LIVIA MARINLivia Marin uses everyday objects to explore the nature of how we relate to material objects and the relationships we develop with them in an age dominated by mass production, standardized and circulated globally. The artist used fragments of teapot sets, which were industrially produced and featured machine-printed serial decorative patterns, turning them into pieces. unique, precious crafts. In Broken Things, teacups, bowls, vases, jars seem to be paradoxically broken but still complete: therefore what is contained and what is contained form a kind. the third unidentified object hovers between formation and dissolution. It is the decorative patterns of the objects, both in and out of their common place, that maintain the ambiguity of these objects. One such example is the repeating pattern used by the artist, Willow Pattern, which can be found on many commercially produced ceramics. The origin of this decorative motif, reminiscent of ancient Chinese blue-and-white pottery, actually dates back to Britain during the Industrial Revolution. This pattern was invented by an Englishman and in previous times, blue and white ceramics were associated with the aristocracy, but now this pattern has been overused, has become a symbol. Statues are printed on the bulk of ceramics found in any department store. Another fundamental theme for Livia Marin is the tense moment between wanting to keep or discard a broken object. In “From the Series Broken Things,” the photographs of the subjects seem incomplete. The fragments of the photograph, torn and patiently stitched together with gold thread, are reminiscent of the Japanese technique of restoring and embellishing objects. The fractures represent death and loss and they are filled by repairing and rescuing the object. Both the act of photographing and the act of "running away", where gold restores lost or lost things, represent memory metaphorically. In another series, "Nature Morte", the artist uses certain codes of still life paintings of the seventeenth century. She reinterprets this art genre by exploring the hierarchy of objects, analyzing their spatial, social and political order, based on the personal value they have acquired over time. past time. In a world accustomed to compulsive buying and selling of money, these works are a powerful reminder that no part of material culture can escape the ideological connotations of value. .Livia Marin (Santiago de Chile, 1973) lives and works in London. Her work is characterized by the appropriation of mass-produced objects and was initially informed by the social and political context of Chile in the 1990s, which transitioned from seventeen years of dictatorship under Pinochet's brutal regime, to a democracy dominated by an ultra-reformed neo-liberal economy, not least authoritarian and autocratic. What was followed by a huge wave of privatization and liberalization destroyed the country's existing local artisans while importing standardized goods from the global market. The artist thinks about how how we relate to objects in a materialist society influenced by the culture of globalization and about how our identities are defined through materialistic tags derived from consumerism. The close, everyday bonds that can develop between the owner and the object allow it to enter a new stage of meaning. From consumer to consumer, a concept that reverses alienation caused by consumerism, poses a threat to market manipulation. Marin's work has been shown at home country Chile as well as internationally. Recent exhibitions include: Oro verde, Galeria Patricia Ready, Santiago, Chile, 2018-2019; Concealment, Jaggedart, London, 2018; Metalmorfosis, Museo Nacional de Bellas Artes, Santiago, Chile, 2018; ASSORTMENT (XII), Jaggedart, London, 2017; Color grading (XI), Jaggedart, London, 2017; Thread, Jaggedart, London, 2017; Liquid Art System, Miami Context Art, Miami, 2016; White Room-Liquid Art System, Art New York, 2016; Faltas / Faults, Galería Patricia Ready, Santiago, Chile, 2016; Marca no register, Espacio Odeon, Bogotá, Colombia, 2013; Sutura, Galeria Eduardo Fernandes, Sao Paulo, Brazil, 2011; Broken Things, House of Propellers, London, UK, 2009; Nomadic model, Eagle Gallery, London; El lugar de lo invisible, Sala Gasco, Santiago, Chile; Nature Morte, House of propellers, London; Manuf®actured: The Conspicuous Variation of Everyday Objects, Museum of Contemporary Crafts, Portland, Oregon, USA; The tectonic shift: Contemporary Art from Chile, Saatchi Gallery, London; Poetics of the Handmade, Museum of Contemporary Art (MOCA), Los Angeles, USA; Maximinimalist, Institute of Visual Arts
Email : maguire.holey@outlook.com.vn
Reproduction in any form is prohibited
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Harry Maguire

Livia Marin art work

2021
Archival pigment print, sandblasted glass in artist's frame 

Yeux You

30" x 48" acrylic on gallery canvas

Represents our nature of being difficult to understand in our immature state.

Ambiguous

Vintage Life Nature Library images, wood, paper pulp, eco-poxy resin, figurines, felt, laserjet prints on paper, screen, bungee cords, dried flowers and asparagus fern, acrylic, pigment, adhesive.

78”W x 42”H x 8”D


Windows & Many Screens to Know you Fully.

Acrylic transfer on plywood, 75x110 cm, 2020
Photo: Dávid Biró


Time Out #1

48 x 48 x 24”
	Cast plaster, stoneware, steel, acrylic sheet, paint.
	2017


____is Where the _____ is

Title: Détachment with Sirius 
On view at Leila Heller Gallery, NY 
Year: 2021 
Medium: Aluminum, industrial paint, Cor-Ten Steel 
Size: 62 x 32 x 32 Inches - 28 x 34 x 34 Inches


Détachment with Sirius

NO TITLE

Xerox transfer and underglaze on porcelain 

Mixed Messages

"Dancer" is about movement, There two figures here representing a painter as two different entities.

"Dancer" Oil on canvas 120 x 100 cm 2021

2021

MISS UNIVERSE is a celebration of our most subtle complexities, employing a celestial template to illuminate how our differences and shared qualities each demand closer inspection. The series brings various women one with the stars, making their faces appear as if they’re emerging from the night sky. These portraits were created entirely in-camera to capture the uniqueness and similarities that are owed to our cosmic origins.


MISS UNIVERSE

signed digital painting mounted on acrylic glass
date. 2020 | size. 70 x 100 cm
edition. unique

The Artwork "L'isola che non ce" is part of the Shapes of the deep series. 
The shapes of the deep project are about to penetrate from the surface into the depths 
in order to explore the essence and truth of things. The work went through countless 
metamorphoses on this visual adventure journey until it found its final form.

L'isola che non ce

A path, a glow, an explosion of splashes of color. Natural elements like a dance create a rhythm. Space and time merge into a deep emotional expression.
The carnality of colors and soft shapes merge into a constantly evolving composition that moves through a symbolic language of what is known and what is perceived.

Botanica Papapveri decomposed

All living organisms are in constant evolution. This was defined by Charles Darwin in his theory of the evolution of species, and this evolution carries a share of randomness and variation.
With the  upsurge of nanotechnology, biotechnology, computer science and cognitive science, new anthropological narratives appear redesigning the shapes of a human being fixed, transformed or even enhanced . Homo sapiens can now manipulate his DNA, transgress natural selection and eliminate the element of chance.
 
Vision of a better world or an apocalyptic world?
 
 All along my artistic works, I have been questioning the ethical aspect/part of these narratives, and I would like people to develop a critical thinking  on the human condition and  his future. 
I would like to describe the flows, the waves from then considered as vital energies which transcend the Human being in all the aspects of his human condition. The human being is a living being, among living beings interconnected and animated by vibrations. The only way the human being will adapt to his environment, is by understanding and accepting his humanity and  interconnection with Nature.


Illusion of life

Hedonism Bottles

Digital collage, photographic self-portrait (Photography by Magda Kaczmarska)
Belt Mask by Kitsch Doom and Roisin Gartland.

Belt Man & Meryl (2021)

Triptych, cement, aerosol and emulsion on board, oil and aerosol on board, oil on canvas 


Primal Element

Cate Wind's work aims to visually capture and reproduce feelings from situations, experiences, crises and life cycles. Light and color play a central role in her work, along with the material glass. The work "It has happened, Life. Life happened."  is a dynamic and finely structured sculpture, in which it does not seem to be clear whether the yellow rods of glass penetrate a supposed "body" or grow out from the inside like thorns and spikes.
The work skillfully oscillates between violation and defense.

(Text Christof Zwiener)

It has happened, Life. Life happened.

"Muraqqa" AudioVisual Painting
By Orkhan Mammadov - NFT edition 02/03

Listed as NFT on Foundation.app - https://foundation.app/@orkhan/muraqqa-2-venice-biennale-2019-53931

A Muraqqa is an album containing paintings of different miniature styles from different periods in Azerbaijan’s history. The images present a conventional realism and static structure, but the narrative hides inner dynamics. Frozen moments contain rich variations of potential actions.

The artist has reproduced original miniature paintings and represented them as a linear digital story. The authentic traditional Muraqqa becomes a source for the construction of an alternative virtual replica. The artist has added his stories to the original content and created a video installation. He sets the characters of the Muraqqa in motion to play with plot development, and animated effects demonstrate its artificiality.

Viewers witness fictional storytelling that goes far beyond its original context. The miniature paintings’ stories are arguably fake from the outset because they are a product of the artists’ imaginations. The animation represents both fairytales and reliable facts. Following the pictures’ inner dynamics, the artist creates his vision of the represented events. This storytelling reveals the nature of interpretation. This process reveals how the manipulation of content happens.

The artist refers to Azerbaijan’s Biennale Arte 2019 agenda concerning the dissemination of fake news. People have unlimited possibilities when interpreting a singular image or a fact. Therefore, the artist motivates viewers to create new narratives and suggests other ways of connecting and contextualising images.

Artist: ORKHAN MAMMADOV
Curators: Emin Mammadov & Gianni Mercurio

Executor: Heydar Aliyev Foundation
Premiered at: La Biennale di Venezia

Medium: Video Art
Resolution: 4900 x 1080 px
Duration: 4:30 min

...

Official links
https://orkhan.art/links

Latest NFT Drops:
https://foundation.app/@orkhan

"Muraqqa" AudioVisual Painting - Venice Biennale 2019 / NFT edition

Stills from a duplicated and mirrored AI-Generated video

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