New Viewings #23

With her sculptures and video installations, Özcan tracks down the literary structure and linguistic precision of a poem, transferring its projective nature visually into space.

The resulting multimedia installations and diorama’s connect sound, writing, sculptures and video, in which the video becomes three-dimensional through a system of reflections.

Her visual poems display a huge number of images and while the material is randomly layered, it is all directly interrelated. The stanzas of her poem can be read as a complete whole. A multitude of forms triggers the viewer to imagine the connections in this sculptural storyboard but also to experience them synchronically. With her work, Özcan conveys a new uncompromising visual language.

Neda Saeedi is “engrossed in urban landscapes, the relationship between the human body and architecture: the value, materiality, power/powerlessness and ownership of the body in relation to the construction of a building or the expansion of urban development projects.”

She also aims to “address history, the relationship between forms, materiality and concepts.” Neda Saeedi studied classical sculpture under Raffie Davtian in Tehran and under Hito Steyerl at Berlin University of Arts

Recently it was discovered that the parent company of a New Zealand wine group, donated a large sum to the Trump re-election campaign. There is a call in New Zealand to boycott these wines.

Germany is a growing and important market for New Zealand wines. The market share has grown 13.3 percent in the period from 2011 to 2018.

The artist extends this call in solidarity to those in Germany to boycott these New Zealand wines, listed in her artwork. They are also listed in a poster as a reminder of the brands to avoid.

This work aesthetically negotiates the world of finance we inhabit in which the Markets have an omnipotent presence. In the world of finance, objects are counted according to an abstract quantification which registers price differentials and looks for ways in which the differences between objects are tradable with a view to seizing value. Consequently, for the markets, it is irrelevant which wine tastes better: the question is rather which wine is most tradable.

A central element of Osías Yanov’s contribution is the spoon as an everyday object: by investigating various processes of group play and including this object, which is sensually significant for mouth, body and tongue, he celebrates the spoon as a symbol of the permeability of the body.

The artist deals with the object as a tool for „resensitization“, and also for describing bodies that nestle against each other. In a haunting installation gently bathed in coloured light, sculptural objects are constructed from the spoon.