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35 artists 70 works, in Stockholm untill the 1st June 2019 by Thanos Kalamidas

If you live in Stockholm Sweden or even if you visit the nymph of Scandinavia between the 20th of May and 1st of June don’t miss EU-MAN’s art exhibition in Hallunda Folkets Hus.

Stockholm is a world known city of tolerance and acceptance and the Scandinavian centre of artistic expression, the perfect place for the European Union Migrant Artists’ Network (EU-MAN) to present the biggest gathering of immigrant and guest artists in its history. 35 artists, most immigrants living in Europe adjoined with a number of fellow artists from Egypt, Morocco, Palestine, Kuwait and Iraq.

echibit02_400A celebration of colours and techniques balancing from the desert starfull nights to the Scandinavian gothic winters. 35 artists, over 70 works.

Behind this artistic marvel is one man, Amir Khatib. An artist and immigrant from Iraq who 22 years ago while looking for his place in the artistic mainstream of his host country, Finland, founded an organization that could unite and empower immigrant artists from all around Europe. EU-MAN was the first European Cultural Network found and established in Finland and despite all the constant obstacles (mostly from a hostile state) thrives and evolutes year after year.

Amir Khatib’s love and dedication to art and artists, has given a series of exhibitions all around Europe, from London to Helsinki, participation in art workshops in Finland, Turkey and Egypt and the establishment of a permanent exhibition place (EU-MAN gallery) in Helsinki Finland.

On top of that and under Mr Khatib’s supervision, the organization publishes the magazine Universal Colours, promoting art and artists, always introducing the work of artists partipicipating in EU-MAN.You can download all the issues of the magazine HERE!

The Stockholm 2019 exhibition is the second for the group for this year and the participants alphabetically are: Abuzeid Amal (Egypt) – Naima Acherkouk (Egypt) – Saad Al Falahi (Iraq) – Eman Anees (Egypt) – Nermin Askar (Egypt) – Fadwa Attia (Egypt) – Ronak Azeez  (Iraq) – Alyaa Aziz (Iraq) – Seamus Brogan (Irland) – Fadia Coeuru (Egypt) – Sameer Dheyaa (Iraq) – Shadia Elkoshairy (Egypt) – Ibrahim El Fichawy (Egypt) – Noha Ghorab (Egypt) – Reem Gohar (Egypt) – Miriam Hathout (Egypt) – Elvira Heilkevich (Russia) – Maha El Homossy (Egypt) – Thanos Kalamidas (Greece) – Samia Kamel (Egypt) – Amir Khatib (Iraq) – Baky Maged (Egypt) – Muhammad El Mahdy (Egypt) – Eldin Mohamed Mohey (Egypt) – Moustafa Soheir (Egypt) – Tomi Nabil (Iraq) – Mahmood Nadhum (Iraq) – Suhaila Al Najdi (Egypt) – Ali Najjar (Iraq) – Azdehar Osman (Iraq) – Sadek Nihad (Egypt) – Maha Sami (Egypt) – Bilal Al Skuti (Egypt) – Latifa Yousef (Palestine) – Heba Zohny (Egypt).

The ambassadors of Iraq and Morocco honoured the opening of the exhibition on the 20th of May while friends and art-lovers visit the place daily.

The exhibition takes place at: Hallunda Folkets Hus, Borgvägen 1 – 145 68 NORSBORG and it will be open till the 1st of June 2019.

A must see for whoever lives or visits Stockholm, these days.

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You can download the full PDF catalogue of the exhibition HERE!

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The Tyranny of Fashion: Shredding Banksy by Dr. Binoy Kampmark

The modern art world is filled with pranks and pranksters, the clowns who have decided that play counts for art. Brattish artists foist a range of projects and conceptual themes upon art galleries who, foolishly, see emperors decked in the finest wear. They refuse to consider that the wear is absent, an expensive mirage that tells to an old tale of the imperial ruler without clothes. 

brank01_400This is a world, of transaction, appearance and display, based on conceit and seduction, the toying by the super star artist of the necessarily gullible, and the acceptance on their part they are bearing witness to the exceptional. When Banksy’s Girl with Balloon was shredded at Sotheby’s (a sort of art styled seppuku), it was subsequently, and all too quickly, transformed into Love is in the Bin. Technicians in the room did not seem too fussed by the occurrence, and diligently went about their business of retouching the new piece for the market amidst nervous laughter and much tittering. Banksy’s own company Pest Control granted the work a new certificate. Another prank had been played.

The anonymous woman who had initially bid for the previous painting at the point of shredding found herself in raptures, but had to play along as initially shocked. (She may well have been, but this posture seemed distinctly contrived.) The £1,042,000 was well spent, thank you very much.  “When the hammer came down last week and the work was shredded, I was at first shocked, but gradually I began to realise that I would end up with my own piece of art history,” came the observation from the buyer.

Marketing executive Stephanie Fielding feels that Sotheby’s would have been in on it. “One would hope in an age of security consciousness they would have known that such a contraption was inside the artwork.” Sotheby’s did little to dispel this notion, boasting that the new work had been “created in our salesroom”, and was “the first work in history ever created during a live auction.” Its employees also added to the tattle, a layering of playfulness. “I don’t think we knew,” came the guarded receptionist, “but we’re not allowed to say anymore.”

For more HERE!

Ovi magazine

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Playing the Antitheses or the World Against the Wortd by David Sparenberg

Playing the Antitheses or the World Against the Wortd
a complex exercise and performance piece of oppositional speech,
movement & energy exchanges for two players

(The more practiced, the more creative this exercise can become; working toward performance ready perfection. Use devices of fast and slow, degrees of facing toward and degrees of facing away. Increasingly become aware of and play with the intention(s) of speech, orientation and movement. Bring structure and improvisation into dynamic harmony. The purpose and guiding inquiry of The Antitheses is to explore how each participant feels about the presence of the other—a presence that at one time will be a mirror, at another time an independent counterpoint. Along with rhythmic time, tempo, you will want to work with the preparation effort or quality of non-action between actions at the Pause and Walk Around sequences.)

Heaven and Earth

Heaven and Earth

Ying and Yang

Ying and Yang

sunri01_400Fire and Ice

Fire and Ice

Leave and Stay

Leave and Stay

Stop and Go

Stop and Go

Heaven and Hell

Heaven and Hell

Near and far

Near and far

Flesh and soul

Flesh and soul

Here and there

There is here

Here is there

What is where

Where? Ah!

(Pause)

To Be or Not to Be

To Be AND Not to Be

To Be—To Be AND Not to Be

To Be—Ah! So?

(Pause)

Questions without Answers

Questions without Answers

Answers without Asking

Answers without Asking

The roaring Scream of Silence

The roaring Scream of Silence

O Shadow of the Light

O Shadow of the Light

Blackhole Keyhole Butthole

Butthole Keyhole Black

Glass door Iron door No Door

Iron door Glass door None

I Breathe therefore I Am

I Breathe therefore I Am

(Synchronized deep breath followed by vigorous WALK AROUND; curiously circling or stalking)

My Mask without a Mirror

My Mask without a Mirror

Your Face without a Mask

Your Face without a Mask

O Sanity of Madness

O Sanity of Madness

O Comedy of Sadness

O Comedy of Sadness

Our Journey never ending

Performance never ending

Earth Air Fire Water

Water Fire Air Earth

Water Fire Air Earth

Earth Air Fire Water

I Breathe the way I Feel

I Breathe the way I Feel

I Feel the way I Breathe

I Feel the way I Breathe

(PAUSE—varieties of emotional breathing: short, long, fast, shallow, deep, gasping…)

O nights of Sleepless Dreaming

O nights of Sleepless Dreaming

One Endless Dream of Sleep

One Endless Dream of Sleep

This Existential Threat

My Existential Threat

I Wake Without your Hands

You Wake Without my Hands

I Wake Without my Feet

You Wake Without your Feet

Another Headless Morning

Another Headless Morning

Another Day of Yawning

Another Day of Yawning

I Breathe therefore I Am

I Breathe therefore I Am

(Sigh Deep Breath; WALK AROUND)

The Brittleness of Love

The Brittleness of Love

This bitter Play of Time

This bitter Play of Time

The Suppleness of Hate

The Suppleness of Hate

To Suffer into Light

To Suffer into Light

From Darkness into Light

Ah!… the Rope Walker

The Tight-rope

The Tightrope Walker

(PAUSE)

To Be or Not to Be

To Be or Not to Be

I Breathe therefore I Am

I Breathe therefore I Am

(WALK AROUND; Tableau)

Ovi magazine

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Appreciate Art II

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Art That Moves & Art That Moves Us

The Ovi team invites you all to be part of David Sparenberg’s video project and participate into CROSSING THE THRESHOLD TOGETHER

This unique video project for a changing planet, CROSSING the THRESHOLD TOGETHER, is about tough love confrontations with real problems and realizable possibilities, bringing creative and spiritual perspectives into focus in a dedicated effort to stimulate dialogue and healing.  While acts of beauty are recognized and invoked, the project is not an aesthetic exercise, much less escapist art.

Our budget goal is $25,000 and budget will pay for complete production work—video shoots, equipment, studio time, travel—plus honorarium for participating artists. The call here goes out to all who are awake, alert and aware to support this effort to awaken, inspire and motivate a greater majority to participate in furthering the democratization of ecological and humanitarian responsibility.

The project will create a series of short videos, numbering 15-20, based on selected compositions from LIFE IN THE AGE OF EXTINCTIONS, volumes one & two.  Videos will be of 4-7 minute duration and posted free as a global outreach effort.  Videos will include author voiceovers of compositions, scrolled texts, still images and live footage, traditional and original music and traditional and improvisational dance.  Some videos will be made in both English and Spanish. All videos will be freely distributed as perception changing cultural tools.

Free downloads of LIFE IN THE AGE OF EXTICTIONS (the project’s base script book) are available at http://www.ovimagazine.com/cat/56.  Volume one is published from Helsinki, Finland and accessible through the foregoing link; volume two is a work in progress nearing completion, with publication to coincide with this video project.

Video shoots will take place between August and October, 2013 and will explore the environments and eco systems of the Pacific Norwest—Western Washington & the Oregon Coast—and American Southwest—in an around Moab, Utah and Santa Fe, New Mexico.  Each completed video will be posted immediately on YouTube, Vimeo and Facebook.

In this fundraising campaign my friend and I are turning to those who understand the seriousness and urgency of the planetary condition so that through this project we can reach out to those who do not yet grasp the importance of change–most especially we seek to reach out to parents, families and the youth of the world.

CROSSING the THESHOLD TOGETHER is a good project and you are invited to join us and assure its success.  The project is approached in the wisdom of the astronaut who said, “Failure is not an option.” Consider: if only 1,000 persons of the some seven billion of us contributes merely $25 each, we will achieve full budget to fully extend our outreach, contributing to a common future of diversity, dignity, dialogue and democracy.

Here is a text that will provide the theme for one of the projects many eco-culture and educational videos: 

PEACE FOREVER YOUNG 

I pray today that there will be peace  That peace will be a lasting breath inside of all living  That peace will be deep breathing  That peace will wing out in every direction traveling through the many colored spirals of time and space

I pray that stones will speak and wind will listen lifting the heavy properties of stone into the warm light of sun  That tall trees will pray from roots of wisdom  That watery darkness will respect tree-prayer  And that Earth—abused elder all around and ailing—will find solace in our new humility and forgive and protect us 

Live Earth has a guardian angel

I pray today that there will be peace  That if I am not gifted enough to add light to light I may be poor enough to add nothing to conflict  That if I am not wise enough to suggest solutions I am foolish enough to treat every stranger as a friend  That as I am not complex enough to be clever I may yet remain simple enough to be honest 

I pray today that there will be peace  Not weak peace which is sallow emaciated cold and compromised  That vanishes quickly at the end of words  That is dreamless groundless and conceived without a home  That peace rather then that dreams in spectrums of senses is multi-dimensional that carries dreams to distant worlds  That stands in bright circles of prayer as in green-fire  That is beautiful and supple as limbs of lovers  That is moved by desire  That is hot with hope 

Better to error on the side of love: Peace forever young

I pray today that there will be peace That the peace of this prayer will have many children

That the children of peace will inherit the Earth 

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Artists who have agreed to participate in the CROSSING THE THRESHOLD TOGETHER video project currently include the following:

David Sparenberg, international author of LIFE IN THE AGE OF EXTINCTIONS and THE GREEN TROUBADUR SOURCE BOOK; actor & project director

THERERubina, Marcos & David Carmona, CARMONA FLAMENCO, with Guest Artist Ana Montes

The MONKEY PUZZLE ORCHESTRA, a band of world music musicians

Margaret “Magda” Hemmerlin, singer & performance artist

Astrid Allan, photographer & model

John D’Onofrio, nature photographer & Monkey Puzzle musician

Mary Margaret Moore, choreographer, dancer & physical theater actress

Gary Selness, SelnesSongs, musician & audio engineers

special contributions from Bert Monterona, award winning painter & mural artist

THERE IT IS & WE NEED ALL THE SUPPORT WE CAN GET.  Every contribution opens a possibility.  PLEASE CONTRIBUTE.

For project specific comments and questions, please email:shadowstoneTao@yahoo.com

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The Green Troubadour Source Book

A new book from David Sparenberg, our poet, philosopher who wrote “The Green Troubadour Source Book” an Eco-Shamanic Writing for Actor Training. But is better if we let the author to talk about his creation:

I do not write for profit, but I do write with intention.  That is true here as in other titles.

The intention of this volume is here openly expressed.  In the following pages I am inviting readers, as friends and as companion earth-walkers, to be earth-warriors and earth-healers, both male and female, and to join in the furthering of a radical social, spiritual and culture alternative to what is dominate and preparing not a furtherance of dignity, diversity and democracy, but of chaos, catastrophe and doom.

In this revolutionary invitation, actors and performing artists and adventuresome persons overall, whether trained, amateur or the many others of you seeking to discover a hidden treasure of your earth-soul, contributing through creative release by confrontations with evil through compassionate denouncement, or by encounters with justice through acts of beauty as compassionate affirmation—all of you who choose to share yourselves in the ways of human hallowing and liberating dedication to change, will find here suggestions of new roles for promoting global alternatives in communication—perhaps even for restoration of what Henry Corbin called the “Lost Speech” of the angels of souls—and for making of a heritage of deep ecology and eco-shamanic wisdom and  conditionally appropriate, sustainable living.

In the bringing into reality of such alternatives energies can be released and put in motion.  Can be and should be.  Then what is seen, heard, felt through participation in the dramas and dialogues of connectivity, uniqueness and embodied truth-force, any and all such make lasting impression, leave an indelible mark on memory, plant in the interior of existence a new resource, and thereby, even in the aftermath of shared experience, the event does not depart out of the depths of identity maturity and dimension.  This remaining within and between one and the other is true both for giver and recipient.

Human culture is something to be cultivated.  And human spirituality was ever, until the empty and ruinous, life betraying materialism of modernity, the touchstone of community, growing up from and around a communion of recognition and reverence, and a cosmology of individual and group placement.

However, when culture is not cultivated as heritage of people, power falls into the hands (and pockets) of profiteers and we end up, as now we are, with little more than market manipulated fads and fashion.  Here the outrageous and extravagant, akin to pathology, becomes an ever recurring fixation exhibited and sold under the rubric of innovation.  And so influenced and contained, each and everyone of us is expected to forsake what was and what is for whatever is newest—and to do so with a narcotic fascination and nervousness of debilitating social addiction.

But to make culture for a future of green stability, dignified simplicity, sanity, biotic honoring and democratization is to cultivate a culture of soul and a groundwork of belonging: developing life skills and lifestyles of dwelling poetically on and with (embedded within) this living Earth.  Let’s not be embarrassed here—the poetic, in its various forms and modes of communication, is innately human and was foundational in nearly every civilization where reverence and the imagination have been valued as techniques of mutuality, verticality and balance.  Thus it has been, at least, for this species human before the machine established the cult of progress and forgetfulness, and the advance of that soul loss which now leaves us prey to mass confusion, devastating violence, narcissistic immersion and estrangement, greed,  lineal madness and the lurking terror of shadowland infestations amid, amid our floating world phantasmagoria.

Now before moving on, let us ponder for a moment something Tom Cheetham has written about this native poetic of the human mentioned in the previous paragraph.  The remark is from one of Cheetham’s brilliant studies on Corbin and is markedly similar to what the French acting teacher Jacques LeCoq referred to as the “universal poetic sense” belonging to the essence of life.

Cheetham: writes “To find our way we have to attend to our dreams and visions and the fleeting feelings that run just below consciousness.  There are many ways to do this but they all involve imagination.  Working with images…especially, I think, poetry is one powerful means of revealing and altering our mode of presence; it is one primary technique for exercising the spiritual senses.” *

Here then I say to you, take up the role, play with a wondrous purpose, heroic and enchanting, that does not require specialization, rather dedication and the conviction that there are potencies of genuine healing, genuine love and real justice to be freed into the actual, even as there are possibilities for crossing over into an unprecedented presence, to renaissance, into a revolutionizing re-genesis rooted in these interactive dynamics: compassionate denouncement, compassionate affirmation, spontaneities of verticality—unique existence turning inner evolution outward to connectivity and into revolutionary responsibility—finally, the embodied and re-ensouled truth-force of creative liberation emergent through acts of beauty into processes of biotic democratization and a quickening into a maturity of planetary citizenship.

Wherever we are, we are responsible toward lives and the context of life; wherever we go, the responsibility goes and grows with us.  Life is not less in one place, among one people, or in relationship to one species, than in and among any other.  Habitation and the conditions of planetary life are simultaneously diverse and integral.

Drama and the poetic—the eloquence of words, music, dance and ritualized movement—are ways into the theatre of memory, even anamnesis, into the public forum of heroic commensality: a democratization of deliverance from the parasitism the human has become; from the enforcer of betrayal, throat deep in crimes against creation, from the destroyer of self through accelerating consumption of organic otherness and contextual integrity, through the slaughter, dismemberment and devouring of the wild god Pan and the fertile goddess Gaia through collective rapacity. From all of that which makes us guilty, we must seek ways to move into more of that which makes us partnered, repentant, and free.

The way of the green troubadour, as lover, and the way of the eco-shaman, as healer and as sojourner in glimmering between worlds, expressed in what follows through the medium of public performing arts, are ways of being in the world with courage and humility, instinct and imagination, questing after a shared return to dreaming the truth of living reality and restoring the dream of the Earth—and at renewed and even at new levels of encounter and recognition, protection, dignified passage and celebration.

So to you who have come with me thus far, I say this:  Please, friend, do a little something in your life and place to help lift the heavy wreckage of intergenerational misconduct and oppression.  And may the words that follow be a crossing we take together and a path-finding and vision sharing. Here I can do no more than to invite you. Here I can hope no more than that we go together in trust.

Perchance, if we do go along and gypsy this life together, big with friendship and creative in adventure, we will occasionally turn and recite to one another: “If words are energy, if energy is power and our power moves into efflorescence; if stars, and angels in the imaginal sing, if grass, and children at play are praying; then the words that follow with us are medicine in the old way. And if the words that follow here are good words—fearless before darkness, returning the living to the way of beauty—then the medicine is good and good for the Earth.”

*AFTER PROPHECY: Imagination, Incarnation & the Unity of the Prophetic Tradition by Tom Cheetham, Spring Books.

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The Works of Arman Nobari

ovicover_11_02_13Check Ovi magazine and a new arrival for the Ovi team! Arman Nobari and his work is HERE!

“I come from a very culturally mixed background and upbringing, with stories of my relatives escaping Iran in the 70’s, or experiencing racism in the United States during this same time. Many of my pieces attempt to interact with the dialogue between cultures – comparing and contrasting with the 1st and 3rd world, showing how vastly different we are, yet also how incredibly similar. I bridge the culture-gap through emotions, as everyone regardless of their upbringing or culture can understand fear, love, happiness, and remorse.

I taught myself how to paint when I was 19, and started painting fulltime when I was 20. By using minimalistic features in my artwork, I leave a lot to the viewer to “fill in” – I believe this creates the same sensation as a nostalgic memory, further increasing how deeply someone is able to connect to my work.”

More to come from Arman soon including paintings and articles.

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