Tag: trauma

Posted on , by Vita Eruhimovitz

Through the Kaleidoscope: Vojislav Radovanović on Dreams, Memory, and Finding Color in California

In Dialogue
Vojislav Radovanović at the studio.  Photo by Jason Jenn

Vojislav Radovanović’s multidisciplinary practice spans painting, drawing, installation, video, and performance. His work touches upon themes of queerness, memory, the immigrant experience, spirituality, and the complex relationship between humans and the natural world. Influenced by his upbringing in Serbia during a time of war and social upheaval, Radovanović approaches art as a therapeutic space for healing and transformation. His process-driven works often combine recycled materials, vibrant color, and symbolic imagery to create poetic, emotionally resonant narratives. Through layered compositions and dreamlike logic, he invites viewers into a shared space of reflection, imagination, and emotional release.

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Posted on , by Etty Yaniv

Mindscape: Patterns of Identity at L’Space

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Moran Kliger, Installation

In the group show Mindscape: Patterns of Identity at L’Space, people, animals, and places shift and juxtapose, coming together like pieces of a map—one that charts the shared inner terrain of memory, trauma, and identity. Curated by Noa Rabinovich Lalo and Carolina Werebe, with L’Space founder Lily Almog, the show, as Almog puts it, draws on “a shared Israeli heritage and a deep connection to the contemporary art scene in Israel, a country with a rich cultural history and traditions amidst ongoing uncertainty.” And it’s that sense of uncertainty that pulls everything together—voids and absences linger in the air. Even when the work seems rooted in specific places, the setting remains layered and elusive, offering more questions than answers. This is evident in Netta Lieber Sheffer’s sweeping charcoal drawing installation of Sigmund Freud’s Vienna clinic, where he lived and worked for 47 years before fleeing the Nazis in 1938.

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Posted on , by Etty Yaniv

Swoon – Hushed and Big Voices

In Dialogue

All images courtesy of Tod Seelie.
Swoon, Swimming Cities of Switchback Sea, photo courtesy of Tod Seelie

Brooklyn-based artist Caledonia Curry, known as Swoon, is celebrated internationally as one of the first female street artists in a male-dominated field. For over two decades, Swoon has explored human experiences through public art, museum exhibitions, and film. Her latest projects look at the ties between trauma and addiction, inspired by her own life in a family affected by opioid addiction. She works closely with communities, using art to show empathy and help people heal. Over the last ten years, Swoon has led important projects in places like Braddock and Philadelphia in Pennsylvania, New Orleans in Louisiana, Venice, and Komye in Haiti, tackling everything from natural disasters to the opioid crisis.

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Posted on , by Anna Mikaela Ekstrand

The Immigrant Artist Biennial- In Dialogue

Art as Political Vehicle? Pritika Chowdhry, Marcelo Brodsky, and Rafael Yaluff

Marcelo Brodsky. 1968, Fire of Ideas. Kingston, 1968. 60 x 90 in. Overwritten photograph. Courtesy of the artist and Henrique Faria Fine Art.

Exhibiting in Conflictual Distance at EFA Project Space within the framework of The Immigrant Artist Biennial: 2023 Contact Zone Pritika Chowdhry, Marcelo Brodsky, and Rafael Yaluff explores, in Oraib Toukan’s formulation, ‘cruel images.’ Images that contain evidence of political and bodily violence but are confronted at an extreme political or geographic distance from their events’ site of occurrence. Together with the artists, co-curator Anna Mikaela Ekstrand discusses the politics of art and how the artists approach personal histories and historical and political events before the exhibit.

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Posted on , by Etty Yaniv

Reef Avni – This Was My Home

Photo Story
Reef Avni, This was my home

For 18-year-old photographer Reef Avni, photography became a way to speak at 14 when words were hard to find, a tool against his social anxiety. His father, Hagi, was not only a strong supporter but also a frequent face in his photos, becoming an integral part of the narrative Reef was creating with his camera. The other constant in Avni’s work is documenting daily life in his Kibbutz. As a fourth-generation member of Kibbutz Be’eri, his roots were as embedded in the kibbutz as the farmlands and community his great-grandfather founded in the arid Negev in the south of Israel on the night of October 6, 1946. His grandfather was among its first newborns.

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Posted on , by Paul D'Agostino

Questionable Roots: Mag Gabbert’s Sex Depression Animals

book review

With Sex Depression Animals, Mag Gabbert gives form to figment, credence to the mythic, substance to shadow, visibility to the unseeable, sacrality to the profane, and fertile grounding to the errant roots of language the poet jostles loose in various ways, transplanting them into revivified metaphors and ranging contexts.

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Posted on , by Anna Mikaela Ekstrand

Lesley Bodzy’s Sculptural ‘Paint Skins’

Lesley Bodzy. I knew better, acrylic, 66” x 34” x 15”, 2022. All photographs are courtesy of the artist.

Wall sculptures by Lesley Bodzy will be on view during Armory Week 2022 at SPRING/BREAK in Leftover and Over curated by Giovanni Aloi and Erica Criss. Anna Mikaela Ekstrand interviewed the California-born Houston and New York City-based artist about her evolving practice.

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Posted on , by Nina Potischman

Revisiting Pritika Chowdhry’s Feminist and Decolonial Installations Speaking to India’s Partition for Women’s History Month

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Pritika Chowdhry. What the Body Remembers, 2008. Paper pulp, mason stains. 6 ft. x 3 ft. x 10 ft. installed dimensions. All photographs courtesy of the artist.

On India’s 75th year anniversary, the horrors of the Partition cannot be forgotten. Yet despite the atrocities committed against women, their experiences are often excluded from discussions of Partition’s impact. In What the Body Remembers and Queering Mother India, artist Pritika Chowdhry pushes back against this historical erasure. Revisiting two of Chowdhry’s installations for women’s history month, one is struck by the sensitivity and delicacy of her work alongside the urgency of her message.

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