SEA(S) ARTS PRIZE ANNOUNCEMENT
LIST OF SEA(S)ARTS 2018 WINNERS
COBI VAN TONDER (SA)
Video /sound ”MIRROR”
LEA MUGAINI -PARIS GIAGOUSTIDIS
Book” VIEW FROM WINDOW”
RODERIC COOVER-SCOTT RETTBERG
GARY WARNER-MARK TITMARSH-SEAN LOWRY
Video”THE HIVE MIND”
WINNERS OF THE SEA(S)ARTS 2017
LIST OF SEA(S)ARTS 2017 WINNERS
GIANLUIGI MARIA MASUCCI (IT)
CLEMENTE BICOCCHI (IT)
NINA SCHIPOFF (DE/CH)
MATTHEW MAZZOTTA (US)
‘A day at the beach’
PANTEA LACHIN (IR)
LIST OF SEA(S)ARTS 2017 FINALISTS
ALEXIA TURLIN (CH)
CHRISTINE BOILLAT (CH)
CHRISTOFOROS BALABANIDIS (GR)
CLEMENTE BICOCCHI (IT)
EMILIA MARYNIAK (PL)
ENRIQUE VERDUGO (CL/UK)
ERIC WINARTO (CH/ID)
ESTEFANIA VALLS URQUIJO (GT)
GIANLUIGI MARIA MASUCCI (IT)
GONZALO GALETTO (AR/US)
HONG YANE WANG (KR/UK)
IOANNA SAKELLARAKI (GR)
JOHN HUGHES (AU)
JORIS BRANTUAS (FR)
JULIA SCHMID (DE)
MARTHE RAMM FORTUN (NO)
MATTHEW MAZZOTTA (US)
MICHELLE Mc AULIFFE
NINA OSSAVY (NO)
NINA SCHIPOFF (DE/CH)
PANTEA LACHIN (IR)
PHILIP ELLIS FOSTER (US)
PREETI NIGAM (IN)
ROBERT FITZGERALD (US)
SALMA ZULFIQAR (PK/UK)
SANDRA VOLNY (CA)
SIRIPOJ CHAMROENVIDHYA (TH/CH)
SOPHIA ALEXIOU (GR)
SYLVIA SOUFFRIAU (BE)
SYLVIE WOZNIAK (FR/CH)
TALI RIMER (IL)
XAVIER CARDINAUX (CH)
SEA(S) ARTS PRIZE ANNOUNCEMENT
WINNERS OF THE SEA(S)ARTS 2016
SEA(S)ARTS INTERNATIONAL EXHIBITION 2016
CURATED BY HAYTHAM NAWAR & GHALIA ELSRAKBI
OPENING June 20TH 2016
LIST OF SEA(S)ARTS 2016 WINNERS
Alex Norden (Sweden)
Enrique Verdugo (Chile – UK)
Julia Schmid (Germany)
Roderick Coover – Scott Rettberg (USA/Norway)
Olga Maria Tsiligiroglou (Greece)
LIST OF SEA(S)ARTS 2016 FINALISTS
Alex Norden (Sweden)
Amanda (Aimee) McMullen(USA)
Claire Paul (USA)
Clemente Bicocchi (Italy)
Emmy Mavroidis (Australia)
Enrique Verdugo (Chile/UK)
Gonzalo Galetto (Argentina/USA)
Hobart Hughes (Australia)
Julia Schmid (Germany)
Laurel Johannesson (Canada)
Mariangela Zebrini – Wissam Baker (Italy/Syria)
Marietta Patricia Leis (USA)
Mark Titmarsh (Australia)
Marty Kaufman (Canada)
Nina Schipoff (Germany/Switzerland)
Pam Longobardi (USA)
Peter Matthews (UK)
Petra Corte (Germany)
Ricarda Hartmann (Germany)
Robert Atwater (USA)
Roderick Coover – Scott Rettberg (USA/Norway)
Sal Sidner (USA)
Scott Townsend (USA)
Susan Knippenberg (USA)
Swuan Kim (USA)
Sydney Daniel (USA)
Stella Komina Simatou (Greece)
(Netherlands), Seascapes [according to MAYA2009]
Each video displays a different artificial sea. These are listed in the library of MAYA2009, a 3D animation, modeling, simulation, and rendering software. This software provides four Ocean Shades, and they simulate Calm Sea, Giant Storm, High Seas and a Normal Sea.
The basic shapes for geometry; a circle, a square, a rectangle, and a triangle, added in each scene. The work compares the thought process of a man with that of the computer. Where the progress in thinking of humans goes along with an increasing level of abstraction, the progress in thinking of the computer goes along with an increasing simulation of the real world. According to the artist, is it also a ‘Love Story’ between nature and science, “Mirroring each other movement shows a sense of empathy. This allows a greater connection and understanding”.
*The work is part of the collection of Foundation François Schneider
Alex Norden (Airbgr)
“Dalaro pistol 1.”Ceramic. Stoneware clay, ash and iron glaze, multiple firings. The Baltic Sea is estimated to have over 100 000 shipwrecks resting on its bottom. Due to the unique environment, wooden ships from the 16 and 17th century are amazingly well preserved. The biggest threat to their preservation are humans. The pistol exists today only as an artistic recreation. The original was stolen from the bottom of the sea, its destiny now unknown.
“Ordnance 1.”Ceramic.Stoneware clay, ash and iron glaze, multiple firings. The Baltic Sea, like all marine environments, suffers from millions of discarded military bombs, mines, shells and other ordnance.
Amanda (Aimee) McMullen
Sand of The Sea, (Photography).
Sand of the Sea is an exploration into how the Mojave used to be a part of the sea many, many years ago. And how its barren surface reminds its guests, that the earth has changed, and is still changing today.
Sand of the Sea consists of four film photos taken in Johnson Valley, California. Movement inspires the collection, traces of the sea, and color. The collection was taken in January 2016.
This piece is a poetic film, exploring a place through a close encounter with the shifting sands and microscopic remnants of sea creatures that are cast up along the strandline of a British beach.
(Egypt) Wall painting –Poetry of the Palestinian Poet Mahmoud Darwish
‘’ WHO HAS NO LAND HAS NO SEA ”
(USA), Drawings, Untitled
These ideas derive from a connection to musical playing, performing, and documenting. Electro-acoustic sound performance and visual art merge in a collage of documentation to explore mental-scapes, time, and place.
(Italy), NIGHTFALL – Sound from another planet.
(Sound Installation)+Still image
It’s an Ionian island, but it could be anywhere in the Universe. When the listener experiences this “audio journey”, he/she is suddenly projected into another space-time dimension, where the all the sounds create a gateway to a very intense and self-reflective moment. In a remote bay, the nature environment is suddenly overtaken by the music of a herd of goats passing by. Each one has a bell with a different note, and their movements, the echoes of the rocks, distance and proximity, etc… Create an “audio landscape” that leaves a big inner space for imagination. An open space where the goats create an imaginary pathway, where everybody can get lost; and when they are gone, and the music is far away; suddenly the night has fallen. This installation is inspired by Nightfall, a short novel by Isaac Asimov (1947).
CONCEPTUAL NEBULAGRAPHIC (Painting)
In “Nebulagraphics” I am inspired by the profusion of nature and the form on my native island. Also, I have succumbed to the seduction of the immortal power: wind, air, sky, out of which is born the cloud. All other elements, the sea and the horizon, represent merely the source of light, of direction and the source of its enigma. The form has been relegated to color and its consort the ethereal, the symbolic.
There are a marked intensification and vibrancy emanating from the canvas. With remarkably subtle distinctions of the blue and yellow colors of light and shade, capturing precious moments in nature. Unforgettable spectacles of vision, fantasy, imagination, insight and painted with the power of the soul.
‘A Common Task’
‘A Common Task’ (ACT) is an outgrowth from interest in raw and early forms of expression. The title is borrowed from Nikolai Fedorov’s (1829-1903) theo-philosophical essay, ‘The Common Task’. Cupules (kyoop-yool) are circular human-made hollows on rocks that are found on every continent except Antarctica and are first located within the Lower Neolithic Period pre-dating rock painting. The concept is to have the public respectfully and with deliberate intent create cupules on local stones. ‘A Common Task’ is designed to be a literal interaction with the past. It also allows the individual participant to contribute anonymously and collectively devoid of a judgment of quality of style and intention. EEG will be employed to record and expose the stone’s electrical changes brought on by human contact, proximity, and meditation. The project also expands an interest in exploring new paradigms in teaching & art-making. ‘A Common Task’ employs accessible materials and is intended to be replicated and stand indefinitely.
The video is taken in the Aegean Sea, on Paros Island, Greece, in the fall of 2015.
Net is made by crocheting found pieces of fishing nets, nautical ropes, strings, and seaweed washed at the seashores of the Greek islands of Paros, Naxos, and Amorgos, and at the seashores of the Pacific coast in the US.
The sound is made from different documentaries about refugees coming from Africa and Asia, who survived with the help of the many volunteers at the coasts of the Greek islands Leros, Kos, and Lesvos, and in Italy, in 2015.
My collage works are made of fragments of paper, posters and recycled printed material that I find in the streets. It might be partially torn down posters on a wall in Oslo, or remnants of advertising in the Paris metro. I am fascinated by the often overlooked, random visual poetry of colors, textures and forms that are created over time in the layers of corruptible visual communication. My art is a kind of graphic archeology, where I dig my way through layers of consciousness, deconstructing and reconstructing, in an intuitive and ongoing visual experiment.
The shown collage work “Urban Islands” is providing an association of the coexistence between the modern man and the sea.
Visual Dialogue, (Painting)
My paintings express a visual dialogue between the sea and man. The colors, textures and materials depict my interpretation of the harmony that can exist between the two subjects. Each painting mimics elements present in the sea’s make-up and the sculpted landscape formed by the sea’s powerful motions. The viewer is invited to travel through the shapes on canvas and experience the energy of the seascape within.
Drawing and Monotype
What happens when you draw another human? Understanding and interpreting human communication is something we each do every day. Drawing the figure is about observing ourselves and the relationship, tension and connection to each other and our environment.
By drawing the human figure I observe and respond to the figure present, and I respond to the evolution of the mark, pushing shape and movement into form, space around and in between which emphasizes the relationship, tension and our connection to each other.
My work is about empathy, and it is about understanding who we are. It is about recognizing that, what we do is a reflection of our beliefs and who we are, who we love, what we desire, what we fear, who we admire, what we share, what we don’t expose.
Memory and Migration Project, Video
This body of work deal with ideas of migration, the travel to the unknown and the seas as a mystical catalyst of the memory and mind.
The work originally started with my curiosity for the astonishing problems of migration, people jumping into a boat. I recall in my work the migration from people from Senegal to the Canary Islands, In a different scenario that the actual problem that Europe Face today, Senegalese Migration it was rather more an economic issue, but none the less a strong enough reason to trigger a desperate action and make a person to jump into a boat to the peril of the unknown.
The ocean of memory is the ability the sea has to evoke in us, thoughts, emotions, dreams, desire, etc.,a man connected to the sea, in an endless dialogue like a river of thoughts, pouring our its humanity.
Gaia/Movements in Return, Digital Sound Source
The work centers around Movements in Return, a musical composition of fourteen movements, playing the axis and giving direction to the landscape of the piece. The work is intended to transport the mind in a perceivable passage of time and space, experiencing the recall of memory from past lived experiences while navigating the physical landscape of a prepared gallery.
The top section depicts a container ship, which both gives scale to the size of the iceberg as well as making a reflective reference to sea commerce, bilge water contamination, and ships sinking from collisions with icebergs. The lower section depicts an iceberg, and it’s man-made and biological content apart from water.
The work employs various kinds of metaphoric devices and is conceived as a way to intersect and reflect these concepts against each other. It also deploys different types of scale that reflect the kinds of proportions of man-made materials to the biomass contained in that amount of iceberg. The zooplanktons is both an insight to the adaptability of natural systems to colonize new environments. However this same ability to interact with the environment also indicated the level of disturbance to systems that humans depend on. The acidification of the oceans destroys the ability of these life forms to build skeletons and to produce oxygen, therefore. Most of the world’s breathable air comes from the top few centimeters the of ocean.
THE ° WATER ° WORLD ° WORTH ° WHIRL° PROJECT
Life of Earth and Mankind is based on water. Society is based on each creature’s behavior. European Society is based on ancient Greek philosophy. The performs an Everyday-Ritual to question the possibility of altering our running and thinking system.
Every morning she writes a Letter to the Sea, which is placed underneath a Water- Whirl in order to, transform the letter ́s information and send it to the Ocean. Beneath lies the Assembly of Stateless Stones. Stones have taken in return from the Sea after sending the message from an energetic Spiral that also holds the old letters.
Two Canvases encoding Platon ́s Politeia and Homer ́s Odyssey and two Kefalonian Firs (one being given structurized water) can be observed growing around the Center Piece.
The Oblivion Seekers
The underlying theme of The Oblivion Seekers series is that of instances of being in a state of precarious limbo. The cliff divers or swimmers are in between freedom (flight) and safety (land), and the turbulent sea is the uncertain suspension that they must navigate between the two. It is this in-between space of protracted temporality that I am interested in revealing. I also use light to convey a sense of duration of time or perhaps timelessness. In some of the images, the time of day is unidentifiable fluctuating between sunlight and moonlight stars in the sky and sun on the waves. Spatial references are also manipulated with sky becoming sea and sea becoming sky. The Oblivion Seekers are searching for space where time is suspended, where they can hover in limbo, and temporarily push memory and knowing into oblivion.
Mariangela Zebrini – Wissam Baker
Illegal – A_to_B_project, Video Installation
It consists of series of works regarding the trip of a Syrian refugee from Turkey to Germany, an accusation for the current refugees issues and struggles.
A short video documentary that introduces briefly the story of how we accidentally got in touch using a smartphone app, how then we dealt and told the trip towards and across Europe, without knowing each others and getting live updates about the journey via vocal messages only. In some way, since the abuse of spreading pictures performed by media about war, migrations and historical facts, a single voice can be in this case more iconic and powerful than a photo.
A paper installation forms the word “ILLEGAL”, approximately 4,50 meters long, shaped by about 900 origami paper boats. Each letter of the word is like an island that takes form by the little, white and weak boats.
Marietta Patricia Leis
“WATERMARK”, Print on fabric
Watermarks are traditionally and historically identifying images or patterns in paper. Our blue planet Earth has its unique pattern of seas for a watermark.
“Chromoman 11”, 2016 is an ongoing series of performances that enact the making-doing of painting without recourse to paint or canvas. Instead of the artist applying colours to a substrate, the situation is reversed with the artist becoming a living surface on which colour is applied. In this case 6 assistants spray coloured string onto the crouched body of the artist , Τhe performance will take place in Kefalonia, outside the entrance of the Saint Georgio Fortress.
The artwork titled Keyhole was created using an image from
near the location of the chapel of Aghios Ioannis O
Theologos on the Island of Paros. Here stands a memorial
to those lost at sea from the Samina Express disaster of
2000 that is the centerpiece of the image.
The title Keyhole references a silent looking with discovery.
The Sea’s primordial physical presence of a powerful shifting
vastness manifesting timelessness focuses the
consciousness on the impermanence and the permanence of
the human condition. The contrasting ideas of individual
impermanence, so evident balanced against the Sea’s scale,
and the collective permanence of history marked by time
and myth propelled by the Sea’s energy, create a Keyhole to
The artwork’s center image stretches out from terra firma
through the sea to illustrate a focal point on the sky’s
The image portrays the Sea as an expanse that reveals a
dense and relentless metaphor of time traversed by a
centred dark symbol for device that circularly frames the
sky’s horizon and the future it holds.
Qaleraliq is a tiny spot on the map of Greenland. Situated at the end of a fjord it is facing three glacier tongues. It’s a place where space and time are out of focus.
In my artworks, I investigate the concepts and dimensions of space and time and their relationship to our personal or/and collective memory.
Olga Maria Tsiligiroglou
(Greece), Beach Treasures Jewelry
Project 1: Refuse / Refuge / Rescue, 2016, Refugee Camp, Lesvos, Greece
Pam Longobardi and Drifters Project on Lesvos make actions the on island by cleaning beaches, documenting plastic artifacts of the refugee migration crisis and make collaborative art with refugee camp residents during the last week of May 2016. This work is seen within the context of the larger Drifters Project, which remediates coastal zones around the world of ocean plastic and transports this work back into cultural contexts as activist messages of transformation.
Project 2: Plastic Free Island
PLASTIC FREE ISLAND (Island Sans Plastic) examines the mobilization of an entire island in Greece to address its plastic pollution problem. Five years in the making, this film documents the synergy of two artist-directed networks, Drifters Project and Plastic Pollution Coalition in the development of a template of social and artistic engagement of the island of Kefalonia, Greece. With an international team of 30+ students and hundreds of citizens of the island, beaches are cleaned, plastic is typed and sorted, and artwork is created. As a model for reinventing at-risk island communities, Plastic Free Island works to create a template for a sustainable future, one island at a time.
(UK), Struck by a Pacific Ocean Wave Seven Times.
I work directly with the mystical elements, dimensions, and truths that shape and inform our experience and understanding of who and where we are in the universe. By spending hours working in real time and in an ever evolving approach and relationship with the ocean, and through its extension and connection with the universe, I seek to question and challenge, reveal and work with these mystical truths. I work across different ways of image making and continuously discover that a drawing can take me to places that a painting cannot while, similarly, video may be more susceptible to capturing something that drawing, even after hours and hours drifting in the ocean, may elude. My work is motivated by the notions of discovery and exploration, to jettison oneself from technology and to realign oneself back with the cosmic cycles of being a luminous human being in a world that is radically changing in speed, scale, direction and its connection and understanding of where we are in the universe.
All of the four pieces of my work is made up by crystallization with salt. Concerning salt – called the white gold – it is an old symbol of life, like the sea itself: We cannot live without salt like we cannot live without the sea, where do we depend on. – The blue color shows the deepness of the sea-world as also the longing to it – like in the sense of the blue flower in the Romantic Movement. It is pointing out the needs of human beings for the clearness of water and protection of the wonderful, amazing SeaWorld. The same way the movement of the Sea is shown in all works by its structure and also the space in between, cause like the movement in daily living is the moving water a requirement of all beings and nature. – Hopefully, the visitor will also start ‘the own dreams’ like diving under the water surface!
A PLACE: OSTKREUZBATH
There is this unique place one has been looking forward to for so long, one will always return to and will think back to with fond memories. Its magic can change the surrounding. The objective is to design such a place. But what makes an area a place? On the foundation of theoretical research (e.g.: Augé, Foucault, Tuan) grid for a general planning strategy was defined.
The comparison of actual places revealed a sensitive symbiosis of architecture and landscape, a precious whole in which neither can exist without the other. Close to the water, many needs of society can be fulfilled. All conclusions are visualized in a moving collage with sketches and found material, overlaid by sound and a narrating voice. The short movie is working as a design tool for a public swimming pool at the margin of the biggest lake in the center of Berlin.
Six Black & White seascape photographs, three of them, Agio Theology, Kassos, Kos. The other three are photographic prints made from images I captured in 2014 in the Mediterranean and the Black Sea. The first three pieces are indicative of new work, which I am pursuing in conjunction with a project that examines the semiotics of visual language. In particular, I am looking at the coding of an image, and how the observer, the photographer, reads that code and by the experience, each brings to the photograph. The other three pieces are elegant landscape photographs indicative of my vision and quest for the way the oceans and seas once were. I like to imagine these places 2500 hundred years ago when there was minimal human interface with them: just the natural forces at work, the water, the wind, the light and the weather.
Roderick Coover – Scott Rettberg
(USA/Norway), TOXI.CITY: A climate-change narrative
Six fictional characters confront life decisions brought about by the toxic floods of rising seas and storms in a code-driven film that never plays in the same order twice. The database film asks how conditions of life would change if repeated storm surges and tides flooded the densely populated lands with toxins from the hundreds of sea-level petrochemical industry sites and post-industrial brownfields. The fictions are interspersed with nonfictional accounts of deaths that occurred during recent storms in the area, most notably Hurricane Sandy.
Convention of the angry Goddesses
The original concept called: Υemaya is angry” was a reaction to the degradation of the oceans and migration from Africa to Europe. As the piece progressed, more goddesses, from various cultural traditions, all angry about the condition of the earth as a result of the action of human beings, appeared. Yemaya, goddess of the ocean, was joined by Οchun, lamenting the death of her fish in the fresh waters, pele exploding in wrath as the waters rise around her, and humans pierce her sides with fracking, ceres in tears holding a gmo wheat sheaf, and flora, representing the power of reproduction in the face of the degradation of the living earth, leaping pregnant towards the moon, symbol of female wisdom. The sun continues to emit heat, unmoved by the plight of the earth, symbolizing the urge to profit and burn up resources, regardless of the consequences. The piece is a call to emotional awareness through poetic interpretation.
(USA), Social Capital: Greece
There are four themes/animations: Diaspora – Negotiation – Allegiance – Exchanges and Borders.
Scott Townsend has recently worked with people and communities in southern Europe through several projects and exhibitions. He has conducted workshops, interviews and digital data collection using mapping with participants, etc. to understand how communities perceive the EU and globalization, and their local community identity. The topics and visual references, etc. from this research are the basis for a series of short, looped animations, with a small text panel explaining the process of research and the locations (Greece, Italy, Serbia) briefly.
(USA), The Nature of Delusion
This performance will be an exploration of plastic as a foreign invader of our seas, mimicking its native inhabitants through movement and color. Like a jellyfish traveling with the current, undulating through the water, it is often mistaken for food. The plastic becomes a silent assassin of our sea creatures. With an organically shaped vessel of discarded plastic and materials found on the beaches of Kefalonia, woven together in an unspecified manner, movements will imitate the plastic agents of destruction who have found their way into our seas.
(USA), Visitors, Video installation
The project is titled as ‘Visitors’ a live video installation, which is based on a series of my short abstract narrative poem. The project will progress in 3 parts. The first would a be video that will be projected onto an installation that is stagelike. The second part will involve the performance of myself who will be present in the same space during or the showcase. The performance will incorporate interaction with installations and multiple interactive projections. This entire performance will be filmed and later screened as documentation as well as a cinematic experience. The piece will result in this short film, approximately 40 min in length. Having multiple functions outcomes. I will present this piece as expanded cinema: mixture of the film during the live performances, on the stage. To the audience, a small booklet of the written narrative poem ‘visitors’ will be provided as the part of the exhibition.
(USA), Painting, Untitled
Her medium of painting consists primarily of process-based mixed media works made up of multiple layers and materials. Sydney is specifically interested in the formal qualities of painting overriding the representational. Through a method of staining and layers of texture, her paintings become a patchwork of different applications.
Stella Komina Simatou
Sea based ceramics.