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Online Art Exhibitions At VR-All-Art

Explore virtual exhibitions by various artists on your computer - no VR hardware required. Artists can also create VR exhibitions and showcase their art.

Jordi Fornies

Loudly Quiet

The Absence of Interaction

As an artist I am focused on research. In the empirical world of science research is crucial to understanding, creating, and sharing your life’s work— art follows that same path, albeit with the subjective. People live in that subjective, and our experiences, emotions, passions and thrills are measured by stories. Artists research stories, and work to find the mediums that express and relate to themselves best. My process is both very intimate and fed by the stories I experience and share from the world around me. It culminates observations, interactions, and is part of what spurs on continued learning and travel to people and cultures unknown. Embracing imperfection, working non-methodically, and staying away from too many popular conventions on technique is how I practice. I find synergy between shapes and the materials being used. ‘Loudly Quiet’ is my response to a year locked down. Life has been tumultuous, but also very quiet in the studio, absent of interaction, and devoid of the substance that previously fulfilled a need. This new work is the result of self-manifestation.

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Kamil Tatara

Mr Data | Mr Boy

Where fiction meets reality.

Mr. Data / Mr. Boy is a series of paintings related to current global events. Starting from the 2015 terrorist attacks in Paris and finishing at the Hong Kong protest in 2019-2020. Flags and letters mixed with "faces" of hegemony and jurisdiction over an individualism of a unit. Regardless of the times, Big Brother "care" exists, presented in totalitarian or digital form (face). Tatara adds a sentence to Orwellian "Who controls the past controls the future. Who controls the present controls the past. + Who controls the data controls present." He tries to look at reality through Big Brother's eye, and create his modest pieces of art.

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Petar Mosic


Echo, a mythical Oread nymph from the Mount Kithairon whose name in Greek means sound, is a personification of repetition. According to the Hellenistic legend, Echo engaged Hera in long-winded conversations to draw her attention away from Zeus’ philandering. Upon finding out this ploy, Hera punished Echo by depriving her of the ability to speak her own mind, instead of leaving her with the voice that can only repeat the last fragments of sentences spoken by others. Crushed and humiliated, Echo ran deep into the forest, where she met and fell in love with Narcissus. Since she could no longer express herself, Echo emitted contradictory, confusing phrases that ultimately brought Narcissus to his ruin. Unhappy and alone, the nymph faded away until only her voice remained. The story of the unhappy (although successful by the criteria of ancient Olympians) marriage of Zeus and Hera reflects many contemporary marriages where children often play the role of the advocate, seducing parents into “cooler” topics of conversation in which they forget their anger, in an attempt to reconcile them or to win them over for themselves. This complicated codependent relationship in which children metaphorically and literally lose their voice, repeat and copy what they hear and see, consent to the influence of the stronger adult and eventually lose themselves, is reflected in a certain sense in the paintings of Petar Mošić. By placing the observer in front of an image of silence – or rather, the quiet before the storm – one gets the impression that the artist always asks one and the same question, and receives the same answer. These images are an echo rather than a documentary representation of a concrete event, thus rendered less intimate and more imagined; their strength is multiplied by creating repetition and cool distance. Mosic’s works are problematically beautiful. Problematic because they are beautiful, and problematic for the way in which they pose their permanent mute question. Are we glimpsing at these scenes from the point of view of the victim, the perpetrator, or the silent observer? To which extent could such images be neutral or one-sided? How would we perceive these realist portraits if they were in fact photographs – as documents of different times, or as forbidden pornography? What sort of emotions would they raise (or fail to) if the young faces were rendered as decorative ornaments wearing ‘safe’ emotions such as happiness or neutral stillness (in the manner of children’s historic portraits)? Do Mosic’s formats and detail frame and focus the low viewpoint of a child, or point at something that cannot be escaped? The paintings and drawings of Petar Mošić mark a silence (as a given theme or an act) and its echo (as a mimicry, survival, but also as a rebellious declaration of selfhood). Which will resound for longer? Aleksandra Lazar, 2017 Founder and Director, AUGS; Curator, Wiener Städtische Collection

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