concept

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“Our age is winded – age of acceleration, dynamic, hyper-information and ‘trans-everything’.

Constantly regenerating palette of means of expression is on the disposal of contemporary artists to be studied and mastered. During the experiments with the new forms and techniques many of them are transformed into ‘art nomads’. At one time or another, most of them stop and settle in the hybrid, which corresponds to them at the most, everyone – building in her niche. Step by step or or pushed by the imposed tempo the adaptive and the innovators pave the way forward with their thoroughness. Some settle down later as future traditionalists. But others, stareing at new horizons start to look like ‘misunderstood’ ‘men-orchestras’, lost identity and sink in the sea of ​​endless possibilities.The artwork itself is changing in step with the world and in a sense also becomes a nomad. To be provocative, up-to-date and vivid in expression, it looks for its performance for the most appropriate devices. Rides in various fields, seeking its authors, sign system and form. The author-absolute from the past is now replaced by groups of co-authors. The still-life evolve in augmented portrait, a painting in a gallery changes its shade depending on the climate or the sun outside, sculpture and architecture meet with abstract sound and create new messages, via the interactive installation works of art come alive and interact in real time with the audience.

The creation of a work has become more hybrid than ever. Languages ​​of art intertwined with mad pace and many of us are challenged to learn more and more of these languages.
All sorts of art forms are mixed with each other and with other analog or digital technologies to broaden its spectrum of research. Instead of demarcating, science and art build new bridges between each other. Thus in many cases the combination of different elements produces a type of work that is difficult to determine, and this is due to the emergence of many new genres and concepts in recent decades.Purposefulness of art to its interdisciplinarity and the need to express in more different languages ​​probably comes out to be the contemporary way of reinterpreting the myth  of Babylon and give unique opportunity to communicate with each other in our continually growing global network…”

Tsveta Bogdanova

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NATURE AND OBJECTIVES OF  ARTNOMADIKA :

Since 2011 ARTNOMADIKA is formed  as  a  lab  for collaborations of young Bulgarian artists, who are  interested and skilful in different genres. With its  collective work  the team intends to  focuse in series of media art projects on  reconsidering  the myth of Babel today (within the modern era of hybridisation of the means of expression and the collective creation of  art) trough digital media, interactive, visual and sound art.  As well as in individual projects,  the artists  work as a growing team practicing  kind of  an art- nomadism –  creating  conditions   to execute projects, where they can  reciprocate roles, try new genres and learn skills from each other.

 

aims      :::::::::::::::

With Artnomadika we set two major tasks:

I.  – observing of this trend ;

II.- building a network of art-nomads, artists who can blend their skills and together to create art.

 

#  ARTNOMADIKA RESEARCHES:

We would like to divide the long-term monitoring of Art nomadism in 2 parts, each with its subdivisions :

1. men-orchestras – [before] and [now]:

mainly with a focus on artists who deal with more than one type of art or mix different disciplines in their work, authors, building their own products on DIY principle, as well as interesting biographies of artists passed over one art to another;

2. the art as nomad – [before] and [now]:

collaborative projects between artists, artists and computer men in the field of interactive, kinetic and sound installations, bioart, bio-tech art;

 

#  ARTNOMADIKA PROJECTS:

Main themes  in our realised and  further  projects are :

–  the subjectivity in artwork apperception;

–  interlacement of   the author`s role and  this of the audience for creation of  new artpieces;

– expressing the audience as an artwork  itself;

– observing the parallel  between individual alienation of Man and world`s globalisation;

 

#  ARTNOMADIKA  AND YOU:

>> If You wish to participate in our researches – then we kindly ask You to send us Your  texts  [artnomadika@hotmail.com] or  to comment on what intrigues You on these posts !
>>  If You consider Yourself an art-nomad and want to join our team to develop joint projects, please, feel free to contact us!!!

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 ***  We see the next  characters as a metaphor of all art nomads & their artistic  efforts  in our times…

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   Kantor`s vision

https://i0.wp.com/www.cricoteka.pl/en/images/artykuly/d24kjh_ojciec__wojciech__walpor__-_kurka_wodna__1967maly.jpg
“The Wandering People.
Those “models” (a long time ago, when observing tramps in Paris and Cracow, I named them “people incomprehensible to the rest”) – not because of their appearance (“pittoresque”) but because of their separate human philosophy – induced a whole series of my characters, pictures and happenings: “Human emballages”, “Wanderers and their baggage”, “A troupe of travelling artists”, “The idea of art as a journey” (1963).”
Pleśniarowicz, Krzysztof (sel. and ed. by).  Metamorfozy. Teksty o latach 1938-1974. [Metamorphoses. Texts about the years 1928 – 1974] Kraków:  Ośrodek Dokumentacji Sztuki Tadeusza Kantora Cricoteka, Księgarnia Akademicka, 2000, p. 360.
https://i1.wp.com/www.cricoteka.pl/en/images/artykuly/c00o7i_rowerek1.jpg

Manikin “The Dead Class”, 1975

“A manikin of a child attached to a bicycle mechanism in such a way that the movement of the bicycle moves the manikin in an absurd, uncoordinated manner. . .
A complicated vehicle resembling a bike with the manikin of a boy wearing a school uniform: yet another Machine of Oppression, constructed for the production of “The Dead Class”  in 1975.”

Tadeusz Kantor, original typescript, the Archives of Cricoteka

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Joseph Beuys`s vision

 Joseph Beuys, Capri Batterie
capri batterie joseph beuys, 1985
‘Creativity isn’t the monopoly of artists. This is the crucial fact I’ve come to realise, and this broader concept of creativity is my concept of art. When I say everybody is an artist, I mean everybody can determine the content of life in his particular sphere, whether in painting, music, engineering, caring for the sick, the economy or whatever. All around us the fundamentals of life are crying out to be shaped or created. But our idea of culture is severely restricted because we’ve always applied it to art. The dilemma of museums and other cultural institutions stems from the fact that culture is such an isolated field, and that art is even more isolated: an ivory tower in the field of culture surrounded first by the whole complex of culture and education, and then by the media which are also part of culture. We have a restricted idea of culture which debases everything; and it is the debased concept of art that has forced museums into their present weak and isolated position. Our concept of art must be universal and have the interdisciplinary nature of a university, and there must be a university department with a new concept of art and science’.
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