ABOUT WEBSITE: The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.
ABOUT THE ART COMPASS: The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.
The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.
Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.
I collect you, oh my self, every day, piece by piece and Idon't know how but every day you fall out of me. Between my fingers, you melt into water and go with what has gone. Time is not enough for collecting you neither I'm strong to be patient in your absence. Oh,my homeless self, oh my forgotten self, oh my all choices, dreams and raving. Come, come simple, come close, be high but leave me a way to climb to you.
When you see a white rose, then there is a white color. When you hear a song then there is a bird. When you smell the petrichor then there is rain. All of these are existent things with exact cathartics to describe and definite words to elaborate on. But what about the sound of fear, the smell of hunger, and the perfume of love? How could we sense the thickness of a shadow and perceive the density of happiness? How could we have the ability to realize the entity of God or the emanating of letters to form a word, a sentence, or pray? In this work, I am trying to provoke questions and stir senses more than attaining an endpoint. I am attempting to reach something I am not able to have a certain property of it.
RA'FAT ALI & ROZA KOOTSTRA - THE SOUND ARCHIVE
Dear friend•s, close friend•s, distant friend•s and friend•s to be met,
We miss you.
How about we get in touch?
Ra'fat and Roza invite you to share sounds. Everydaysounds.Personal sounds.Everyone is free to interpret as he/she sees fit.You could choose sounds made by object•s or person•s. You could capture a specific sound•s or an ambient sound•s.
You can contact us via our facebook page. Via a private message, we will collect the sounds through a voice message (around 2 to 5 min).We are developing the prototype of a virtual archive where these sounds will be put into space.Visitors will be able to choose how to arrange the sounds and will be building a soundscape in constant formation.