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📣 ESC — Open Call

Today, the time has changed.

Nothing will be the same.

Technology and nature need to find their way to exist in harmony.

Of course, it feels as usual systems and measures, economy, government, education, health care, and etc. have failed us, but we failed too. We have created our current reality by following the system. This system neither can support or protect all of us in crisis situations.

While the world chases the money and oil, art galleries claim to decide on ‘what is art?’ we can create our own rules. Besides for getting our message across or to be heard, we do not need to be exhibited in a gallery space anymore. From now on we can help people to open their eyes and broaden perception distantly — digitally.

So now it’s time to propose a new approach to perceiving, measuring and understanding the world through art and in general. Therefore as artists, we can create hope, offer solutions and visions for a better future ourselves.

In fact, VVOVVA believes that art defines itself when it is made. Thus everyone is an artist…

Questions —
#vvovvaesc @vvovvagram

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Profile: Yellow Nose Studio

Launched by Hsin-Ying Ho and Kai-Ming Tung, Yellow Nose Studio is a Berlin-based ceramic design and interior agency. The couple in work and life chase a perfect balance between the organic and inorganic, the logical and emotional, the handcrafted and the industrial.

Ying grew up in a family that for over 20 years worked together in a kid’s shoe business: ‘Sometimes business is not always as smooth as you want it to be. And you just need to deal with its ups and downs. So I think that I definitely get this courage from them, which allowed me to start the studio with Kai. Also, it’s important to not take anything for granted. We need to stay focused on what we are trying to communicate to people.’ 

At the same time, Kai was surrounded by a teacher mother and an engineer father: ‘I’ve learned from them to really do what you want and to be yourself instead of following what people want you to do. At the beginning of starting the Yellow Nose Studio, many people judged the idea. But for me, it’s really simple — we just want to tell the story in our own way and at our own pace.’

The creative duo met during architecture studies back in Taiwan at Shih Chien University: ‘We were taught to be wild and to make mistakes. It was a really special education system that definitely flipped both of our lives upside down. Architecture is no longer a simple academic topic that we need to learn, but rather a lifelong philosophy that influences us daily.’, Ying explains.

So we don’t see us looking away from architecture, but instead using it as a foundation to pursue our aesthetic. We keep trying to bring many different aspects into our projects while accepting the impact of our architectural studies, says Kai.

Actually the idea to start Yellow Nose Studio came when they relocated together to Berlin. In particular searching for ways to combine both professions and do something based on their backgrounds in architecture. So Kai studied at the Berlin University of the Arts while Ying studied scenography at the Technical University of Berlin. 

Berlin makes Ying and Kai feel inspired. As simple as an abandoned on a street chair or even the texture of a tree can lead them to a new idea. Mostly it is about the energy of the city, that is busy but not too much. As Kai describes: ‘Berlin has this gap (of free time and space) somehow in between the city that allows us to recharge.’ 

In fact, the harmony is one of the very important aspects of Yellow Nose Studio. The founders’ with their strong architectural background aims to work with raw materials and use them in unforeseen ways.

‘The balance of each object in one scene definitely comes from my scenography background. Kai is the one who always gets some crazy ideas out of the blue, though I will be the one that connects each of them into one big picture. The photographer we work with, Bennie Julian Gay, also has this strong soothing aesthetics that we are often inspired by. All of that brings our projects together and allows us to tell the story that we initially imagined.’ — Ying.

In effect, perfection for Yellow Nose Studio is to ‘show the character of the materials themselves’. As an example, their collection of furniture is executed in industrialized simple shapes. In contrast, the ceramics collection emphasizes the rawness of the clay. Therefore the rough details were left on purpose, instead of polished perfectly. When pieces exist in separate environments this strong contrast gives each piece its own unique character.

When creating a collection For Yellow Nose Studio one of the most important keys is storytelling. In general, having a story really helps with a better understanding of a product. People can relate to it and see themselves in a pre-created role. So it is crucial for Yellow Nose Studio to have a ‘character’ before the photoshoot that will be used in their campaigns. 

Above all Yellow Nose Studio exists in its own rhythm with balance at heart and a positive mindset, unlike chasing something ‘new’ or ‘big’ for the World.

As Kai says: ‘If one person got inspired by us, that’s all that matters.’

Yellow Nose Studio 

Photography: Jiuk Kim 

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Gioele Amaro

Contemporary artist Gioele Amaro is based in Paris. 

As Amaro is a digital painter, his studio in St. Germain exists without any colors, paint or brushes. In fact, his big scale works are painted with ink on canvas.

Amaro draws inspiration from the titans of art: ‘Clyfford still is my dad, Munch my Grandpa and Warhol my mum.’, he says.

To create one work he usually uses 3 to 5 images to find the right colors, composition, concept, etc. Primary Amaro with his work investigates distorted reality that evokes emotions.

‘In the army of the selfie, I’m a proud soldier. I take pictures that are not a reflection of real life. We filter to project an ideal. A distorted projection. This is exactly what I do when I project myself in front of a cold surface like steel. Is the truth in the context?’ 

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Michelangelo Pistoletto

Michelangelo Pistoletto, a visionary figure who believes artists have a mission to change the world, jokes that our antipasti are tantamount to arte povera food — their simple and honest ingredients reflecting the philosophies of the revolutionary artistic and social movement he launched way back in the 1960s. 

 ‘Everything in my work has come from the mirror,’ he says, ‘and the idea that it reflects society and reality.’ Pistoletto sees the destruction of a mirror as a way of pointing up the interconnectedness of the world. 

‘Each shard still has the same reflecting quality as the whole mirror. So all mirrors are connected, smashed or intact, just as all humans share the same basic DNA. I see society as a kind of broken mirror.’ 

It is misleading to translate ‘arte povera’ — which Michelangelo Pistoletto launched with the critic Germano Celant and various other artists in 1967 — as ‘poor art’. It’s much more accurate to render it as ‘plain art’. As Pistoletto says: ‘Povera does not mean without money in your pocket. It means the essential energy of art.’

Born in Biella in 1933, Pistoletto grew up under fascism. ‘You had to believe — in God and in Mussolini. I felt there was a terrible contradiction in believing in a system producing hate, producing massacres. After the war, Italy saw the rise of both capitalism and communism. You had to believe in one or the other. Discovering modern art was, for me, an illumination. Now I could think rather than believe.’