ISOMORPHISM is an art magazine that publishes on interaction of contemporary art with a wide range of today's realities. From political philosophies and civil movements to present day nanotechnology and biotechnology implicated in artistic creation the magazine's plentiful subjects include articles, essays, reviews, presentation of ideas, interviews, events and projects of worldwide interest.
The magazine is dedicated to those interested in visual culture and other adjacent fields, encouraging artists, designers, critics, curators, scholars and other contributors who share interest in contemporary art to submit their work.
Romul Nutiu has been active for over six decades (from the end of the 1960s to the beginning of the second decade of the XXI century) of (implicitly aesthetical) ideological confrontations, so his oeuvre appears as a coherent discourse and a constant investigation of the subjective experiencing of the material world – either visible and directly tangible, or accessible only by the means of a sensorial, illusion avoidance – a biologically, cosmically and historically dynamic world
TANJA OSTOJIĆ: BODY, POLITICS, AGENCY…
4. 6. – 15. 7. 2012
Multi-layered art works and an unrelenting critical social stance are among the premises of the exhibition Tanja Ostojić: Body, Politics, Agency... in Škuc Gallery Ljubljana,whose exhibition programme seeks to present artists who, like her, have influenced the development of art in the region and wider area. Tanja Ostojić (Belgrade/Berlin), who has been active internationally since the second half of the 1990s, has presented her work at numerous group exhibitions in the region (including The Present and Presence, MSUM Ljubljana (2011); Gender Check, MUMOK Vienna (2009)), while the exhibition in Škuc Gallery is her first bigger solo presentation in the region, and is intended to present different levels of her work from 1995 to 2012. Her artworks - in the media of photography, video, video-performance, archive, video-installation and works on paper - were created in specific social and political contexts.
The exhibition entitled The Poetics of Politics includes Romanian art from the period beginning two decades before the Revolution (1970-80), through the '90s, up to the present day when the techniques of using bodies and other aesthetic tools are still used to absorb and transmit political issues. The exhibition shows the specificity of Romanian art, which is intended to enhance a better understanding of links between a political concept and its artistic realization in different social and political contexts of Romania, as well as in a broader perspective –that of art created before and after abolishing the Iron Curtain in Eastern Europe. The Poetics of Politics does not offer a conventional, rotund outlook on political art; instead its aim seems to be finding out a visual code for political art – less or more aesthetic depending on a given sociopolitical, economic and cultural entanglement of individual artists.
ȘTEFAN BERTALAN – AN EXPERIMENTAL ARTIST OF THE NATURE
A review on Ileana Pintilie's Ștefan Bertalan. Crossroads, Anthology of critics and supervision of the edition by Georg Lecca, Editor Triade Foundation, Timișoara, 2010
Creating the monograph Ștefan Bertalan. Crossroads (Ștefan Bertalan. Drumuri la răscruce) was not an easy task as the author herself, the Timişoara art historian and critic Ileana Pintilie, mentions at the start of her written journey through the life and work of the Romanian born artist Ștefan Bertalan. A difficult endeavor due to the resistance by the artist and to the lack of consisting written materials about Bertalan, except articles scattered in contemporary publications, journals or group exhibition catalogues.
Small World, Travelling People: On the Socio-Political and Economic Contradictions of the Contemporary Art Scene
The aim of the present study is to show how the changes and transformations that frame the presentation, and thereby the preservation of what we consider to be art or rather art systems manifest in the present scene of theoretical debates as well as on the practical levels of the art world. As today's globalized art world shows, the theoretical debates emerging in the past two decades cannot be univocally localized anymore. My examination of the art world entails a dual query: on the one hand, I will give account of the main traits of the debates and questions of theoretical discourse and art phenomena, from the so called "relational aesthetics" to its criticism and beyond. On the other hand, by focusing primarily on the socio-political and economic questions raised in this debate, I will try to point at the contradictions which are inherent in the the contemporary art scene as well as to reveal how (art)institutions manage themselves, through their metamorphosis on different levels, amidst these rather turbulent and ongoing changes that is characteristic of the recent art world.
Growing up in a war, where the bombs were 12,377 kilometers or 7,691 miles (or 6,683 nautical miles though Afghanistan is land-locked so perhaps not as relevant) away. An Afghan-American suburban dream punctuated by weekend sleepovers, Saturday soccer games, fist-fights with racist children of the Confederate South, and religio-nationalist driven demonstrations chanting "Down with Brezhnev!", "Long live Islam!", "Down with Communism!", and "Long Live Afghanistan!" before I even knew what that meant. It is what I was fed growing up, in between southern-fried chicken and garlic mashed potatoes, cumin-scented meat and basmati rice…