In this issue Max Leach Haim Levy Ante Kustre Diego Bernaschina Hana Jaeger Jean-Marie Guyaux Maksim Kuznetcov Diego Bernaschina Vered Snear USA Chile Israel / USA In my work I always try to find As the artist, I have been answers for existential questions investigating the ways in the like: is there beauty and joy in our social art, focusing on at lives?; why do we enjoy living if social reality, where it’s our strongest memories are of negative experiences?; what is the interpreted as the prejudice, meaning of life itself?. I see human the disinterest and the life as a sequence of emotional disgust towards the states (mostly negative) that we communicative perception, can barely comprehend and make sense of them, drifting from point and their different creative processes of the artistic A (birth) to a final destination - point B (death) - which awaits us production: paintings, digital just around the corner. I tend to art, photography and think that moments of happiness videoart. In this respect, the are so rare & elusive, unsustainable and deceiving - yet question of art, from the are so needed in our lives - that we social and cultural. It may seek the meaning of our lives from therefore be concluded that them. If they are carved out from the question from multiple one's experiences then nothing but different angles is that we blood, despair, misery and have failed to come up with a emptiness are left. I am trying to consistent message. From look deeper in these states, there, I can see and feel that dissecting them, and represent them in my art. The ultimate the work of art is a possibility question I want to answer can be to demonstrate this, to phrased in the following way: Is question our way of view, to there an ethically justified place for us - conscious human beings - interrogate the gaze in the the artistic behavior, it’s that in the existential climate of our perceptions of life, the very you can get a critical meaning of life? Emotions and approach to our ways of experiences linked to reality, in perceiving the reality before their purest forms, are my subjects of interest, which I try to express the excluding world for the art. through abstracted figures. My artistic practice is rooted in the observation of the construction of my identity in relation to the constantly shifting cultural and political landscape of Israel, the country in which I was born and raised. For my generation of Israelis who grew up during the late 80’s, as the country transitioned from socialism to capitalism, from zionism to post-zionism, the zionist dream was challenged and criticized, and a previously embraced dominant narrative of nationhood and cultural pride was put to question. I experienced this transition through popular media: television, movies, magazines, etc. It impacted me deeply and lead to my current critical perspective how ideological frameworks impact not only the society we live in but our very own formation as individuals. I am committed to explore at large relationships between media and ideology, to challenge dominant ideas and to better understand representation as a tool that articulates subjectivities, bodies, affects and desires. Working in video, photography, performance and installation, I use text and visual language from popular media such as YouTube, news broadcasts and TV as source materials for my work. Maksim Kuznetcov Doria Sharra Izabela Mašić 4 24 54 82 110 132 160 184 204 Special thanks to: Charlotte Seegers, Martin Gantman, Krzysztof Kaczmar, Tracey Snelling, Nicolas Vionnet, Genevieve Favre Petroff, Christopher Marsh, Adam Popli, Marilyn Wylder, Marya Vyrra, Gemma Pepper, Maria Osuna, Hannah Hiaseen and Scarlett Bowman, Yelena York Tonoyan, Edgar Askelovic, Kelsey Sheaffer and Robert Gschwantner.