Firstindigo&Lifestyle

21-century art

Tag: photography

  • Artist in focus: Liu Shiyuan

    Artist in focus: Liu Shiyuan

    Artist and global citizen Liu Shiyuan is a young generation Chinese artist. She comes from Beijing and lives currently between China and Copenhagen, Denmark. Her multiplicity as an artist has gained her presentation across continents. Liu Shiyuan’s visually colorful photography and video montage, and her approach to cultural patterns perform traditions from new angles. In her body of works, monochromatic tones meet performative arrays.

    Firstindigo&Lifestyle: What made you decide to move to Copenhagen Denmark, as you have lived in so many places?

    Liu Shiyuan: I was born and grew up in Beijing. I studied in The Central Academy of Fine Arts (CAFA). Then after that, I went to NYC to get my MFA from the School of Visual Arts. I´m a very typical Beijing person, my dialogue accent and my behavior are pretty local Beijing type. I got used to living in a big city where there´s a lot of competitions going on. I like it, it makes me always have to work harder and be a better person and so on. So I actually never thought about moving to a place like Denmark. But I met my husband in Beijing in 2009 while he was doing his exchange studies there. We kept the relationship going even when we were living 8000 miles away from each other. He is Danish, and that is the reason why I am living in Denmark now.

    Firstindigo&Lifestyle: How has your choice of living in multiple places changed your artistic identity and your perspective into things?

    Liu Shiyuan: I got influenced by this kind of “international” life style a lot. Meeting with people from different places, it brought me a bigger image of understanding the world. I started thinking about things in a totally different way. By living with three different languages, my words are getting less, but my emotions are getting more. There´s so many things coming to me every day that I cannot even explain, they are too big and too complicated to be expressed by any language. That is why I work as a visual artist.

    Firstindigo&Lifestyle: What are the best aspects of living in Copenhagen as an artist, in what ways do you think it is special there?

    Liu Shiyuan: I found out here in Denmark that the “artists” (not including the Danish artists living outside of Denmark) are not like the “artists” I understood at all. I still don´t know what I can do here to the Danish society as an immigrant, except continue what I used to do. And I think doing art is enough for me. I don´t care where I live, as long as the life goes on. I travel a lot every year, we bring our baby with us to wherever we go. So home for us could be at any new places. We also stay in Berlin for a lot of time, since it´s very close to Copenhagen, so I guess besides Beijing, Berlin could be our second city.

    Do you feel Scandinavian now?

    Not very.

    Firstindigo&Lifestyle: How about your time spent in New Yock City, how did you experience the living and studying. Could you explain what ingredients did the art education give you?

    Liu Shiyuan: I went to NYC in 2010, when I was 24. And I graduated from CAFA in Beijing in 2009, so there was only one year I was doing some stuff in Beijing in the time between. I wouldn´t call it a career, I only built my own performance group, and we made two conceptual theater pieces. I´m still very proud of the works and the people I was working with in my team, because the two pieces ARE really good whenever I watch the video recordings again. It was really for fun, for doing something new, without thinking it is the beginning of anyone´s career. People from the art circle didn´t even think I was an artist. But I was a very serious student in NYC, I never wasted my time, I never gave myself a chance to do so-so stuff, I had to make sure my artwork was going in the best way as it could. It was really the fantastic two years in my life that I really put my art practice together, clear everything up. I was working very hard, having a BF on the other side of the earth, so I spent most of my time in the studio while in school.

    Firstindigo&Lifestyle: What is your primary medium of working now, or are you making art with different and varying tools and efforts?

    I am very hard on myself. Every time I make a new proposal, I begin from imagining I have never done art before. This is exhausted I agree, a lot of artists don’t work like this, but I just couldn´t help. I don´t have a studio in Denmark, I don´t put my works on the wall, and when I start a new project, I try not to look at my old works. So, I don´t think about the medium or the tools. Rather, the ideas are all coming from a brand new clean mind.

    Firstindigo&Lifestyle: You have created video works together with sound artist Kristian Mondrup Nielsen; how do these works usually develop?

    Liu Shiyuan: I am also a video artist. But I know nothing about sound, so I work with Kristian Mondrup Nielsen when I need sound in my work. He is a very professional musician, for finishing the sound part of my work, he also needs to cooperate with other people. The process usually starts from renting a recording room, inviting people to play, then he mixes the sound by himself, and the final step is mastering.

    Liu Shiyuan, The Edge of Vision, or the Edge of the Earth, 2013
    Liu Shiyuan, The Edge of Vision, or the Edge of the Earth, March 2013, Medium: Single channel video, color, 6mins, video still.

    Firstindigo&Lifestyle: Then your ‘Wonderland’ color photography series was on display at the Frieze New York in May 2016 with Leo Xu Projects. This collage of photography brought to mind European food ingredients. Are these works influenced by Danish meals?

    Liu Shiyuan: Maybe. Danish food can be very conceptual sometimes, because they really care about where the ingredients come from, if the farming is bad for the environment. So when you go to a good restaurant in Denmark, often what you get can look very minimal, no exaggerations. But the taste is just so good because of all the effort behind the curtain, the carrots taste like the best carrots you have ever had, the black coffee tastes like it has milk in it. This way that they treat the ingredients is very similar to how I treat the elements in my artwork. I show how I fully respect the pictures I use in my photos, just simply placing them on “the plate”. ‘Wonderland’ is also related to how fictions are influencing our real life.

    In that series of photos, the amount of humor equals the same amount of sadness. So when you look at them, they are actually not food any more, they become the actors on the stage.

     

     

    Liu Shiyuan, Wonderland, installation detail, photography digital prints / 23 x 30 cm, Frieze, NY, 2016.
    Liu Shiyuan, This way or that way, installation detail, 80 printed carpets, 90 x 100 cm each, Frieze NY, 2016.

    Firstindigo&Lifestyle: What does the word Bentu, meaning native soil, personally resonate in you? It was a title of the exhibition, in which Fondation Louis Vuitton represented contemporary Chinese artists, who are crossing boundaries across traditions and geographical places, or are transforming something?

    Liu Shiyuan: Bentu was the group exhibition I attended in January 2016. The defenition of Bentu definitely doesn´t mean a location or a pin on the map. I think it´s more like the root of you, the foundation of your understanding of things.

    Firstindigo&Lifestyle: There is a lot of discussion going on about the role of Chinese contemporary artists as part of the art market booming in Chinese centers. Do you want to say something specific about the phenomenon?

    There´s a boom of something in China, but I´m not sure if it is mainly related to the art market. Among all the money China got every year there´s only 5% coming from art. So I think the discussion is more on the economical level. It is very scary if you go visit a small city in China, you see new buildings everywhere, but they are empty. So I guess it´s like someone took a loan from the bank to build them while hoping a lot of people can also take loans to buy them. So the whole thing is holy. I am actually very bad at thinking about money, so maybe I shouldn´t talk too much about economy.

    Firstindigo&Lifestyle: How do you see older generations contemporary Chinese artists like Ai Weiwei influencing your thinking or methods of working, or something like that?

    Liu Shiyuan: He definitely made me thought about my art practice a lot, especially in NYC when almost everyone was asking me about him. Sometimes I explained a bit about how understandings can get twisted between cultures, sometimes I just answer he is not my uncle I don´t know.

    liu-shiyuan-as-simple-as-clay-2013-photography-installation
    Liu Shiyuan, As Simple As Clay, 2013, Photography exhibition, C-prints. Courtesy of Liu Shiyuan and Leo Xu projects.

    Firstindigo&Lifestyle: Would you like to say something specific about the galleries, which represent you in Beijing and in Copenhagen. Do you feel that there is a common nominator now in the international art world, meaning that the patterns of working and featuring artists can be too similar?

    Liu Shiyuan: Definitely. The culture of mixing thing has been going on for a long time, and now it starts to seem a bit boring. I don´t think the way most of the people use the word “international” is right.

    Firstindigo&Lifestyle: As your art works have been exhibited in different platforms and sites; in museums, galleries, and art fairs, however, who would be an ideal collector for your art?

    Liu Shiyuan: Anyone who loves the works. For me, and also my galleries I believe, the best is not always the biggest. Of course, my artworks only have few editions, sometimes they are unique, so I hope the collectors are willing to show them again somewhere, to let more people see them, to make the works live forever in a way.

    Firstindigo&Lifestyle: Do you think there is something unique for being a woman contemporary artist that has a new empowering resonance?

    Liu Shiyuan: Actually I don´t feel any difference as being a woman. I don´t really know the art world a lot, maybe some people think there´s too few female Chinese artists, so we need to dig more out. But for me, I don´t think about it, it has been a long long long time that I didn´t think of myself as a woman, but I do remind myself all the time that I am an artist.

    ***

    Liu Shiyuan’s website: http://www.shiyuanliu.com/index.html

  • Taryn Simon’s emerging bouquets

    Taryn Simon’s emerging bouquets

    At the Gagosian Gallery’s Chelsea location, opened a new exhibition around a theme of ‘impossible bouquet’.  Known for her challenging multidisciplinary photography, artist Taryn Simon has conducted extensive research for her current project Paperwork and the Will of Capital. The idea of ‘impossible bouquet’ refers to the Dutch 17th-century economy during which the market was booming. Simultaneously the birth of modern capitalism was reflected through the rich fauna of the era’s still-life paintings. The impossible bouquet is also an imagined bouquet. It includes flower pairings that cannot coexist in the natural world; the flowers are not blooming at the same time or they originate in different geographical locations. Today this economy has changed completely, when the global supply keeps bringing diverse specimen to the consumer’s market. The exhibition includes photographs of 36 bouquets formed as centerpiece and still-life. They gather thematically around 12 unique columnal sculptures, which also trace back to the fauna accumulated in the photography.  Next to the large photographs are their textual references connecting the arrangements to their sources.  The flower typologies in the artworks suggest real events that create the context for the exhibition.

    These flowers sat between powerful men as they signed agreements designed to influence the fate of the world. —Taryn Simon

    Taryn Simon

    Memorandum of Understanding between the Royal Government of Cambodia and the Government of Australia Relating to the Settlement of Refugees in Cambodia. Ministry of Interior, Phnom Penh, Cambodia, September 26, 2014, From the series Paperwork and the Will of Capital, 2015. Archival inkjet print in mahogany frames with text in windowed compartment on archival herbarium paper 85 × 73 1/4 × 2 3/4 inches framed. © Taryn Simon


    Taryn Simon, From the series Paperwork and the Will of Capital, 2015, Archival inkjet print.
    Taryn Simon, From the series Paperwork and the Will of Capital, 2015, Archival inkjet print.
    Taryn Simon, From the series Paperwork and the Will of Capital, 2015, Archival inkjet print.

    The exhibition is Taryn Simon’s first at the New York gallery. The sculptures displayed in the exhibition were previewed at the 56th Biennale di Venezia in 2015.  Now they appear  together with large-scale photographs that culminate as a complete body of work for the first time. During the process of making the photographs and sculptures, which navigate layered meanings, Taryn Simon worked together with a botanist, investigated archives, and benefited from 4000 different specimen to structure the process. Each specimen coming to the process was dried, pressed, and sewed into the herbarium paper. The artworks engage a level of communication as botanical collages, in a photographic form, and as pressed and preserved subject in the sculptures. The artist utilized George Sinclair’s nineteenth century horticultural study, which contains actual dried grass specimens.

    As much as the flowers have decorative power, the art speaks with full textual meaning. The textual references attached to the photographs and sculptures, describe diverse political agreements that semantically ground the ‘flower fantasies’ into realities, which touch lives. In the past, the bouquets staged world dramas. In their present artful context they contribute to breathing new air into the archives. The level of ignorance on the agreement’s impact on actual realities is communicated through the floral that is now taken care of. In the art it represents the colorful, palpable, and vivid side of the reality. Among the textual references, there are themes of global trading of goods, and examples of the attempts to access natural resources over national boundaries and geopolitical territories. There are strategic negotiations, where commercial value has weight over human capital, or it entirely suppresses environmental viewpoint. Often the signing table puts a full stop to development projects, social welfare and economic aid. For the artistic series, Simon studied archival photographs of official signings. She examined accords, treaties, and decrees that were drafted to influence systems of governance and economics. The subjects include nuclear armament, oil deals and diamond trading.

    The environmental challenge of the global flower distribution connects intimately to the exhibition narrative. Paperwork and the Will of Capital, implies the complications behind the global consumption. The underlying political themes communicate about environmental fragility. One of the flower narratives introduce a plan that was created around the Caspian Sea oil reserves, known as Baku-Tbilisi-Ceyhan Pipeline. As an outcome of this plan, Western nations would have more ideal access to the area’s natural resources and allude strategic presence in Central Asia.  The February 3, 2004 flower bouquet, testifying the signing of the finance package for constructing the BTC pipeline in Baku Azerbaijan, included: Baby’s Breath from Kenya; Dutch Iris from Netherlands; Israeli Ruscus; and Hybrid Tea Rose from Kenya.

    Another environmental flower arrangement relates to the 2014 agreement to conduct studies on the Grand Ethiopian Renaissance Damn, bringing in parties from Sudan, Ethiopia and Egypt to negotiations. The construction of the damn contests the neighboring countries, because the negotiations handle the water rights to the Nile. While still in the construction process, the dam will be Africa’s largest hydropower project taking massive segment of its infrastructure. The discussion challenges larger schemes linking back to the colonial history, which places Egypt as majority holder of the Nile’s water, when in reality Ethiopia, Kenya, Rwanda, Tanzania, and five other African states share access to its waters. The flowers present at the negotiations were: Gerbera from Netherlands; and Hybrid Tea Rose from Ethiopia.

    Can flowers change attitudes toward things and ideas? At least, the commerce between flowers from different territories and geographical locations stretches boundaries as we know them. Sometimes flowers travel further than people. Anthurium, Netherlands; Dendrobium, Thailand; Orchid Venezuela; and Hybrid Tea Rose, Kenya, were at present in the memorandum held to negotiate the status of refugees and asylum seekers to Australia. The negotiations took place in Cambodia on September 26, 2014. Australian refugees from the refugee center located on the Pacific Island of Nauru were to be transferred to Cambodia into a permanent resettlement. By shifting their refugee responsibilities elsewhere, the economically advantaged Australia signed to exploit one of the poorest nations in Southeast Asia.

    Highly conceptual thoughts embed the large photographic prints and their similarly intentional sculptures within a frame of time that scopes past and attains to preserve some for the future. It seems that the fragility of flowers echo past remnants, but more forcibly introduce newly fluid forms. The photographs speak through large canvas. They accumulate painterly softness through the backdrops, and the archival feel responds to the dimensionality of the bouquets. The floral appears as richly layered; the bouquets were photographed multiple times. Sometimes the setting stands still as if being part of a funeral setting, then the collage screams out from the mahogany frames. The bouquets are in a state of being and emerging.

    …

    Artist website: http://tarynsimon.com/

    Taryn Simon: Paperwork and the Will of Capital

    February 18 – March 26, 2016

    Gagosian Gallery

    555 West 24th Street,

    New York

    http://www.gagosian.com/

    Hours: Tue–Sat 10-6

  • Riitta Ikonen’s artistic day dreaming

    Riitta Ikonen’s artistic day dreaming

    Artist Riitta Ikonen traveled recently to Greenland to discover new artistic work that reflects interaction between humans and their natural environment. Her exhibition, “Glacial Reveries”, is on view at The Chimney Exhibition & Performance venue in Brooklyn until February 7th. Interestingly, the body of work touches directly a topic of glaciers and their fate in the age of the anthropocene. Reveries, then, as a form of day dreaming, means for the artist a human survival strategy during the end of the world scenario. The objects include; a ”wetsuit for the tip of an iceberg, a lifejacket for a brick, eroded stones tied back together with strings, a video hidden in a suit, stairs leading up to cinder block windows”. Few year ago, Riitta Ikonen captivated her audiences with a collaborative photography project, Eyes as Big as Plates, which embeds something remarkable of the elderly human portraits, characterizing people among their surroundings. In this interview, the artist discusses her exhibitions, travels, artistic practice and plans.

    Firstindigo&Lifestyle: Could you tell about this ongoing project called ”Eyes as Big as Plates”, how did it start, develop, and so on?

    Riitta Ikonen: Eyes as Big as Plates is an ongoing collaborative venture with Karoline Hjorth, a photographer with a journalism and tall-ship sailing background. We met in 2011 on an artist residency after I, in search of a collaborator, typed in: Norway+Grannies+Photographer into an Internet search engine and found Hjorth as the top search result. (She had just published a book on Norwegian grandmothers.) We met for the very first time on the doorstep of a 20 m² flat in the small town of Sandnes, southwest of Norway.

    Starting out as a play on characters from Nordic folklore and the personifications of nature in the lore, Karoline and I wanted to find out what kind of connection the Norwegians had with their rocks, fjords and hills. Those hills hadn’t changed since the tales, but the people sure had. We figured that the older the local interviewee/model, the closer we would get to the talking rocks of the tales. Folktales often made complex natural and sociological issues understandable and accessible, with phenomena taking on forms and characteristics that even a mere mortal could have a dialogue with. Perhaps our Eyes as Big as Plates images aimed to discuss the contemporary human in the nature in a similarly approachable language. After interviewing in Sandnes for two weeks, our investigation started shifting more towards imagination and Eyes as Big as Plates has evolved into a search for modern human’s belonging to nature.

    Much of the western society is unnecessarily confused when it comes to the ‘usefulness’ of older people. As the project continues to cross borders, it also aims to rediscover a demographic group too often labeled as marginalized and generate new perspectives on who we are and where we belong.

    The series is produced in collaboration with retired farmers, fishermen, zoologists, plumbers, opera singers, housewives, artists, academics and ninety year old parachutists. These are people we meet through friends, relatives and newspaper ads, in hardware stores, noodle shops, indoor gardening society meetings, swimming pools, on the city streets etc.

    The title Eyes as big as Plates refers to two Scandinavian folktales featuring respectively a goat and a dog with eyes the size of plates.

     

    Firstindigo&Lifestyle: It seems that the work was presented in multiple international places. Do you think that there were different receptions of your work that you find as constructive?

    RI: I traveled to the Upper Peninsula of Michigan in the US last fall with Eyes as Big as Plates exhibition and was honored to witness the reactions to the photographs from of the large Finnish community. More people of Finnish descent live in the northwest part of the Upper Peninsula than anywhere else in the world outside of Finland. The images resonated with the crowd in a way that transcended borders, time and language. The Nordic spirit was redolent in the minds of the third generation Finns yearning to keep the connection to their heritage alive. Though the exhibition was small, it was one of the most moving and personal of the dozens of lectures and openings I attended last year.

    After the opening of the Eyes as Big as Plates exhibition at the National Museum of Greenland, Karoline and I got to listen to Teitur from the Faroe Islands perform live at the Katuaq Center. His song ‘Home’ struck a cord in that moment and I realized there is a ‘home’ in each image for me, perhaps for others too, a universal anchoring point. Greenland was exceptional in many ways and I know that this was the first trip of many more to come.

    I wish I could have attended the shows in Korea and Bogota too, but that would have required a body double. I have worked quite a bit with the Norwegians since 2011 and the Norwegian National Museum has been touring an Eyes as Big as Plates exhibition with a workshop for a couple of years now. At the opening of Fotogalleriet in Oslo, Karoline and I also got offered a chance to work on a public art commission by the Arctic Sea at Kirkkoniemi-Kirkenes, where we work on documentary portraits for a brand new hospital until 2017.

    Riitta Ikonen: Glacial Reveries, installation view, The Chimney.
    Riitta Ikonen: Glacial Reveries, Installation view, The Chimney.
    Riitta Ikonen at The Chimney.
    Riitta Ikonen: Glacial Reveries, The Chimney.

    Firstindigo&Lifestyle: Readers of this blog are interested in the artistic language and process, are there any compelling features that make yours?

    RI: The process is most often rooted in collaboration, with the current show in New York at The Chimney being a cheerful exception. The latest works consist mainly of interactive sculptures and video all of which bubbled from last October’s trip to Greenland. The pieces were produced after digesting the experiences of the spectacular land- and seascape near Nuuk, and filmed over the next three months in Finland, the Pacific Northwest and New York. The below piece of writing by Robert Smithson also accompanied me through the making process as a kind of fluid spine.

    ‘One’s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought, ideas decompose into stones of unknowing, and conceptual crystallizations break apart into deposits of gritty reason. Vast moving faculties occur in this geological miasma, and they move in the most physical way. This movement seems motionless, yet it crushes the landscape of logic under glacial reveries.’
    Robert Smithson, “A Sedimentation of the Mind: Earth Projects”, 1968

    Firstindigo&Lifestyle: How do you see that artistic collaborations and working with curators have formed your artistic language? Are you able to pin down, or do you have a story about how a dialogue with the art field has forwarded your career?

    RI: I collaborate with people (architects, artists, photographers, sculptors, writers, postal workers etc.) to catalyze the interaction that determines the direction and the work. Unpredictability feeds my practice and keeps the process interesting.

    Working with courageous people is necessary for progress.  My solo show ‘Glacial Reveries’ in NY is far wilder than I could have imagined with the fearless support and insight from the curator, Clara Darrason. She encouraged me to follow my initial plan of making the gallery goers walk under water, on the bottom of the ocean with the water level up in the ceiling. We also ended up installing a 25-foot tall iceberg in the show.

    Firstindigo&Lifestyle: Are you currently based in New York City, and do you have specific plans for staying and working here?

    RI: I am currently on an airplane, and spend a great deal of time in transit. I am based in Kouvola with restless feet. I just met up with Tiina Itkonen in Helsinki who has done a life’s work in Greenland and it is only a matter of time that I will return there! I was hoping to go to Mexico City, where I have works at the Material Art Fair, in March, there are also the RCA Secret exhibitions and sales in London and Dubai, but again- I am restrained by this one body only.

    Firstindigo&Lifestyle: Do you consider yourself a Finnish artist, are there any particular ways to designate and identify with your country of origin?

    RI: I am a Finnish artist and I feel it pulsates strongly in my work and me. I receive a tremendous amount of support from Finland, whether it is from the brilliant network of Finnish Cultural Institutes around the world, Consulate staff, Cultural foundations, or curators. Most often as a Finn, you are only two steps (at most) away from a fellow creative countryman. This network is incredibly loyal and operates on a penetrable scale- a truly privileged situation however you look at it.

    Firstindigo&Lifestyle: As mentioned, your current project and exhibition, Glacial Reveries is on display at The Chimney in Brooklyn. How did you find yourself going to Greenland to do a project there?

    RI: It was a lifelong dream to go to Greenland; it was also the last Nordic country I hadn’t worked in. My collaborator Karoline Hjorth and I decided ‘it shall be done’, and we compiled a list of various Greenlandic institutions to reach out to. I called a few numbers and sent some emails. I received no reply. Eventually I got used to the ‘radio silence’, but made a habit of ringing one number or another every week. Most often no one replied, sometimes a receptionist or an answering machine picked up. A year went by stubbornly. We finally made the contact when Åsa Juslin from the Finnish-Norwegian Cultural Institute in Oslo, introduced us to Mats Bjerde and Mette Hein from NAPA (The Nordic Institute in Greenland), who were organizing Nuuk Nordisk Festival in the capital. After Åsa’s email, the ball started rolling.

    Firstindigo&Lifestyle: Is a topic of climate change important to your work, and how about the nature as such?

    RI: Climate change discussion and open dialogue is vital and art is a good communication tool. I am a bit hesitant to talk about nature as I am coming to think that there is no such thing. There are just us in our surroundings, whatever those may be. The idea of nature might be just as manmade as Shopkins. Either way, to acknowledge that you are not separated from your surroundings can be a way to get the most real picture of the world available to us. (Timothy Morton has written interestingly on that)

    Firstindigo&Lifestyle: Is art political to you and if so, how?

    RI: ‘The personal is political’ as it was once aptly put.

    Firstindigo&Lifestyle: Did you find your artistic medium early on, or did you master and explore various techniques?

    RI: After the wish of becoming a conveyor belt worker in a confection factory faded a little, a career as an artist was an obvious second choice. I am still exploring various techniques, and am a happy amateur. As a fish farmer living by the Arctic Sea said it very nicely last year: ‘I am a charlatan and an amateur, a typical Finnmarking who has adapted to this county of contrasts. I love what I do (Latin Amator = lover, amare = to love), unlike a professional who does something not because he loves it but to earn money. There’s a big difference. (Oddbjørn Jerijærvi)

    Firstindigo&Lifestyle: Do you have specific plans for the future?

    RI: Go work in the desert in the spring, complete a National Park Residency, exhibition at Pielisen Museo in Northern Karelia, continue the Time is a ship that never casts anchor project in Kirkenes, Exhibitions in Germany and the Douro Valley in Portugal, Mail Art- Art Mail Show at the Finnish Postal Museum until the end of February 2016, RCA Secret in London and Dubai, Material Art Fair in Mexico City this month, More Greenland, etc.

    …

     Artist website: http://www.riittaikonen.com/

     The Chimney, New York: http://www.thechimneynyc.com/