lunedì 25 febbraio 2013



BIOGRAPHY: Carla Andrade (Vigo, Spain, 1983). Degree in Audio-visual Communication at Salamanca University and currently studying Philosophy in Madrid University. Workshops with Photographers such as Bernard Plossu, Castro Pietro or Vari CaramÈs.†Analogue Photography Course at La Casa Encendida (Madrid) and Digital Photography course in BlankPaper School (Madrid). Artist residency fellowships: Bilbaoarte (Spain), Herh·si_ (Iceland) and Arna†FÂgelriket†(Sweden). Fellowship I Encontro de Artistas Novos at Cidade da Cultura, curated by Rafael Doctor. 1st prize Art Madrid Process. Special Award Mujeres Foro Di·logo 2012 Alliance FranÁaise / Pilar Citoler (Madrid), Special Mention in OCEMX Photography Award 2011 (Mexico City). Finalist in Festivals such as Encontros da Imagem 2012(Portugal), Emergent Lleida 2010, Pa-ta-ta 2011 (Granada), INCUBARTE 2011 & 2012 (Valencia), etc.. And in awards as the Visual Arts UCM Award 2011, Auditorio de Galicia Prize 2011, PurificaciÛn Garcia, Antoni Gilabert Visual Arts (Mallorca), etc. Exhibitions: Jeune CrÈation (Paris), Nord Art (Germany), Plai Festival (Romania), Barcelona Showcase, Off Print (Paris), etc…

ARTIST STATEMENT: I’ve been always interested in aesthetic experience and how it works as a transformer of conscience. This was what led me to study Communication Studies and Philosophy. I began to take photos as a way for recording experienced sensations, to catch reality and leave it protected forever. It’s a nostalgic act. This melancholy of the time, such as becoming without detention, is reflected in all my work.†

Landscape, understood as an indissoluble part of what we are, is essential in all my work. Reinterpretation of nature in a global and hyper technical present. Landscape interest me not only from an ecological reading, as the experience of inhabiting the universe, space whose annihilation is our own self-destruction, but also, and above all, the return to nature as a source of truth and beauty, as a political legitimation of the Human, as a simple and powerful revolution. This "escapism" is not a form of nihilism or denial but a form of frustration and dissatisfaction that asks for the recognition of our microcosm condition. Humility, I believe it is necessary in a world corrupted by the anthropocentrism. "Silence", necessary for the over-saturation of information to which we are exposed and that has made us go into a state of shock, a state of empty indifference.

Landscape is an element that we dispossess but men want to dominate it. Longing for open spaces to re-establish continuity with nature. Landscapes in which nature and men are confronted, but where, at the same time, an ecstatic reaction occurs between them. Between man and nature there is a metaphysical tension. We live in an anthropocentric world. Men think world was made for them and that is the reason we can do whatever we want.†But we are just part of it. We're only more nature in relation to nature. And we must respect and even obey its laws. But as the man is believed the owner of the world, he is dedicated to reform, to break it and destroy it... An engineering of the planet. I’m really interested about this. I thing we must be conscious of our microcosm condition. So that’s why I like to give a kind of magical powers to Landscape, a Landscape in which man becomes insignificant.

At the same time I’m interested in “reveal” the secrets of life… The secrets of this powerful nature. So, I try to investigate these secrets through observation, and in a deeper level, through contemplation. In this way my images seek to know what is not mine, what is outside, the objective reality, but filtered through my consciousness. So they are very subjective images, sometimes near the abstraction.

There is a deep personal desire to improve the immediate present to alleviate a characteristic material dissatisfaction. Here, individual feelings become universal. In my work there is no experimentation, but experience. They are images captured in moments of visual release, a kind of exaltation of desire. My work does not seek to expose the problems in the universe. It doesn't intend to be science; it prefers to accept the unusual and the unknown, intensifying the individual effort. Poetic-scientific seizure of the world, use of a "sensible reason". Search the "Poetic Image" understood "sudden highlight of the psyche " (Gaston Bachelard). For this, I’m not interested in doing perfect images; in fact I like the “error”. Because they are more feelings and expressions than try to show world as it is, but as it is feel. My photography is halfway through documentary, fantastic and experimentation. I photograph reality to make it to go beyond reality but through itself, without tricks or interventions. Universe of dreams fascinate me because they are not censured by reality. This is why I like to investigate my subconscious and liberate it when I take pictures. It's about creating images from “dreams” and dreams from images. I create magic landscapes where optical laws have changed.

My pictures have a pictorial aesthetic to emphasize the idea of landscape built through the gaze. The camera works as a brush that paints life but without its triviality. A way of seeing not saturated, and highly subjective, so emotionally distanced that borders the impersonal. Remoteness, with the intention of blur, flees the sharpness to bring me closer to elementary forms.†





Project for NYBA: "Nothing happened"Who was drowsy awakes, others exhaust their time; who was elsewhere is elsewhere even when is coming back, and the cycle ends. The wheel turns: those who wanted to escape this simple motion have invented complex levers and mechanisms, mysterious machinations to exploit the strengths of others, dreaming the perpetual motion, in the inertness, as parasites. Living by the others' soul does not preserve one's own, and to elude the logic of entropy is a fruit of the illusion; to think about procrastination means not to live, to freeze, to deny what Atropo provided and let it to decay closed into a drawer; it is to proclaim one's own misfortune; it is the mournful crying of the coward. The video "nothing happened" is the narration that completes the homonymous series of sculptures initiated in 2003 and realized with broken and recomposed chalices or glasses. The chalice is metaphor of abundance, of life, of union in love, but also of inheritance to be divided, of loot, of easy opportunities and of improvident abuse. The chalices that break falling from the hands are the end of the substance, the end of the party, the end of the opportunities after the last drop has been drunk from that cup which represents the impoverishment of oneself and the others. The wheel turns, the times are changing, but this is only a cycle that recurs. Who was drowsy awakes: since a long time we assist to the prodromes of the transition from the wild era of the intelligence to the intelligence of the wild era. It is coming the end of an epoch of artificiality, of sophistication and mystification, of pollution and degradation, of wounds that for avidity have been kept open with any stratagem; wounds that want to close again, even preserving the scars as evidences of what it has been. The meaning of the repairing: desperate attempt of unwillingness to look at reality, illusion that nothing could change, that the winning game is not over, even in the Elysium. At the end, there is no trace of the Self, but just the vacuity into the useless memorabilia of the extorted fate. 

MARCH SESSION Beorchia Claudio

Claudio Beorchia

Born in 1979 in Vercelli, he lives and works between Treviso and Milan. He has studied
Design and Visual Arts at Iuav University in Venice and New Media Art at Accademia
di Brera in Milan. A multidisciplinary artist with a conceptual background, he uses various
media and material in his works, in a constant search for the highest communicative
effectiveness as well as the lightest compositional synthesis

Project for NYBA: "State of Emergency"  
Europe is being pervaded by a climate of general emergency: the emergency resulting from the economic crisis, which has made us discover to be temporary workers and poor all of a sudden; the geopolitical emergency, with terrorism, fundamentalisms and strained relations between countries, which is making us feel more insecure and suspicious; the environmental emergency, with more and more frequent disasters (more or less natural), famines and global warming, which make us feel weak and powerless. This is not just a moment in time, a short period anticipating a new boom. We are experiencing a transition where the key words of the last few years – development and security – are being replaced by the concepts of “negative growth and uncertainty”. With my project, I would like to give an aesthetic form to this general transition, to affirm it straightly and openly in cities and squares, in order to be aware of, ready to and not (too) afraid of this condition.
To this purpose, I would like to reflect on a material I consider to be extremely evocative and emblematic: the emergency thermal blanket, i.e. the silver and gold reflective shelter given as a first-aid device to people in difficulties, e.g. landing immigrants, accident victims, shocked people, or those who are under extreme climate conditions. I have been struck by this material, where the functional silver and gold films end up giving a noble, precious, conspicuous and shining feature to both the object and the wearer. I would like to have the opportunity to work with this material, by turning it into flags, banners, cloaks, cloths, etc. to be installed in the urban environment, on the windows of buildings, along the streets and organizing little parades and public events which involve people. I have already started to make some simulations, some trial objects, using thermal blankets: cloths, banners, flags, cloaks, kites, etc. but what matters to me is being able to bring them to a public dimension, to a urban environment, to an environmental scale which make the whole city and its inhabitants wonder. I would like to cover the façades of a building with golden clothes, to hoist these shining flags on public poles, to organize little parades and happenings with people marching wearing golden cloaks. All this in order to declare the “state of emergency” which is setting in and metaphorically urge people to get ready for and awaken to it, while exorcizing its effects.




My main area of research is focused on cultural visual tropes and traditions.
The contingency of the artistic process and the potential of its multiple outcomes are core
concerns in my work. Using different methods of visual enquiry, from photography to art
books, from video to installation, my practice explores visual cliché, imaginary tropes and
tradition connected with specific cultural/societal context of production and reception
of visual knowledge. Positing itself as a reflection on specific visual topics and styles, my
work takes the form of a subtle and ironic reflection on Western visual system of communication,
on its complex relation with a long-standing tradition of image-related modes of
apprehension and on its multiple layers of meaning.
Most recently I started to focus on problems related to the contemporary loss of visual
points of reference and on the ambiguity of the photographic image, in connection to
Jacques Rancière’s “distribution of the sensible” theory and to Hito Steyerl’s analysis of the
“poor image”.
Being especially interested in practices that question the medium’s specificity, I actively
engage with problems of authorship, mimicry and re-appropriation. Exploring the long
standing visualizing necessity that characterizes our society, I enquiry the reliability of
photographic images, the level of trust and distrust related to them, the quests for wonder
and narrativization that plays an important role in the creation of visual discourse. I am
particularly keen in questioning the ambiguous status of current photographic practices,
trying to understand how such a condition can create new modes of apprehension and
new individual and collective awareness.

Lives and works between Venice and London.

2012 MA in Visual Arts, IUAV University, Venice, Italy.
2011 Erasmus student at University of Essex Colchester Institute, United Kingdom.
2008 MA in History of Arts, University Ca’ Foscari, Venice, Italy.
2007 BA Humanities, University Ca’ Foscari, Venice, Italy.

2012 “Lothar Baumgarten Workshop“, Villa Iris, Santander, Spain.
2010 “Il Museo Immaginario”, exhibition for the IUAV workshop of Antoni Muntadas Palazzetto Tito,
Venice, Italy.
2010 “Passaggi Veneziani”, Fondazione Querini Stampalia,
Venice, Italy.
2010 “Aldo Nascimben National Exhibition”, Palazzo Bomben, Treviso, Italy.

2010 - 2012 Colin Dutton assistant.
2011 Venice Biennale exhibition assistant - Armenian Pavillion.
2010 nternship at Fast, Photo Archive of Treviso County (Italy).
2010 Assistant at Project OPLA (Meran, Italy), archive of Artists Books.
2007 - Member of Bevilacqua la Masa Foundation Young Artists.

2012 Lothar Baumgarten Workshop, Fondation Botin, Santander, Spain.
2011 Winter - Spring specialization course in Visual Images - Theatres and Stage. Shyock Society in
collaboration with Venice Dance Biennal.
2009 Specialization Workshop in Arts at Padua University.
2007 IUAV University, Specialization course in Visual Art, prof. Laura Corti.
2007 Parma University, Seminary lectures - “History of Art: Memory and Images“.
2006 Giorgio Cini Foundation, Seminary lectures - “Art and Literature”

MARCH SESSION 2013 Bruno Big

 Bruno Big

"Bruno Carneiro Mosciaro is an artist and designer born in Rio de
Janeiro in 1980.

A graduate of Visual Communications from PUC-RIO University, Bruno
founded GrauDesign in 2002 whilst still a student. He was a partner,
art director, illustrator and designer there until 2005. The following
year took him to Barcelona for a year’s residency where he worked on
experimenting with new techniques for classical engravings and
furthering his work in street art. His first exhibition “Gravura
Experimental”  was the result of 6 months of work in the studio of
Spanish artist Nuria Duran. In the same year he was the sole Brazilian
artist to exhibit in DIFUSOR, an in international meeting of ‘stencil’
art, also held in Barcelona.

As an artist Bruno has worked across various mediums. With El Desierto
Filmes his work was featured in the scenes of Brazilian band O Rappa’s
video clip “Monstro Invisivel” and also in the feature film “Nao se
pode vivir sem amor” by acclaimed Brazilian director Jorge Duran. For
Melin Video he worked on producing creative titles for television and
for cinematography and design group Oestudio his art was used in event
production. In addition he was art producer for Rio-based company
Grupo Sal who work with multinationals such as Nike. In atelier he has
worked on design projects for both international and Brazilian
clothing firms such as Converse and Farm.

In 2010 Bruno further developed his relationship with international
brands by adding Nike and Coca-Cola to his client list. With Nike, as
art producer, he has developed art for events and video. For Coca-Cola
he worked producing illustrations together with three other artists as
part of the publicity campaign for the ‘Sprite’ brand.

In addition to working commercially in 2010 Bruno was also invited for
a two month residency as the sole Brazilian artist to exhibit his work
at the event ‘Paris Hip-Hop’.

Today, as well as continuing and expanding his commercial client base
Bruno administers the department of stencil and engraving in the
faculty of Art and Design in PUC- RIO University. He regularly curates
exhibitions at the innovative store and expo space ‘Homegrown’, where
many local and international street artists display their work. He is
a collaborator in various art spaces including Espaco, Cultural Severo

172 in Rio and  Instituto R.U.A. With these companies he has taken his
work to a new level by developing projects in partnership with the
Council of Rio de Janeiro. He continues to display his own work in
collective exhibitions and in Seminary International.

In 2012 came back once again in Paris Hip Hop as a guest artist and
also took part in two major exhibitions with some of the biggest names
in street art world organized by the Opera Gallery.

Bruno’s metholodgy is based on constantly developing and applying new
techniques to various artistic platforms. Despite his specialisation
in graphic design the artist fundamentally believes that art and
design should work together. He is equally happy working as a
designer, illustrator or art producer. Through exercising this
versatility he believes he can truly explore different methods of
expression and let his art evolve through diverse and varied mediums.”




Chin Chih Yang performs a one-night only prayer as the The Millennial Master (Monk/Taoist priest) of end gun violence, assist the victims of Hurricane Sandy, and more. What can one man do? How can he do it? Will it work, and if so, how? 

Chin Chih Yang wants to pray for people who were lately impacted by Sandy hurricane in New York City, and  also it is about the gun shooting in the USA and it is hard to have gun control. Yang prays that the USA will be able to stop gun violence. "We need more Love" and Yang satire out of human power to stop Gun. 


Multidisciplinary artist Chin Chih Yang was born in Taiwan, and has resided for many years in New York City, where he studied at Pratt Institute and Parsons School of Design. Among other honors, he has been a recipient of fellowships from the New York State Council on the Arts, the New York Foundation for the Arts, Franklin Furnace, and the Lower Manhattan Cultural Council’s “Swing Space” residency on Governor’s Island.

His interests in ecology and constructed environments have resulted in interactive performances and installations that have been exhibited widely in North America, Europe, and Asia, in such spaces as Rockefeller Center, the Chelsea Museum, the Godwin-Ternbach Museum, Exit Art, Flux Factory, Miami Art fair, Accident gallery, Eureka, CAFive Flavours Film Festival, Warsaw, Poland and at the Taipei Art Fair. A great proponent of public art, Yang enacts projects in outdoor spaces such as the United Nations, where he infamously projected a giant Taiwanese flag onto the building, and Union Square Park in Manhattan, the site of events that drew audiences in the tens of thousands,  “Burning Ice” and “World Peace.”



They don't want write any words

MARCH SESSION 2013 CON. TATTO (Leoni-Mastrangelo)

CON. TATTO (Leoni-Mastrangelo)


Con. Tatto ( Leno- Mastrangelo)
Francesca Leoni
Videoartist and actress. She was born in Italy and grew up in Brazil. Graduated in Communication studies at the University of North Carolina at Wilmington ( USA). In the US she worked in several theatre productions and films. Back in Italy she kept on with her theatre  activities and started and started also her video activities production. She studies theatre and film/Video with several “ maestros” of the international scene: Stefan Kaegi (Rimini Protokoll, Enrique Vargas (Teatro de los Sentidos) , Rutger Hauer ( R.H. Film Factory), TDF among others. She worked as an actress in several plays and film productions. The study of  the body and its moovments associated with video images where always her passion and study subject, for this reason the creation fo the artistic group Con.Tatto, with davide Mastrangelo, is an important result of her artistic path and personal research.

Davide Mastrangelo
He lived between north adn south of Italy. Since he was very young he developed a strong pasion for art. After graduating from the Design Artistic High School , he started studying theatre with Massimiliano Bolcioni ( TDF), after that he moved to Milan where we worked as a performer in the event “Caravaggio. Una mostra impossibile” organized by RAI and the department of Italian Cultural activities, directed by Milton Fernandez. In his career he keep studying theatre and performance, specially with: Teatro della Contraddizione, Armando Punzo (Compagnia della Fortezza) and with the “maestro” Enrique Vargas founder of  “Teatro de los Sentidos” Theatre Company.
He works mainly with theatre, Performance, video and indipendent cinema. In June 2011 he created with Francesca Leoni the artistic group Con.Tatto Video Performance Art,in which he works producing videos performances.

Con.Tatto is an artistic group  born in June 2011 from the powerful need of two artists, Francesca Leoni and Davide Mastrangelo, to give shape to their professional and artistic experiences in the world of video and performing arts.
Their work speaks for their poetic intentions to develop a dedicated investigation of the human soul of the contemporary everyman, living a relation with himself as well as the external world, through performing and visual language where these artists let their energies run free to accomplish an authentic and physical artistic act.
Con.Tatto employs videomaking and photography as artistic and expressive tools. 

MAECH SESSION 2013 Eleonora Cumer

Eleonora Cumer

Biographical and projects on artists' books informations
Eleonora Cumer was  born in Bolzano in 1956 and still resides in the town. She specialises in artistic books, installations with books and illustrations. For several years now she has also conducted workshops and seminars in contemporary art museums and other public structures in Italy. She has also taken part in numerous exhibitions in Italy and abroad, amongst which: Biennale di illustrazione di Zagabria (2008), Premio Stupor Sensibile (2008) and Segnalazione di Merito (2011) at the international competition “Libri Mai Visti” , “Le immagini della fantasia” (participating every year since  2005), recognition at the international competition ’Fabbricanti di libri di Sannicola’ (2009 e 2010), Biennale del libro d’Artista di Cassino (2009), Biennale del libro d’artista di Napoli (2010-2012), competition ‘Libri Fatti a Mano’ in Pieve Santo Stefano, Italy (recognition in 2009 and award ‘Libcomelibrarsi’ in 2010), “ARTBOOKS in Archivio” in occasion of Artelibro di Bologna (2010), participation at “Libro de artista y de la pequenas ediciones” in Barcellona (2010 e 2011), “Premios moving book” in Barcellona (2010), “Primer Encuentro International en Red de Libro de Artista, libro ilustrado y edition de Arte” di Madrid (2010), “Como pedro por mi casa – festival international de libros ilustrado n.5 and n. 6 in Barcellona (2011-12), " Libri dai libri" Schio ,Belgrado and Vicenza(palazzo Cordellina)(2011) , Artelibro Bologna (2011), selected for the award UFO FABRIK 2011.
Some of his works are in private collections and public institutions, such as the Central Library of Cantabria (Santander-E), the Museum of Fogazzaro (Schio), The Archive of Visual Communication and Artist Books (San Cataldo-CL) .

"I have been elaborating this style of book over the past 3 or 4 years. Part of the idea behind the elaboration is that turning over the pages or ceremoniously 'unrolling' the graphic concept adds a greater sense of curiosity and intensity to the small work of art that you find in your hands.
Touching, turning and rearranging the book gives a multitude of reading opportunities and it is as if one enters into the object itself. The tactile and the visual experiences come together to offer a new reading sensation in which the book becomes a sculptured handcraft and the craft gives rise to the book. As such the joys of art and reading compliment each other in a form of celebration.
The themes which are developed are both of a personal sentimental level and an evocation of current social dilemmas. The technique applied is that of stencil combined with printed recycled materials."

Eleonora Cumer, nasce nel 1956 a Bolzano dove tuttora vive.  Si occupa di libri d’artista, di installazioni con libri  e di illustrazione. Da parecchi anni tiene anche laboratori e workshop d’artista presso musei d’arte contemporanea ed enti vari, pubblica in Italia ed all’estero.
Ha partecipato ed esposto a numerose mostre sia nazionali che internazionali, tra le quali: Biennale di illustrazione di Zagabria (2008), premio stupor sensibile nel 2008 e menzione al merito nel 2011 al concorso “libri mai visti” , mostra internazionale “Le immagini della fantasia” (presente ininterrrottamente ogni anno dal 2005), menzione nel concorso internazionale fabbricanti di libri di Sannicola (2009 e 2010), Biennale del libro d’Artista di Cassino (2009), Biennale del libro d’artista di Napoli (2010-2012), concorso libri fatti a mano di pieve santo stefano (menzione nel 2009 e premio Libcomelibrarsi nel 2010), “ARTBOOKS in Archivio” in concomitanza con Artelibro di Bologna (2010), presente al “Libro de artista y de la pequenas ediciones” di Barcellona (2010 e 2011), “Premios moving book” di Barcellona (2010), “Primer Encuentro International en Red de Libro de Artista, libro ilustrado y edition de Arte” di Madrid (2010), “Como pedro por mi casa – festival international de libros ilustrado n.5” e n. 6 di Barcellona (2011-12), Artelibro Bologna (2011),  Libri dai libri" Schio, Belgrado e Vicenza(palazzo Cordellina)(2011), selezionata al premio UFOFABRIK 2011.
I suoi libri d'artista si trovano in collezioni private e presso enti pubblici, come la Biblioteca Centrale di Cantabria (Santander-E), il museo di Fogazzaro (Schio), L'Archivio di Comunicazione Visiva e Libri d'Artista ( San Cataldo-CL).

"E’ da alcuni anni che mi si sto confrontando con il libro. Trovo che sfogliare le pagine o srotolarle stimoli maggiormente la curiosità di vedere cosa contiene l’oggetto che si tiene fra le mani. La possibilità di toccarlo, di girarlo e rigirarlo, “leggerlo” da una parte e poi dalla parte opposta è come entrare nell’oggetto stesso. Si va a sommare così la percezione tattile con quella visiva. Il libro diventa scultura di carta, la scultura di carta diventa libro. Lavorare invece con la carta dei libri vecchi, quelli che si trovano nei mercatini o vicino ai bidoni dell’immondezza, è come lavorare su se stessi, riciclare e riciclarsi, nuovi modi di essere e di proporre, la fine ed un nuovo inizio.”



I was born in March 10, 1944 and I am a professional journalist. From
the year 1968 I worked in the Photo Staff at the MONTSAME news agency
as photo laboratory assistance and as a photo journalist, and retired
in 1995.
        Basically, I have been working with my photo camera for almost 50
years since the year 1963. Until present I have participated in many
domestic as well as international contests for photo taking. For
example, I won a bronze medal in the photo contest called “Interpress
foto 77” organized in 1977 in the former Soviet Union with my picture
named “Horseman”. Moreover, I won the Grand Prix Prize in the “Asian
Children” international contest organized in 1978 in Japan with a
picture named “Morning gymnastics” and also took 3rd place in a
contest of international photo journalists announced by the Soviet
Union’s “Pravda” newspaper in 1990.

"It is hard to imagine Mongolians without horse. Mongolian children in
countryside grow up playing with toy horse made of wood" this
commentary is for picture number 16.
"Wedding wish" is for picture number 6.
"Mongolians halter foals from its four-month old, while milking their
mothers" is for picture number 3.
"The foal holder and milkmaid are holding milk in bucket. This is a
Mongolian tradition" is picture number 5.
"The horse milk is a raw material of airag (fermented mare’s milk)" is
pictures numbers 3, 4 and 5.
"Mongolians usually process sheep’s wool by whipping by stick and
press it by pulley to make felt. This felt is material for covering
the Mongolian traditional dwelling called ger" is for picture numbers
"After making the felt, Mongolians do a small celebration for the new
felt" --for picture number 8.