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AI Steps In as Dafen Village's Art Scene Reels: A Global Perspective

categories: ai painting, art, artwork, news, paintings

Once, Dafen produced more than half of the world's oil paintings. However, the global economic crisis, pandemic, and China's real estate slowdown had an impact, and now artificial intelligence has entered the picture.

The writing is on the wall for a well-known village in southern China, which boasts numerous studios and art galleries crammed into tight streets and extensive winding paths. These establishments sell both their own creations and hand-painted replicas of renowned artworks.

However, numerous local craftsmen in Dafen village continue to wield their brushes instead of setting them aside. Walking around the area reveals many of these artists engaged with their canvases, meticulously focusing on each stroke to produce lifelike landscapes and portraits.

The 0.4-square-kilometer (0.15-square-mile) urban village was formerly known as a global center for oil painting replicas. Now located on the fringes of technology hub Shenzhen, Dafen is largely peaceful—unlike its past hustle and bustle. The village feels the effects of China’s economic slowdown through reduced pedestrian activity and fewer online purchases. This situation is further exacerbated by China’s swift progress in artificial intelligence (AI).

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During the 1990s and 2000s, a significant number of migrant laborers – often toiling without shirts around the clock – were engaged in producing assembly line replicas of artworks by Vincent van Gogh, Claude Monet, and various other renowned artists.

During its height between roughly 2005 and 2008, Dafen village allegedly accounted for around 60 percent of the global oil painting market. To maximize productivity, artists worked methodically like assembling a vehicle piece by piece. Every individual artist focused solely on their specific segment—a monotonous yet refined skill honed through repetition—before passing it along the assembly line.

The model flourished, and the artworks were sold.

When the global financial crisis struck, orders from Europe and the U.S. declined sharply. However, China’s property market continued to thrive, driving up the demand for artwork to adorn these newly built spaces. This surge in interest came mainly from domestic hotels and burgeoning middle-class families, making them Dafen’s main clientele during this period.

Artists modified their techniques to align with regional tastes—formerly beloved Western masterpieces such as The Starry Night and Irises Van Gogh’s works were pushed into gallery corners, fetching prices as low as just a few dozen yuan.

However, over the past four to five years, China experienced a significant downturn in the real estate sector, which severely impacted the property market. Simultaneously, global economies struggled due to the pandemic. These dual challenges led to a sharp decline in orders for Dafen.

Nowadays, consumers often purchase innovative and ornamental artworks that align with the prevailing trends seen in both hotels and residential spaces.

Facing these significant hurdles, the local administration aims to turn the village into an "AI Oil Painting Center." Here, artificial intelligence will create remarkable designs instantly, and domestically produced inkjet printers will generate textured, hand-painted style oil artworks in just 15 minutes.

On March 25, OpenAI launched an update for ChatGPT that enables it to produce manga-style artwork inspired by artists like Fujiko F. Fujio, Studio Ghibli, and Akira Toriyama, igniting a worldwide sensation.

This technological progress has caused numerous painters in Dafen to feel disheartened and bewildered, as though the village is shedding tears amid these transformative times.

"Ours are already bargain basement prices; we sell larger pieces, sized at 90x120 cm and hand-painted, starting from as low as 1,000 or 2,000 yuan (approximately US$275). Smaller artworks retail for merely 200 or 300 yuan each," explained Xu Cheng, who owns Lianghua Gallery. Struggling to sustain his enterprise amidst poor sales and facing a monthly rental fee exceeding 5,000 yuan, Xu manages the gallery alone along with being its exclusive artist.

"Oil paintings serve as decorations rather than essentials. Without individuals purchasing or relocating to new residences, there is little demand for artwork," he stated, noting that the situation has deteriorated further compared to conditions during the pandemic.

Xu acknowledged that the economic downturn, lack of strong domestic consumption, and the decline in the property market have severely affected Dafen. The implications of AI's influence is something that both he and others haven't had the chance to contemplate yet.

On the contrary, gallery owner Annie Wei has started incorporating AI into her business. Recently, she employed AI to create Christ-themed artworks adapted for an East Asian audience. These pieces were subsequently painted by human artists and sold to a buyer in Hong Kong for 5,800 yuan. Nonetheless, with many rivals adopting this approach, prices have fallen significantly; comparable artwork now sells for around 3,000 yuan.

As the market declines, numerous studios have shifted towards tourism, providing oil painting classes starting from just 30 yuan to draw more tourists. In the past, Dafen prospered using assembly-line methods that reduced both time and expenses, enabling Western homes to obtain bespoke oil paintings. However, according to Zhou Yongjiu, a painter who moved to Dafen back in 1991 and has witnessed this long-term change firsthand, recent advances in artificial intelligence allow individuals to produce personalized artwork at an even cheaper price with merely their computers.

Zhou appeared in the documentary China's Van Goghs , which was showcased at various international film festivals such as the 48th Vision du Réel in Switzerland, the TRT Documentary Awards in Turkey, and the New Zealand International Film Festival.

He once employed dozens of painters. Together, they reproduced more than 300,000 masterpieces, including Van Gogh's Sunflowers Now, he stands alone, committed to moving forward with genuine and unique creations.

"There simply aren't enough orders to sustain such a large number of people anymore," Zhou stated. While he retains some devoted clients, AI poses a significant challenge for many in Difen.

He pondered as people grow more receptive to AI-created art, what might the future entail for us.

As for Zhou, he stated that he has no intention of utilizing AI technology, particularly at this stage in his career, after perfecting his skills over many years.

"I spent a lot of time transitioning from imitating others to developing my own style with paint," Zhou mentioned.

Sharjah's Deputy Ruler Launches Islamic Art Exhibition in Oman

categories: art, artwork, culture, exhibitions, saudi arabia

SHARJAH, 17th March, 2025 (WAM)-- H.H. Sheikh Sultan bin Ahmed bin Sultan Al Qasimi, who serves as the Deputy Ruler of Sharjah, officially opened the "Masterpieces of Islamic Art from the Sharjah Museum of Islamic Civilization" exhibit on Monday at the National Museum of Oman.

Ongoing until May, this exhibition acts as a cultural stage highlighting the profound historical connections and robust cooperation between the UAE and Oman in safeguarding their heritage and advancing Islamic culture.

The inauguration began with a address from Jamal Al Moosawi, the Secretary-General of the National Museum of Oman, who greeted Sheikh Sultan bin Ahmed Al Qasimi and the guests present.

He stressed that the exhibition showcases the progression and elegance of Islamic art, stemming from the collaboration between the National Museum and the Sharjah Museums Authority.

Al Moosawi stated that the exhibit comprises three segments: Calligraphic Arts, Sciences and Innovations, and Harmony and Diversity. Each segment showcases items highlighting the profound artistic legacy of Islamic civilization throughout history. He emphasized that this exhibition supports the National Museum’s dedication to cultural diplomacy and promotes an understanding of Islamic heritage.

Aisha Rashid Deemas, the Director-General of the Sharjah Museums Authority, conveyed her joy over hosting the exhibit at one of Oman’s premier cultural establishments. She emphasized the robust familial bonds and common heritage linking the UAE and Oman, which have been reinforced under the guidance of their respective leaders.

Deemas highlighted that the trip of His Highness Sheikh Dr Sultan bin Muhammed Al Qasimi, Supreme Council Member and ruler of Sharjah, to Oman served as significant motivation for arranging this exhibition. This initiative embodies his belief in leveraging culture and art as means to fortify ties and encourage mutual understanding between the two countries.

The exhibit goes on to showcase the strong historical, cultural, and social ties that have developed over time among different generations.

She mentioned that the exhibition serves as more than just a stage for showcasing rare Islamic artifacts; it’s also a chance to contemplate the collective historical heritage of the area. The event underscores the remarkable artistry and innovation that characterized Islamic civilization across different periods.

One of the notable exhibits being shown publicly beyond the borders of the UAE for the very first time include a silver goblet adorned with the imperial insignia of Ottoman Emperor Abdul Hamid II, an elaborately designed hexagonal eating seat made specifically for Al-Nasir Muhammad ibn Qalawun, along with the initial Islamic coin struck in Baghdad following the Mongol conquest.

Other significant displays feature an eleventh or twelfth-century cat-form incense burner and a thirteenth-century gilded earthenware pitcher, showcasing the rich artistic variety within Islamic culture.

Following the ribbon-cutting ceremony, Sheikh Sultan bin Ahmed Al Qasimi toured the exhibition, receiving detailed explanations about the 82 rare artefacts on display. These include Islamic manuscripts, metalwork, ceramics, and historical coins, each illustrating the artistic evolution and cultural richness of successive Islamic civilisations.

The exhibition celebrates the strong ties between the UAE and Oman and embodies the vision of the Sharjah Ruler to enhance cultural cooperation and use the arts as a medium for dialogue and mutual understanding. Visitors will have the opportunity to explore the artistic and aesthetic dimensions of Islamic civilisation through a carefully curated selection of artefacts that narrate centuries of Islamic history.

The exhibition aims to highlight the artistic achievements of Islamic civilisation, strengthen collaboration with regional and international cultural institutions, and raise awareness of the rich heritage of the Islamic world. By fostering cultural appreciation and knowledge exchange, the event contributes to a deeper understanding of the enduring artistic traditions of the Islamic world.

The opening ceremony was attended by Salim bin Mohammed Al Mahrouqi, Minister of Heritage and Tourism and Chairman of the Board of Trustees of the National Museum of Oman; Mohammed bin Nakhira Al Dhaheri, UAE Ambassador to Oman; Hassan Yaqoub Al Mansouri, Secretary-General of the Sharjah Media Council; Aisha Rashid Deemas, Director-General of the Sharjah Museums Authority; Jamal Al Moosawi, Secretary-General of the National Museum of Oman; along with several senior officials and diplomats.

Provided by SyndiGate Media Inc. ( Syndigate.info ).

'First-of-Its-Kind' Exhibition: 'Young Poland' Art Revealed in Japan

categories: art, artwork, culture, exhibitions, poland

More than 150 works including paintings, drawings and prints from the 19th and 20th centuries, are now on show in Japan in what's been described as a 'veritable treasure' of the most iconic examples of Polish Modernism.

"The exhibition is of great significance for Polish-Japanese cultural relations. It makes it possible to present for the first time in the Land of the Cherry Blossom, works of art that constitute the canon of our national culture," said Polish Minister of Culture and National Heritage Hanna Wróblewska during the official opening.

Professor Andrzej Szczerski, Ph.D., director of the National Museum in Krakow, where most of the pieces of artistic craftmanship can be seen on a daily basis, assessed that this was 'the largest exhibition of Young Poland's art in Japan in history'.

"The numerous audience and media representatives who attended the opening emphasised the artistic importance of the works on display and the significance of the exhibition, showing how the art of Young Poland was able to express both national content and speak the universal language of art," he said.

The exhibition takes up the whole floor at MOMAK (The National Museum of Modern Art, Kyoto), and it is organized around various themes that touch upon inspirations derived from nature, history, Japanese culture, and the distinctiveness of Polish national style.

Polish modernist masterpieces in the center of Japan

"The narrative presented here revolves around Polish history; an introduction marked by the creations of Jan Matejko and Artur Grottger, yet primarily shaped by the movement known as Young Poland’s artwork during the transition from the 19th to the 20th century. This era saw artists not just forge a sense of national identity, but ensure that despite Poland being absent on world maps, it remained vibrant and prominent within European artistic circles," states the exhibition catalog.

Included among the displays are creations by renowned Polish artists such as Olga Boznańska, Jacek Malczewski, Józef Mehoffer, Władysław Podkowiński, Józef Pankiewicz, and Stanisław Wyspiański.

Visitors will be able to admire, among others, Włodzimierz Tetmajer's "The Artist's Family", Leon Wyczółkowski's "Stańczyk" or Józef Pankiewicz's "Czesząca się". Jacek Malczewski's 'Portrait of Feliks Jasieński', 'Girl with Chrysanthemums' and 'Florists' by Olga Boznańska also flew to Kyoto. There will be 'Jane with a Japanese Doll' by Alphonse Karpinski, 'Musicians on the Bridge', 'Poppies' and 'Fears' by Wojciech Weiss, as well as 'The Bearded Woman' by Władysław Ślewiński.

Also on display at MOMAK are two works by Boznanska that have never been exhibited before - these are 'Tulips' and 'Portrait of Mrs L'. While the painter was still alive, they ended up in the collection of Magosaburō Ōhara, a Japanese entrepreneur and collector and philanthropist. They are currently stored in the museum that completes his collection - the Ohara Museum of Art in Kurasiki, Japan.

The phenomenon of 'Young Poland' - rebellion, freedom and individualism

As art historian and founder of the 'Outside the Frame' platform Maja Michalak explains Young Poland is a special and extremely diverse period in painting. Analogous to Young Germany or Young Scandinavia, because the artistic currents were similarly named in different places in Europe, which was to emphasise the freshness and innovative approach to art each time.

"As these times were characterized by expressions of rebellion, the pursuit of liberty, and the wish to engage with art differently, thereby revealing what was personally significant to each artist," explains Michalak.

She notes that the artists focused heavily on expressing their personal uniqueness, integrating several coexisting styles such as Art Nouveau, Impressionism, Symbolism, and Expressionism. Each artist showcased these movements in distinct variations.

The allure of 'Japonism' — a passion that bridged two civilizations.

One distinctive feature of the exhibition in Kyoto is the chance to follow the impact of Japanese aesthetics on Polish artists from a hundred years ago.

Michalak points out that we must discuss the prevalent Japonisme during this period, characterized by an intense interest in Far Eastern art, which captivated many contemporary artists. These artists didn’t just incorporate direct elements like fans and kimonos—imports that appeared frequently in their works—but they also adopted themes such as dragonflies or peacocks, closely linked to Asian traditions. Additionally, techniques borrowed included a diagonal compositional approach and increased use of asymmetry, both hallmarks of Japanese woodblock prints.

Urszula Kozakowska-Zaucha, the curator of the Kyoto exhibit, highlights the significant contribution made by a renowned Polish art critic and collector towards introducing Japanese art in Poland: “These exceptional artworks are displayed alongside Japanese woodblock prints, illustrating the connection between Polish art and Japan. A key figure featured prominently in this exhibition is Feliks ‘Manggha’ Jasieński, an eminent art collector whose personal collection merits its own segment. His enthusiasm for gathering artifacts along with his close ties to the Young Poland artists from Kraków helped popularize Japonisme within their circle.”

Jasieński gathered prime specimens of Japanese art for his collection, making these accessible to artists who could borrow items from him when needed. Ultimately, in 1920, he contributed his complete art collection to the National Museum in Krakow.

"He also commissioned paintings from artists inspired by Japan, with which he was so much in love," adds Michalak. "This combination in the exhibition of Young Poland and Japan is not accidental. It may make it easier for the Japanese to come into contact with these works precisely because they will see elements that are part of their culture and that are easily read by them."

'Girl with chrysanthemums' - the symbol of the exhibition and Boznanska's renaissance

The posters and animations promoting the exhibition featured Olga Boznańska's painting 'Dziewczynka z chryzantemami' - one of the most famous works of the Young Poland period. It seems that this choice is not accidental - Boznańska is currently experiencing a posthumous renaissance of popularity, and her subtle, psychological portrait art appeals to contemporary sensibilities. Interestingly, in the animation promoting the exhibition, the melancholic little girl in the painting this time smiles radiantly.

"Olga Boznańska is one of those artists and one of those women who devoted her whole life to creating. She wanted to have the same opportunities to create as men and to be treated equally with them," explains Michalak. "She put everything on her career. She was very determined about it", adds the art critic.

Boznańska lived primarily in Paris, where she gained significant recognition for her emotionally charged portraits that delve into psychological complexity.

The style of painting employed by Boznańska is highly distinctive and symbolic. Her work showcases remarkable skill, capturing intimate moments filled with emotion. It’s akin to how the Baroque painter Diego Velázquez wielded his brush; this influence, along with those from contemporaries such as Édouard Manet, James McNeill Whistler, and Berthe Morisot, shaped her approach. Such psychologically nuanced portraiture is quintessential of Olga Boznańska. As Michalak notes, she rightfully holds an esteemed position within the annals of art history due to these works.

"Generally speaking, I believe that the Young Poland movement represents one of the finest eras in our country’s art history, particularly within Polish painting,” states Michalak. “This period boasts an impressive array of artists whose work is captivating both for its historical significance and the messages they aimed to communicate, as well as for its aesthetic value and visual appeal. Regardless of whether we're discussing painters like Boznska, Pankiewicz, Mehoffer, or Slewinski, these artworks stand out as exemplary pieces. In my view, such works ought to serve as Poland’s cultural ambassador and epitomize what international audiences associate with Polish artistic expression.”

The exhibition titled "Young Poland: Polish Art 1890-1918" will remain open in Kyoto up until June 29th.

Public Art Removed for Safety Won't Return, Leaving Artists Disappointed

categories: art, artwork, culture, performing arts, visual arts

Perth’s art enthusiasts are questioning why cherished local sculptures have been put into long-term storage as the City of Perth invests resources in erecting a sculpture by an American artist instead.

A consulting professional in the arts has initiated a public movement urging the city to reinstate the sculpture known as Ore Obelisk, which was located in Stirling Gardens from 1971 until 2021.

The 15-metre-high Ore Obelisk, fondly nicknamed "the kebab" by numerous residents, was conceived by City of Perth city planner Paul Ritter and put up to mark Western Australia’s population hitting one million.

Showcasing various rock samples, this display represented the growth of mining activities within the state during the 1960s and 1970s.

The sculpture was taken apart and put into storage in 2021 due to "engineer assessments indicating it was unstable and could endanger public safety," according to a statement from a council representative.

Helen Curtis, who manages the public art consultancy Apparatus, is advocating for its restoration and return to exhibition, noting that it occupies a special spot in the hearts of many Western Australians.

"This is a crucial element of our cultural heritage. It forms part of our legacy as Western Australians," she stated on ABC Radio Perth.

These kinds of artworks bring us together as West Australians.

[embed audio]

Ms Curtis acknowledged that the artwork was now unsafe but urged the city to undertake restoration and reinterpretation of the piece so it could return.

She suggested that the city should have explored how to reimagine the artwork and view it from another perspective, all while maintaining its core significance.

However, it was cut into pieces, placed in a box, stored away, and then ignored.

The City of Perth has not disclosed the expense associated with restoring the obelisk; however, they have stated that substantial repairs are necessary.

A representative stated, "Engineers have informed us that due to the artwork's advanced age and present condition, it necessitates either complete replacement or extensive renovation."

This involves substituting all the components made up of conglomerate rocks.

Spaceman will take the place of kebab.

Ms Curtis expressed her frustration as the council allocated between $150,000 and $250,000 to erect a new statue at the location previously occupied by the Ore Obelisk. The newly installed artwork is a seven-meter-tall astronaut created by American artist Brendan Murphy.

Last year, the council approved the acceptance of Murphy's Boonji Spaceman as a donated item, with the responsibility falling on them for covering transportation and setup costs.

The Lord Mayor of Perth, Basil Zempilas, mentioned earlier that the sculpture was an ideal addition to the city because it mirrored the tale of how astronaut John Glenn christened Perth as "the city of light" back in 1962 when locals kept their lights on during his orbital flight.

"It’s a fantastic chance to introduce something that could become a major draw for tourists, aligning perfectly with the narrative of Perth, into our city,” Cr Zempilas mentioned last year.

Ms Curtis expressed her preference for using the funding to restore the Ore Obelisk instead, noting that variations of Boonji Spaceman can already be found in London, Oslo, Dubai, and Antigua.

She stated that it does not belong to Western Australia and has no relation to what is present here.

It feels like an affront to have that situated precisely where the Ore Obelisk once stood.

The residents of Perth deserve to have their history preserved and cherished.

The City of Perth mentioned that the placement of Boonji Spaceman in the Stirling Gardens was only temporary, and it will eventually be relocated to a more permanent spot, potentially at Elizabeth Quay, sometime in the future.

A second missing sculpture

The Ore Obelisk is not the sole public art installation in the city to vanish recently.

In February, artist Lorenna Grant addressed concerns when her black and white zigzag artwork at Northbridge Piazza, titled The Arch, was taken down for maintenance in 2023 and did not return to its original position.

Grant was tasked by the council to design The Arch at a cost of $99,000 to enhance the revitalization of the nearby Northbridge Piazza in 2009.

Grant mentioned that she first heard from the city in 2023 regarding worries about the structural integrity of The Arch.

"She stated, 'My reply was "alright, it has been around for 14 years, so maybe it’s about time we gave it some renovation."'”

However, when I visited the site accompanied by my fabricator, we observed and recorded that the artwork remained completely undamaged above the two-meter mark.

It showed no signs of rust, which means it might have been restored and rejuvenated instead of having everything discarded and gone for good.

Grant mentioned that the city requested her to submit proposals on how The Arch could either undergo restoration or be relocated to a different site, and she complied with this request.

She mentioned that someone from the City of Perth called her and simply stated that they lack the funds to proceed with the project.

Grant was similarly disheartened upon discovering that around the same period, the council had committed finances to the Boonji Spaceman project.

She pointed out a significant inconsistency between their authenticity and honesty versus the decision to seek talent beyond Perth instead of supporting local artists, our distinctiveness, and innovation.

Their selection is an art piece created in multiple copies. This intersection was designed with The Arch specifically in mind.

A representative from the city affirmed that The Arch was still in storage "owing to issues regarding public safety."

"The city has discussed possible repair solutions with the artist," stated the spokesperson.

Currently, there are no plans to bring back the artwork at the James Street site.

Ukrainian Artist Fleeing Invasion Seeks Peace Through Art in Japan

categories: art, artwork, performing arts, ukraine, visual arts

OSAKA – One summer evening, an exquisite glow illuminated the sky, reminiscent of fireworks. Yet, these lights originated from a bomb rather than pyrotechnics. Three years prior to this event, Nina Butieva, a 44-year-old Ukrainian artist, escaped her home nation as Russian forces invaded, worrying about potential attacks targeting creatives. Currently residing in Japan, she has resumed painting.

Nina comes from eastern Ukraine. To safeguard her family members living in her home city, she chose not to reveal its name; however, she mentioned that before moving to Kiev, she had been an English instructor at a technical college. When Nina was approaching 30, she resolved to chase her long-held aspiration of being an artist. While employed at a factory, she self-taught various painting methods and around ten years back, founded an art studio in her birthplace. Thereafter, she started instructing locals in the craft of painting and showcased her creations in galleries across Europe, successfully embarking upon her career as an artist.

Artists as targets

When Russia launched its attack on Ukraine on February 24, 2022, things took a dramatic shift. Back then, Nina remained hopeful. “Although people were calling it an invasion, I wasn’t sure about Russia’s next move,” she recalled. It had never crossed her mind that this situation would escalate into full-blown warfare.

A few days afterward, armed Russian troops entered her city. Political figures were detained, and clergymen were arrested. During this period, Nina got a message from a woman she knew—a painter residing in Eastern Ukraine. "Flee," the woman implored her.

The Russian military was demolishing many works of art and historic structures within the nation. She knew that artists had often faced attacks in previous conflicts. "Artists could be next," she mused, prompting her to escape overseas with someone she knew.

Abandoning her sick mother back home

Nina worried deeply for her aging parents whom she had left back in her hometown. Her mother, nearing 80, was battling cancer yet urged Nina to depart without hesitation. “Don’t worry about me; just go,” her mom reassured her through tear-filled eyes. Embracing her sorrowfully, Nina carried a small sack filled with paint supplies and an extra outfit as she stepped onto a chilly evening bus ride during what should have been warm summertime weather.

As she gazed out through the bus window, she witnessed the devastated Ukrainian towns. Shells started raining down nearby, with explosions continuously reverberating all around. The darkness of the night lit up intermittently from the blasts. At any instant, it felt like their vehicle might also get struck. Those passengers who had managed to flee earlier were hiding in the shrubbery, weeping uncontrollably and shaking with fear. Realizing this could indeed mark her final moments, Nina composed herself enough to send one last message—a goodbye—to the person she had pledged to reunite with.

Early in the day, the bombardment ceased. Having departed three days prior, Nina set off from a western Ukrainian city and traveled with someone she knew. Following their stay in Slovakia, they reached Japan in September 2022 through connections they had.

A glimpse of home in Osaka

As they landed at Kansai International Airport, Nina strolled along the shoreline in Izumisano, Osaka Prefecture, her temporary residence. The crashing waves and ocean aroma brought back memories of home, as did the sight of a nearby seaside Ferris wheel.

Nina currently resides in an apartment complex in Osaka as she attends a Japanese language institute. She remarks, “Japan is a splendid nation where everyone is courteous and exceedingly friendly.”

She picked up her creative pursuits again, opting for the beach landscape that evoked memories of her home town as her theme.

Not long ago, she was invited to participate in an exchange exhibit in Osaka, showcasing pieces from 17 Ukrainian and Japanese artists. Alongside her artwork, contributions from 11 of her pupils and artist colleagues who remain in Ukraine will also be featured.

“Through artistic exchanges, my aim is to construct a pathway towards peace,” states Nina. “I am determined not to allow Ukraine’s culturally rich heritage, developed throughout its extensive history, to vanish.” She strongly holds the belief that art remains impervious to the ravages of war.

The exchange exhibition is being held through March 17 at Atoriemil (Nishiimagawa 4, Higashisumiyoshi Ward, Osaka). Admission is free.

(Originally written in Japanese by Mie Omokawa from the Osaka City News Department)

Three Rising Artists Revealed for Nordic Pavilion at Venice Biennale

categories: art, artwork, culture, exhibitions, visual artists

The Museum of Contemporary Art Kiasma has chosen Klara Kristalova, Benjamin Orlow, and Tori Wrånes to showcase the variety of identities through the lens of Nordic mythology.

The exhibition, set to be curated by Kiasma’s Chief Curator, Anna Mustonen, will invite guests to explore "a vibrant interaction between imagination and reality," bridging Nordic cultural traditions with wider international perspectives, as stated by her.

Scheduled to occur in the Nordic Pavilion Since 1962, Sweden, Norway, and Finland have had representation at the Biennale. The distinctive pavilion structure was created in 1958 by architect Sverre Fehn. According to Mustonen, this design "acts as an enduring setting that encourages conversation among art, culture, and architectural spaces."

Klara Kristalová is a Czech artist residing and working in Norrtälje, Sweden. Renowned for her "expressive sculptures" that merge fairy tale aesthetics with subjects like solitude, metamorphosis, and profound emotional complexity, she has gained recognition worldwide. Her ceramic creations have been featured in international exhibits, including shows at galleries such as Perrotin in Paris and Lehmann Maupin in London.

Benjamin Orlow is a Finnish-Swedish-Russian artist hailing from Turku, Finland. Currently residing and working in London, UK, he has showcased his sculptural and installation pieces throughout Europe. "His work delves into historical transformations, material culture, and how humans engage with constructed spaces. Often grand in scale, his sculptures convey feelings of isolation or reflect the continuous change seen in life."

Lastly, Norwegian creator Tori Wrånes spans various artistic fields as both an artist and a singer, merging her musical endeavors with sculptural installations. As stated in the Nordic Pavilion’s press release, "She crafts enveloping, frequently surreal settings that reshape our understanding of space and transform conventional stages into innovative ceremonies and ethereal arrangements."

The three nations take turns appointing the main commissioner. This year, it's Finland's turn, and the commission originates from the Museum of Contemporary Art Kiasma.

“Beyond their physical closeness, the Nordic nations have historically possessed a similar cultural background, which provides a solid basis for tight-knit partnerships within creative fields. These regions also hold several communal principles, including fairness and collective assistance. Such joint artistic endeavors bolster these ideals along with emphasizing how crucial art is to culture,” states Kiira Miesmaa, who leads Kiasma and will represent the Nordic Countries Pavilion at the event scheduled for 2026.

The Architecture Venice Biennale this year will commence on May 10th and continue until November 23rd. This event ranks among the foremost artistic gatherings globally. Taking place every alternate year alternately focused on architecture and art, participants include various countries showcasing their own exhibitions within national pavilions alongside the main showcase.

A number of countries showcasing their work at the Biennale participate within the Venice Giardini, which is an outdoor garden area located there. 30 permanent buildings devoted to showcasing national exhibitions. For the 2023 Architecture Biennale, the Nordic Pavilion presented 'Girjegumpi: The Sámi Architecture Library' by Joar Nango, highlighting the indigenous Nordic Sámi community.