Our first OPEN CALL for a Group Art Exhibition is now happening.

‘Identity’

An identity is created and differentiated. Identity exists both in the microcosm and the macrocosm such as the universe, nature, cells, objects, people and even in everyday life.

We are going through an era where ‘self-profiles’ are a usual phenomenon. This phenomenon is observed in various forms and places, including social media, personal choices of clothing and hobbies, possessions, as well as an individual’s way of expression and thinking. An object is structurally created with certain materials to be functional in everyday life, thus serving its users. Thus, objects have their own established identity and qualities.

The identity of humans can be explored through their own reflections, actions and reactions through daily public and private interferences. People’s identity could be a combination of their social, cultural and educational background and how that is continuously evolving. The identity of an artist has no exception, and similarly to the rest of the world, it is constantly changing through time. The concept of ‘identity’ is so broad and yet so specific and sensitive for each one of us. The artists, through their five senses, could observe and present an unusual perspective of an everyday situation, object or feeling and thus developing their own unique characteristics.

Art Curator: Evdokia Georgiou

Art Director: Sonia Photiou

Submission deadline: The 10^th of January 2020.

The announcement of the selected artists will be on the 13th of January 2020.

• The opening of the exhibition will be on Friday, the 31^st of January 2020 and it will be on for 10 days.

We wish to invite artists to submit their artworks of various media such as paintings, drawings, sculptures, installations, photographs and mixed media.

How to submit:

• Submission is free.
• Participation fee if selected is 50 euro.
• In your application you should include the artist’s biography, statement (incl. clear reference to the exhibition’s theme) and photos of artwork. (finished or in process)
• Commission applied: 15%.
• Sale of artwork is optional and consent from the artists is needed in written form.

What we provide:

• Excellent facilities in Limassol city center
• Wall Space with hanging accessories for hanging artwork and plinths for sculptures available.
• Design of promotional material.
• Advertising through posters and TVs on the gallery’s vitrine.
• Paid advertisements on Facebook and Instagram
• Professionally made video documenting the opening of the exhibition and its publication.
• Artists’ templates with the selected artworks’ close ups.
• Cocktail at the opening.
• Catalogue of the exhibition for each artist.

The university showcases deep relationship between the movement and its school of design

By Joseph Boisvere

In graduate school I took a course on Latin American cinema that primed me for this show, The Bauhaus and Harvard, which is organized in conjunction with the centennial of the founding of the Bauhaus in Weimar, Germany. But Bauhaus is a German movement, and Germany is not in Latin America, you might reasonably argue. Fair. However, during this course on films of the western hemisphere I was fortunate to be exposed to Arturo Escobar’s brilliant book from 2018 Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. In it, Escobar makes a sophisticated argument over many chapters that I can sum up briefly: Design is everywhere in human society, and how a culture, a person, a movement, designs anything – from tools to buildings to works of art – is indicative of a unique perspective on how the world works, how it is created and dwelt within, and the designer’s role within this world.

This is a brilliant reversal of the practical logic of Bauhaus, in a certain sense, which took aesthetic intentions and married these to the pragmatic concerns of design. Harvard’s retrospective on the relationship that the university enjoyed with Bauhaus and its contributors is a succinct and yet varied look into not only some interesting outcomes of this design but also the training that students of design at the university’s campus during the dominance of Bauhaus underwent.

Studies and exercises in color, line, and form appear not only beside furniture and architectural diagrams, but alongside drawings by Kandinsky, a massive wall-mounted sculpture by Hans Arp, and a twenty-foot long painting by Herbert Bayer which once hung in Harkness Commons. Semi-industrial samples of Bauhaus weaving hang like tapestries as testaments to the rigorous workshop training that designers were expected to complete. The show is laid out in a way such that these very different artifacts occupy a space that tells a story, not as you walk through as in some retrospective shows, but in its very amalgamation. The various media lain one next to another suggest that the show’s layout itself is utilitarian, demonstrative, and aesthetic all at once.

A century after Bauhaus rose out of the ashes of the first World War, this retrospective on its integration into Harvard’s School of Design closes the gap even further between the purely aesthetic and the necessarily pragmatic. It gives its audience a hint as to what Escobar argued in his recent book: that design is ubiquitous, even a retrospective art and design show performs a function as it entertains. Bauhaus at Harvard reminds us to appreciate the aesthetical qualities of the utilitarian and to expect beauty from that which may otherwise be merely useful.