August 12, 2016
Japanese artist Mariko Mori’s Ring: One with Nature (2016) is a three meter wide ring overlooking a 58-meter waterfall in the middle of the Brazilian rainforest, in Véu da Noiva, Mangaratiba. The permanent installation is arranged to allow the shift of colors with the movement of the sun, changing from vibrant blue to a bright gold as it is backlighted by the sunrise. Striking in its minimalism, Mori’s sculpture is multifaceted both in its conception and effect. The artist has since stated that the idea originated as an inspiring, ethereal dream of a ring over a waterfall, which she sought to actualize in physical space. Rooted in a spiritual beginning, the installation took on an even broader range of meaning through its inherently environmental message and relation to the 2016 Rio Olympics.
Faou Foundation, Mori’s nonprofit in New York which promotes global environmental awareness, produced the sculpture and gave it as a gift to Brazil’s environmental institute, Instituto Estadual do Ambiente (INEA). The installation further actualizes its environmental message through formal symbolism. The singular ring set above the Véu da Noiva waterfalls functions as a conceptual extension of the five Olympic rings, highlighting the message of unification between countries to nature’s realm. This is a crucial message for the planet in its current state of the ecological crisis. Through her highly symbolic gesture, Mori successfully utilizes the Olympics as a platform of global synchrony with nature.
Symbolism behind the ring’s physical form also functions as a reminder of the cyclic relationship between humanity and nature, tracing back to prehistoric times. The artist’s choice of the circle also correlates to organic, archetypal forms found within natural landscapes, further strengthening the timelessness of the piece through its minimalistic expression. The sixth Olympic ring was unveiled on August 2 with a ritual-like ceremony including music and performance by participants dressed in all white. The white color further amplified the artist’s statement of universal oneness and reinforced thematic connections to ancestry and tradition.
Mariko Mori’s recent sculpture recalls her previous work in terms of its synthesis of ancient traditions and belief systems with modern technology. The result is a truly present object that is not only relevant to modern times but also introduces a sense of deeper archetypal connection in its audience. This element is also present in Transcircle 1.1 (2004), where Mori composes a modernized version of the ancient Stonehenge with a constantly shifting scenery of lights. The structure integrates elements of both prehistoric Japanese and Celtic traditions, introducing a personalized synthesis of cross-cultural mythology that is also present in Ring: One with Nature. Mori uses live data taken from a neutrino physics laboratory in Japan to monitor the play of lights in Transcircle 1.1, achieving a startling, distinguished presence that echoes throughout her body of work.
Through integrating technological advances with an artistically spiritual vision, Mori achieves a rich spectacle in Ring: One with Nature and makes a profound statement about humanity’s potential for unity. Her sculpture is a reminder that mankind is capable of creating structures that are environmentally friendly, culturally unifying and profitable all at once. In context of Mori’s previous works, the sixth Olympic ring becomes a part of the artist’s overarching vision that places vital importance on human presence and agency in our global landscape. Her message is both simple and profound. It deeply resonates at this time, calling for unity between nations as well as between mankind and the earth.
No matter what time of year it is, chances are there is a biennial happening somewhere around the world. During certain years, the art world flocks to major cities like Venice or São Paulo—or remote places like Kassel, Germany or Dakar—to view some of the world’s greatest contemporary art. Since the 1990s these large-scale international contemporary art exhibitions have become the main way of exhibiting and publicizing international contemporary art.
Today, major biennials exist on every continent, everywhere from Sydney to Shanghai, with more than 150 established biennials in total. They have become such a craze that a non-profit called the Biennial Foundation was formed just to monitor their behavior. Confusingly though, not all of these exhibitions happen every two years, some are triennials (Yokohama Triennale) or quadrennials (Copenhagen Arts Festival—formerly the U-turn Quadriennale), but because all of these exhibitions follow the same general structure, they are all grouped under the biennial umbrella. Essentially, what distinguishes biennials from art fairs, like Frieze in London or Art Basel in Miami, is the fact that biennials are much larger, taking place in multiple venues across the given city, and, most importantly, the works displayed are not for sale. Biennials function as temporary exhibitions for contemporary art, not as galleries.
The concept of the biennial has roots in the 19th and early 20th century phenomena of the World’s Fair and Universal Exhibition. The word biennial comes from the Italian word biennale, meaning every other year, and refers to the original biennial—the Venice Biennale. The first Venice Biennale, in 1895, celebrated the 50th wedding anniversary of Italy’s King Umberto and Queen Margherita. It was held at the Palazzo dell’ Esposizione, a public space called the Giardini on the Riva degli Schiavoni in Venice. The exhibition was hugely popular, and became a bi-annual (biennial) event. By the early 20th century many different countries had built pavilions in the Giardini to house their country’s art during the exhibition. During the first half of the 20th century, the pavilions featured an assortment of works by the country’s best artists. In the post-war years, the style of the exhibition began to shift towards more curated and thematic displays.
The current global biennial structure was developed in the 1990s. Most biennials follow the general structure of the Venice Biennale, which has both a series of national pavilions that exhibit work from their country’s artists, all with individually curated themes, and a larger overarching exhibition curated by the biennial directors that is often linked to a different theme. As the art world became increasingly globalized in the late 1990s, the biennial phenomenon has also taken on a diplomatic element. These exhibitions bring together works of art from all over the world under one general curatorial theme, which is often connected to international social or political issues. For example, the 2016 Venice Biennale theme is “Reporting from the Front.”
Although the biennial model of contemporary art exhibitions has been debated, the idea of exhibitions that survey global contemporary art have been perceived as largely positive. The growth of biennial culture has been connected with fostering diplomatic relations between nations as well as promoting the growth of cultural tourism. Large-scale biennials draw in hundreds of thousands of visitors from all over the world, and have certainly helped to generate tourism in previously under-visited destinations. Through these visitors the art displayed at biennials circulates around the world—every visitor returns from biennials with a list of top new artists to watch.
With the increasing globalization of the art world, many biennials focused on non-Western art have emerged since the 1990s. One of the most important of these is DAK’ART, the Dakar Biennale, founded in 1992. This biennial focuses on contemporary African art or works of black artists around the world. It is the largest exposition of contemporary African art and draws in visitors and artists from all over the globe to Senegal. Also, with the growing power of the Asian art market, major biennials are now located in Shanghai, Hong Kong, and Japan, which attract hundreds of thousands of visitors. A major exhibition of non-western art is also hosted every two years in Havana, Cuba. While originally dedicated only to Caribbean and Latin American art, the biennial has expanded to include work of artists from Africa, Asia, and the Middle East as well.
While biennials have a long history, they have evolved dramatically in the past thirty years. They have essentially transformed from World’s Fairs into the major place for viewing, circulating, and discussing global contemporary art.
“Traveling- it leaves you speechless, then turns you into a storyteller”– Ibn Battuta
It’s true – I’ve had the fortune of traveling all over the world from a very young age, and most of the time I cannot write down my experiences for weeks or months after my return. Throughout my travels, I meet certain people that make my time even more precious, and here I have the pleasure of introducing to you all a true storyteller.
Last year, I studied away in Florence, Italy for a semester. I did not know anyone who was going to be there, all I had was a list of five names who would be my suite-mates. I sent off friend requests via Facebook to get to know (by stalking their profiles) the gals I’d be spending the next 3 ½ months with. My roommate, Madison McCormick, was late to the game in responding because she was in Morocco. Riding camels and exploring the world. Over the course of the semester, my first impression of Madison remained the same, if not grew over time: I was in awe of this smart and embracing lady, who said yes to every adventurous opportunity no matter how busy she was.
Now, back in New York City for our senior year, Madison has created a sticker initiative to bring to light the European Refugee Crises. What she is doing and what she has accomplished is quite impressive, and now you’ll get to see what she’s been up to and how you can get involved from my conversation with Madison while she was conducting research in Greece.
- Tell us a little about yourself.
My name is Madison McCormick and I am an NYU Senior pursuing a Bachelor’s degree in Global Liberal Studies and a Master’s degree in International Relations. I am originally from California, San Francisco and Los Angeles. I am passionate about all things travel-related, from meeting new people to learning about and living in new cultures. I also have a deep passion for french fries …
Recently I have been very invested in a personal project of mine, a sticker activism research project that has taken me to Turkey and Greece this January to study street art in times of crisis.
- How did you become interested in street art?
Having lived in small suburban towns for most of my life, the move to NYU Paris my freshman year was really a shock, in a good way, and opened my eyes much more to the world around me. You could say that my small town ‘bubble’ had been popped. So from the beginning of my NYU experiences, I traveled and explored new cities in Europe and the United States and came across beautiful and intriguing works of art on the streets. I have also always been one to notice the little details; from a small stencil painting in an alleyway to a dumpster dive treasure on the side of the road, you can bet I have spotted it. My fascination in street art took a more specialized turn two summers ago when my friend and I began to collect and search for interesting stickers in lower Manhattan on street signs, telephone poles, mail boxes, etc. From then on I began to collect stickers during my travels and keep them in my sketchbook/journal. I would also begin to notice the same stickers in different cities, so it was a way of having some familiarity and comfort on the streets of an unknown place.
- What brought you to the attention of refugee crises?
I spent my junior year at NYU Florence and became much more aware of the European Refugee Crisis as it was in the news each week of the boats arriving and/or sinking on the southern coast, really heart breaking news. NYU Florence also offered educational dialogues on this topic and I attended them to learn more.
- Now, you’ve traveled an impressive amount within the past four years… Is there a certain city that stands out in your mind for its street art?
Yes, I have been very fortunate to have studied abroad for two years and travel while doing so. I have pretty much loved everywhere I have been and each place is unique in its own way for street art, but I would have to say that Athens and Copenhagen stand out the most to me at the moment. Athens because it is so saturated with all kinds of graffiti, tagging, murals, poetry, propaganda, etc. and carries a lot of political and social commentary and this has all emerged in the last 5 years or so since the financial crisis. In Copenhagen, there is a self-proclaimed ‘free neighborhood’, Christiania, that is pretty much as close as it gets to a hippie commune. I love the street art there because it is so free and colorful and emotionally expressive, much less political.
- Why use the medium of stickers to bring awareness to such a political and social statement?
I think that stickers are a seemingly harmless form of street art and can be used in various ways to spread whatever message they carry, if they have one at all, and spark dialogue. For example, a sticker can be stuck on a pole next to another sticker belonging to a leftist political party and if it is in support of the same message, they both are now in dialogue with each other. Now if that sticker was instead placed on top of the other sticker, then this would be considered ‘crossing’ and would be more of conflict. Stickers can also have a place off the street, like on one’s laptop case. Say you are sitting in a cafe typing away on your computer and the person next to you asks where you got said sticker. You would then be able to refer them where to find and learn more about the sticker, like the Instagram page for my sticker for example, and you are also engaging in a possible discussion about the sticker’s subject matter. Lastly, stickers can be easily commodified, which has been a negative outcome – street art becoming a market- in most cases. However, if the stickers are sold to raise money for a specific fund, like mine are, then this furthers the politicization of the sticker and draws more attention to something that is the size of your palm and can easily be overlooked. Stickers are small in scale, but they are not bound by physical space and can be spread quickly!
- What was the inspiration behind your first series, “Crumbling Borders”?
As part of my thesis, I felt it was necessary to participate in the street art I am researching and so I chose to do something that touched upon the Refugee Crisis because it has been something that has resonated with me for a while since studying in Florence. I realized that this issue is massively important, nonetheless relevant right now, and felt very distant and out of touch from New York. So, I felt that it was important to use street art to literally make this issue visible on the streets in the form of stickers.
- Do you think that in combination with the use of social media your project has been given more attention from when you started?
Yes absolutely. I had always intended to use Instagram for this project because I am researching how street art and artists have cultivated a new ‘imagined community’ (s/o to theorist Benedict Anderson!) where localized street art made for a specific community can become global with the touch of a button through Instagram. So, with the @TagAndSeek instagram, which is ultimately named after the fact that I ‘tag’ stickers and those who come across them ‘seek’ to find out more about the sticker through the Instagram page, I have drawn the attention of a much larger, global audience that grows every week.
- Where can someone go to learn more about refugee crises, what your initiative is all about?
I am in the process of creating a website, but until then, the best place to go is the Instagram page: @TagAndSeek. I have been posting my process tagging the sticker around the world as well as providing education information on the Refugee Crises and outlets for people to learn more if they’d like.
- Are you selling your stickers?
Yes! I was hesitant at first to sell them because of the whole ‘commodifying street art’ thing..but then I figured if people were willing to spend a little money on these stickers, I could make it go a long way and raise the money for the United Nations High Commissioner for Refugees and International Rescue Committee – two organizations that are on the grounds helping with the crises. I am selling the stickers for $1 each and all proceeds go towards these two organizations. Additionally, if anyone wants to tag their city and spread the message of #crumblingborders, then I am more than willing to send some stickers their way. My friends have been taking the stickers with them in their travels and I will be reposting them all on the Instagram page. I am really excited because this project is becoming very much global!
Make sure to follow Madison’s journey through her Instagram account, @TagAndSeek.
And we need YOU to keep this going to make a wave within the street art community and get Madison’s message out there! If you’re interested in tagging your streets, message her through TagAndSeek’s Instagram to purchase stickers and donate to the cause.
February 4, 2016
The art scene in Paris has long been recognised, first and foremost, as the birthplace of Impressionism with the likes of Manet, Monet and Degas bringing it to global prominence. Today, however, Paris’ modern and contemporary offerings are a strong and exciting force driving its reputation beyond the die-hard, 19th century roots. From cutting-edge industrial architecture in the Gagosian Le Bourget, to digital innovation at La Gaîté Lyrique, we rounded up the 10 best modern and contemporary galleries to give you an insight into the city’s burgeoning arts scene.
In a nutshell: The rugged concrete interior may appear to be a meditated aesthetic decision but was actually due to the the gallery’s lack of money in the middle of renovation which led to organisers leaving it in its stripped-down state. Situated across from the Musée d’Art Moderne, the enormous Palais de Tokyo space houses some of the most cutting-edge, contemporary art in Europe including mind-blowing installations, films, and performances that are always exciting and immersive. Don’t miss the excellent bookshop and The Toyko Eat, the gallery’s restaurant.
Where: 16th arrondissement. Open 12pm-12am every day except Tuesday.
In a nutshell: The base level for any contemporary art-goer in Paris is the Centre Georges Pompidou, its name pays homage to its creator – the French president – who commissioned the building in 1969 as a completely new, multidisciplinary cultural centre. It’s architecture is an extraordinary mélange of multicoloured pipes forming a structure that juts out from the traditional French buildings of the 4th arrondissement. With its exhaustive permanent collections of modern and contemporary art spanning over 100,000 works including Pollock, Kandinsky and Man Ray, the Pompidou is, unsurprisingly, one of the most visited museums in France. Don’t miss the panoramic view from the top floor and the gallery’s library.
Where: 4th arrondissement. Open 11am-10pm everyday except Tuesday.
In a nutshell: Like the Palais de Tokyo, La Gaîté Lyrique is hyper-contemporary. It focuses on the digital arts, complete with a video game station, interactive library and café, as well as exhibitions in the basement. The institution embraces all forms of contemporary digital expression from cinema, web design, and visual arts to electronic music. You’ll find many students in the café, teens playing the video games and plenty of families who take advantage of the kids afternoons the gallery holds during its exhibitions.
Where: 3rd arrondissement. Open 2pm-8pm Tuesday-Saturday and 12pm-6pm Sundays. Closed Monday.
In a nutshell: Located in the East-Wing of the Palais de Toyko, the Musée d’Art Moderne has been running since 1968 with over 10,000 modern and contemporary works from both European and global artists as well as several temporary exhibitions each year. The gallery was briefly closed in 2010 after a theft of over €100,000 worth of masterpieces, including works by Matisse and Modigliani. Even with its compelling heist history, the gallery is not as well-known as its name suggests, but is still worth a visit for its excellent permanent collection.
Where: 16th arrondissement. Open 10am-6pm Tuesday-Sunday except Thursday with a late opening until 10pm. Closed Monday.
5. Jeu de Paume
In a nutshell: Situated on the edge of Paris’ Place de Concorde in the famous Tuileries Garden, the Jeu de Paume is a beautiful 19th century building that once served as a tennis court, (hence the gallery’s title – ‘Jeu de Paume’ is French for racquet), as well as a sorting house for Nazi loot during WWII. The work on display, however, often goes above and beyond the building’s history with a focus on exhibiting post-war mechanical/electronic art – predominantly photography but also includes cinema, video installation, web art and more. Its major exhibitions, such as the current showcase of Philippe Halsman’s famous celebrity portraits have made it a popular destination for the city’s art-goers.
Where: 8th arrondissement. Open 11am-9pm Tuesday and 11am-7pm Wednesday-Sunday. Closed Monday.
In a nutshell: Housed in an ex-hotel in Paris’ historic 4th quarter Le Marais, the Maison Européenne de la Photographie is an institution dedicated to showcasing contemporary photography with a collection of over 20,000 works as well as rotating exhibitions which show anything from portraiture to optical illusions. Each rotation gives a broad vision of photography today, recently showing a major exhibition documenting a season at French fashion house Lanvin, as well as the remarkably composed architectural photographs of Caio Reisewitz. As well as these spaces, the gallery houses an auditorium, library, and video viewing facility and runs workshops and events throughout the year.
Where: 4th arrondissement. Open 10am-8pm Wednesday-Sunday. Closed Monday and Tuesday.
In a nutshell: Describing itself as having an “original approach to corporate philanthropy”, the Cartier Foundation commits itself to raising public awareness for contemporary art by exhibiting established artists as well as offering younger ones a chance to debut. Housed in a glass building designed by Pritzker Prize architect Jean Nouvel, it sits in a tranquil woodland garden, landscaped by Lothar Baumgarten making it a worthwhile place to visit for reasons beyond just the art. As well as organising multiple exhibitions, the foundation has created ‘Nomadic Nights’, an event focusing on the linkage between different kinds of contemporary expression via the performing arts.
Where: 14th arrondissement. Open 11am-8pm Wednesday-Saturday and 11am-10pm on Tuesdays. Closed Monday.
8/9. Gagosian Galleries
In a nutshell: Major player in the contemporary art world, Larry Gagosian has fifteen galleries worldwide including two in Paris; one in the north-eastern suburb Le Bourget and another in the 8th arrondissement. The former is in an industrial park of Le Bourget, its location enabling the gallery’s spacious interior which, like Paris’ Cartier Foundation, was designed by Jean Nouvel. Indeed, the building is an extraordinary work in itself, combining the rugged industrial original with a smart contemporary finish. The latter is a smaller space than its suburban counterpart but is exceptional nonetheless, set in a Parisian mansion just off the Champs-Élysées. Expect a vibrant contemporary art program featuring leading international artists.
Where: 8th arrondissement. Open 11am-7pm Tuesday-Saturday // 93350 Le Bourget. Open 11am-7pm Tuesday-Saturday.
In a nutshell: Paris’ size to population ratio has always been pretty tight and is one of the reasons why many large public spaces lie just outside the Périphérique dual-carriageway that defines the city limits. One of the many exciting contemporary art centres in the suburbs is Musée d’Art Contemporain du Val-de-Marne, a.k.a. MAC/VAL. Situated in the south-eastern suburb of Vitry-sur-Seine in a sprawling contemporary building, MAC/VAL boasts being the first museum completely dedicated to the French ’50’s art scene. Having now expanded its collection to house everything from the ’50’s to contemporary art, the gallery also enjoys exhibiting both experienced and up-and-coming artists.
Where: 94400 Vitry-sur-Seine. Open 10am-6pm Tuesday-Friday and 12pm-7pm on Weekends and holidays. Closed on Mondays.
Sitting in a building of fine and historical architecture on an art school campus, I talked to Victor Cord’homme, a young and green installation artist who is in his fourth year of art studies at this prestigious National School of Fine Arts in Paris (l’Ecole National Supérieur des Beaux Arts de Paris). As a traveller, Victor has been inspired to create installations that transform exhibition spaces into works of art and lead people to discover new spaces and possibilities. While our conversation started with his life at art school, both his artistic practice and his perceptions of the art world speak loudly to a global perspective, which has been constructed through his numerous travelling experiences.
[gallery_bank type=”images” format=”filmstrip” title=”true” desc=”false” img_in_row=”4″ display=”all” sort_by=”pic_id” animation_effect=”bounce” image_width=”600″ album_title=”false” album_id=”23″]
- When did you decide to become an artist?
When I studied marketing at high school, I was very bored of it. Then, I took a gap year after high school to go travelling for 6 months around Asia. I went to Thailand, Cambodia, Vietnam, Laos, India and Nepal. At that time, I missed painting and drawing which I did quite much during my free time throughout my high school years. So I started to think about getting into art school and start art studies. That was my first point of revelation that I started to have the idea of doing art. Then, I started going a lot to museums as my own art cultivation, such as the modern art museum of Paris and Palais de Tokyo. Paris is really a good place to get exposure to a lot of art, which gives me lots of inspirations.
- How did you get into the National School of Fine Arts in Paris (l’Ecole National Supérieur des Beaux Arts de Paris)?
After travelling around, I went to a preparatory school in Paris where I did art every day. That’s a school for people who want to get into all the big art schools. There are various art streams, like fine art, decorative art and so on. It’s pretty competitive to get into the National School of Fine Arts, like 1500 people competing for 70 places each year. At the beginning, you submit your art portfolio of paintings or photos of sculptures. After being screened, then you can enter into later stages like a writing test, a drawing test, and finally an interview panel with three professors.
- Can you share about your life in the art school? What’s the most important thing that you learn in the art school?
I feel the school is like my second home. The school is not just about getting knowledge, but about meeting people here and discussing art and our works with friends. Everybody tries to be an artist here and we’re helping and sharing with one another our views and experiences.
I think art study is not easy at all because there [are] no definite right or wrong answers and it depends on the comments of people around you. The school actually is not demanding, like around 10 hours of classes per week, but we spend most of our time in studios making art. Studying art is about investing a large amount of time while you need to have knowledge of art history. But it’s also out of passion –all the people are being here because they liking doing art. And I enjoy the process as I try to do things that are interesting.
One of the most important things that I learn here is self-motivation because nobody would push you to work. You wouldn’t be forced to do anything here. We learn art history here from many great art historians but you need to get some contemporary knowledge by exploring in museums or galleries yourself.
- Why do you focus on art installations?
Because I like experimenting with different media including painting and sculpture, and I would like to mix several smaller pieces together into one big piece of art. Somehow it’s like matchmaking –a sculpture and a painting can be compatible and even make each other stronger. Sometimes when art pieces come together, they speak a lot more. Installation is interesting because it’s about how to see and interact with space. Painting is my major art practice, but for me, it’s not enough to involve the space around. With installation, I’m trying to create an environment which gets people to discover new spaces, encounter and observe different forms of life and ways of understanding life.
- How exactly do you achieve this with your art – to get people to discover new spaces and ways of understanding life?
For example, with my diploma project in my third year, I created an interactive space that worked with sensors and computers, and there are sounds going on and when more and more people come into the exhibition space, the sounds would keep changing, and so the space would become different. Every person that came into the exhibition added two minutes of available electricity to the space.
And I like taking natural elements from the outside environment, like wind, into the exhibition space inside. Also, I would try to make all elements connected in an installation, like in our environment.
And I would not give out everything at one moment and people would have to come back at different times to discover new things from my installations. So I added lights to the installation so that the space and ambience would be different if people come in daytime or nighttime. I would like to show a temporal dimension of my works because I think time is an interesting material for doing art.
- The idea of exploring and discovering new spaces sounds like travelling. Do you travel a lot? How does travelling inspire your art making?
I had a lot of fun travelling to many countries; I’m just back from Canada where I stayed for few months. Before that, I went to Japan for an art competition and I went to Turkey last year. It’s really interesting to meet and talk to different people and to share experiences. I don’t know how to speak about all the feelings from my travelling but I would like to translate these feelings by art. Art makes it easier to share my travelling experiences and people can feel the connection through my art, maybe unconsciously. Travelling is one of the most important things for me. Being an explorer of this world has given all my inspirations for my art –every time I come back from travelling, I always have new ideas.
- Can you share your most memorable travelling experience?
When I was 19, I left my parents and I went to travel in India and met a lot of people there. Travelling there showed me the real side of life. It’s about meeting and talking to people and learning about their life. You’re in a different culture and environment. People would look at me curiously because I look different from them and some even came to me and asked if I could take photos with them.
- Any artists who have a particularly great influence on your perceptions and practices of art?
First is the Canadian artist, David Altmejd. We’re not in the same way of thinking about art, but he’s my main reference. His sculptures are dense, tell stories and give lots of information. He’s a really interesting artist. There was his exhibition in Paris last year, and I saw his exhibition again in Montreal and could discover new things from his works.
Also, I saw an exhibition of a Thai artist, Korakrit Arunanondchai, at Palais de Tokyo this year. He was making a huge installation with paintings and mannequins put in an interesting way. Actually, I didn’t like his formal way of doing art but his ideas are more interesting.
- How does your art interact with the French contemporary culture?
I think my art does not specifically interact with French culture, but rather the global culture. I don’t think art has to necessarily relate to a certain culture. I prefer to work in global culture rather than just French culture. And we’re in a world of globalisation; everything is mixing and exchanging. I’m more into exploring and mixing several cultures.
- Interesting perspective! So do you see yourself as a world citizen?
Yeah, I think I’m more a world citizen… I’m happy to say that I’m French and I’m having the colours of my flag on me. But actually, I’m French-Danish as my father is French and my mother is Danish. So I have double nationalities and I grew up in both countries, so I’m not solely French. And I also like travelling so much — I like to feel home and meet friends everywhere I go. So I think being a world citizen is more interesting; it’s about your way of acting and it makes your mind more open to different things.
- What do you think about contemporary art?
I think the contemporary art world is very different from the 19th or 20th century when there were prevailing art movements. There are now a lot of different directions happening because there are way more artists and more communication. Everything can kind of be contemporary art, it is way more diverse. Every direction can be interesting, and you need to discover and show to people new ways of thinking. Another thing in the contemporary art world is the need to deal with speculation in the art market, but I think that’s not totally a bad thing.
- How do you perceive yourself as an artist?
I don’t like to say I’m making art pieces… I think I’m kind of trying to be an artist… Being an artist is a huge thing for me and I don’t like this definition. I think I’m just someone who’s thinking and proposing something while using art to show it. I don’t mind if I’m being seen as an artist or not, and I think someone becomes an artist when everyone around sees him/her as an artist.
September 25, 2015
When looking at Chris Burkard’s Instagram feed, two things will cross your mind:
1. Amazing, and
2. I want this to be my life.
Chris Burkard is a self-taught photographer who went from sleeping in his car just to be closer to his internships to stacking up 1 million Instagram followers and a steady studio spot out in Grover Beach, California. He’s made a name for himself in the surf and outdoor industries, working with top brands such as Apple, The North Face, Patagonia, and many many more.
I actually don’t remember how I came upon Burkard’s account – I’m an amateur photographer myself so I’m always looking through the various hashtags connected to outdoor photography for inspiration; even though I don’t remember, I’m sure glad I did follow him because I’m given a dose of daily awestruck.
His Instagram feed mainly covers his landscape and adventure shots, but it’s nothing to snuff at. It seems that every picture he takes is perfect: from the lighting to the framing, every moment is captured at exactly the right time. While I can sense that this is dedication at its finest, I can’t help but wonder at how he could possibly take these photos.
The colors and images are insanely crisp, and his stills look totally unreal. Whenever I see a new photo, I can’t help but be jealous – Burkard’s whole life is surrounded by this immense beauty and his job is to capture that. One look at his website shows his passion for his work, specifically within this quote, taken from his thoughts on being a photographer and having photography as a career, “Remember the camera is just a tool. What is more important is how you look at the world. Curiosity and a desire to explore, as well as passion is huge necessity when it comes to photography.”
In regards to this dedication, Burkard held a TED Talk this past March regarding one of his main (and craziest) past-times: surfing in ice-cold waters. I can’t even fathom jumping into freezing water just to get the right shot, but that’s an entire level above that Burkard is on. You can see what it’s like to be on the other side of the camera in the making of these incredible photos, and seeing the conditions that he sometimes works in makes you shiver like you’re out in -10 degree weather right along side him.
Chris Burkard started as a 19-year-old who found he had a talent with a camera and turned into a recognized photographer among many communities. I can’t get enough of his images and look forward to seeing the next each day. The most memorable posts have been from the past few months on his trip to Iceland, which has been a huge throwback for me; I got to take a trip there during the summer of 2013, but just missed the Northern Lights by a week. Sure enough, Burkard posts this rad and almost haunting image of these spectacular green lights and I turned green with jealousy myself.
Make sure to follow Burkard on his Instagram, check out his website to see more of his work, and keep an eye on his Facebook – if you’re interested in photography and live near his studio (or in my case, willing to move to work with him…) he updates his site on internships, though they’re booked out far in advance. He also has workshops and prints available for sale, and recently gave out thousands of free prints (10,000 to be exact) for getting 1 million followers on Instagram. Talented and giving, what more could you ask for?
Adventure is out there and Chris Burkard is running right along side of it. Find your muse or your next travel destination through his work, and I promise you won’t be sorry.