NAMĀĀK

A Creative Collective

An Internationally renowned Art Collective addressing the establishment of new cultural
habits since the digital revolution and how these practices change access to works of art.

Projects

Latest Projects

KunstKräm - Architectural Intervention

In Renaissance Europe, certain types of objects whose categorical boundaries were yet to be defined were placed into large private collections, the precursors to modern museums. In Germany these were the Kunstkammer ("art-room") or Wunderkammer ("wonder-room"). Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities. Between 2010-2012 Namaak created various "Art Interventions" where we reclaimed the categorical boundry by literally cramming large sculptural objects into institutional portals and executing a liminal DNS attack.

The Andy Glorhol Project

Transported to various places around the world, The Andy Glorhol Project can be fixed in three possible but mutually exclusive states. It is not only an indeterminate interlocking waveform (Andy the deceased), frozen in space as an individual chunk of matter (the shack), but most importantly, a socio-economic i.e., takers and makers participant experience (stick your hand in get a prize). The combination of the image of Andy Warhol (an artist who was often simply being physically present within the structure he set in motion) , the subversive alienism of the empty glory hole, and the childhood fear impulses associated with carnival fun houses, create a multi-faceted experience, allowing the participant to confront bias and confusion while highlighting authenticity as nothing more nor less than the currency of the experience economy.

The Project has been manifested in over 20 venues including such locations as Rio, Paris, Berlin, Milan, Beijing, and Phnom Penh.

Projections of the Other

"I try to deal with the complexities of power and social life, but as far as the the visual presentation goes I purposely avoid a high degree of difficulty."

- Barbara Kruger 

Namaak’s special projects include their infamous “Projections of the Other,” a series of illegal light installations that explore the visual and literary mechanisms by which artworks come to acquire a range of meanings and functions and which can embody a number of diverse, and at times conflicting, narratives. Using devious fonts and absurd facades, Namaak mashes up authorship and good taste in order to play with the preponderant imagistic and textual conventions that instruct the juxtaposition of light and surprise.  The resulting artworks reveal temporary existence as a metaphor and reflect on the process of appropriation, de-contextualization and re-semanticization.

 

Identity Thief - Opernwerkstätten in Berlin-Mitte

Artists from the second half of the 20th century onwards have increasingly dealt with the complexity of identity and how social systems define and construct that identity. From Darwin and Freud to structuralist and post-structuralist theorists such as Ferdinand de Saussure, Roland Barthes, and Jacques Derrida, the notion that one's behavior, sense of self, and actions towards others is created through the way society operates has been extensively analyzed. Identity Thief presents a selection of photo-based works by seven collective artists in the final exhibition of the Berlin gallery. Using conventional forms of photography—including traditional portraiture, photojournalism, and online profile pictures—the artists focus on the highly mediated politics of sex and desire. As a group, they build an emotional portrait of the overlapping national, ethnic, and sexual identities that make up our public and private lives. The artists capture these complex identities in moments that range from loving and devastating to transformative and awkward. The collective works prompt people to look at the meaning-making processes that govern our lives, and as such enact the aim of an active creation of culture.

NAMĀĀK News

ATLAS - NAMĀĀK US Debut Show

Since the advent of the info-sphere, our approximation to place and time has been shredded to pieces, and Namaak artists, as those proud pieces, circle the earth like satellites clustering in various locations simultaneously. Representing a vast variety of disciplines, the artists explore, dissect and insinuate their own experiences for the first time in the City of Angels. The twelve artists will take over the exhibition space of the La Brea venue, with a large majority of new works conceived for the exhibition.

July 27- August 24, 2013

LAUNCH Gallery
170 S. La Brea Ave., Upstairs
Los Angeles, CA 90036

 

NAMĀĀK Invited to participate in BIENNIAL

Representing a groundbreaking shift towards the articulation of the kind of relational and participatory practices that remain critical aspects of contemporary art and critically assess the intersection of ideas, processes and creativities around a range of topics including contemporary culture, history, fiction, transnational travel, dislocation, migration and cosmopolitanism.

The exhibition is curated by Adjunct curator Dina Varvajali

NAMĀĀK + SCOPE

Namaak has been asked to present "Doggy Style" our avant-garde dog-grooming booth. "Doggy Style" criticizes imaging strategies, analyzing how media shapes visual memory and manipulates our image of history. Historic reality is confronted with the contradictory dream reality of artistic production, its aspirations, failures and traumatic kennels. Namaak offers us yet another, possibly more rewarding model; like in Post-Postmodernism, they operate with the curiosity caused by inaccessible sources, but they remain inaccessible, for most of us, because they are either literally hard to access or might in fact be invented.

In this vein, we execute a cycle of shaving canines inspired by alternately intriguing the viewers and skillfully exploiting the sensation of boredom.

Andy Glorhol Project featured in Art Das Kunstmagazin

Namaak Collective was recently presented in a printed feature for Art Kunstmagazin. Regie Van Wotnski has done a wonderful job of describing the project, making sure it sounds as approachable as it is meant to be. The article dates from spring 2010 when the Namaak Collective were artists in residence at the Claus Zwiefelhofer Haus, Basel, where this new work was created.

NAMĀĀK Projects

Namaak a collective project, comprising of new work by a group of artists who share a similar motivation & attitude. They create a production that is all about a way of putting yourself in the world, refusing to define their praxis within the confines of the contemporary art field. The artists participating are not only active in visual arts, but also in music, theatre, performance and printed matter. Together they create an exhibitions that reflects on this idea of synesthesia.

Artists

Jorg Hendrix - Den Haag Netherlands

Jorg (killed in a boating accident 2011) was known for his humorous approach to formalism.  About the use of humor in his work, Hendrix said in an interview: "If you approach things with a sense of humor, people immediately assume you're not to be taken seriously. But I think truths about society and human existence can be approached in different ways."

Marischa Slusarski - Venice USA

Slusarski eschews typical standards of "good taste" in art, instead embracing conventional, distinctly American, middle-class values to expose the vulnerabilities of hierarchies and value systems. Working her way through conceptual constructs including the banal and the heavenly, Slusarski merges literal, deadpan beginnings with baroque manifestations that oscillate between abstraction, sculpture and pure spectacle.

Britt Ehringer - Oxnard USA

"Art is a kind of currency in the joint; a good tattoo will fetch you 10 cigarettes.” Of the 10 years spent in a South Asian prison, he says, "Every night, staring at the ceiling, I would imagine art.  Now it's time to unleash the ultimate idiotropic opus." Ehringer’s work is a tour de force into multiple dimensions of memory. For every image from the recesses of destiny, there are others that plunge into the slippery abyss of remembrance and amnesia.

 

Pad Sander - Berlin Germany

Pad Sander’s Conclave Project began over two decades ago. His work, which operates at the intersection of installation, theatre and performance, investigates questions of cultural control, democracy, freedom and social responsibility.

BlowMouse - Stockton USA

Blowmouse's recent artistic work seeks to unsettle consensual perceptions of our world. However, because of logistics privileging of invisible circulation over the symbols of power and resistance, an art concerned with it necessarily works against conventional notions of art as protest, dissent or intervention.

Vibeke Thorkelson - Fredrikstad Norway

Thorkelson celebrates objects that challenge questions of categorization and authorship; offering, perhaps, a new, more inclusive story that defies historicism. She proposes the poetic silence of the unknown, and opens up a space, freed from the tyranny of history, in which these lovely, mostly anonymous creations can be viewed on their own terms.

Cha Cha Bibiana - São Paolo Brazil

Bibiana focuses on confronting the mystical language of external and internal spheres which expose the vicious fragility of life. Using the metaphor "thin skin," she examines the psychosocial dimensions of self, community, and "immaterial materiality."

Kgosi - Johannesburg South Africa

Artist and musician Kgosi uses basic elements of voice, sound, and pigment (with a touch of magical realism) to create continuity-storytelling through a series of constructions/breakdowns, in which the work is simultaneously the derivative and the original.

Tak Mufuni - Tokyo Japan

Tak Mufuni’s work is deliberately heterogeneous and indefinable, elusive in respect to predetermined patterns. The definition of Tak’s poetic process hangs between the eccentric and colorful story of everyday life and the necessity to mix human characteristics and geographies, cultures and situations, which are not easy to identify.

Mabel Huitzilihuitl - Guanajuato Mexico

Huitzilihuitl shares a peculiar fascination with unstable phantasmagoria and old-school ectoplasm and she brings these vestiges of the past to her images. Huitzilihuitl celebrates life with her haunting tapestries in an attempt to encourage visits by the souls, so they will hear the prayers and the comments of the living directed to them.

Xiang Xong - Shanghai China

Xiang's work explores the most important issues currently affecting humanity, the human condition and human experience in the light of post-colonial discourse, multi-culturalism, and economic and environmental shifts. The power of Xong’s work lies in its ability to confront any viewer—regardless of ethnic and/or cultural origin—with their own position concerning notions such as “nationality,” “identity,” and “ethnicity.”

"Fred" – Manila Philippines

"Fred" is a group of four young artists all named Fred, living on the streets, homeless by choice. Their wildly entertaining and improvisational performances are seen in all parts of the city. To Fred, the group, art is anything with creative intentions, where the word “creative” has been removed from the realm of achievement and applied to another realm entirely.

Mitchell and Chamberlain – Reykjavik Iceland

Mitchell and Chamberlain's videos investigate the vague terrain between pre-programming and autonomy, between present development and randomness, thus delivering surprising insights into the nature of non-teleological processes and a novel understanding of art as a form of prototyping, continuously prototyping the natural and generating the social.

 

 

Namāāk Internship Offered

Interns are invited to submit applications to work for this dynamic, ambitious contemporary art collective. Interns will have significant interaction with curators, arts professionals, and Namaak artists. The intern's activities include such things as: assistance with organization of openings, special events, and educational programs; the opportunity to conduct research for upcoming exhibitions; compilation and organization of press packets and compilation of information for grant applications; dissemination of public information; administration and organization of the database, grant files, and archives; and maintenance of artists files and exhibition project binders.

Please have an MFA or the Equivalency.

The internship is unpaid and requires a minimum commitment of 40 hours per week.