front of a mirror; and the human body is pretty much connected with the concept of “eroticism” which I believe is the key to reach and enter the innermost and primitive side of the human being, a place from where all thoughts, sensations and reasoning originate. I satisfy my need for abstraction by creating structures, systems or imaginary and whimsical machines… Mechanisms and gears fascinate me! Where do you get your ideas and inspiration for your artwork? The planning phase is exclusively mental: it’s mainly a visualization process which I then concretise and render in a 3D virtual space, working as if I was on a theatre stage (with postures, costumes and scenic objects); I’m always driven by curiosity towards the process of “evolution” and by that peculiar sensation of disorientation and astonishment provoked by the transformation of mental imagery into digital form. That same evolution process leads me to the analysis of the scene created and then to the reabsorption of it, by means of an inverse process. Can you tell us something about digital images: how do you make them compatible with an exhibition area? The design phase plays an important role in my creative process: when there’s no projection or video animation of an object/art piece then it requires a careful and coherent study which crosses both the image itself and the means. For example, in my “Horlogerie Exquise” exhibition, I opted for the photographic transposition of digital images onto large crystal sheets, framed in fibreglass structures. What feeling generally moves you the most? The sense of relativity and a mixture between time and space, the lack of coherence characterizing any ego disconnected from reality and the consciousness that there are no certainties or absolute judgements, a disorienting and disarming sense of freedom in which I can maintain my lucidity and equilibrium. How would you describe yourself? Very much alive and enchanted. Is there anything you want to say to our readers? I would like to thank them, hoping they will find a logic in what I have tried to explain and an interest in my artwork. At the same time I thank you for your questions, it will be very interesting for me to read this interview, where maybe I’ll spot a hidden part of me… See you soon, and thanks again.

    • Profile picture of Biljana
    • Biljana Bosnjakovic
    • Verona, Italy
    • Born in Uzice, Serbia, in 1970, Biljana Bosnjakovic moved to Rome in 1992 and has lived and worked in Verona since 2002. An extremely versatile artist, Biljana continuously experiments with a variety of techniques to express her concerns and torments and without ever dwelling on a single medium. She moves from photography to performance art, from sculpture to video art, where she coordinates, curates and creates every single achievement. Among the many different mediums that Biljana uses, the video camera is one that is most suitable for her, without the use of tripods or other supports and it becomes almost like an extension of her body. Despite this, the term video artist is too restrictive to Biljana, as her videos are just the starting points of a larger creative process. Her innovative approach is to use and insert fragments of motion pictures into different structures. One example of this original idea is a LED screen projection within a traditional framework, where the artist has challenged the idea of static immobility, creating real tableaux vivants. In other cases, the process was the opposite, where she left the dynamism of video and returned to the "frozen moment" of photography, developing a single video frame through professional printing. In the development of her works, Biljana often focuses attention on her own body and has created multimedia installations and live performances that interact with the audience. These include: - Video "Mutation," screened in 2007 at the Aula Magna of the University of Verona, - Video "Thus Spoke Palladio" commissioned in 2008 with the support of CISA Andrea Palladio from Vicenza, - Video installation "Zodiac for Stockhausen" in 2009, with the Verona Philharmonic Orchestra at the Camploy Theatre in Verona, - Solo performance "The Vitruvian Woman" in 2009, at Okidoki Art Gallery in Berlin, - Theatrical performance "Prekid" at Verona Art Fair 2010 for the Angel Art Gallery (Milan) and the Cell63 Art Gallery (Berlin). - Photo exhibition The Reflex, at Saman Art Gallery, Rome 2011, - Multimedia installation "Japon, mon amour", at Palazzo Birolli, Verona 2011. - Participation in the project "Feminism in the art of women", for Livinggallery Lab, Poland 2012. - Performance "Woman" at ACUD Theatre in Berlin, as a part of the MPA-B (Month of Performance Art Berlin) in 2012. The next steps of her research are recently shifting to the observation of the influence of weather and natural elements on her art, which is executed and performed in open spaces. What she intends to do is to allow the environment to intervene on every step of the evolution of her works. It is as though she feels the need to fuse and merge with Nature, in an effort to return to - as well as the search for - the Self. Jannifer Karch Verzé