Tell Me a Tale

Tell Me a Tale: An anthology of 20 short stories published by Fluster Magazine & Armida Publications Ltd.

As a celebration of the inspiration and creativity that went into the Tell us a Tale Short Story Competition, Fluster Magazine and Armida Publications put together a collection of the 20 best short stories submitted by authors (published and unpublished alike), the world over. The stories are diverse in scope and theme and were inspired by photographs in Fluster Magazine’s Flickr Pool.

For more information see: armidabooks.com or flustermagazine.com

11 questions with artist Adriana Mosquera

The 11 Question Interview Series continues with artist Adriana Mosquera sharing her thoughts photography and art. Learn more about the artist and visit pivotartgallery to see the featured portfolio.

Adriana Mosquera

Adriana Mosquera

 

1.How did you first become interested in photography?

Desde el comienzo de mi proceso artístico la fotografía ha estado presente, ya fuera como dato inicial, como apunte rápido en mis desplazamientos, como material dispuesto a ser intervenido manual o digitalmente, como pieza capaz de construir un lenguaje en movimiento cuando se utilizan imágenes en secuencia ó como instancia final funcionando como retazo, como fragmento de la presencia de un objeto, un pedazo de circunstancia, de realidad.

Photography has been present since the beginning of my artistic process. Either as an initial idea, as a quick sketch, as material ready to be modified manually or digitally, as part of the language when using moving images, or as the final work functioning as a fragment of the presence of an object, a piece of circumstance, of reality.

2. If you have artistic/creative role models, who are they and how do you relate to them?

Mi proceso artístico se ha basado en la fotografía como herramienta para el estudio de fenómenos naturales y culturales. En la que investigo el concepto de espacio y la relación entre objetos, borrando las fronteras de los espacios públicos y privados. En donde lo fotográfico puede darse como condensación de un hecho performativo o viceversa, o lo escultórico puede anteceder o promover lo fotográfico. Estrategias que permiten, dentro de las dinámicas urbanas,  desdibujar y replantear continuamente su concepto, en un diálogo siempre abierto de imágenes encontradas y construidas. Un encuentro absurdo entre  ready-mades y lugares comunes.

My artistic process has been based on photography as a tool for studying natural and cultural phenomena. In which I investigate the concept of space and the relationship between objects, erasing the borders of the public and private spaces. Where the photo can be seen as a condensation of a performative act or vice versa, or sculptural can precede or promote the photographic. I use strategies that permit, within urban dynamics, blur and continuous rethinking of concepts, in an always-open dialog of images both found and constructed. An absurd meeting between ready-mades and common places.

Adriana Mosquera

Adriana Mosquera

 

3. What is most satisfying to you about the creative process?

Dejarme sorprender por lo que descubro en el proceso, como las ideas se materializan y adquieren un carácter único, muchas veces indescifrable solo hasta el momento que se conciben.
Del mismo modo es impactante cuando las ideas se materializan tal como las imagine, y siento como libero mi mente luego de realizarlas, son retos pendientes que debo resolver antes de continuar y seguir creando.
Es emocionante como lo que creas puede afectar tu realidad inmediata y porque no decir permite crear nuevas realidades.

Allowing myself to be surprised by what I discover in the process, as the ideas materialize and acquire a unique character – they are often indecipherable until they are conceived.
Similarly satisfying is when ideas are materialized as I imagined them, and I feel like I can release my mind after making them – they are challenges that must be resolved before proceeding and creating more.
It is exciting because what you create can affect your immediate reality and why not create new realities?

4. What do you learn through your work?

Realizar mi trabajo, me permite no solo reflexionar sobre el modo en que el ser humano se enfrenta al mundo y las estrategias que construye para personalizar su habitar, sino como desde mi experiencia inmediata puedo catalizar mis propias vivencias y hacerlas comunes, reconocibles. Una especie de espejo donde el espectador, puede reflejar su existencia.

My job allows me to not only reflect upon the way in which human beings face the world and create strategies to personalize their habits, but also on my immediate experience that could make them common and recognizable. A kind of mirror where the viewer can reflect their existence.

5. Do you use tools other than photography for looking at various cultural phenomena?

La fotografía es una herramienta fundamental en mi trabajo, ocupando diferentes estancias e involucrándose simultáneamente con prácticas escultóricas y performativas donde el video y el stop motion han hecho parte de esta búsqueda dentro mi lenguaje artístico.

The photograph is a fundamental tool in my work, occupying different roles simultaneously with sculptural and performative practices. Video and stop motion have also played a role within my artistic language.

Adriana Mosquera

Adriana Mosquera

 

6. Your photography reveals different types of patterns in our urban environment – both in public and private spaces. Do you find that working in series helps you define those patterns? Do you always think in series as opposed to say, individual images?

Estos registros reflejan un interés marcado en lo serial, en lo reiterativo, a veces presente en una misma toma, en otras la serialidad se presenta en múltiples tomas buscando aprehender la temporalidad de los eventos y acontecimientos sencillos e inasibles, incidiendo constantemente en el comportamiento mudo de una cultura a través del rastreo minucioso de sus cuerpos, de sus muros desnudos, de su arquitectura oculta para muchos, visible para pocos.
Así mismo la serial se vincula simultáneamente a un problema de identidad, ser gemela es una historia propia, una realidad vigente y no contingente, donde se pone de manifiesto un ambiente homocigoto, donde la relaciones interpersonales, parten de un mundo compartido, dosificado en partes iguales, homogéneo y regular en sus formas, pero diverso en colores y texturas.

Some works reflect a strong interest in serial and reiterative phenomena, which can be present in the same shot. In other cases the seriality comes in multiple shots and describes the temporality of simple and ephemeral events. I constantly stress the dumb behavior of a culture – which is hidden for many, visible for a few – through careful tracking of bodies, bare walls, and architecture.
Also the seriality is linked to an identity issue. Being a twin is  its own history. It is a reality which reveals a homozygous environment where relationships that begin from a shared world, dosed in equal parts, homogeneous and regular in form, can be different in color and texture.

Adriana Mosquera

Adriana Mosquera

 

7. What is your process like? Do you start with an idea, or do you happen upon a scene that resonates with you and then begin to photograph it? How do you know when an idea is worth pursuing?

Los procesos de creación varían de acuerdo a las especificidades de cada obra y su contexto. La mayoría de las imágenes encontradas o construidas son producto, de encuentros fortuitos al caminar por la calle, puede ser un arrume de bultos de pasto, hombres uniformados en su rutina limpiando las calles que forman patrones, gestos, actos, inclusive mis propios sueños.
Analizo el día a día como si quisiera desmantelar lo que se esconde en los quehaceres comunes, para catalizar la vida y descifrar el comportamiento humano, porque hacemos lo que hacemos y como lo hacemos.
Algunas veces puedo mantener una idea en mi cabeza por mucho tiempo meses , a veces años antes de concebirla o materializarla. Lo comparo con el entrenamiento de una bailarina o un gimnasta que ensaya sus pasos en la cabeza, día tras día, hasta que llega el momento de hacerlo publico. Es un entrenamiento mental, que luego se materializa.

My creation processes vary according to the specifics of each project and its context. Most of the images, found or constructed, are the product of chance encounters while walking down the street; they can be masses of grass, uniformed men routinely cleaning streets that form patterns, gestures, acts, and my own dreams.
I analyze daily life and try to dismantle what is hidden behind the common chores, catalyzing life and deciphering human behavior, why we do what we do and how we do it.
Sometimes I keep an idea in my head for a long time, months, sometimes years, before fully conceiving or realizing it. I compare it to the training of a dancer or a gymnast who rehearse their steps in their mind, day after day, until it comes time to make it public. It is mental training, which is then materialized.

8. Can you talk about your time in Madrid and how it informs your work? Were there major differences to your experience in Colombia?

A diferencia del proceso y las dinámicas de creación un poco mas marcadas en la formación artística colombiana, donde se construye un marco teórico e investigativo al rededor del proyecto a construir, antes de concebir una imagen o en una obra. En Madrid encontré un campo de acción mas flexible, sin pautas establecidas donde la obra puede surgir de un proceso creativo mas espontaneo, menos pretenciosos, que puede confluir en una reflexión teórica o viceversa.

It was a different process with a different dynamic of creating. Colombian artistic training emphasizes a theoretical framework and research around a project to be built, before you conceive an image or a new art piece. In Madrid I found the scope more flexible, without established guidelines where the work can come from a creative spontaneous process – less pretentious, available to converge in a theoretical reflection, or viseceversa.

Adriana Mosquera

Adriana Mosquera

 

9. How do you feel about contemporary art and your contribution to it?

El acto de crear, inherente al ser humano, cualquiera que sea su disciplina y su rol en el mundo, equivale a un compromiso con la sociedad y su contexto inmediato. Ser artista es ser biógrafo de su época,
Es fundamental de acuerdo a los intereses de cada artista reconocer la época mediática en la que nos encontramos ya sea para trabajar desde allí o reflexionar desde la distancia anacrónica, siempre siendo conscientes del lugar geográfico y cultural en el que nos encontramos, somos artistas, somos biógrafos de nuestras épocas. la colectividad es sincera y es vital , la noción de autoría cada vez se diluye en una época en la que todo se copia, se edita, se transforma y en donde la “nuevas” ideas surgen de la reflexión de lo existente.

The act of creating, inherent to the human being, whatever  its discipline and its role in the world, is equivalent to a compromise with society and its immediate context. Being an artist is to be a biographer of time.
It is essential (according to the interests of each artist) to recognize the media age in which we find ourselves and either work from there or reflect it from an anachronistic distance. We always need to be aware of the geographical and cultural context in which we find ourselves: we are artists, we are biographers of our times. The collective is sincere and it is vital to have the notion of authorship which is increasingly diluted in an age where everything is copied, edited, transformed and where the “new” ideas come from reflection of what exists.

10. What is the most important thing you want viewers to come away from your work with?

Las lecturas pueden ser múltiples al contemplar mi obra, todas son validas, mi interés no es imponer un significado, pues no existe una sola manera de ver ni de vivir el mundo.
Para mi es vital todo lo que brota desde allí, desde ese primer encuentro, es allí donde la obra finalmente se completa, es el espectador quien le otorga un sentido propio desde su contexto, desde su experiencia. Lo que me impulse a crear es una reflexión sobre nuestra sociedad contemporánea y el comportamiento humano, la enajenación, la soledad, el sin propósito, el encubrimiento, la manipulación mediática y el espectáculo.

The interpretations of my work can be multiple; they all are valid. My interest is not to impose a meaning, because there is no one single way of seeing and experiencing the world. For me it is vital that everything which comes from there, from that first meeting, is there where the work finally is completed, when the spectator gains a proper sense from its context, from their experience. What drives me to create is a reflection on our contemporary society and human behavior, the alienation, loneliness, doing without purpose, concealment, media manipulation and strategies of the spectacle.

Adriana Mosquera

Adriana Mosquera

 

11.What can you add that would help us understand you and/or your work better?

Mi metodología no se aparta de lo onírico. Sin embargo son los espacios, el habitar colectivo, el comportamiento humano, la realidad latente y cotidiana lo que inspira mi trabajo.
Es una continua transacción con la realidad, para entender mi trabajo hace falta tan solo mirar a nuestro alrededor y reflexionar.

¡Girar un poco mas la cabeza de lo acostumbrado, detenerse unos minutos más, repetir y dudar.

My methodology does not depart from the dreamlike. However spaces, collective living, human behavior and everyday life inspires my work. It is a continuous transaction with reality – to understand my work it is necessary only to look around us and reflect. Turn the head a little more than usual, stop a few minutes longer, repeat, and doubt.

Palimpsest

A Coup d’Espace project curated by Steven H. Silberg and Neil C. Jones

Dates: October 12 – November 9, 2012

Location: 2023 Massachusetts Ave, NW, Wash, DC

Curated by: Steven H. Silberg and Neil C. Jones

Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly.

Opening Reception: October 12, 6:00-8:00pm

Palimpsest is a Coup d’Espace project curated by Steven H. Silberg and Neil C. Jones. which explores the constant layering of information in contemporary society and the impact technological advancements have on the ways we represent and receive information.

As digital texts—documents, photographs, video—become ubiquitous, we adapt to new ways of reading, adjusting to the layers of information these digital texts contain. In recent years, the QR code has become a common way of relaying additional information, allowing users with the correct technology to access additional data in everything from advertisements and museum exhibitions to business cards and printed books. But what if the QR code became the contemporary representation of information, displacing the original information? It wouldn’t be the first time that newer “text” has superseded the old. Throughout the history of the written word, parchments and vellum have been scraped clean of their original text and reused. Over time, that original text (the scriptio inferior) resurfaces through natural means or scientific research. An immediate relationship between the original text and new text is constructed through their juxtaposition.

Palimpsest alters the experience of viewing individual works of art by forcing viewers to experience the works through the mediation of this new technology. Artwork selected for the exhibition has been documented before being whitewashed or otherwise obliterated. A QR code, which links to the original documentation of the artwork, has been placed on the surface of each individual piece. While the individual works already address the layering of information, the very act of viewing the exhibition will force viewers to experience the layering and mediation the works address. Including work in a range of media—painting, photography, video, and sound—Palimpsest asks what these new methods of representing information mean for artists and their work.

ABOUT THE CURATORS
Steven H. Silberg is an image-influenced, pixel-based cross media artist with a background ranging from photography to book conservation. Working in print, video, and interactive installation, he engages new media as a literalist. For him, the pixel and structure of the digital image is as important as the composition and content. Created in Baltimore, his work has been enjoyed regionally, at venues including Baltimore’s Artscape, the University of Maryland, and the Delaware Center for the Contemporary Arts; nationally, at the University of Texas, Dallas, Missouri State University in Springfield, MO, and Orange Coast College in Costa Mesa, CA; and internationally at the Third Beijing International New Media Arts Exhibition and Symposium. He was selected as the Winner of The Washington Post’s 2010 Real Art DC competition and has been selected as a semi-finalist for the 2012 Trawick Prize. Silberg received his MFA from MICA in 2004 and his BFA from the University of Delaware in 1997. He is a Lecturer in Foundations, concentrating in Photography and Video, at UMBC.

Neil C. Jones is a photographer and faculty member at the Maryland Institute College of Art and Anne Arundel Community College. His work has been exhibited nationally in Atlanta, GA, Baltimore, MD, New York, NY, and Washington, DC, and internationally in Heidelberg, Germany, and Lacoste, France. He holds an MFA in Photographic and Electronic Media from the Maryland Institute College of Art , an MA in Digital Photography from the Savannah College of Art and Design and a BA in English Literature from the University of Delaware. In 2012, he was awarded an Individual Artist Award for Photography by the Maryland State Arts Council.

ABOUT COUP D’ESPACE
Coup d’Espace is WPA’s member-generated programming series. By inviting member artists and curators to plan installations, exhibitions, and events in its office project space, WPA provides a venue for unusual collaborations, exploration of new concepts, and the production of new and experimental work. Coup d’Espace allows artists and curators to utilize the WPA office as a laboratory or workshop space, to introduce new and in-process projects and present challenging ideas.

Sol Grotto art installation

I went to visit Sol Grotto at the UC Berkeley Botanical Gardens this past weekend. It is, according to the designers website, a “…spartan retreat—a space of solitude and close to nature where one is presented with a mediated experience of water, coolness and light .”

I found it be be a contemplative space filled with the sounds of a running stream and amazingly lit with light streaming in through the glass tubes. Definitely worth a visit.

It is also hard to escape Solyndra’s role as a controversial bankrupt company. The installation re-uses 1,368 high tech glass tubes that would otherwise have been destroyed. For more info, see the website here: rael-sanfratello.com.

new featured artist: Mike Frick – Portraits

pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. What stories can a face tell? visit the featured artist page to experience the paintings by Arizona artist Mike Frick.

“how to make a bird’s nest” by Mike Frick

Fluster Magazine

a really great magazine/website that we have recently partnered with. Fluster is a creative project about personal expression, culture, and reportage from many different perspectives published in both English and Italian. It is a great site full of photography, interviews and art. check it out at: flustermagazine.com

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