ART

01

art

09:27

Javanese Batik

Javanese batik artisans and workshops, filmed in Pekalongan, Java, Indonesia in June 2017 by Sheena Sood, for abacaxi.

02

art

09:05

painting a big oil painting

On this big linen canvas which stands 100x180cm Anouk / Atelier Aha paints.

03

art

05:28

Yuichi Hirako • New Home

“How we interact with nature and how we think about it is very different from a hundred years ago. It will be different a hundred years from now and that’s natural, so I make work considering the changes that will come. I've been working on this subject for a long time.” — Yuichi Hirako Gallery Baton is pleased to announce 《 New Home 》 , a solo exhibition of Yuichi Hirako, from 5th June to 13th July 2024 in the Hannam-dong space, Seoul. Hirako deals with the coexistence and interdependent relationship between nature and humans through his original style of depiction, in which metaphors and symbols stand out. In this second solo exhibition with Gallery Baton, Hirako manifests his interests and particular subjects in richer expression by organically combining painting with sculpture or installation and selectively applying traits of diverse media.

04

art

28:59

I Mountain. I Snow Whenever I Want.

05

art

01:50

Annea Lockwood - a Film About Listening

Annea Lockwood is a New Zealand-born American composer and academic musician. She taught electronic music at Vassar College. Her range is vast and often includes microtonal, electro-acoustic soundscapes and vocal music, as well as recordings of natural found sounds.

06

art

00:12

MAFF ♥s 🇬🇪: SEED FLO BURO

07

art

01:22

Gvantsa Jishkariani’s ‘𝓘 𝓗𝓪𝓽𝓮 𝓟𝓸𝓮𝓽𝓻𝔂, 𝓸𝓻 𝓗𝓸𝔀 𝓣𝓸 𝓑𝓮 𝓗𝓪𝓹𝓹𝔂’.

The Why Not Gallery presents Gvantsa Jishkariani’s solo show. With the intensity characteristic to the artist, the exhibition turns into a total installation, where the viewer gets lost in the whirlwinds of information flows and visual stimulation. The main source of inspiration for the artist is her immediate environment, the socio-political situation that forms the reality around - a busy, DIY chaos, at times toxic, uneven, disordered, all-engulfing tsunami that one tries to survive in vain. Although this dichotomy between the collective and the individual, between the normative and the non-standard, is a subject of constant research and inspiration for the artist, it has never before been illustrated with such intensity in her work. The chaos in the exhibition space is superimposed with gentle, aesthetic works filled with special sensitivity. Beautiful giant mosaic flowers grow out of now trash newsreels; timeless, sublime landscapes offer a refuge; bold paintings drawn with free brushstroke promise a different reality.

08

art

00:42

MAFF ♥s 🇬🇪: Nika Qutelia

Georgian artist working in the direction of digital art. In the past, the artist was actively involved in music, soon decided to devote himself entirely to visual art, from collages on a mobile device to abstract 3D renders. He calls his self-expression "Phantom bridges between the past and the future." Through his works, the artist shows a subtle connection between violent fantasy and everyday reality, between innermost memories and our self.

09

art

03:13

Rusudan Khizanishvili : Velvet Armor

Velvet Armor, a solo exhibition by the Tbilisi, Georgia-born female artist Rusudan Khizanishvili (1979-). Khizanishvili, whose practice is influenced by an array of themes, including architecture, mythology, selfhood, and womanhood, explores the ways in which art connects us to the world beyond our introspective selves. As hinted by the exhibition's title, Velvet Armor — Khizanishvili's Korean debut — stands for the soft yet potent power of women. She veers away from portraying women as solely beautiful and romanticized subjects, a trope often found in pre-modern art. Instead, she vividly expresses their vibrant energy, painting them as strong, occasionally eccentric figures. This emphasis on female strength is a recurring theme in Khizanishvili's work, demonstrating her belief that "armor" is not designed to segregate us from our adversaries but rather to embrace them. Accompanying Khizanishvili's pieces, a work by Saeng Kwang Park (1904-1985) is featured in the exhibition, drawing a parallel between Georgia and Korea. Through Park's vibrant pentachromatic portrayal of Korean folklore and shamanism, Khizanishvili discerns resonances with her practice. The cross-cultural dialogue between the distinctively Korean elements in Park's work and the traditional Georgian context of Khizanishvili's pieces invites contemplation of the convergences among diverse cultures.

10

art

12:00

SPEECHLESS / დადუმებულები

The 2008 Georgian War resulted in the deaths of several hundred people and expulsion of tens of thousands from South Ossetia. Is there a way to show the tragedy of families that lost their loved ones, of thousands of people forced to leave their homes, of soldiers from the battlefield, and children who cannot comprehend the situation? Salomé Jashi answers this question in a way that leaves few apathetic, though the horrors of war are never visible on the screen. Her short film makes the audience witness a tragedy it never sees. watch the film here Produced by Sakdoc Film and Artefact production Directed by Salomé Jashi Filmed by Tato Kotetishvili Sound Nika Paniashvili ​ Speechless is part of the documentary film series ’10 Minutes of Democracy’

11

art

03:13

Tadáskía's monumental wall drawing in progress

In this timelapse, watch the artist Tadáskía produce an expansive wall drawing in response to the blank gallery space. For "Projects: Tadáskía,” the artist's first solo exhibition in the United States, she worked at MoMA over the course of several weeks, drawing directly on the wall using charcoal. She invited a team of coloring assistants to help fill in her drawing with colors chosen from her kaleidoscopic palette of dry pastels. Color is fundamentally important to the artist's practice. As Tadáskía has explained, "When I was drawing, my mother, Elenice Guarani, and my aunt, Gracilene Guarani, who are both Black, Afro-Indigenous women, told me to add more color because color is life."

12

art

09:50

La Croix, Juliette Minchin, 2023

Juliette Minchin created in situ for the Abbey of Beaulieu-en-Rouergue. Arranged at the crossroads of the transept between the nave and the choir, the 28-meter-long cross-shaped sculpture responds to the Latin cross plan of the abbey. It is composed of 33 openwork steel panels covered with wax, where 363 wicks are lit in turn. Like a huge candle, the installation evolves over the exhibition and gradually reveals its metal structure. "The work is a real monolith of wax and steel. A mausoleum, a votive monument, perhaps also a cave. Inspired by a Sicilian silt, Juliette Minchin adapted the "diving" technique by which, minute after minute, millimeters after millimeters, the strands of the candles are covered with waxes and cooled, thickening, to use it in the construction of real wax walls. The metallic motif of their frame is a bouquet of elongated roses that pays tribute to the rosettes of the Abbey of Beaulieu. But patience! Because it is only at the consumption of this monumental candle that the structure is revealed. The wax sculpted the metal at the time of the dive, by the concretion of its drops. By melting, it becomes architectural garment, skin of the work, shroof of the cross. Like an hourglass, the work evokes the passage of time, the patient and meticulous repetition of the same gestures that form both immemorial techniques and disappeared rites. Like miraculous water, the molten wax will be recovered at the end of the exhibition in order to be integrated into the initial reservoir and the work will be reactivated during its next exhibition. The wax will return to wax, according to the reason of the eternal return, made to ward off the fears of those who remain, the fears of the after.:

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Wenkai Wang, born in 1996, originally from China, is a New York and Shanghai based photographer, filmmaker and production designer. Wenkai earned his BA degree in Film&TV at NYU Tisch School of The Arts, United States. The works of Wenkai Wang are often results of juxtaposing staged reality with an unlikely cast of the surreal. Wenkai’s work has been recently included in the 2022 PhMuseum Grant Finalist, 2020 Lens Culture Exposure Award.

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