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Latest News about art and Collectors

I read in a well known Art News Paper ( on-line) version that 'FACEBOOK'
was the latest 'IN' place to be if you were an Artist or Art Collector, Dealer or Gallery.

In the few weeks I have been ON 'facebook' I have noticed a lot of action in these areas and groups and noticed all the established artists chatting so openly about their daily lives and contacts.

The Artists don't even say things in private, just so openly so it lets others know who 'HAVE' been on the phone and showing interest in their works.

I find it very open and it is like 'THESE' well known artists are using 'FACEBOOK to bragg about their lives and contacts.

These people are so open and after sending them friends request they accept me like I'm their long lost friend.

How strange, but it is a place not to ignore and if you 'ARE' a serious artist, you should be here on facebook.

It could be a passing Fad until the next best thing comes along, but for now, I am staying with it and watching.

These days 'ART' is about networking and looking at the great raw talent that is out there.

The Art World is changing and so are buyers and sellers, where it was a buyers market, places like 'FACEBOOK' will now make the art world realise and realise soon that the 'SELLER' has the power now, like where 'ART' should be.

Auctions and Galleries will lose the power and it will become up to the artist to place their price again on the work, finding the true artists and finding the true art with the true value.

I have created some great groups on 'FACEBOOK' with links to all my networks, feel 'FREE to join in, and it is 'Free' to join my networks'.

Discussion Forum

Wild9 - The Wild Foundation World Wilderness Congress 2009

Started by Melissa Ayr, Artist Nov 10, 2009.

ArtReview on Facebook

Started by artreview.com Sep 14, 2009.

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Comment by ArtwallZine on February 27, 2011 at 17:44
New issue.click on the cover and take a look.Now artwallzine will be printed!www.artwallzine.com

Click on the cover to view this issue

Click on the cover to view this issue

Click on the cover to view this issue

Comment by Rupert Cheek on February 27, 2011 at 17:26
Comment by Noël Billy on January 28, 2011 at 17:01

Surrealism, art, design and new technologies, anticipate the emergence of a bio-synthetic future.


While my first works aimed at the representation of fantastic surrealist worlds, of which some were inspired by my dreams, Currently, and even since some time, while staying in a surrealist universe, I work in a more uncluttered style, contemporary.


My current approach, in for purpose to evoke the emergence of a future bio-synthetic.


This pictorial approach, opens me of new possibilities in the presentation of my artistic concepts.I invite you to discover my work on my page (in English with some videos), and on my site (in French):




Comment by ArtwallZine on January 26, 2011 at 19:15
Comment by International ArtExpo on January 12, 2011 at 15:44

Call for Artists: Liquid Cities & Temporary Identities – Bangalore, India (March 2011)
Extended deadline:
January 31, 2011.

International ArtExpo is selecting all interesting video/short.films to include in the next 2011 Exhibitions:

Liquid Cities & Temporary Identities at the National Gallery of Modern Art (NGMA) in Bangalore, India (March 11-13, 2011).

The selections will be based on two main concepts. With the first section, Liquid Cities, we will present videos about contemporary cities, future cities and possible connections between videoarchitecture and videoart experimentations. The second section, Temporary Identities, will show videoart works based on the concept of contemporary identities, new technologies and body borders.

More info: http://www.lucacurci.com/artexpo/call-for-artists-india-2.htm

Comment by Blair Zaye on January 10, 2011 at 17:27







Artist Call - UK

I am exhibition manager of a monthly exhibition emerging and established artists. We are always looking for new artists to exhibit.


We currently have an exhibition in London and are expanding to Leeds, Manchester and Birmingham in March.



for more info 




email me blair@showcase-london.com





Comment by ArtwallZine on January 6, 2011 at 21:06



Comment by Charlotte Lindenberg on December 21, 2010 at 19:33

@xuyun & Carol: Same with me. How to? Can anyone help? For I discovered this network only yesterday. Watching people outside digging up their cars from the snow, I was rummaging about the artreview menu. This way I found you - and problems began: None of the Facebook routine seems to work here. How to express my appreciation (= where's the "like"-button?) And how to identify myself - as Yuyun and Carol already inquired? Does anybody know? Otherwise: Enjoy the holidays!

Comment by ArtwallZine on December 13, 2010 at 17:37

Comment by Alexander Sutulov on December 3, 2010 at 18:41

Video Inaugural

Los Andes: columna vertebral de América

GASCO Foundation, Santiago, Chile, 20 de octubre de 2010

Alexander Sutulov: “Los caminos que elegimos con Hugo fueron muy distintos, distintas épocas, distintas generaciones. El lenguaje que nos une es uno solo de tal manera que nuestro encuentro fortuito fue una cuestión de tiempo en reconocer las distintas señales, las empatías que permiten aunar esfuerzos.

Inaugural Video

The Andes: Vertical Column of America

GASCO Foundation, Santiago, Chile, October 20th, 2010

Alexander Sutulov: “The roads we chose with Hugo were very different, different époques, different generations. The language which unifies us is only one; it was only a matter of time where our fortuitous encounter allowed recognizing a set of signals, empathies which permeate common efforts.

Fuimos peregrinos de tierras extranjeras que más que descubrir nuevos horizontes, nos permitió con el tiempo darnos cuenta más bien las diferencias que permitían entender de manera más cabal la unicidad que nos asignaban en el confín del mundo.

We were pilgrims of foreign lands which more than discovering new horizons, it allowed us with time to become more aware about our differences and understand in a more assertive way the uniqueness in which we are confined to the world’s borderland.

Donde la tierra comienza y donde la tierra termina pareciera un umbral de predestinación.

En cierta medida es un acto de generosidad. Desprenderse del propio ego y dar cabida a una tercera forma que hoy día se materializa en esta exhibición.”

Where the land ends and where the land begins appeared to be a threshold of predestination.

In a certain way it’s an act of generosity. Letting go one’s own ego in order to bring forward a third form, which today has been materialized in the current exhibition.”

¿Cuál es el motivo de la exhibición?

Hugo Marín: “Tiene que ver con la cordillera, con los terremotos, el tsunami y sobre todo tiene que ver con lo que implica la cordillera que es la columna vertebral de América. Es una columna vertebral que tiene este significado, la misma que tenemos y los volcanes que los estamos presentando con la parte de Alexander Sutulov; eso lo que me gusta de la realidad de jugar, dos artistas en relación a lo que es Latinoamérica, lo que es la cordillera de Los Andes, y estos Chacras que son los volcanes. “

What is the exhibition’s motif?

Hugo Marin: "It has to do with the Andes Mountains, with the earthquakes, the Tsunami and above all, it has to do with what the Andes Mountains imply being the vertebral column of America. It's a vertebral column which has this meaning, the same one we have and the volcanoes that we are presenting with Alexander Sutulov's part, which is what I like about reality’s playfulness, two artists in relation to what Latin-America is, what the Andes Mountains are, and this Chacras which are the volcanoes."

¿Cómo se originó esta exposición?

AS: “Bueno en realidad esto tiene un periplo bastante largo, básicamente un diálogo que yo he sostenido con Hugo durante cinco años. Ha sido una reivindicación sobre que es nuestra identidad como país. Desde una cosmovisión que se remonta desde luego, a un pasado precolombino y por otro lado, llevado a la contemporaneidad en términos de lo que una dimensión geofísica.

Había que ser más enfático en entender que lo que realmente nos diferencia realmente del Perú, de Argentina y por ende del resto del mundo. Entonces ahí llegamos a la conclusión de que esta particularidad, esta muralla nuestra que es la cordillera de Los Andes ensimismada en este gran océano que es el Océano Pacífico, entonces estos dos elementos crean este universo que en su inmediatez hablamos de que, hablamos del mejor clima del mundo. Desde esa visión nosotros hacemos este planteamiento de lo que se entiende hoy día con esta exhibición como Los Andes: columna vertebral de América.”

How did the exhibition originate?

AS: "The truth is it has been quite a long journey, basically a dialogue I have sustained with Hugo for the past five years. It has been a revendication about our identity as a country. From a worldview which amounts to a pre-Colombia past and on the other hand, a contemporaneity in terms of a geophysical dimension.

It was necessary to be emphatic in understanding what truly differentiated us from Peru, Argentina and by the same token, from the rest of the world. So there we arrived at the conclusion that this particularity, this wall of ours, which is the Andes Mountains engrossed by this vast ocean that is the Pacific Ocean; this two elements creating a universe which in its immediacy speaks of the best climate in the world. From such vision we make our statement of what is understood today as The Andes: Vertical Column of America."

¿Cómo fue trabajar con Alexander Sutulov?

HM: “Con Alexander que nos conocemos hace 5 años, más, más… casi 8, pero realmente hemos estado cultivando hace 5 años, un diálogo que me había interesado la parte digital. El ha sido para mí un maestro, un profesor que me ha llevado y de alguna manera yo lo invité también a él ha hacer con unos dibujos que yo había hecho con aguadas; él entonces hizo estas dimensiones en color que están aquí que él puso el color y yo le dije tómate la libertad para hacerlo. Entonces, es un encuentro de mundos muy personales, pero ese es el encuentro.”

How was it to work with Alexander Sutulov?

HM: “With Alexander whom we know each other for more than five years, more, more…almost eight, although we have truly been cultivating for five years a dialogue which interested me from a digital point of view. He has been for me a master, a teacher who has guided me and in a way I also invited him to work with some wash drawings I did; in return he made these colorful dimensions which were colored by him and I told him to take the liberty to do whatever he pleased. So, it’s the encounter of two very personal worlds, which makes up that encounter.”

¿Cómo fue trabajar con Hugo Marín?

AS: “Un aspecto más bien universal en que si se hicieron explícita esas diferencias, también descubrimos nuestras empatías. Ahora bien, cuál era el aspecto medular yo te diría el lenguaje gráfico. Es decir, Hugo tiene esa particularidad del artista que tan como escultor es un artista gráfico, porque hay una simbiosis ahí muy importante y eso era lo que a mí me interesaba rescatar con lo que yo quería trabajar. Me atrevería decirte que dentro del escenario más o menos de lo que es nuestro ámbito nacional, para mí era lejos el artista más interesante con quien yo podía colaborar y que había ese ánimo de hacerlo. O sea el tiene ese espíritu generoso de compartir, colaborar y hacer un esfuerzo mancomunado que es lo que tu vez reflejado hoy día.”

How was it to work with Hugo Marin?

AS: “A universal aspect where differences were made explicit, needless to say we also discovered our empathy. So now, what was the core aspect? I would say graphic language. In other words, Hugo has the particularity of being a sculptor as much as a graphic artist because there is a very important symbiosis, which is what I wanted to rescue within the context I intended to work with. I dare to say that within the scenery of our national artistic milieu, for me by far was the most interesting artist with whom I could collaborate and there was the intention to do so. In other words, he has that generous spirit of sharing, collaborating and making the common effort, which is being reflected here today.”

HM: “Los penitentes es un cambio de época, un cambio de cultura un cambio de lo que se está hablando ahora, especulando de lo que sucede el 2012, y una expansión de conciencia; una expansión de conciencia es la que se va acelerando con el tiempo, entonces es decir lo que en algún momento se hablado expansión del universo como dijo Einstein. Entonces, podría ser que ahora lo que se puede plantear es la contracción del universo, lo que estamos hablando de esa parte interesante, especulando por supuesto, porque ya estamos en la imaginación, la fantasía de lo que es, lo que podríamos decir la ficción, la ciencia ficción en este plano.”

HM: "The penitents are a change of époque, a change of culture; a change of what is being spoken nowadays, speculating about what will happen in 2012 together with a consciousness expansion, a consciousness expansion, which is accelerating in time, better said that which has been spoken about as the expansion of the universe according to Einstein. Otherwise, is what today can be observed as the contraction of the universe, speaking of that interesting part, obviously speculating because we are already in the imagination, the fantasy of what is, what could be referred to as fiction, the science fiction on this matter."

¿Cuáles son las virtudes del uso de la tecnología digital para el arte pictórico?

AS: “El soporte digital viene a ser una instancia más dentro de ese proceso de la gráfica, no es algo tan como revolucionario porque resulta que si yo lo veo desde la explicites, porque hay un monitor, porque hay una luz proyectada, porque hay una digitación de una información. No, eso no es lo relevante. Yo creo lo que lo relevante es más bien, en qué medida yo desde un lenguaje gráfico puedo establecer una situación aleatoria, es decir, la suma de las capas de información en el orden que a mí se me antoja, y que la construcción en el fondo iconográfica en este caso, es a partir de esa instancia.”

What are the virtues of applied digital technology in the realm of pictorial art?

AS: “Digital media is one resort more within the context of graphic process; it’s not revolutionary because it’s been observed from its explicitness, like a computer screen, a projected light or information digitalization. No, it’s not relevant. What I believe to be relevant is in which measure from a graphic language standing point of view, I can establish a random situation. In other words, the sum of layers in the order I wish and that the iconographic construction which takes place in this case is part of that same resourcefulness.”

¿Cuál es la respuesta que esperan ustedes del espectador con esta exposición?

AS: “Con Hugo en esta suerte de leitmotiv de buscar nuestra identidad en función una proyección hacia el futuro, vemos claramente como Chile necesita de una imagen, una nueva imagen, una imagen renovada. Y renovada me refiero no porque no va hablar del pasado, justamente va hablar del pasado, pero en esa imagen que se abre hacia un mundo descomunal no es cierto, como el Asia Pacífico, esta gran comunidad que del Asia Pacífico. Bueno que imagen queremos dar como país, como nos queremos proyectar. Entonces este trabajo que estamos haciendo puntualmente viene a dar un poco respuesta a eso.”

What do you expect from the spectators reactions with this exhibition?

AS: “With Hugo in this sort of leitmotif in seeking our identity through a future projection, we clearly realize how Chile requires an image, a new image, a renovated image. Renovated I mean not because it will not speak of the past, it will speak of the past, but through an image which opens itself into a borderless world like the Asian Pacific, this grand Asian Pacific community. Furthermore, what image do we wish to cast as a country, how do we want to view ourselves. Therefore, this work we are specifically in the making is part of our answer.”


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