Shiva Anoushirvani

Shiva Anoushirvani, curator of Myth of Reality is a Stockholm/London based new media artist and cultural producer. A former Fine Art and Contemporary Critical Studies graduate of London's Goldsmiths College, University of London (2005) and Gerlesborg School of Art in Stockholm and Hamburgsund, Sweden, (2000-2002).

 

Shiva's interests are rooted in the historical impacts of socio-cultural and political issues and how these are manifested into everyday issues, forming the backbone for Myth of Reality.

 

Stockholm, Sweden Jan 2008.

 

 

Artworks:

 

The Holy Fruit  
2007 Installation/Monument (fresh pomegranate, kitchen knife, glitter)

 

Akin to "The Big Apple," a synonym universally associated with New York City, the Pomegranate has been regarded as the Middle East, namely Persia's mythological and cultural signature symbol. The fruit has also been kept sacred by many of the world's major religions. With its highly symbolic properties the pomegranate is often linked to prosperity, opportunity, fertility, success and health. It has even been suggested that the forbidden fruit in the biblical fable of the Garden of Eden was not an apple, but in fact a pomegranate. The image of the pomegranate has fast evolved and recently reammerged in the West as a "super fruit" appearing in flamboyant cocktails and various beauty remedies suggesting that maybe the once branded " the holy fruit" will come to sit comfortably next to the sign of one of the biggest computer brands the Macintosh Apple. The pomegranate has died but it is time for it to be reborn and live in harmony in a fruiter generation within the mass cultural sphere.

 

 

 

Intelligent Lad

2007 sound installation site-specific work installed in the bathroom (speaker voice) duration 6 minute

 

In an attempt to break the myth of prejudice and reflect on similarities between distinct themes "Intelligent Lad" presents an upbeat monologue about art, life and philosophy with a street talking, "cockney" "lad" whose insights into worldly issues dash in the face of class associated myths.

 

Aurélien Collas

Male

26

1.78 m

60 kg

Single

French

Taurus

Lucky number: 21

Live and work in: unspecified

Interest: none

Like: high heels

Dislike: rasta hats

Afraid of: my self

Looking for: sponsors

Support: hardcore humans

Expect from life: true love and big cash

 

 
 

 

I'll never walk alone  

There is fourty thousand voice singing together in my head:
 

When you walk through a storm,

Hold you head up high,

And don’t be afraid of the dark.

At the end of the storm,

There’s a golden sky,

And the sweet silver song of the lark.

Walk on through the wind,

Walk on through the rain,

Though your dreams be tossed and blown...

Walk on, walk on, with hope in your heart,

And you’ll never walk alone...

You’ll never walk alone.

Walk on, walk on, with hope in your heart,

And you’ll never walk alone...

You’ll never walk alone...

Paris, 02/01/08

 

Davina Drummond

In my grandparents re-enact the scene from Shakespeare's iconic play Romeo and Juliet, the scene where the lovers share their first kiss. 


Do we find ourselves in daily life re-enacting love scenes from movies? Do our expectations of romance come from the cinema or theatre? Can elderly people experience romance? Is the romance of the elderly celebrated by any media or is it only young lovers who are in the spotlight? Is lengthly long term love not something to rejoice? ........

 

http://www.davinadrummond.co.uk/

 

 

Lo Hillarp-Sjöström

1978 06 09

Lives and works in Klostersågen and Malmö, Sverige.

2002-2004 BA Fine Art Goldsmiths College, London

2000-2002 Foundation and Visual Art, Gerrit Rietveld Academie, Amsterdam

 

I am contributing 3 works to Myth of Reality:

 

SPELL

2004 lightbox (wood, perspex, lighttube, cord and digital print. Captured sculptures made made from steel, gaffertape, plastic and foil)

 

 

Pussyfooting the thresholds of subjective fabrication, we- safely planted up north- embody the myth of individual freedom.

We adopt rhetorics from neoliberal think tanks, embark on empathetic virtues and nurture visions of grace.

Seriously steeped and soaken in practices of high maintenance and mindfulness, could we- from our embedded perspective- ever really be liberated from the mercy of our own stedily crystallizing vanity?

Spell reads intersectionally in literally spelling out (by means of sculptural gesticulation) the mantra token for the all-encompassing and ever resonating- the great and only OM. Meanwhile, a slight suspicion as to the cast spell of enlightenment is plainly enacted on material level.

 

 

TRAMP

2006 naked rakufired stoneware sculpture.

 

Trading in sentiment, Tramp has however been initiated by the logic of economic principality. As artefacts in circulation the palms of shed primate hands have been known to operate as ashtrays, usually in association with people of power.

The fracture to believability at stake is here a matter of material, where the mimicked piece might serve this mundane habit even better. In its unused state, Tramp overdrafts an already indebted status of a thing, taking it further down the trail of excess. It might just as well flesh out as a moderately perverted materialization of the theroretical rule of the invisible hand.

Mia Jafari

Mia Jafari graduated Goldsmiths College, London with a Distinction in an MA in Textiles in 2007. Working with textiles and photography her most recent body of work, shot in Iran questions reality by placing kitsch and pop art elements into genuine Iranian landscapes and interiors. Jafari creates illusions; mixing the believable and the unbelievable using a visual language that combines pop art, kitsch and the obscure with existing eastern locations. Tantalisingly, Jafari asks the viewer to wonder what is real and what is not in images that we use to consume and view our cultural others.

This body of work entitled ‘' has been exhibited in various London galleries as well as in locations outside of London and will travel to Iran and Dubai to be exhibited along side digital and hand embellished costumes and installations. Mia Jafari was born in Tehran, Iran in 1982 and moved to England in 1985 where she has been educated.

 

http://www.miajafari.co.uk/

 

 

Patrick Kretschek

(Sweden/Austria)

 

 

Dokumentation av en felaktighet i mjukvaran (.pdf)

 

Det finns något som troligtvis är en felaktighet i mjukvaran (bugg) som består av en spricka i det 3-dimensionella rummet som World of Warcraft är uppbyggt i. Sprickan finns i Stormwind City, en av huvudstäderna i kontinenten Eastern Kingdoms i World of Warcraft. Genom att hoppa upp på en osynlig skarv vid en av stadens murar kan en karaktär ta sig till denna öppning. Lyckas en karaktär med det faller den ner till en plats som ligger under huvudstaden, tillsynes mellan olika skikt av 3D-landskapet.  Där går det att se hur alla murar är ihåliga, hur vattnet i vallgraven intill staden tar slut som ett streck, hur andra karaktärer springer runt högt uppe i vad som ser ut att vara mitt i luften, hur bergen runt staden helt abrupt tar slut och hur trädens kronor hänger fritt uppe i himlen. Det påminner om en genomskärning som tydligt visar att varje 3D-miljö är uppbyggd av ytor som sammanfogats i varandra för att med hjälp av volym, yta, ljud och ljussättning skapa illusionen av olika material som sten, vatten, berg och träd.  På den platsen finns ytterligare tydliga "hål" där marken och berget helt enkelt upphör. Nere i de hålen verkar inget finnas utom en grå färg. Låter en spelare sin karaktär falla ner i ett sådant hål faller den under en kort tid i något som saknar referenspunkter. Slutligen når den en lägsta punkt och i det ögonblicket faller karaktärens skepnad neråt ur bild och lämnar endast den "kamera" som är karaktärens p.o.v (point of veiw) och som alltid följer karaktären i spel som dessa. Detta ögonblick illustreras med vad som verkar vara en medveten ljudeffekt som låter som en stark kort vind. Denna punkt verkar vara den lägsta punkten i 3D-rummet i The World of Warcraft. Ett origo varifrån all konstruktion i 3D utgår. Där finns enbart en himmel, en sol och en form av diffus mark/hav. Det går att förflytta sig i sidled med blicken i det som kanske är bottenplattan i hela spelet. Det går att förflytta sig över hela kontinenten under nivån där övriga spelare normalt befinner sig. Det enda som tar stopp är då kameran når världshaven vid kontinentens slut. Där drabbas blicken av utmattning och om den då inte vänder om dör den slutligen. Detta är också det enda sättet att ta sig tillbaka upp till nivån dit övriga spelare befinner sig eftersom karaktärens alla egenskaper är satta ur funktion. Det finns ett bakgrundsljud som verkar vara beroende av på vilket ställe på kontinenten karaktären befinner sig. På de flesta ställen hörs enbart ett vindljud.

 

Det är svårt att avgöra om det finns något medvetet med att lämna den glipan kvar för spelare att ta sig igenom med sina karaktärer. Buggen är känd och väldokumenterad på Internet (länk nedan). Det är också svårt att avgöra om den platsen är medvetet konstruerad eller om det enbart är ett resultat av ett nät av plattor i ett 3D-rum som av misstag inte blivit sammansatta. Ljudeffekten vid landningen på denna plats och det faktum att Blizzard inte "rättat" buggen genom att stänga sprickan ger gissningen att platsen finns där som ett resultat av någons tanke.

 

 

källa: http://www.youtube.com/watch?v=jfwZTpTLGM0

 

länk från 20080114

 

Jérôme Lanon

Labyrinth (In collaboration with Aurélien Collas) [->Direct Access of this project]

 

The man was hungry, so with some fellows he went hunting. They found a big animal and killed it. But the flesh, the leather and the bones were not enough for the man.

He wanted to possess the event, his killing of the animal, so he created a representation of the event by painting it on the wall of his house. The animal was now crystallized in its last posture for eternity, and the man owned this moment like he owns objects. This was man's first robbery of time. If the man almost stopped hunting, he became a kleptomaniac. Every instant, every object, every face, every body, had to be captured and possessed, stolen from death. He created more and more efficient stealing devices and ways of archiving. The man found eternal life through representation. He is now living for, living by, living through representation. He is inside his own labyrinth of images for eternity.

 

 

Aurélien Collas [->link]

 

Jérôme Lanon is a french artist and graphic designer based in Bienne/Switzerland. He graduated Art School of Le Havre (France).

He is interesting by the poetry of the little moments of incomprehensible chaos between two pieces of music.

He is an active member of Snowball Association [->www.lastonestanding.ch], member of Boognasse Corporation [->www.boognasse.com] and many more [->www.ovomatik.org]. He is the webdesigner of this website too.

Aleksander Motturi & Daito Manabe

Relics of Silence

 

In some circumstances an object turns into a relic. As silence can be unhearable, unrecognizable, like an anonomous skeleton sinking to the bottom of the sea, the relic occupies the very centre of pilgrimage. It gathers people around a martyr and forms its historical focus point. The relic - a subwarhead, a dud of a cluster-bomb - lies buried in the ground waiting to be activated.

 

The word is derived from reliquiae which is latin for survivals. What lingers is the martyr's suffering, bloodshed from a excecuted confessor. Reliquaries hold objects (the Cross, cerements, etc) that stand in a contagious relationship to the martyr. Images of the martyr are reproduced in all kinds of iconographical formats. As the relics are gradually incorporated into the hegemonical language they become an uncompromizing part of its inherent oppositions.

 

Therefore the relics of silence appears at first sight as an impossibility, a contradiction in terms. For silence does not leave relics. It does not render itself to interpretation. Silence does not even dream of a language from which survivals of violence are excluded. Silence is the absorbing background of sounds, the place where they are born. Silence is what the sounds are breaking. It bear witness to what is said.

 

 

Aleksander Motturi (b 1970)

Writer and originator/curator of Clandestino Festival - an annual alternative music event in Sweden. He presented his doctoral thesis Filosofi vid mörkrets hjärta - om Wittgenstein, Frazer och vildarna (Philosophy at the Heart of Darkness - on Wittgenstein, Frazer and the Savages) at the Department of Philosophy, Åbo Akademi, Finland in 2003. His latest book Etnotism - en essä om mångkultur, tystnad och begäret efter mening (Etnicism - en Essay on Multiculturalism, Silence and the Craving for Meaning) was released in May 2007 by Glänta Produktion. Based in Gothenburg, Sweden.

 

Daito Manabe (b 1975)

Artist, programmer and designer. B of Mathemati[k]s at Tokyo University of Science. After working as a system engineer and a programmer, he graduated from IAMAS (International Academy of Media Arts and Sciences) in 2004. Redefining the existent media and technologies from unique angles, he has been active in the various fields, such as art, design, and even research and development. He produces the output of sounds, images and light through analyzing and transforming the numerical values gained from various sensors and input devices. He is also an internationally acting turntablist and sound artist using surround/oscillation/super low frequency technology and pursuing sensual peculiarity, commonality and interaction. Based in Tokyo city, Japan.

Paulina Simon

(b.1975)

 

Variation III-IV, version I

 

Issues around the concept "adaptation" and various aspects of manipulation and symbiosis are frequent themes in Paulina Simon's art installations. Here, organic shapes are crossed with artificial materials and mixed techniques in relation to the design and context of the exhibition room, giving the impression the sculptures are influencing, being influenced by and developes according to their environment. Whether it is the conscious manipulation of the artist or a generous exchange between the object and curator/visitor, the consequences of this impact seems to raise the question how far you can reach in terms of adaptation. Is there a limit of how much you can or should make an imprint on your surrounding? What happens when the changing processes of fiction and reality meet and partly unite?

 

Paulina Simon is a Swedish artist who lives and works in Stockholm. She is graduated in Fine Art from Goldsmiths University College, London (2001-2004).

 

Images: Variation III-IV, version I