Artists invited to “Earth-1970-2020”

Artists are invited to send works to AND eventSpace1 in line with the themes of “Earth-1970-2020”. Works will be exhibited at AND eventSpace, + on-line from April 22 till Summer begins.

During the month long event issues will be raised and discussed with contributors. The contributed works will be displayed in ‘eventSpace’, on line (websites, YouTube, Vimeo…). Notions and understanding of the theme “Earth-1970-2020” will evolve as the event continues in the form of live casting and online documentation. What happens in the space may be recorded, works may come and go, get replaced. The event will provide evidence of creative intellectual discourse and how artists contribute to our understanding of the value of the natural world.
This is a positive and constructive event. “Earth-1970-2020” offers space, a place to locate, log-on and consider. Artists contributions are multi-medium and entirely voluntary. If you want to take part in “Earth-1970-2020” whether offering an art work, a conversation, a statement – please get in touch or let us know what you are doing or open your studio on-line.
Artists are invited to send works

See also some earlier events:
Industrial Architecture
London Festival of Architecture 2017
Triadic Disturbances
Artists Remember • Nature • Gustav Metzger
Peace Conflict

AND Journal of Art

AND Journal of Art

18 thoughts on “Artists invited to “Earth-1970-2020”

  1. Recently I completed a project called CoastWEB, which was a study of the saltmarsh areas of the West Coast of Wales. One is a poem: “A Story of Saltmarsh”. We have it as a sound file so I can send you the link.
    The other – big drawings and lots of published bits and pieces.

  2. I’m living in the city that brought Earth Day into being after the catastrophic oil spill off the California coast of Santa Barbara. I’m going to think about what to contribute but definitely want to participate. Thanks for the invitation.

  3. Walking my daily Covid19 solitary, through a place that smells bad, where scrap metal is confused with polythene and cattle suffer from mange, I saw a tower of muck covered with magical fungi.
    I have a photograph, I keep looking, it serves as a hinge into other possibilities.

  4. I really would like to contribute work!
    Right now I am at my parent’s place in Ahaus, at the basement I made a little “Performance Studio” for the Event: Full Pink Moon – Opera Povera – Sean Griffin on the 7th April 2020.
    From next week I would like to create a new Performance-Piece, I am waiting for some costumes and props (I ordered yesterday) right now.
    Can I send an art work any time via e-mail (or video work for example via wetransfer)?
    The “Earth-1970-2020” is until the 20th of June? Is that right?

    • Yes, Helena… that’s right. Works will be exhibited at AND eventSpace, + on-line from April 22 till Summer begins… June 20th. Works can be sent at any time in any form via any way.

      • Dear Jenni,
        I started performing yesterday and I already uploaded a few parts of my new Performance Piece on Youtube.
        I have sent you an E-Mail with the Youtube-Links and a few photos via wetransfer.
        I will try out/send more next week!!!
        Have a lovely weekend, much love from Helena.

  5. Just sent you some sound files and a video. I will phone you tomorrow evening and also have some writing for you…

  6. I’d like to participate with a small work relating to correspondences between capitalist patriarchy’s exploitation of the fertility of the natural earth and that of working class single mother artists.
    This corresponds with my research and practice relating to the absenting of heritage and equal inclusivity for working class single mother artists and in generating sustainable art practices which bring new visibility to processes of marginalisation and exclusion.
    At the moment, I am working on new sculptures for my ‘New Model Army’, one or two of which I would like to photograph and use the image for the proposed work. I’d combine this with a written – or typed – statement illuminating the correspondences I refer to,  to create a sculpt- photographic – text work.
    I will have this ready by around the end of the week ie. 1st May
    All the best

  7. I went out and about yesterday with my video camera and will be making a compilation of what I filmed.
    I shall lie and say that I filmed everything two days earlier, but 22nd April does seem to be a very appropriate day for Earth Day as the daffodils and dandelions have gone while the trees are exploding with leaves. I was almost dizzy by the end of the day.
    I am going to do a compilation without text and then another video with a voice-over. I shall write the text quickly.

  8. ,My contribution to this project includes only the abstraction of a reality that I have dreamed of and does not actually exist.. So I rely on my own intuition and believe that art and art criticism is a sophisticated process for the emancipation of the mind. Therefore, I personally agree with the content analysis and evaluations of my paintings in terms of the expression of this sufistic sensibility or the expression of this sentiment, together with the forms of perception that govern the basic codes and hierarchy of universal culture
    Adem Genç, 2020.

    • Water gushing from the depths of the soil was considered a gift of underground gods, Sacred resources were of particular importance because the waters spread the good and healing power of the mother goddess. So, for example, offering metal coins into sacred water is a tradition here in Anatolia and elsewhere, believing that it would help the water gods in the chain of water-soil-productivity. My contribution to this project “hidden wonderland” refers to hidden earth – soil/water assignation of nutrition and cultural productivity.

  9. Adem Genç on April 30, 2020 at 4:15 am said:
    ,My contribution to this project includes only the abstraction of a reality that I have dreamed of and does not actually exist.. So I rely on my own intuition and believe that art and art criticism is a sophisticated process for the emancipation of the mind. Therefore, I personally agree with the content analysis and evaluations of my paintings in terms of the expression of this sufistic sensibility or the expression of this sentiment, together with the forms of perception that govern the basic codes and hierarchy of universal culture
    Adem Genç, 2020.

    Reply ↓

  10. Artist’s name: Adem Genç
    Work discription; Acrylic and oil on canvas, 132×160 cm. 2017
    Title: “Hidden Wonderland”

    Artist’s Own Statement
    “… In my painting, I think I want to consider the question of the modernity in artistic expression, -I mean the practice of avantgarde modernization- in a theory that also includes, to some extent, aesthetic and ‘Anti-Art’ pragmatism. İn my pinion art and art criticism is a sophisticated process for the emancipation of the mind. So, I personally agree with the content analysis and evaluations of my paintings in terms of the expression of this sufi sensibility or the expression of this sentiment, together with the forms of perception that govern the basic codes and hierarchy of universal culture . After this theoretical preliminary explanation, I would like to state a few lines related the theme of my “Hidden Wonderland”, which I sent to “Earth-1970-2020” event: Hidden Wonderland is an unknown imaginary space anywhere in the universe; in an ocean as well as in a sacred pond. Offering metal coin into sacred water or floating message thrown into the rivers and offshore has been the subject matter of this abstraction that water gushing from the depths of the soil, rocks and mountains is considered as the gift of the gods in many myths, legends and sacred sources, as it believed to radiate the healing power of the eternal.

    Adem Genç,
    İstanbul, May 5, 2020

    Tubular Shells Discarded Objects and Formal Stability (*)

    By. Adrian Martinez

    “….In his recent paintings Adem Genc illustrate wrinkled, sharp-grooved surfaces with vaguely organic associations and smooth cylindrical rods, or perhaps “tubular shells” without resorting to academic illusionism. The latter usually dominate the painting and give it a formal stability. On the other hand the dramatic features search for a reality in the
    painting testifying to a flow of comprehension. The artists vigilance discourages the logic of a merely pictorial unity. Genç’s careful intellectual stance adds tension to the fragmented unity of the form, but he does not stop here. Genc reverses the situation with expressionist spaces and gestures, geometrical forms and descriptive images. These measurable rods or
    pipe-like tubes can not indicate this or that object, they can only bring associations to it. Put another way, this choice: adopting the given conception of modernist integrity paradoxically implies a representative identity. But here, precisely where the forms and the pictorial mechanism can not control this ambiguity of meaning they are ultimately forced to assert themselves because the painter acted simultaneously with both intemperate sensualism and an intellectual frugality….” “….In his work Genç seems to be saying that the discussions above could never resolve themselves in any fruitful way, so he’s attempted free them (and himself) from a game of dueling paradigms. The oeuvre is not ignored but it is not made sacerdotal either. Gathered together in a relationship of dynamic unity, moment by moment the painter regains the right to give improvised contextual guidance. Entropy functions naturally in Dadaism, but for Genç it is a type of aesthetic legality which comes through his historical, scientific and epistemological concerns about the probity of art.The painter is at our side, insistently telling us something that will disturb our consideration. We must listen to him if we hope to have relevant conclusions concerning his oeuvre.”

    Dadaist Abnegation (*)
    By. Adrian Martinez, 2008

    The painting clearly identifies some contours in itself but these contours will be lost in any attempt to immobilize them. On the one hand the painting deviates from the imprisonment of modernist dogma and on the other it searches for traction against Dadaist abnegation. The work endures this abnegation without making itself into a cult object and without
    reducing itself into irrelevance. Individual paintings can be appreciated as various conditions of an experience instead of a particular experience. In this regard, Genç guarantees his own state of existence i.e. historical and artistic personality. The painter dominates the terminology. Kant claims that our perception is related to our method of knowing not
    with our knowledge about things, (thing-in-itself/ding an sich.) With a parallel reading, it is understandable that the modernist “Pure Oeuvre” is an aggressive desire to penetrate and represent without any limits this contradictory improvisation inevitably becomes “saturated”. At this saturation point, the painter carries the context to another level of reading instead
    of changing conceptual “instruments” or the logic of a particular pictorial mechanism. Finally, it is the painter with his historical personality who returns to a place of sensation from a static conceptually oriented existence.

    ___________________________________
    (*) Martinez, Adrian (2011). Adem Genç Exhibition Catalogue, Contemporary İstanbul Arete Art Gallery Publication.

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