The Citara or Zither tables are allegorical music design furnitures of an irregular rationality that is enormously inspiring and elegant. A design that resembles spaceships or boats and that results in attractive angles, full of magic and spatial adaptability. The combination of square and triangular shapes, without any vertex, make these tables stable and highly stylized structures, the five legs make the structure look even slimmer than it already is. The Zither Tables are objects with which to play in infinite positions, a metaphysical sculpture full of lightness, color, musical and traveling spatial references. 

ZITHER TABLES / MESAS CITARA

Archival Pigment Print, 48” x 32”, 2021

15 feet apart at night

The Luminarium Aeternus Project

Live performance act: Holding a salmon fish for an hour time until exhaustion. The work reflects on femininity and power structures taking into consideration religious taboos and gender issues. 

Ascension1

60x100 
mixed tecnique on canvas
2021

Saw a Guy
dying in the Metro
people were ignoring him
he could have been you.

"Sconosciuto sul punto di morte"

In the city there is a shop which is from the future 

Spaceshop 

Jaded

My First House

@45*%***() 

Kim’s works recount memories of everyday encounters such as sceneries, movies, and books. With ordinary scenes and popular images as his source, the artist constructs a subjective archive.

Work, the result of a 2 year-long project, is the artist’s record of contemporary culture. Each work is an interpretation of a popular image, such as the famous dancing scene in the Academy- winning film La La Land, the scene in Haruki Murakami’s novel 1Q84 in which the protagonist looks up at the moon, and the lamppost in the C. S. Lewis series The Chronicles of Narnia.

Kim's works show simplicity, sincerity, and authenticity like Milton Avery and Philip Guston. The materials he uses; oil pastels and oil sticks give viewers intimate feelings. This work shows how contemporary film and literature with distinct characteristics are reduced down to uniform colors when processed through a consumer.

Untitled

From the series, "One Of Us Cannot Be Wrong," monochromes and reds, architecture and flowers, a stroll alongside Leonard Cohen. Collage and acrylic on 8"x10" wood gallery panel, inset into 12"x16" wood panel. "I'm coming now, I'm coming to reward them"

They Sentenced Me To 20 Years Of Boredom

Acrylic on canvas 

100x100cm

2020

Germany

The clearing sky, deep in the sea and an amethyst somewhere downthere

Acrylic on canvas

40 cm x 50 cm

2020

No. 106

C’era una volta il West (2018)
electric hotplates, flute kettles (stainless steel), water, automatic timers 
120 x 75 x 40 cm (H x W x D)

Two flute kettles stand on two individual hot plates and are heated at regular intervals by automatic timers. When the water begins to boil, the kettles emit a characteristic whistling sound. this creates a kind of dialogue in which the sounds partially overlap and can be heard at different volumes. In addition, the hotplates also emit an acoustic signal. As soon as the maximum temperature is reached, they are automatically switched on and off with an audible “click”.
​
[...] C’era una volta il West is Nicolas Vionnet’s installation, which plays with the idea of the (im)possibility of communication, i.e. of establishing dialogues in unusual conditions. In an attempt to create a dialogue between cookers, the author wittily addresses the fact that even impossible communication conditions can sometimes result in a harmonious dialogue – even when the dialogue in question is established between mere kitchen implements. [...]
Leila Topic, senior curator at Zagreb Museum of Contemporary Art (MSU)

Video-Documentation: https://vimeo.com/264383114


C’era una volta il West

Yohana Oizumi is a Brazilian visual artist who lives and works in São Paulo. In 2019 she graduated from the University Center of Fine Arts in São Paulo. 

Artist of The Month ArtConnect Magazine February 2021 (Berlim).
Contemplated by the residency FAMA MUSEUM Meios e Processos 2020
Finalist of the DASARTES PRIZE 2021.
Participates in exhibitions as in (BRAZIL) SUBSOLO, MuBA,  Goethe Institut, Instituto and Tomie Ohtake Núcleo de Cultura.(PORTUGAL) Galeria Ocupa and CAAA Centro para os Assuntos de Artes e Arquitectura.(GERMANY) NextMuseum io.(ITALY) Millepiani. (CUBA) FIVAC. (SOUTH KOREA) CICA MUSEUM. 

Her research is focused on the resistance of some materiality, through the clash between "bodies"until the
exhaustion of matter and or self She is attentive at visceral aspects. 
"Getsemani", 2020/ "Sub Versões", 2019 and "After the Seventh Day", 2019 are performance that questions social control systems and their physical and psychological consequences by deconstructing, reconstructing, accepting and reframing marks and molds.

In "Inside Out", 2020 she crumpled a paper with her hands dirty with ink, until its fibers were exhausted and then she watched the light through the grooves and veins of this paper, i n this context, in "Flesh of My Flesh", 2020,  she reflected on discovering the inside out and on the internal possibilities that are similar to all people the visceral. The first work is a crumpled paper, the second is a sweet potato. The artist observes her daily life looking for aspects of the human body that characterize the visceral psychological.

Photography Credits:
"Getsemani", 2020 | Isadora Falcão. 
"After the Seventh Day", 2019 | Isadora Falcão, Raquel Cutin and Sophia Donadelli.


Sub Versões, 2019

Concrete, Plaster, Spray Paint, Ink

25cm x 20cm x 5cm

Zone, 2021

Twilight comes crawling through the gaps 

This work explores the fascinating & curious characteristics of various feathers. As with many of Gromoll’s works the foundation stems from a large collection which is displayed on the second floor. Connected through only a hole in the ceiling, the underlying room is the stage for a brief 5 minute performance.
A selection of feathers is intuitively chosen and released to the lower room. Detached from their natural purpose to serve flight, the feathers are now able to show their own unique personality. As they dance down from the ceiling a magnificent and ethereal play reveals itself. The feathers’ descent is guided by what once was its natural function, its remaining form as a separated entity in combination with what seems like the will to express its newfound identity.
Eventually this play comes to conclusion as an image on the floor shaped by the chosen feathers and their paths.


Feathers

Do Not Call Me Painting Again! (2013)
patterned fabric on canvas, lacquer, paint splashes (wall and floor) 
210 x 100 x 30 cm (H x W x D)

The work Do Not Call Me Painting Again! imitates a painting, but in the proper sense it is a site-specific, installative work. A large-scale canvas is covered with an industrially manufactured fabric. The design shows a typical retro floral pattern on a light blue background. Paint splashes of the same characteristic blue colour can be found on the wall and on the floor. 

On the one hand the work deals with the topic of deception - only a closer second look will show that the pattern is not painted. On the other hand, it examines the boundaries between design and art, mass product and original.

Do Not Call Me Painting Again!

Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence.
Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike.
The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.


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