https://dialogueshybridartproject.com Dialogues Wed, 08 Jul 2026 22:26:27 +0000 https://dialogueshybridartproject.com en https://dialogueshybridartproject.com/Klaus-Wehner-1 Sat, 09 Jul 2022 18:21:08 +0000 Dialogues https://dialogueshybridartproject.com/Klaus-Wehner-1 Höchste Freuden des Lebens, 2020, 40cm x 30cm, digital photomontage, c-type print. Klaus Wehner“Having found a batch of slides of whole-body self-portraits I took of myself when I was a Photography student in 1995, I immediately thought to use them for a new montage. My aim was to move away from the reference to Christian reliquary shrines and monstrances (as in the earlier series 'Body &amp; Soul' and 'Hierophilia’). During a visit to the Grüne Gewölbe in Dresden, I fell in love with the crazy playful, mundane and frivolous cabinet pieces designed by the jeweller Johann Melchior Dinglinger and his workshop in the early 18th Century. Three-dimensional sculptural intricate Wimmelbilder with seemingly endless detail to discover! There is a trilogy called ‘Drei Phasen der Lebensfreude’ / ‘Three stages of the Joy of Life’ and its referral to the Baroque ‘memento mori’ theme makes it thematically stand out within the collection. The center-piece is called ‘Höchste Freuden des Lebens’ / ‘The Highest Joys of Life’ and this is what I used as a vague starting point for the overall shape of my montage. The shape of Dinglinger's Kabinettstück is similar to a monstrance to start with and as my own work progressed the ray-like dynamic around the centre increased the similarity to the shape of a monstrance or reliquary - and happily embracing the result of a work-flow is a welcome part of the process for me. (Somehow, I am sure that Dinglinger's works will continue to be an inspiration for future works of mine.) Johann Melchior Dinglinger, "Höchste Freuden des Lebens", Kabinettstück, 1728. Grünes Gewölbe, Staatliche Kunstsammlungen Dresden; Foto: Jürgen Karpinski <img width="638" height="1000" width_o="638" height_o="1000" data-src="https://freight.cargo.site/t/original/i/09e35f1c326b45f8fb799b78cbc808b9b8a0182ed81c51027e25a0a071cedb14/dinglinger.jpeg" data-mid="147501165" border="0" src="https://freight.cargo.site/w/638/i/09e35f1c326b45f8fb799b78cbc808b9b8a0182ed81c51027e25a0a071cedb14/dinglinger.jpeg" /> I have made this montage in April and May 2020 – spending most of my time in self-isolation, home alone due to the Corona crisis. This is a pertinent moment to reflect about the fragility of the body. Working with self-portraits that are 25 years old – of course also makes me think about life's progress youth, ageing, growing, health, changing viewpoints and changing life priorities. This also why I am adopting the title from the Dinglinger trilogy, as a reflection on the joy of life is a good thing at a time of crisis and fear.” <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147488656" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> Klaus Wehner is a visual artist with a practice grounded in a life-long passionate love for photography, video and also digital montage of both still and moving lens-based images. A continuous overarching theme for Wehner is the role and function of art as both cathartic and also political - even when it doesn’t seem to be. This has also led to a large body of work reflecting on museums and collecting-culture. Much of the work can be seen here: www.museumclausum.org Homepage︎︎︎ https://dialogueshybridartproject.com/Ann-Shuptrine-1 Mon, 11 Jul 2022 11:06:14 +0000 Dialogues https://dialogueshybridartproject.com/Ann-Shuptrine-1 Vital Signs, 2022, durational performance Ann Shuptrine Vital Signs 1 is the first in a series of phenomenological experiments which explores the use of the Hermeneutic Circle as a method of interpretation. It calls on us to actively sense how the experience of 'relationship' curtails, sustains or regenerates life on Earth. Circles of soil mark ritual spaces for collective witnessing. The contents of the soil constitute a dialogue between the partnered artists' spaces; the ground we share then become. Movement constructs then deconstructs' meaning as we are shaped by and shape the experience of being of a world facing collapse and transformation. Ann invites the audience to take their awareness to the beating of their hearts as they witness the movement whilst answering the question posed by the live performance. <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147571194" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> Ann Shuptrine is an American-British artist based in London whose work investigates what binds yet divides us. In visual, performative and/or participatory pieces, Ann situates the relational body as vessel, mirror and metaphor of the social field. She holds containers of experimentation in which dialogical perspectives of witness, participant and director question the egological structures that create fixed systemic relational dynamics. Homepage︎︎︎ https://dialogueshybridartproject.com/Messua-Poulin-Wolff-1 Sat, 09 Jul 2022 21:05:39 +0000 Dialogues https://dialogueshybridartproject.com/Messua-Poulin-Wolff-1 Hortus Conclusus, 2019-2020, 162cm x 320cm, various dyes on rag (Citrata Basil, lavender, bay leaves, rosemary, basil, thyme, sage, mint, parsley) Messua Poulin-Wolff The work is made from reused materials, and then dyed with plants that would have likely been cultivated in an hortus conclusus. The aromatic plants used for colour are homegrown. The meditative nature of needlework reactivates lost domestic tempo echoing the slowness of monastic life, and is deployed as tension in our contemporary context. Here, the enclosed garden is revisited in the contemporary urban context as a space of “wildness”.&nbsp; Through its colour and materials, the work superimposes a speculative past in a present space. <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147488716" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> <img width="643" height="709" width_o="643" height_o="709" data-src="https://freight.cargo.site/t/original/i/f07d1e0a7022f81f2a4bff5a26db95e095344be2852e98a34534280c0f71a912/Poulin-Wolffsummation.jpg" data-mid="147500664" border="0" data-scale="96" src="https://freight.cargo.site/w/643/i/f07d1e0a7022f81f2a4bff5a26db95e095344be2852e98a34534280c0f71a912/Poulin-Wolffsummation.jpg" /> ∑ (Summation),2016, various hand made dyes on canvas (avocados, logwood, green alkanet) and hand made Indian ink 229 (part of ∑ Summation), composite of thousands of handmade ink markings made over 229 hours <img width="1063" height="709" width_o="1063" height_o="709" data-src="https://freight.cargo.site/t/original/i/ffe6f07793f15181b1339008dfac7fe141022bdf1de112a8a7aca7e04ed87e25/Poulin-WolffSummation.jpg" data-mid="147500665" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/ffe6f07793f15181b1339008dfac7fe141022bdf1de112a8a7aca7e04ed87e25/Poulin-WolffSummation.jpg" /> Poulin-Wolff’s paintings think about temporality and materiality. Her works result from their processes, an improvisation between body, materials and milieu over time formatted through the making of marks: colour, traces and imprints. She emphasises the process, working with laborious and repetitive techniques in collaboration with materials. All her colour are from home-grown, wasted or found ingredients (plants, roots, fruits and weeds). She is currently undertaking a PhD in painting at the RCA in which she explores the format temporal value through the marking of time to extract a slow methodology as a model to resist late-capitalist temporalities. Homepage︎︎︎ https://dialogueshybridartproject.com/Basil-Olton-1 Sat, 09 Jul 2022 23:00:47 +0000 Dialogues https://dialogueshybridartproject.com/Basil-Olton-1 I am most coloured when placed against a white background (part of Clay as Camera series), 2017, glazed ceramic Basil Olton Focusing on the architectural integer of the corner and the ability and specificity of the material properties of clay to capture a reflection or memory of a lived environment, the following works, including&nbsp;I am most coloured when placed against a white background and ‘Clay as Camera’ series,&nbsp;are a representation of a manifestation of the physical patterns of space when projected into the supporting environment. Perceptions of identity and belonging are a recurring theme of my work, questioning the fragility of narrative structures and the interplay between memory, fiction and desire. <img width="135" height="205" width_o="135" height_o="205" data-src="https://freight.cargo.site/t/original/i/fafa4704298a09b17329e49f9b7909c970371587c71eac09ee8399a71b1ee23e/BasilOlton3.jpg" data-mid="147503432" border="0" style="height: 205px; display: none; width: 135px;" src="//freight.cargo.site/w/135/q/94/i/fafa4704298a09b17329e49f9b7909c970371587c71eac09ee8399a71b1ee23e/BasilOlton3.jpg"><img width="478" height="850" width_o="478" height_o="850" data-src="https://freight.cargo.site/t/original/i/5f7f0e98d18e3bb7cfaf2b3174e91aad7ef052be41d12c73c964ff1fe8643bc8/BasilOlton3.jpg" data-mid="147508687" border="0" data-scale="100" src="https://freight.cargo.site/w/478/i/5f7f0e98d18e3bb7cfaf2b3174e91aad7ef052be41d12c73c964ff1fe8643bc8/BasilOlton3.jpg" /> Depth of Field, 2014, unfired clay . <img width="164" height="288" width_o="164" height_o="288" data-src="https://freight.cargo.site/t/original/i/a5783927ede03273340de07182eb2fc9ecfc2e57a80a51c02ff33e54eddb6546/BasilOlton2.jpg" data-mid="147503431" border="0" style="width: 164px; height: 288px; display: none;" src="//freight.cargo.site/w/164/q/94/i/a5783927ede03273340de07182eb2fc9ecfc2e57a80a51c02ff33e54eddb6546/BasilOlton2.jpg"><img width="329" height="624" width_o="329" height_o="624" data-src="https://freight.cargo.site/t/original/i/3f3f81a519138cf9dd55953bbefd3354e1ef6d5bdd034bd7fe07afcf2c5b4439/BasilOlton2.jpg" data-mid="147508734" border="0" data-scale="100" src="https://freight.cargo.site/w/329/i/3f3f81a519138cf9dd55953bbefd3354e1ef6d5bdd034bd7fe07afcf2c5b4439/BasilOlton2.jpg" /> I am most coloured when placed against a white background, 2017,&nbsp;glazed ceramic <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147508258" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /><img width="640" height="330" width_o="640" height_o="330" data-src="https://freight.cargo.site/t/original/i/d7c2edd94339f2e9982e6e28b88f5caf50294331409d7cf9647e322206559865/BasilOlton4.jpg" data-mid="147508214" border="0" src="https://freight.cargo.site/w/640/i/d7c2edd94339f2e9982e6e28b88f5caf50294331409d7cf9647e322206559865/BasilOlton4.jpg" /> Family Photo, 2014, unfired clay Basil Olton is an artist, curator and researcher with studies in ceramics, fine art practice, arts management and public policy. His practice is influenced by the relationship between materiality and film theory, experimenting between the differing modes of application and specificity to explore the effect of colonialism on institutional memory, commemoration and identity and the wider relationship with private and public space, power and display, through exploration of personal and collective histories.&nbsp; Homepage︎︎︎ https://dialogueshybridartproject.com/Marie-Molterer-1 Sat, 09 Jul 2022 21:36:07 +0000 Dialogues https://dialogueshybridartproject.com/Marie-Molterer-1 Play Scarf, 2021, approx. 20cm x 155cm, textile piece<img width="3014" height="1417" width_o="3014" height_o="1417" data-src="https://freight.cargo.site/t/original/i/adadbe9a609775e4432bc00f8ab121322a7f5a93b7a6f01c5f7de408955f011c/mariemolterer-scarves.jpg" data-mid="147486880" border="0" src="https://freight.cargo.site/w/1000/i/adadbe9a609775e4432bc00f8ab121322a7f5a93b7a6f01c5f7de408955f011c/mariemolterer-scarves.jpg" /> Marie Molterer A lot of Marie Molterer’s work is process based, an outcome of in situ experimentation with shape and colour.&nbsp; This, often, is the starting point of collaborative practices in her work and creative workshops. Green Play Scarf (2020) is the outcome of suchlike processes. This textile piece is designed by a set of ‘Tangram’ puzzle tiles, arranged in a series of play and visual storytelling workshops with children ongoing since 2012. <img width="709" height="945" width_o="709" height_o="945" data-src="https://freight.cargo.site/t/original/i/cceb9902c5bbe9fda4dfa74054b0fa625edc34163f7758d2d772d4fb76a5100d/mariemolterer-process.jpg" data-mid="147487514" border="0" data-scale="65" src="https://freight.cargo.site/w/709/i/cceb9902c5bbe9fda4dfa74054b0fa625edc34163f7758d2d772d4fb76a5100d/mariemolterer-process.jpg" /> <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147488721" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> Marie Molterer is a textile artist living in Germany. She has a background in print design, fashion and translation. Her work focuses on collaborative design and 'design by play'.&nbsp; Themes that keep recurring in her work are: intuitive craft, design by play and paper cut. She graduated from Royal College of Art in 2012. Homepage︎︎︎ https://dialogueshybridartproject.com/Nela-Milic-1 Mon, 11 Jul 2022 11:06:40 +0000 Dialogues https://dialogueshybridartproject.com/Nela-Milic-1 Anne, from ‘Wedding Ballas’ series, 2011, variable size, photographs Nela Milic The project presents brides passionately attached to the objects of their marriage. That is evident from the photos - women in wedding dresses have a physical connection with their rooted fellow. Wedding dresses are surrounded by other wedding iconography, but the image is not a joke – it is a serious matter - an event of desperation and illusion shot as on a true wedding ceremony. <img width="829" height="567" width_o="829" height_o="567" data-src="https://freight.cargo.site/t/original/i/60a56f7874d406fa10a1b4b2ee3566b479958c914099eaa0c8f8af3fa409a16c/Nela-190x130.jpg" data-mid="148297315" border="0" src="https://freight.cargo.site/w/829/i/60a56f7874d406fa10a1b4b2ee3566b479958c914099eaa0c8f8af3fa409a16c/Nela-190x130.jpg" /> Nela, from ‘Wedding Bellas’, 2011 Jobeda, from ‘Wedding Bellas’, 2011 <img width="829" height="567" width_o="829" height_o="567" data-src="https://freight.cargo.site/t/original/i/b7d531956dec2ada746123b542e771eac5e5c8302212b0ebf776184a25af5a05/Jobeda-190x130.jpg" data-mid="148297306" border="0" src="https://freight.cargo.site/w/829/i/b7d531956dec2ada746123b542e771eac5e5c8302212b0ebf776184a25af5a05/Jobeda-190x130.jpg" /> The photographs are stories of twelve women who all found themselves at different points in their lives at the time when they refused to leave. Many have been rejected by their partners, by their landlords, by their employers, but majority have been refused to stay in the country by the state. The women showed an extraordinary resilience and resourcefulness in the face of sometimes all of these rejections happening at once and the burden of so many problems caused them to escape into fantasy by opting for equally stable, rooted and good looking ‘Queen’s subjects’ – a lamp post, a tree, a traffic sign – London landmarks... With the mix of the text and image we trouble the perception of migrants and refugees in the UK today. The project is funded by European Cultural Foundation with women from&nbsp;Migrants Resource Centre and females who wanted to join them. <img width="388" height="567" width_o="388" height_o="567" data-src="https://freight.cargo.site/t/original/i/5bc0054a1fb77a40d0d4ea2632b50a7e6d075a73b37e2eaffe94ea369b35baf3/Margaret-190x130.jpg" data-mid="148297308" border="0" data-scale="97" src="https://freight.cargo.site/w/388/i/5bc0054a1fb77a40d0d4ea2632b50a7e6d075a73b37e2eaffe94ea369b35baf3/Margaret-190x130.jpg" /> Margaret, from ‘Wedding Bellas’, 2011 <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147571200" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> I am an artist and an academic working in media and arts. I merge text and image, creating installations, maps and publications. I delivered projects for John Lewis, Oxford House, Campbell Works, Oxo Tower, Light Gallery and independent productions... I am interested in the intersection of time and space, which brought me to many multi-media and arts projects where I dealt with narrative, digital archives, city and participation. I coordinate Contextual and Theoretical Studies at University of the Arts, London. Homepage︎︎︎ https://dialogueshybridartproject.com/Thanasis-Foteinias-1 Sat, 09 Jul 2022 17:55:33 +0000 Dialogues https://dialogueshybridartproject.com/Thanasis-Foteinias-1 Elephant Skin, 2022, dimensions variable, paint, wooden frame, electric wires, light. Thanasis Foteinias ‘Elephant Skin’ (2022) derives from Foteinias’ long preoccupation with paint as a medium that carries a material surface and qualities inherited by its uses and histories across various traditions. In particular, he is interested in the communicative potential of paint as an independent entity. This interest dates back to his early life, working as an apprentice in his father’s decorating business. Mixing or manipulating paint, and detaching it from buckets and plates started receiving a ritual function, with remnants of dried paint becoming the starting point of experimentations on visual compositions. From a form of recycling of used construction material, material transformations of paint gradually became a formal component of his art practice. Elephant skin illustrates the accumulation of such processes. Paint is framed, illuminated, and combined with other material, resulting into a sculptural construct. <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" data-mid="147488659" border="0" src="https://freight.cargo.site/w/1000/i/1131ba8175c4921091e99b00ae73bfc6b049c96060f64de435ce2429638f338c/Screenshot-2022-06-25-at-14.38.46.png" /> &nbsp; <img width="424" height="567" width_o="424" height_o="567" data-src="https://freight.cargo.site/t/original/i/298b59c82aacf8a9d017a87dc7d697572a834a519ef763d3dcfde40283d2992b/Foteinias3.jpg" data-mid="147476987" border="0" src="https://freight.cargo.site/w/424/i/298b59c82aacf8a9d017a87dc7d697572a834a519ef763d3dcfde40283d2992b/Foteinias3.jpg" />Untitled, 50cm x 35cm <img width="425" height="567" width_o="425" height_o="567" data-src="https://freight.cargo.site/t/original/i/95051a5920a81c034a0e714735ba143986bf65c057391ecf9ad9b6a715dbe2ee/Foteinias2.jpg" data-mid="147476986" border="0" src="https://freight.cargo.site/w/425/i/95051a5920a81c034a0e714735ba143986bf65c057391ecf9ad9b6a715dbe2ee/Foteinias2.jpg" />Rooftop, 24cm x 24cm Thanasis Foteinias was born in 1984 and graduated from the School of Marble Sculpture in Tinos and the School of Fine Art in Athens. He attended scenography classes and participated in group exhibitions in Greece and abroad. His work can be found in private collections. In 2014 he started working for the Greek National Theatre up today. He lives and works in Athens. Homepage︎︎︎ https://dialogueshybridartproject.com/Dialogues-2026 Mon, 10 Jul 2023 21:27:51 +0000 Dialogues https://dialogueshybridartproject.com/Dialogues-2026 Archive About Publications︎︎︎The Formula ︎︎︎Artistic Connectivity Unfolding Dialogues Events: <img width="2778" height="1772" width_o="2778" height_o="1772" data-src="https://freight.cargo.site/t/original/i/c52e1e481dfe76a70a770af960dc790f38770fc31e8992315ac682362734b48d/Screenshot-2026-07-04-at-16.07.22.png" data-mid="250080421" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/c52e1e481dfe76a70a770af960dc790f38770fc31e8992315ac682362734b48d/Screenshot-2026-07-04-at-16.07.22.png" /> Dialogues #12Artwerk Wander&nbsp;by Cecilia Poon (kleinodswerk+) Hikes and Readings: 4th October 20261st November 2026 Instigated by Cecilia Poon (kleinodswerk+) in 2026, Artwerk Wander is a Dialogues project inspired by experiences and accounts of the Black Forest. The project brings together artists to undertake a series of hikes, a procession of artists and artworks. Each hike traces a section of the historic “old road” described by Mark Twain in his 1880 travelogue, A Tramp Abroad. On the day of each hike, readings will take place in a local dwelling, with the option to participate remotely online. The readings will focus on Chapter XXII of A Tramp Abroad, titled ‘The Black Forest and Its Treasures.’ For joining instructions, please visit the project website or contact kleinodswerk@gmail.com <img width="1247" height="1983" width_o="1247" height_o="1983" data-src="https://freight.cargo.site/t/original/i/a1a2108a5d90b19db8c30e5dd2c410f6e0ec9be844262dad5f543b34e00b31f1/Inner-Landscapes_Poster.jpg" data-mid="252666604" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/a1a2108a5d90b19db8c30e5dd2c410f6e0ec9be844262dad5f543b34e00b31f1/Inner-Landscapes_Poster.jpg" /> Current Projects: &lt; <img width="2778" height="1772" width_o="2778" height_o="1772" data-src="https://freight.cargo.site/t/original/i/c52e1e481dfe76a70a770af960dc790f38770fc31e8992315ac682362734b48d/Screenshot-2026-07-04-at-16.07.22.png" data-mid="250080421" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/c52e1e481dfe76a70a770af960dc790f38770fc31e8992315ac682362734b48d/Screenshot-2026-07-04-at-16.07.22.png" />Dialogues #12 Artwerk Wander Curated by Cecilia Poon August - November 2026 Project Website and Open Call <img width="4624" height="3472" width_o="4624" height_o="3472" data-src="https://freight.cargo.site/t/original/i/3be41ee89efc03dbfcf828ca384cfae99ca34b6bbedb752c60a34c330ba4a980/1000086178.jpg" data-mid="250173218" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/3be41ee89efc03dbfcf828ca384cfae99ca34b6bbedb752c60a34c330ba4a980/1000086178.jpg" />Dialogues #23Dialog between Yuzukho and Eniloji2021-2026 More information <img width="842" height="595" width_o="842" height_o="595" data-src="https://freight.cargo.site/t/original/i/4137a7795c868efbc883b903ccd75daea51c195058551d49bbbee977ce2767d6/-97.jpg" data-mid="250528052" border="0" src="https://freight.cargo.site/w/842/i/4137a7795c868efbc883b903ccd75daea51c195058551d49bbbee977ce2767d6/-97.jpg" /> Dialogues #97Fauxstalgia '97 Curation/Participants: Stephanie Fuller, Joy Miracle Kauya, Madeleine Lewis, Joe Stevens Project Teaser <img width="1080" height="670" width_o="1080" height_o="670" data-src="https://freight.cargo.site/t/original/i/16ef3656117763add0e4199c665a4d68ce871b9d3fe03a2aad4754a717a91e65/-Inside-Out-Outside-In--Image-.jpeg" data-mid="250509521" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/16ef3656117763add0e4199c665a4d68ce871b9d3fe03a2aad4754a717a91e65/-Inside-Out-Outside-In--Image-.jpeg" /> Dialogues #13Inside Out, Outside In Curation/Participants: Alanis K and Arnold Manda August - September 2026 More information <img width="1080" height="719" width_o="1080" height_o="719" data-src="https://freight.cargo.site/t/original/i/18d59fc66e690e8020975193f97d100ac54b56e088317995a8a3b024a7c6d84f/Landmarks-1.jpg" data-mid="250486428" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/18d59fc66e690e8020975193f97d100ac54b56e088317995a8a3b024a7c6d84f/Landmarks-1.jpg" /> Dialogues #14Landmarks Curated by Arnold MandaParticipants: Arnold Manda (South Africa), Wandile Msomi (South Africa), Mikhail Samuel (South Africa) July, August, September 2026 <img width="2776" height="977" width_o="2776" height_o="977" data-src="https://freight.cargo.site/t/original/i/eb10e897538271e218b905665cb6a52cdbe25b2dfc415cd6dbf2f645e21ae164/Images-from-Vulnerable-Thoughts-in-Peripheral-Places..png" data-mid="235988371" border="0" src="https://freight.cargo.site/w/1000/i/eb10e897538271e218b905665cb6a52cdbe25b2dfc415cd6dbf2f645e21ae164/Images-from-Vulnerable-Thoughts-in-Peripheral-Places..png" />Detail from artist publication: Exchange: Dorothea Rust and Roxane Permar; Vulnerable Thoughts in Peripheral Places, 2021 Dialogues #11A round of Dialogues based on concepts of soil Curation/Participants: Roxane Permar (Shetland) and Dorothea Rust (Switzerland)2025-2026 <img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/f1316bf2152f6e7f8488ca887ec5a7b024fde064f3f1ecb231b6276a14d5a419/d0093e4a-2c29-4ba8-bd76-86f5a02b3127.jpeg" data-mid="214548019" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/f1316bf2152f6e7f8488ca887ec5a7b024fde064f3f1ecb231b6276a14d5a419/d0093e4a-2c29-4ba8-bd76-86f5a02b3127.jpeg" /> Dialogues #9 Microcosmos Participants: Niki Soroli &amp; You Art Me Textiles Curated by Katerina DiplaJune 2024 - https://dialogueshybridartproject.com/Being-Redrawn Sun, 08 Feb 2026 19:17:18 +0000 Dialogues https://dialogueshybridartproject.com/Being-Redrawn Being Redrawn A Group Exhibition gathered through the project Dialogues and organised by Captured Polity, bringing together artists whose practices open onto questions of identity, perception, ecology, and the movement of people. The exhibition unfolds in three spaces in three countries. &nbsp; House of Annetta, London, UK Hosts the works in a space that has focus sharing learning about the ways in which ownership of land shapes our lives and the world aroun us. 25 Princelet Street was the home of beekeeper, artist, activist and publisher Annetta Pedretti from 1980-2018.Address: House of Anetta25 Princelet St, London E1 6QHhttps://houseofannetta.org/ Dates : 14 + 15 November 2025Times:: 14 November 19:00 + 15 November 11:00-19:00 (panel discussion 2pm) <img width="1080" height="1350" src="https://freight.cargo.site/w/1000/q/75/i/8b0c1d31ee28e2d9434245c14a176ba3a4a3c33f35d46f0f11a47a8daa2ffdfa/PHOTO-2025-09-26-16-21-23_1.jpg" style="width: 337.527px; height: 421.909px;" data-scale="65"> Art Tutor Hanoi, Vietnam Hosts the works in an art tuition/exhibition setting. A working space. A space that has a focus on both an inward and outward facing engagement with international communities well drawn.Address: Art Tutor Hanoi82, ngách 264/15, Ngõ 374 Âu Cơ, T ây Hồ, Hà Nội,Vietnamhttps://arttutorhanoi.com/ Dates : 14 - 21 NovemberTimes: 11:00 -16:00 <img width="1080" height="1350" src="https://freight.cargo.site/w/1000/q/75/i/cee716cc1630568dddc0482604e041a0297b0cb119a37690dc91281c73a95f48/PHOTO-2025-09-26-16-21-23.jpg" style="width: 342.72px; height: 428.399px;" data-scale="66"> Artwerk Wander, &nbsp;Germany Hosts the works in a transitional phase via the wanderer’s reinterpretation. All works will be carried, cared for and walked around Mummelsee in the Black Forest.Address: Artwerk WanderMummelsee, Schwarzwaldhochstraße 11, 77889 Seebachhttps://www.schwarzwald-tourismus.info@kleinodswerk Dates : 26 OktoberTimes: 13:00 bis 16:00 <img width="1080" height="1350" src="https://freight.cargo.site/w/1000/q/75/i/4b86b2ae3b24f5df38c02fee8ec4f7fc23cf31a6a3039a4057daafd968f54451/PHOTO-2025-09-26-16-21-22.jpg" style="width: 342.72px; height: 428.399px;" data-scale="66"> The Artists&nbsp;Minh-Anh Hoang engages with the unseen and unspoken in Vietnamese daily life, revealing contradictions between private realities and public surfaces. Her work resists mere beauty, offering instead a candid look at what remains untold. @yerglraehttps://arttutorhanoi.com/ Cecilia Poon examines rocks, minerals, and materiality as portals into memory and perception. Her collaborative project, a drop of ‘time crystal’ in the planetary boundary layer, traces the flows of matter and time, extending beyond disciplinary boundaries into speculative philosophy.@cecifishhttp://tinyurl.com/ceciliapoon Johann DonDaniel is a sound artist who explores Sri Lankan drum legacies and their colonial entanglements, transforming ethnographic research into sound works, sculptures, and performances that probe resonance, rhythms, and decolonisation. @johanndondanielwww.johanndondaniel.com Maria Apostolidou is a Greek contemporary dance artist whose practice shifts between raw improvisation and finely crafted choreography, evoking fragility, persistence, and the body’s capacity to express what words cannot. @_mariaapostolidou/ Joy Miracle Kauya is a dancer, theatre maker, and creative health practitioner whose projects centre transnational communities, fostering belonging and dialogue around identity in contexts of flux and displacement. @joymiracle_www.modellingjoy.com https://dialogueshybridartproject.com/Dialogues-23 Wed, 08 Jul 2026 22:26:27 +0000 Dialogues https://dialogueshybridartproject.com/Dialogues-23 Dialogues #23 Dialog between Yuzukho and Eniloji2021-2026 This curated collaboration between Yuzukho’s calligraphy and Eniloji’s ceramics unfolds as a poetic conversation between tradition and innovation, motion and stillness. Yuzukho’s series—Dance, Dance, Dance 1, Dance, Dance, Dance 2, Back to Black, and Fleeting Whisper—traces the evolution of Persian calligraphy from its structured Kufic origins to the liberating abstraction of contemporary expression. Rendered in deep black ink with the traditional calam, her work transforms the line into a dancer, where negative space and rhythm create a visual symphony that the eye follows as if listening to music. Eniloji’s ceramics, in turn, explore music’s genesis: the formation of sound, its clarity, pitch, and resonance. Some pieces are even tuned to specific pitches, allowing them to function as instruments, their purity of tone a reflection of the clay’s evenness. Together, the two artists’ works map music’s entire journey—from its structured origins (Back to Black), through its fluid liberation (Fleeting Whisper), to its emotional reception, embodied in Eniloji’s Serenity Curve (2026) and Uplifting Echo (2026). Here, calligraphy and ceramics become a unified exploration of music’s essence—its creation, its movement, and its profound impact on the soul. The collaboration invites us to experience art not just as something seen or heard, but as something felt. About YUZUKHO's work <img width="806" height="435" width_o="806" height_o="435" data-src="https://freight.cargo.site/t/original/i/eac3299c8057269fc92a3334cb0897d84afcf98d26aa7e08608b801d53fa42f9/ExpoDialogCallig.jpg" data-mid="250234635" border="0" data-scale="100" src="https://freight.cargo.site/w/806/i/eac3299c8057269fc92a3334cb0897d84afcf98d26aa7e08608b801d53fa42f9/ExpoDialogCallig.jpg" />From left to right Dance, dance, dance 1, abstract (2025)Dance, dance, dance 2, abstract (2025)Back to Black, kufic (2025)Fleeting Whisper, nastaligh (2025) This curated series of four Persian calligraphic works by Paris-based artist Yuzukho —who studied for over a decade with the late master Abdollah Kiaie—charts a journey from tradition to contemporary abstraction. Rendered in deep black smoked ink with the traditional calam, each piece maintains a tangible connection to centuries of practice while exploring new formal territories. The Kufic work, with its angular geometry, represents the structured origins of the art form. The Nasta‘liq piece, historically more fluid in composition, begins to suggest the possibilities of liberation from strict textual constraints. The two abstract studies then complete this evolution, where the calligraphic gesture is freed entirely from linguistic meaning.In these final works, the line becomes a dancer, tracing arcs and sweeps across the surface. Negative space, far from mere background, emerges as an active element, creating a push-and-pull that animates the entire composition. The result is a visual rhythm that the eye follows as if listening to music. What unites all four works is their demonstration of calligraphy’s expressive potential. Here, the disciplined hand and traditional medium become tools not of restriction, but of boundless creative freedom. The series invites us to see Persian calligraphy anew—as an art form that can sing, dance, and soar beyond the page.Yuzukho is a French artist and animator, who lives and works in Paris, France. With a degree in graphic motion design at Gobelins (Paris) and with over a decade of experience in calligraphy, including Persian and Chinese styles, her work merges traditional and modern influences to create captivating visuals that tell engaging stories. Her animated work is focused in 2D motion design and frame-by-frame animation. https://yuzukho.xyz/ https://www.instagram.com/yuzukho About ENILOJI 's&nbsp;the work This collection of stoneware ceramics, adorned with layers of dipping glaze, is a mesmerizing exploration of depth and luminosity. Each piece reveals the profound darkness of the glaze, its surface shimmering with a quiet, almost musical radiance. A contemplative ode to sound and music, the collection traces the journey of melody—from its inception to its narrative unfolding, and finally, to its resonant reception. The ceramics themselves seem to hum with the echoes of creation, their glossy surfaces reflecting the intangible beauty of rhythm and harmony. Eniloji is a Franco-British ceramicist rooted in London, a city that pulses with the same creative energy she channels into her work. Her practice is a symphony of disciplines—ceramic artistry and music production intertwine in her hands, each informing the other. In her, the boundaries between sound and clay blur, giving rise to creations that resonate with the rhythm of innovation and the depth of tradition. www.instagram.com/eniloji<img width="850" height="639" width_o="850" height_o="639" data-src="https://freight.cargo.site/t/original/i/412db5a2fabace840820af379d5a91b3cc1ea2f945d0e854d65f133e1b42bd35/Dialogues23.jpg" data-mid="250234634" border="0" data-scale="100" src="https://freight.cargo.site/w/850/i/412db5a2fabace840820af379d5a91b3cc1ea2f945d0e854d65f133e1b42bd35/Dialogues23.jpg" />From left to rightF6 1400 Hz - Stoneware (2021)A#6 1864 Hz - Stoneware (2021)Serenity curve - Stoneware (2026)Uplifting Echo - Stoneware (2026) Sagat - Stoneware (2024)