2017 WINNER & FINALISTS

Zuza Golińska | Winner

Zuza was announced as ArtePrize 2017 winner at the private view on 22 January, and was awarded a cash prize of US$15,000 and a much coveted three month residency at Delfina Foundation.

“The judges felt that all of the works by the ArtePrize finalists are equally strong; so we have partly based our decision on the basis of who will benefit the most from the residency at Delfina Foundation. Zuza Golińska’s installation is wholly immersive and impactful. As you walk around Dead End | Future Twice you become part of the work and mould into the space. The idea of where you fit in life, in society, in a room, is something that everyone can relate to, and, because Zuza’s art is about interaction with society and world around you, we believe that being in London for three months will progress her practice immeasurably.”

- Aaron Cezar, Chair of the ArtePrize judging panel and Director of Delfina Foundation


“The entries we have received for the ArtePrize were what we had hoped for and more. We have uncovered some incredible talent from all over the world and the finalists we have selected show the very best of these. The young talent we are bringing together could easily never have been discovered if not for art-focused social technology – and we are very excited at the effectiveness of our simple, innovative approach to art prize submissions. The next version of our ArteVue App takes this premise even further in the drive to democratise art and connect the art ecosystem.”

- Shohidul Ahad-Choudhury, Founder of ArteVue

 

The ArtePrize 2017 finalists continue to be exhibited at Delfina Foundation in London from 23 – 27 January 2018. 

 

Zuza Golińska

Zuza Golińska deals with the relationship between humans, public space and architecture. Based in Warsaw, Poland, her work is strongly influenced by the way people behave in and interact with the public realm. 

Dead End | Future Twice is about relations between people and the ecosystem those relations create. Shown as a laser installation in the three dimensional space, it is also about all the borders and structures people experience while being a part of the art world or any other environment. It is about the paths that will eventually cross and some that will remain parallel. 

  Kiah Reading   Kiah Reading investigates the intersection of people’s behaviours and the contemporary desire to commercialise non-economic phenomena – such as passion, creativity and communication. He has previously conducted projects in a former prison and an illegal gold mining town, and is based between Lima, Peru and Brisbane. His multidisciplinary practice incorporates technology, drawing, embroidery and performance.  Zen Tech presents an interruption to today’s economic environment. It transfers the qualities of a Japanese Zen garden through digital coding, electronics and desert sand, creating a piece of technology that serves as an aid to meditation. It questions the operative nature of technology, derived from the belief that productivity is imperative. 

Kiah Reading

Kiah Reading investigates the intersection of people’s behaviours and the contemporary desire to commercialise non-economic phenomena – such as passion, creativity and communication. He has previously conducted projects in a former prison and an illegal gold mining town, and is based between Lima, Peru and Brisbane. His multidisciplinary practice incorporates technology, drawing, embroidery and performance.

Zen Tech presents an interruption to today’s economic environment. It transfers the qualities of a Japanese Zen garden through digital coding, electronics and desert sand, creating a piece of technology that serves as an aid to meditation. It questions the operative nature of technology, derived from the belief that productivity is imperative. 

  Lukas Zerbst    Lukas Zerbst makes site-specific sculptures, occasionally enhanced with video, created on the spot using existing materials. Born in Poland, his family emigrated to Germany, where he received 1st prize for Fine Arts of the University of the Arts Bremen in 2016. Based nowhere today, he is also engaged in transcultural projects in Vietnam and Lithuania. Coming from the field of performance art, Zerbst looks at the temporary moment of the exposition of an art work. His use of electronics raises questions about the global art market: Does art have to be determined by a space such as a gallery? Does art have to be part of a hyper-producing global society or can it be visualized by a small intervention?   OFFSPACE has been inspired by the Nhà Sàn Collective in Vietnam, an artist collective temporary space located in a generic concrete high-rise, surrounded by shopping malls, fitness studios and offices. The original gallery had a shiny floor, concrete walls and metal studs hanging ceiling-panels and industrial white neon lamps. OFFSPACE extends the ceiling metal studs to redefine the form and shape of the gallery. The neon lamps are rehung along the reformed ceiling and blink randomly by a technical manipulation created by computer programming.  

Lukas Zerbst

Lukas Zerbst makes site-specific sculptures, occasionally enhanced with video, created on the spot using existing materials. Born in Poland, his family emigrated to Germany, where he received 1st prize for Fine Arts of the University of the Arts Bremen in 2016. Based nowhere today, he is also engaged in transcultural projects in Vietnam and Lithuania. Coming from the field of performance art, Zerbst looks at the temporary moment of the exposition of an art work. His use of electronics raises questions about the global art market: Does art have to be determined by a space such as a gallery? Does art have to be part of a hyper-producing global society or can it be visualized by a small intervention? 

OFFSPACE has been inspired by the Nhà Sàn Collective in Vietnam, an artist collective temporary space located in a generic concrete high-rise, surrounded by shopping malls, fitness studios and offices. The original gallery had a shiny floor, concrete walls and metal studs hanging ceiling-panels and industrial white neon lamps. OFFSPACE extends the ceiling metal studs to redefine the form and shape of the gallery. The neon lamps are rehung along the reformed ceiling and blink randomly by a technical manipulation created by computer programming.
 

  Sahil Naik   Sahil Naik has a studio practice in Baroda and Goa, India. He was born in a temple village near Ponda, which was frequented by pilgrims from all over the world and received a series of bomb threats/hoaxes. He is interested in the idea of the post- (post-truth/post-fact) and draws inspiration from pre- (myths and history) to seek the inverse relationship between power and fear.  Ground Zero: Artist as the Suspect/Bomber is a series of modelled replicas of familiar locations, which have been subjected to explosions. The project shines a light on the vulnerability of our everyday spaces and the human instinct to think of terror being at a distance from us – to believe “this can never happen to me”. Naik collects news reports, CCTV footage, investigative reports and interviews from the internet, including them in the physical and conceptual premise of the work, closely examining what forms the idea of safety and familiarity in certain spaces.

Sahil Naik

Sahil Naik has a studio practice in Baroda and Goa, India. He was born in a temple village near Ponda, which was frequented by pilgrims from all over the world and received a series of bomb threats/hoaxes. He is interested in the idea of the post- (post-truth/post-fact) and draws inspiration from pre- (myths and history) to seek the inverse relationship between power and fear.

Ground Zero: Artist as the Suspect/Bomber is a series of modelled replicas of familiar locations, which have been subjected to explosions. The project shines a light on the vulnerability of our everyday spaces and the human instinct to think of terror being at a distance from us – to believe “this can never happen to me”. Naik collects news reports, CCTV footage, investigative reports and interviews from the internet, including them in the physical and conceptual premise of the work, closely examining what forms the idea of safety and familiarity in certain spaces.