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Art Guides NEW

SPECIALIZED ART GUIDES

Here is a collection of guides with key aspects and topics for the art collector. Doesn’t matter if you are new in the art collection or if you already have a collection of your own. Through our Guides, we analyze different pieces, artists, and artistic currents, and their behavior in the art market. Are you thinking of starting your art collection or do you already have a collection of your own? Take a look at our multiple guides to learn about the art world and to help you find the art pieces that match your style.

NEW GUIDE AVAILABLE

GENERAL GUIDES

Art Photo Guide
Art Photo Guide

EN | ES

30 Art Curators

EN | ES

ArtHighlights 2022 Vol1

EN | ES

21 FROM 21

EN | ES

INSTRUCTIONS FOR BUYING ART WITH TECHNOLOGY
INSTRUCTIONS FOR BUYING ART WITH TECHNOLOGY

EN | ES

Top 10 most wanted women to collect
Ultimate Installation Guide
Ultimate guide to buying sculptures
Guide to NFTs

LOCAL GUIDES

Consulta, investiga, pregunta.
Guía Clavo por Sybaris
Instructivo para nuevos coleccionistas

TIPS FOR ART COLLECTORS

The Provocation

An art column By Regina de Con Cossío

The Materiality of Art

Materiality refers to the property of being, related or consisting of a material. It involves the use of ‘materials’ in making, forming or creating a thing. This definition may not have a general acceptance since the term ‘materiality’ has separate...

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English

21 FROM 21

ART GUIDES

21 FROM 21

ENGLISH

The issue that the readers have before their eyes is an exploration to find the looks of 2021 that endowed contemporary art with movement. For Sybaris Collection this year should not only be remembered as an attempt to return to normality after the pandemic that paralyzed us in 2020. On the contrary: it is a new time where -probably as never before- contemporary art relates to the problems of everyday life: feminism, climate change, justice, the representation of cultures that have historically been oppressed…

RECOMMENDED GUIDES

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English

Art Highlights 2022 Vol. 1

ART GUIDES

ART HIGHLIGHTS 2022, VOL. 1

ENGLISH | ESPAÑOL

The art world begins 2022 with the hope of returning to face-to-face activities and holding events and exhibitions that had to be postponed due to the effects of the Covid-19 pandemic. The agenda for the next 12 months predicts a program that places artists and their productions at the center of the conversation to face and, perhaps, understand what this “new” world looks like.
Far from selecting the best exhibitions, biennials, fairs, and auctions, this agenda features a review of the outstanding proposals in the geographies and institutions that, despite the difficulties, continue to be a reference to get closer to the trends of contemporary art, but also to the topics and narratives that are sought to be addressed in the present.

RECOMMENDED GUIDES

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The Provocation Column
English

You Want to Collect Art? Why Not Invest In It Too!

Art is timeless. There are few times in one’s life, which is void of the appreciation of creativity and beauty found in human artistic expression. Collecting art brings to mind many things: memories, sharing inspirations with others, even passing on something of meaning to future generations. Why, then, not consider the financial investment made when art is purchased and displayed?

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English

A new idea of nature

A NEW IDEA OF NATURE

A New Idea of Nature

In this issue of ART MAG we make a relationship between art, science and technology. In recent times the visual arts have questioned their own limits using science as one of their main allies. The pieces of art produced in this context not only imagine new aesthetic possibilities for art but also challenge current political, social, moral or economic values. What are the tools that art must use to open new paths? Some of the pieces we cover in this issue rehearse some answers

Photo by Fernanda Ortíz

Dear Collectors,

We are living in times of drastic changes. How can we approach nature now that we are witnessing more than ever its power?

Our Art Magazine is out now! In issue 26 we are addressing the complexities about nature. As a society, we have been forced to rethink our relationship with the environment we inhabit. There is some hope we finally surrender to the idea that melting with nature is wiser than fighting against. Along these pages we address some of the basic concepts that intersect between art and nature. From a theoretical perspective, you will find an overview of the concept of mimesis and its development so as to understand contemporary debates. We focus also on materials, what do artists produce their work with? Not to leave aside the impact of global warming that also discusses the interview with Nina Fiocco about her film Le Domestique.

Since the very first artistic expressions, art has been involved not only with the depiction of nature, but also exploring the natural environment and its key role in the social, economic, cultural, political and technological contexts of each region. If once art used nature to disseminate an idea whether of beauty or national identity, nowadays artists are still analyzing and questioning the infinite possibilities of nature, especially regarding the technological and biological advances that have taken society to an extreme point of destruction. While Modernism promised a high-level quality of life based on progress, the twentieth first century has shown the fall of the modernist ideas through nature's responses to human exploitation. This issue 26 of Art Mag by Sybaris offers a general panorama of how contemporary art is responding to these urgent problems. Maybe art isn't the only way to stop climate change, the Anthropocene or to modify human relations with nature, but it is a way to face these scenarios from a critical and reflexive point of view.

Attentively, Regina de Con Cossio Director

Image via https://anti-utopias.com/art/mathilde-roussel-lives-of-grass

Paris, 1983

When we talk about Mathilde Roussel and her artistic relationship with nature, it is inevitable to talk about Life of Grass, a series of hanging sculptures made of recycled metal with anthropomorphic shapes, filled with grass, earth and seeds that will become pieces of green grass. The piece revolves around the concept of transformation. And death. For the French artist and designer, nature is inevitably linked to annihilation. As with many of today’s contemporary artists, Mathilde Roussel understands that the human being is not an entity alien to nature. There are no two separate entities that coexist by inertia. The human being is a product of nature. And this is not only affected by human activities, but also adapts to them. In Life of Grass a human figure seems to have mimicked the earth. His driving force comes from her. But also his fateful fate. Life of Grass can be a sculpture or even an installation.

In the rest of her work, the French artist reflects on the organic. The residence space for artists Pioneer Works defines it as follows, “Roussel progressively gives up control over the materials she uses by letting them find their own form of existence. She selects mediums that are both fragile and resistant: paper pulp, graphite powder, incised rubber or plants. This choice allows her to explore unstable forms and observe their continuous mutation. Through incision, opening, recovering and suspension, the artist forces the forms she produces to find their place in space, thus expressing and revealing the movement they contain in themselves. To a larger extent, Roussel’s practice seeks to record temporalities that inhabit our corporeality: aging, hardening, scarring and mutation. Thisresearch consists in producing tangible forms that indicate our vulnerability.”Human beings and nature cannot be dissociated. But neither can it be thought that nature possesses human attributes such as morality, wisdom or sacredness.

Rockville, 1978

While for Mathilde Roussel the relationship between humanity and nature is mediated by the organic, the return to the origin, fertility and death, for Mary Mattingly this mediation must be done through sustainability, adaptation and survival, as if humanity had the ethical responsibility to take care of what it has corrupted. It does not mean that Roussel does not believe that humanity has caused damage to nature, but that Mattingly’s vision is a political trait that the French artist lacks. The American artist approaches the problem from performance, photography and architecture. For her it is not only important to report what she sees but to offer an immediate solution. And she does it through art and design. Its solutions invite viewers to become part of a collective movement to adapt to the new times.

Let’s change or die, seems to say one of her most emblematic pieces: Pull from 2013, where she is seen dragging a cluster of plastic, glass or technological objects that seem not to yield to the strength of the artist. About her Nomadographies (nomadic pieces that create new maps of the territory) Mary Mattingly explains: “My work proposes a world returned to nomadic roots following a peripatetic population constantly on the move. It expects that in the near future, much more of the world’s population will be forced to be nomadic. I focus on the creation of wearable environments, and autonomous living/traveling systems, based in engineering and science and fused with fantasy.” Science, art and nature have a rare component: politics.

Digital Still Life:

Animaciones
Digitales

Digital Still Life is an experimental online section as part of our Art Mag by Sybaris. We want to explore the editorial possibilities of an online magazine by taking our contents beyond the boundaries of the image and by acknowledging the aesthetic importance of the digital world. In this section, international contemporary artists are invited by Sybaris to create an exclusive digital art work for our readers and subscribers, which could be downloaded to any kind of device. It is a moving image which lives for itself and that you can enjoy both while you are reading the magazine or directly on your mobile phone, ipad or computer.

Take a look at Digital Still Life and take a digital artwork with you.

Studio Maravillas

STUDIO MARAVILLAS es un pequeño laboratorio de Animación y Experiencias que crea animaciones utilizando poesía y técnicas de representación arquitectónica, además de organizar experiencias enlas que la arquitectura, la animación, la poesía, el arte y la música chocan y se celebran.

www.studiomaravillas.com

Un lugar donde descansar,
Animación Stop motion, 06 seg, 2018.
Micro film (GIF) Stop Motion/ con
maqueta / 07 seg

La grandeza que escondes,
Animación Stop Motion,
07 seg, 2019.

El hombre y sus malezas,
Animación stop motion, 07 seg, 2017.
Micro film (GIF) Stop Motion/
con maqueta / 07 segundos

Porojoiku, Animacion Stop motion, 33
seg, 2017. Micro Film (Video Corto) Stop
Motion/ con maqueta

Lo que se parte, Animación Stop motion,
4.50 minutos, 2016. Corto con música
original

Próxima Estación : Vía (De)colonial,
Animación Stop motion, 1 minuto, 2018.
Video Minuto / Stop Motion / Dibujo en
carbonilla

1 Frase
y
3 Poemas

El arte es una excusa para mover las cosas.

I.
Pintar un cielo celeste con nubes rosadas.
Hacer una peluca para ella y otra para su doble.
Separar los tallos de las flores.
Encontrar alguien para dormir cada tanto abrasada.
Dejar de escribir sobre lo que no existe

II.
Estaba pensando en las fuerzas de la transformación.
Imaginaba un río al que le cae un montón de tierra.
Me preguntaba si la tierra viajaría con el agua o si
frenaría la corriente creando nuevos brazos. Supongo
que dependerá de cuánta fuerza tenga el río en su
bajada y de cuánta tierra caiga sobre el agua.
Quizá no pasa ninguna de las dos y solo se mezclan
creando un gigante de barro que sediento mira hacia
abajo el pequeño río entre sus pies, se agacha con
cuidado, junta agua en sus manos y al beberla se
desarma otra vez.

II.
Estaba pensando en las fuerzas de la transformación.
Imaginaba un río al que le cae un montón de tierra.
Me preguntaba si la tierra viajaría con el agua o si
frenaría la corriente creando nuevos brazos. Supongo
que dependerá de cuánta fuerza tenga el río en su
bajada y de cuánta tierra caiga sobre el agua.
Quizá no pasa ninguna de las dos y solo se mezclan
creando un gigante de barro que sediento mira hacia
abajo el pequeño río entre sus pies, se agacha con
cuidado, junta agua en sus manos y al beberla se
desarma otra vez.

III.
Hoy le voy a cortar las manos a mi personaje para
ponerle unas nuevas. Unas que hice especialmente
para él. Las otras están abiertas pero rígidas. Estas se
pueden mover.
Ahora él va a poder acariciar a un animal, preparar un
fuego, levantar una piedra.

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