ONE NIGHT PUBLIC GALLERY is an international and touring media art format run by NOKS Collective: Robert Sochacki and Wera Morawiec. It transforms a public space site into an art gallery for one night. It aims to be open, accessible and comprehensible for all and attempts to mark that art in public space is an important factor that contributes to the quality of life of public space and its inhabitants.
For SEE+ ON Public Gallery announced an international open call for visual artists for a special exhibition in Houmt Souk location and six projects were selected
A Day Such As This
by Anne Marie von Splunter [NL]
The children from the artist’s son primary school are filmed at their houses when they open the curtains in the morning to start the day. The film shows 21 children, 21 curtains and 21 views on a small part of Amsterdam city center: an optimistic welcome of a new day. The concept is humble, yet it allows for accidental things to happen and generates a richness in images. In 2018 the artist did also another version of this project, when she filmed 30 children from Amman, Jordan.
by Enzo Cillo [IT]
Silent edge is a work that questions about the vision itself. The idea of this project comes from a reflection on the concept of “limit”. The limit of space and the virtual limit, both concrete and invisible. How to film this immaterial point is the question. Recording inside the depth of space, removing the visible space by mean of light and shadow. At the end there is an image where the limit is the space between heaven and earth, between the vertical and the horizontal.
by Bobbie Gray [NZ]
Negotiating a careful balance between retaining and relinquishing control, a fluid arcane substance, chosen for its peculiar tactility is put through a series of trials, each one resulting in the material resembling exotic organic matter. The work encompasses contradictions of the real and unreal, synthetic and organic, fixity and movement, attraction and repulsion. Referencing computer-generated imagery, these moving images are entirely analogue, shot in real-time. By using technology to modify the perception of reality, the work subverts the truth-telling qualities of real world recording, encouraging viewers to spend time with these traces of material and action.
Ich bin Der Übermensch
by Joacelio Batista [BR]
Utopias are based on fragile structures that arise from the depths of our desires. The video is an allegory about the fragility of ideas when it comes to the real world. As utopias, for example, seem to have answers to everything but those outside the system can see their fragility. The character was created together with artists nephew. The non-sense guerrilla is a recurring character in some of Batista’s works: he relies on his ideology to keep his feet on the ground, but he lives out of his reality.
Since late 2018, we collide our graphic–mainly analog but also digital–artworks in an ongoing collaboration. Our short sketches apply the biological idea of variation produced through mutations, where the most curious is the appearance of intermediate forms. They evolve in a daily miniature, sort of diary mode of variation, revisiting of past procedures to achieve new results. Initial graphic elements transformed through juxtapositions with a set of sound / musical objects, that act as filters, emphasizing the underlying structure and its specific perceptual aspects.
In contrast to studio animation methods, there are no clearly stated “storyboards”, but rather a continual process of “designed evolution” of material. An evolving material, as we see it, can be one of the most complex, presenting in its texture a summation of articulations and stresses varying both in matter and in form.
The work is organized from the overlapping of sound-visual elements in a composition that questions the dichotomy between subject and object. The face as a symbol of the identity and individuation of the subject functions here as a receiver of a number of random objects/information that overlap by transforming contours, identities, and identifications. Faced with a cumulative fusion, subject and object erase their meanings giving rise to an unnameable and unclassifiable hybrid. This metaphor is related to the mythological figure of the unicorn as an animal that transits in the space between the profane and the sacred, having in its horn the possibility of extending its body to magical spaces. The work started from the inspiration of Rebeca Horn’s homonymous work and the relation between body and object as tension and extension of the gesture.