Conceptual art

As we know there are different directions and ways of artistic expression accepted in the world culture. When we say “Contemporary Culture” it means pieces of art connected to current time which reflects in itself historical, political, social, psychological and other issues.

Culture of each period is considered contemporary for current space and time. Thereby culture itself depends and connects on factors stated above. The culture of any space and time should reflect qualities of this space and time in the world context. Thereby the author is fixing these qualities in own art piece where the art piece has to be considered not only as a piece of art but also visual and mental document left in history.

By

Jaret Vadera

Born 1976 in Toronto, Canada
Lives and works in New York, USA

Jaret Vadera is a New York-based interdisciplinary artist originally from Toronto, Canada. He received his undergraduate education at the Ontario College of Art and Design in Toronto, the Cooper Union in New York, and his MFA from the Yale University School of Art. His work has been exhibited in a number of venues including: the Queens Museum of Art, New York; Project 88, Mumbai; Thomas Erben, New York; Paved Art + New Media, Canada; The Travancore Palace, New Delhi; The Cultural Foundation of Corsica, France; and the New York Arab & South Asian Film Festival, New York.

Minja Gu

Minja Gu lives and works in Seoul. Her works appear frail and intimate, and almost indistinguishable from everyday life. Gu is predominately interested in what society uses and then discards. She recycles back into presence and with grace, wit and poetry the many supposedly valueless remnants of daily consumerism, such as leftover coffee cups or plastic bags. In addition to her physical artistic production she also initiates activities that run in parallel, or could be considered parasitic to everyday participation in society.

Doris Bittar

Born in Iraq
Lives and works in USA

I am a multi-disciplinary artist who closely follows history and intertwines it with pattern and decorative structures. In part, my art tests a pattern's veracity to see if it may act as an identifying unit of culture, which I call cultural DNA.  Also, because the word “decorum” is related to the word ”decoration,” I wonder if decoration may be a code for behavior, for how a room should be organized to spur dialogue? Could pattern and decoration be animated into lattices or structures that guide and bridge?

Taysir Batniji

*1966 Gaza, Palestine.

Born in Gaza in 1966, Taysir Batniji studied art at Al-Najah University in Nablus in the West Bank from 1985-92. In 1994 he was awarded a fellowship to study at the Ecole des Beaux-Arts, Bourges, France, where in 1997 he graduated with a DNSEP (Higher National Diploma in Plastic Expression). Since then he has divided his time between France and Palestine, developing an interdisciplinary practice including drawing, painting, installation and performance often closely related to his heritage.

Ting-Tong Chang

*1982 Taiwan
Lives and works in London, UK

Ting-Tong, Chang, born 1982, won his MFA at Goldsmiths, University of London. His artistic practice covers both street art and elements of traditional painting and sculpture. Most interested in urban space and exploration of potential dialogue between institution and individuals.