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ROSINA IVANOVA 


is a woman and an artist. She lives in Greece, sometimes in other spaces; imaginary spaces with invisible pattern impulses. In her humble life of riding the bus, roaming on the streets of Athens and attending lectures ‘as a good girl’, amongst other things, she makes holes. She feeds on them. She sticks her fingers into them, she scratches them, she negotiates with them, she is in a violent bursts to reproduce them armies or holes, to be eaten by….the audience. Subsequently she has made many holes. International holes, conceptually. The idea of a hole.

                                                     Video Still, The Girl 
Walking around the streets of Athens barefoot, she experiments how art can be created by anyone who is willing to experience it, including her foot. She gives very important speeches at very important places to very important people and sometimes these verbal pukes are very important, especially when recognized by the institution. In 2008-2011 she created a series of major exhibitions at important festivals, especially the parks and the streets of the city, however she sees most of her exhibitions are in the minds of single people. The aims of her limited company are very ambitious: to produce art works that explore de-evaluation, turmoil of the mind, the simple person, miscommunication, texts, predominant perception, value in art, a non-art idea or an object, rolling, yellowing, not smoothing, going through, opening, repeating, invisible art..(I shall continue this list..etc.).
What she said at a very important interview was : Let’s take our holes and make them happy. Lets make more holes and make ourselves happy. Lets touch holes, lets look at holes, lets negotiate holes, and lets talk about my holes. Play with my Holes! My holes are amazing!  (can play with my holes in the tab hole-ism.ism.ism). Her art is very important because she destroys it and makes other people destroy it, so it (doesn't) stay(s) in the mind of people forever and ever, and it doesn’t take much space.

                                                    

                                      Video Still from the Dress Project (People)
























She(I) refuse(s) quality as established by contemporary mass media aesthetics and shift(s) the visual experience to a conceptual one, whose practical application/realization is 'very important'. As degrees of ‘realization’ are heavily judged by established values of quality, she (I) remind(s) people that questions of ‘quality’ (what is more “beautiful” or “ugly”, "unfinished" or "not loose") implies  hierarchical order and thus discards questions of ‘equality’ - the humane ways to relate to each other, respect and appreciate the works and the existence of everyone on equal basis.

Art is equality  





















It was widely accepted (one of “Grand Narratives”) that art deals with the nature of beauty, specifically defined as a judgment of taste (aesthetics), rather than art understood as a critical, logical or objective tool for applying structure and new processes for social transformation (politics) - another “Grand Narrative”.

From these rises “the formation of the alarming antagonism between the quality and equality” (aesthetics rather than politics).  It is obvious that questions of quality make people judge what is beautiful (better) or ugly (worse) and that the idea of hierarchical quality is the very reason for inequality; it makes people judge according to status or individual preferences. This harmful idea of quality descends to peoples’ everyday interactions in the form of value, when determining what object or what person is better than other.

Another implication of aesthetics is that one gets stuck on the individual reception of artworks, rather than on the possibility to exercise political judgment from art. To replace the old justification of art (questions of quality) with the capacity of Art to involve us and re-think our relationship to the world and others (questions of equality), art must give up some of the individualistic focus for a unitary purpose. The function of the Artist would not be only individual expression, but an intellectual who can provide with collaborative art to pull people together.

“Cultural policy is a way of strengthening the social bond” and the way this is integrated by the artist to make cultural understanding available to the masses, is through increased accessibility - higher attendance at galleries, parks, virtual spaces, etc.  In addition to that, the artist must make less distant works(?) and shape complex issues that communicate meaning to broader masses in favor of a communitarian vision (equality). This is, by no means, to say that issues (the art) discussed (or not discussed) will be less serious, nor is it to say that simplicity is a matter of quality.

Art must evolve and must function today as part of the solution on the international and multicultural scene of global problems. It has the responsibility to address problems like social unity, inequality, racism, personal health, even bureaucracy. In these instances, artists are inspiration-makers and visionaries for alternative structures which can pull people together to interact (negotiate) with society and its problems.

Artists are not only single individuals that express themselves. Many are tailors of new forms of social consciousness and creative thinkers of new designs for organization inside interactive groups. Art pieces are living groups made up of artists and viewers that evolve into active partakers. 

Up-to the tabs People!