Cooltzine vol.2 Contributors
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1Alexandra FrancisAlexandra Francis (b. 1994, Leeds) received her BA (Hons) in Fine Art at Leeds Beckett University in 2018 and is currently studying for her MA in Art and Design. Her art practice revolves around the exploration and creation of interactive and thought-provoking sculptures, installations and paintings, that focus on the concepts of audience interaction, fluctuation and nature. Between 2015 and 2019, Alexandra exhibited in a variety of solo, group and community exhibitions, including; ‘We are here in Yellow and Red’ in Catalonia (2015), ‘Dark Arts’ in London, England (2016), ‘Surprise 8’ in Athens, Greece (2017) and ‘Chromophobia’ in Manchester, England (2017). Alexandra Francis has also been included in many texts including but not limited to; Be in the NYC know, With Five Questions, Everything is Awesome, Nora Gouma Magazine, and was a contributing artist to the March and June 2017 editions of the Average Arts Magazine. Alexandra Francis was shortlisted for the CROOME Research and Development award in 2018.The ‘Object’ (2018) dominates the space that it is located in, forcing passerbys to walk around the sculpture in order to avoid physical contact with the artwork that is being exhibited. Easily viewable from a distance, the distinctive, bold red colour of the ‘Object’ appears foreign-like (and out of place), against the somewhat dull background of the urban surroundings. I am interested in the relationship between an artwork and its audience and the relationship between an artwork and the space or location that it is being exhibited in. I am also interested in how the space that the artwork is located in can have an impact on the relationship between the artwork and its audience.
2Ben DuaxBen Duax studied painting in New York before coming to Glasgow. Interested in methods of dispersion, and how physical artworks can maintain relevance in an increasingly mediated visual landscape, his work uses painting as a substructure for physically transient experiences.When I was a kid People who left town to go to school or get serious jobs had left and none
of us who stayed were up to much. Without flats of our own we started hanging out it cheap
hotel rooms, not old enough to buy alcohol in America,we would end up finding some older
creep to buy us litres of cheap vodka. The regular thing to do was fill a bathtub with ice. My
memory of these parties is so specifically tied to the digital images theory produced. I vividly
remember the low resolution of the digital cameras of the early 2000s, gawking white
teenagers throwing up gang signs, and the sense that their was something transcendent and
subversive about it. The motel party functioned as a temporary autonomous zone, where no
one had ownership. Our use of it was temporary and had to be shared with its future
occupant. Digital dispersion of images causes them to shift, and bend. That the collective
memory of a space can be reflected by the multiple iterations and loss of fidelity that take
place when it travels through online space.
3Daria TchapanovaDaria Tchapanova (*1983 Haskovo, Bulgaria) is a Visual Artist, currently working and living in Vienna, Austria. She left Bulgaria with her family in 1988, and spent most of her life in Austria. Her work explores urban and architectural spaces through a range of media and methods, including site-specific interventions, installations, video, photography and collage. The context of the space creates the condition of the piece and its content. reconstruct
mixed media collage, 70x90cm (inch?), DT 2019
An abandoned factory, looking at it as a symbol for a free space, is fragmented and opposed to a white open structure. reconstruct is an image where the past and the future get together.
4Elena BrakeElena Brake (b. 1993) is an emerging artist based in Plymouth, UK. Through performance, installation and video she reimagines and enchants our everyday experiences.
Drawn to the innate curiosity of human nature, Brake's work plays on the edge of boredom and anticipation through the exaggeration and repetition of mundane details. The audience is invited to experience a refocusing of their attention upon overlooked moments of ordinary life, often stirring complicated and unexpected emotional responses.
Brake's practice captivates through its blunt simplicity and accessibility. The playful moments of pause offered by her work allows the viewer a chance to savour small moments of enlightenment in the everyday, revealing the magic of domestic and public experience.
I tend to create art within 'shared spaces', because the people I most want to connect with might not wander into gallery spaces. Cleaning in Progress took part in the heart of Plymouth City Centre, and it was about caring for our environment and asking one another who responsible for keeping our shared spaces clean and tidy. We met so many users of the same space, who occupied it for different reasons. They had different responses and different ideas, and we listened to them all. My work is less about finding out the answer to a dilemma and more about the conversations we have along the
Instagram: @elenabrake
5Emma Sywyj(Note: participated in Cooltzine #1) - I have been an artist for 14 years, 5 of those years I was based in London whilst studying photography at the Camberwell College of Arts at the UAL. From there I received a BA Honours in Photography & a Foundation Diploma in Art & Design. I have exhibited my fine art photography internationally in the US in New York, LA, Miami at Art Basel Miami & San Francisco as well as in Europe in Athens in Greece and Budapest in Hungary. I have also exhibited nationally in the UK and London several times where I currently live and work. I have also been published in several independent art magazines in the UK & the USA and exhibited my video art work in international film festivals and galleries around the globe.My artwork aims to capture and show life at it’s most vibrant & exciting. The
photographs I take encourage people to see the intricacies & beauty beyond the
everyday in particular in shared spaces, such as streets, restaurants & public transport.
I lived in London for 5 years and completed several photographic projects there. I also
photographed Beijing, Paris, Barcelona. City streets and shared spaces are exciting
spaces to photograph, and a large part of the of fine art photography I create. My
artwork is often centered around my immediate environment and cultural identity. I
celebrate culture in all its varied forms all over the world. I have photographed Europe
and Asia capturing these countries and cultures as I experience them. My work
encourages viewers to feel awe and joy in the travelers quest and the rewards that
experiencing other cultures can bring whilst developing my own cultural identity through
photography. In particular I like to capture the way shared spaces like streets and
cultural spaces such as museums & restaurants can reflect places, culture & countries.
6Femme Fatale(Note: participated in Cooltzine #1) - FFP is a creative collective that acts in the field of digital photography, video-art and AV installations. The usual "suspects" include Martina Panayotova and Mery Adam, though members occasionally vitiate. The team is enchanted to explore the interaction of the human body, as a gentle by presumption frame, with a variety of surroundings reflecting the often crude modern urbanity, while aiming to achieve an abstract visual statement with rich yet furtive content.
Exhibitions include BETA CUTS - glass infused lens photography accompanied by a video-art project by the same name with the support of Sound Designer Shrine; INGRID - cyber influenced digital collages taking part of Sofia Underground Festival, VOYAGE JUSQU'A – neon lighted photography featured in Water tower Festival. Mixing music has been a comparatively new deployment out and about in Subfactor Radio Show and Night of the Galleries and Museums, Plovdiv.
BETA CUTS is a collaborative work by FFP Femme Fatale Project and photographer Anna Kalcheva Photography
The adapted technique includes digital photography captured through glass panels then printed on cut Polycarbonate sheets excluding any preliminary software editing. In the making the visual artists decide to expand their concept further into a multimedia by developing the raw backstage motion scenes and seeking themed sound designing by Shrine.
BETA CUTS recreates the apparent essence of the secret life and the silent emotions emerging simultaneously at rapid speed in contradiction. The stills portray fragments of the process of self-manifestation.
If you look at the term online you'll get that concept of urban setting approach with wide range of priorities which itself gives the possibility hint at a particular subjects or arouse a certain senses, just like a cartridge paper to be turned into art, but with some mutual history as a frame. However, the term can be examined in really wide spectrum of meanings. We, as human beings, are design to exist in shared spaces – either physical, social or emotional. Shared space is in the center of humanity – all the greatest civilizations, cities and communities are shared spaces themselves. But the therm can be referred to the society also – family, friends, intimate partners are the subjects that create our inner emotional shared space – without it we could not survive. Now, let's make a big step aside and look at the big picture – our universe is the biggest shared space known to the humanity – there is some divine intervention it the world we exist – both stars, planets, galaxies and the smallest neutrons and protons and electrons in the atom shared a common space to exist.
And another point of view - the greater understanding of the powerful impact of shared spaces provokes the greater urge for involvement! If associated with personal causes, like co-working and political or educational initiatives, entitled spaces turned into communities allowing oneself to easily collaborate with other known or unknown "decision makers". This gives the opportunity to share views and content throughout the cycle of collective navigation and advancement.
Human interactions involves exchange, accommodation and competition which contribute to our emotional intelligence and lifestyle, as seen with increasing general exhibits and brand collaborations from merging layers together in defined common spaces, figuratively speaking. Personal expression does not lose value in sound or color when unveiled among fellows when being selective. Work on this current "mistique" term of shared spaces is yet essential in order to decide on what to join or what not with full conscious and awareness.
7Francesca Ricci (and Kiril Bozhinov)(Note: participated in Cooltzine #1) - Francesca Ricci was born in Florence, Italy and lives and works in London. She graduated in Stage Design at the Fine Arts Academy in Florence. Her work is in the collections of the National Art Library at the Victoria and Albert Museum, London, of the Tarot Museum Mechelen (Belgium) and Museum of Tarot (Museo dei Tarocchi), Riola (Bologna), Italy and in several private collections in UK, Italy, Russia, Spain, Portugal, Norway, Sweden and China. It has also been featured or mentioned in several magazines, including 'Dazed and Confused' (November 2013) and 'Abraxas Journal' (September 2013). In 2015, together with musician Gaston Gorga, she launched PNEUMA, a collaborative project including song-writing, spoken word, live performance, sound manipulation, improvisation and visuals. Amongst other independent projects she has launched, are 'Interlude magazine', which published four issues (2004-2007), and '20×20 magazine', which published nine issues (2008-2013). Francesca's project in 2018 include: Tabula Impressa’, Introduction by Wolfgang A.Grabow, Virtual Exhibition and display, third international colloquium ‘Esotericism-inspired visions in Central and Eastern Europe’, Faculty of the Arts, University of Szeged, Hungary
PNEUMA – ‘/string’: Premiere screening at ‘At the Fair’ film nights, Art Walk Porty Festival, Portobello, Edinburgh
‘Sauxdado’ at Cooltzine/Cooltsalon #1, Leyden Gallery, London
PNEUMA – ‘Barattolo di Sale/Salt Jar’, Official Selection Oniros Film Awards, monthly edition; Best Short Film Nominee, Move Me Productions Quarterly Online Film Festival Selection, Belgium
Tabula Impressa is a collaborative, ongoing project by artist Francesca Ricci and writer Kiril Bozhinov.
Broadly inspired by the Jungian concept of the collective unconscious – man is not born as a blank canvas, but carries in himself common memories of an ancestral background – Tabula Impressa uses as a starting point a collection of signs photographed on the pavements of London, marking impending maintenance work.
A panorama of archetypes is layered upon personal and collective history and generates a universe of signs and symbols that can overlap across centuries, cultures and fields of human knowledge.
The project encounters several phases, for which different bodies of works are created.
At first the signs are simply observed and ‘absorbed’ in their visual qualities, then they are categorised into a visual inventory of ten categories according to their shape, colour and level of development, and given a name. This vocabulary of 242 signs is then used to decipher existing compositions as photographed on the pavements, or applied to other fields of human knowledge (for example literature) to create new visual compositions.
All the artworks are by Francesca Ricci, based on a collection of signs photographed by Kiril Bozhinov, who is also the author of the project’s vocabulary and texts.
8Giovanna Iorio(Note: participated in Cooltzine #1) - Giovanna Iorio (1970) is an eclectic artist. She combines photography, poetry and prose in her works. She was born and raised in a small village in the South of Italy. She lived in Dublin, Turin and Glasgow. She spent sixteen years in Rome and recently moved to London. She has collaborated with internationally rewarded artists and musicians looking for synergies and experimenting with different languages. She is a published author of poems and short stories. She is the founder of Poetry Sound Library: a world map of poets reading their own poems. You can listen to hundreds of poets from the past and contemporary ones from all over the planet. Choose one name on the list or a marker on the map and click twice. Wait a few seconds and you will soon hear the voice of the poet selected. Each poet reads in his\her own language. The Poetry Sound Library is a non profit project which promotes the voice of poets.
No written text of the poem is provided. We provide a very short biography of the poet, in some cases a website. Usually each poet reads one poem but in a few cases you can listen to more than one. If you click on those markers you will be directed to external pages and archives.
The map was opened on November, 3rd 2018 and it has more than 800 voice (constantly growing) and more than 40.000 listenings.

Poetry Sound Library is a shared space: poets from all around the world can listen to each others. the PSL is a place to rediscover the power of human voice and poetry. There is no limit to the voices we can upload: it is a potentially infinite shared space.
9Highcontext (Friedrich)Born in Freiburg in Breisgau, I grew up in a nuclear family with a puritan lifestyle. Banned from TV and computer entertainment, I started to draw my own cartoons from the age of 3. While the pursuit of an international career did not allow me to specialize in fine arts, I never stopped drawing for my own entertainment, and will do so no matter what turn my life will take.Sharing of space (and the implied sharing of resources)
has become all modern societies' - and humanity's - main challenge.
Politicians and economic actors take it as a driver for geopolitics
and business ventures. Artists transform it into Utopian or Dystopian
projections of a future with less and less space available and more
and more need for sharing. Cultures and subcultures are compromised
between convergence and divergence, sharing or separation of space.

What I like about this challenge is its bipolar nature. Depending on
who you are, which culture you come from, what personal set of values
you defend, SHARED SPACE can be a promise as well as a threat. It can
inspire synergies, where one plus one equals three - or conflicts,
where one plus one breaks down to nothing. It can mean more wealth,
comfort and security for all of us, or less resources for the
individual. The fact that 26 men and women today share as many
resources as 3.8 billion others shows how sharing works today, but
this does not mean it has to stay that way.

It has been 5 years now that I moved to Marseille, a city by the
Mediterranean sea that is historically multicultural both concerning
ethnic as well as wealth related cultures: the very poor live next to
the very rich, immigrants live next to other immigrants live next to
locals. Every once in a while I return to the 1500 inhabitant village
where I grew up in the South of Germany to visit my parents. Both
ethnically and from the perspective of wealth, the village is
monocultural, the entire population being Caucasian Germans part of
the (upper) middle class. Space is shared in a homogeneous manner, all
families, be they big or small, dispose of a big house with two or
more cars. Does this make the SHARED SPACE challenge obsolete to them?

The first thing my father talks about when I get home - the thing that
maybe worried the conservative german middle class the most in the
last years - is his fear about increasing immigration and the lack of
commun resources it potentially implies. Coming from Marseille, where
I am taking on the role of the immigrant, and where I belong to one of
the minorities, this is amusing to me. How can somebody who is not
even facing the consequences of shared space yet already worrying
about it?

I drew the old harbor of Marseille to illustrate a present (and
future) where some conservative's worst nightmare is already happening
- and it is not a nightmare at all, but a colorful mixture of
conflict, synergies, coexistance, mingling, preserving of the old and
creation of the new. Since the creation of mankind place has been
shared, but this sharing needs to be embraced for our future to be a
happy one and not one dominated by fear.
10Ivo Nedyalkov(Note: participated in Cooltzine #1) - Изучавал фотография и завършил операторско майсторство. Участвал в многобройни социални проекти и такива, свързани с визуални изкуства. // Ivo had studied photography and cinematography, and since has been involved in numerous social projects, associated with the visual arts.
Пустинята е ничия земя и в нея всеки е добре дошъл.

Фотографската лента е средството за предаване на моите истории. Различните ленти, цветопредаването и текстурата им, създават едно чувство за пътуване във времето.

Светлини, сенки, силуети, отражения, хора, пространства и малки неща от ежедневието ни,
интересува ме всичко, което носи енергията на живота.

Всяка история предава усещане за приказно място без дефиниция за къде и кога.
11Jake FrancisThrough cynicism and belligerent play, Jake Francis embodies the spirit of a snake oil salesman. Begrudging the role of ‘artist’ and it’s institutions, Jake inevitably relies on it’s cliches and tropes to make work and progress through its gilded halls - acutely aware of the hypocrisies associated in the process. By toying with preconceived structures, the artist attempts to reconvene personal, social, and trivial issue with simultaneous wit and intentional ignorance. In analysing the stereotypes of art as ‘freedom’ and artist as ‘misunderstood romantic’, Jake takes his resented roles and
responsibilities in petty spite and as practice motivator; an endless barrage of humour through disdain, nihilism, and discomfort. When delving into the artist’s work, it is clear that he is caught in the uncomfortable, yet common bind of contemporary ‘progression’; a begrudged purveyor of
outdated skills, and an inadequacy to move into new technologies. It is within this middle ground of aesthetic folly that the artist’s aggravation slips into brief cathartic expression. In short, Jake Francis is perhaps best placed as the classic playground bully - pulling on the pigtails of the girl he, quite ashamedly, has a soft spot for.
The potential for art within the shared, or open, environment has been well documented within 20th century culture, it continuing today with fierce potency. Although commonly depicted as the quintessential symbol of urban expression, graffiti ,and its associated activities, is but one of the tools an artist can adopt when approaching the social stage. With groups such as Fluxus, The Cacophony Society, and Pussy Riot taking temporal residence, the very fabric of our cities and daily backdrops have been splintered; an opportunity for the playful, the unified, and the political condition. It is within these interruptions of mundanity and the unassuming, that I too seek to claim my part in nullifying our lonesome condition. The shared space, frankly, is our greatest playground - a location for expression, community, and change.
Claim (2018-) seeks to satirise the notion of the 'glorified tramp’, looking past the cliches of trivial conversation. Alternately focussing on the issues of housing and structured support, or lack thereof, the glossiness of commercial sentiment is doused with much-needed cynicism. By mimicking the jargon of estate agent signage, the photographs aim to depict the fickle nature of society - its masses often getting caught up in the shallow, selfish details of overlooked comfort and privilege. An ongoing collaboration with the homeless men and women of Brighton, the project stands as both a visual petition for local change and symbol of ethical instability; a common gripe found within visual representations of resistance and the socially engaged artwork.
Instagram: @faff_chatter
12James HudsonI am from Sheffield in the UK and have been a full-time artist since 2018. My art comes in various forms, including photography, writing, music, painting and more. My home city of Sheffield is known for both its industrial heritage and its green spaces such as its parks and woodland. Both the industrial and the natural influence my art. I enjoy harsh, abstract images and sounds but also enjoy depicting animals and anthropomorphic (furry) animal characters.People who live in urban areas could be forgiven for forgetting that they live in a space shared not only with other humans but with a whole range of species who see the town or city as their home. Some of these animals, such as cats and dogs, are ones humans have chosen to share their space with, and others are wild animals which have adapted to live alongside humans. Animals such as rats and foxes have learned to thrive in a human-dominated environment, flourishing often whilst their human neighbours go about their lives oblivious to their presence. On a smaller scale, we all share space with tiny insects and arachnids, sometimes even in our homes, although most people would prefer not to think about that! Through my photographs I have tried to show that humans have come to accept sharing urban space with other species, and are perhaps unaware of the extent to which they are doing so. This applies both to wildlife and to domestic animals, including sheep! At the end of the day, even in the city, humans will always be outnumbered by other species, and acceptance of that fact can help create a more harmonious environment for all.
13Joelle McTigueJoelle McTigue (b. 1984, New York, USA and raised in the Caribbean) received her BFA from The School of the Art Institute of Chicago, and her work is a part of the permanent Rubell Family Collection and The John Paul Getty III founded Siena Art Institute Library Collection. Her exhibitions have been in New York City, Ireland, Italy, Sweden, England, and Los Angeles and covered by New York Times, Artforum, Los Angeles Times, and The Wall Street Journal. McTigue lives and works in Montenegro.In the series Control and Cooperation, Joelle McTigue examines the rituals of gardening and the
creation of public spaces that represent how a community wants to be viewed. The work
responds to the history of each public space and how it embodies the power dynamics of
practical, leisurely, and spiritual pursuits. Restructuring the landscapes, McTigue transforms
close-up snapshots into aerial botanical gardens. Control and Cooperation addresses the
constant movement of how perception can change.

14Joshua PellI’m an illustrator based in Leeds, UK. I spend a lot of time wandering the city until I feel compelled to sit and draw. My location drawings mostly touch on the social identity of place. The rest of my work at it’s best will do the same, with an element of faux folklore to compensate. I’ve worked on music promo, book cover and poster design – most of which derives from observational drawing. And it all comes from experience. Recently I’ve been working mostly with relief print techniques – printing by hand at home.I share a house with 3, a city with 500,000 and myself with the rest of the world. Sharing space is unavoidable and instrumental in understanding the reality we’re in.
As an artist it’s through circumstance that I physically share my workspace with others, but given the choice I would continue to do so. It’s now - more than ever - impossible not to be influenced by others either directly or subconsciously. Relish in the space you share and learn from others!
Instagram: @pelltopsy Tumblr: joshuapellillustration Website:
15Kevin ClaroI am a French born Portuguese artist re-living in France, with a Portuguese french raised mother and an Angolan Portuguese raised father. My name is Kevin Manuel dos Santos Claro and I think that it's says a lot about my cultural diversity. The perpetual changes from different places made me extra-aware of my surrounding. It also shaped the way I meditate and work. Context and predisposition are two main factors that change the perception of space. Those factors dictate what personal space is and what is not. But space – in a physical way – is always de same. It’s the way we behave in each one of them that shapes its atmosphere.
The streets, as a shared space used by everyone - without having permission or a specific way to behave to do so – are the perfect place to catch people attention. It’s not just about the consideration from the context that we have for this space – we tend to use the street to dislocate from A. to B. – it’s also about the consideration for our own time. So, I decide to leave some traps around the streets to catch peoples gaze. If I catch you once, you will have the tendency to be more aware next time you cross by.
16Laura CarvalhoSeeking to give birth to a new {no}SENSE of life,where materials, concepts and techniques merge, Laura Carvalho created her figure, LAURA _ AkiÓ->. Characterized by the use of her unique hat, LAURA _ AkiÓ-> "performs herself" -> a latent figure with pointed humor and playfulness, which propose a "trans(IN)disciplinary pedagogy." LAURA _ AkiÓ-> performances mostly happen in public spaces. The street, different than the private spaces designated to promote art, brings art to a different kind of public, assuming a role of a socially engaged art, constructing space for civic dialogue.
"LAURA_AkiÓ-> Foodi_Trucke ->popcorn" 2016-2017
This performance happened in the streets of different cities of Brazil.
LAURA_AkiÓ-> through an "open script" expose her politicians, existentials and social questionings by a text performance which not only relates but also leads to food production.
Giving sequence to this project, in the streets of London happened "LAURA _ AkiÓ-> Tea_Trucke" 2018.
In both performances LAURA _ AkiÓ-> pushes a trolley, it is "Foodi Trucke", built from the sewing and gluing of discarded materials found by the artist in the streets.
It is from this collection, a kind of archeology of the squalid, that the artist questions how much the waste produced by a city are imbued with cultural and historical aspects of its inhabitants.
By the personal relations established on her walking by the city, with the garbage re-signification, and the "open script" which conducts the performance, the artist establishes a co-production with the city population.
17Lynn CowanMy work generally begins and ends with photography, initially as a research resource, then as artwork in itself, and as documentation. I often use these images and work digitally and in print, I don't try and recreate the subject, but rather present a visual recording of the actual source, in ways that surprise, maybe looking familiar but not necessarily immediately recognisable. Print is often part of finished work too, but rarely framed, usually combined with some other material such as mdf, plywood, aluminium dibond, vinyl. Photography is an end point for me too, I enjoy documenting the work I produce, using the 'photoshoot' aspect of this to find different ways and locations to present, group and record the work,
exploring the pieces as individuals.
I hired a white space and transformed it into a 'Victorian room' set, in order to take a series of photos of my cosplay characters / costumes in a project called PERSONA(L) done on a recent residency.

The 'set' was shared between several of my cosplays: 5 x steampunk variations, 4 x Star Trek, and a divination angle, Harry Potter and a generic fortune teller

So, the actual location is a shared space, used for lots of different projects by ESW and its members.
18Merrill RauchI am a teacher, artist, poet, performer as well as a New Yorker living in London.Like it or not we all occupy shared space.
Most of the time we fight against it but sometimes if we just give into it we can find simple pleasures.
19Nina LauryLewis Baltz defines photography as « a profound corner that sits in between literature and film ». In my work, I generally use photography as a kind of writing, working on the relationship between a person and their environment. I play and experiment with different forms of narrations, images and creative processes so as to explore all the possible spheres of human existence. Driving elements of my projects are reinventing our relationship with the world, investigating the significance of images, questioning our reality and using fiction. The viewer interferes with the process, their own experience becoming a part of the artwork. Marseille, "la Plaine" is known as a popular quarter of town where people come together for events or sharing ideas. The mayor decided to rebuilt the space entirely, a project that was not appreciated by the locals. He thus built a wall around la Plaine to shut down the public debate about the construction (to be seen in the picture with a reference to the wall of Berlin). Today, people cannot gather there anymore but they still share their beliefs, fears and ideas on the wall.
20Shahar TuchnerShahar Tuchner, born 1987, is an interdisciplinary artist living and working in Israel. Tuchner is a graduate of the Open Program at Hamidrasha School of Art at Beit Berl College (2010). His works in various media, such as video-art, installation, sculpture and photography, often deal with social issues regarding consumerism, multiculturalism and representations of reality through the media (cinema, television, cyberculture, advertising, etc.). In his video-art works, Tuchner examines the relationship between image, movement and music, and in his sculptures and installations he often uses readymade in order to explore the line between common everyday objects and art.

Tuchner’s works have been shown in group exhibitions at leading galleries and art spaces in Israel and around the world, including: Venice Biennale (Italy), Carnegie Museum of Art in Pittsburg (USA), The Wilson Art Gallery and Museum in Cheltenham, NN Contemporary Art in Northampton, 5th Base Gallery in London, (UK), Janco-Dada Museum in Ein Hod, the Center for Contemporary Art (CCA) and Contemporary by Golconda Gallery in Tel Aviv (IL) and more. Tuchner has won several awards for his works, and they are included in the collections of the Yad Vashem Museum, Janco-Dada Museum, Israel, Danses Macabres Collection, France, and private collectors worldwide.
From the dawn of history, humankind is sharing common spaces. We live in a shared space in the physical sense, whether we like it or not.
We used to live in caves, in a clan, and from there we developed into cities, countries, and to a global connection between cultures.

In the art world, we are used to collaborations, in group exhibitions, festivals, etc. The sharing of spaces that leads to a collaboration between people and artists is stimulating dialogue between artworks that we create as artists. That way works are developed into styles and movements where every artist contributes his character, style, and ideology that is expressed in his works.
21Sonia Ben AchouraAn artist and psychologist, Sonia Ben Achoura creates a powerful visual language by drawing inspiration from her academic investigations. Her research focuses on all the areas where art and psychology overlap. Her representations of psychological concepts and phenomena are often portrayed in geometric and futuristic conceptualisations. These manifest in iconic forms, like psychological blueprints. With an art career spanning two decades, Sonia regularly shows her work at exhibitions both in the UK, where she lives and works and at international art fairs. The effect of the environment is powerful, with the potential to bringing people together. Shared space contributes to a sense of collective identity. It can come to represent a harmonising factor in our lives. The influence of the environment on wellbeing and happiness is explored in this utopian work. It envisages a city in the future, a city that prioritises its inhabitants' happiness, populated with plant-like buildings at the edge of the water, where people would live in harmony. This is an imaginary city of extraordinary beauty and visionary architecture, with vivid colours, flowing forms inspired by nature, and dynamic angles. Violent reds contrast against soothing blues. The rain is falling from a red sky, illuminated by an eerie
22Teri Anderson(Note: participated in Cooltzine #1) Teri Anderson creates work that looks into the idea of craft in art, textiles, installation and sculpture to create a linear or surreal environment which the audience have to inhabit. The work links to her heritage and how textiles were key in their family history including sample machinists and pattern cutters. Building on this Teri proposes an art practise which incorporates a craft based techniques into the art based discipline of installation.
Shared space is a way of occupying a space and in my pieces I look at how drawing in the expanded field can share a space normally occupied by humans and how we perceive that space. It looks upon the idea that anything can be a canvas and that we as people have to look a little bit closer.
23Vedrana DevicI was born in Zagreb, Croatia in 1977 and I graduated (BA Fine Arts) from Byam Shaw School of Art, University of the Arts London, UK in 2002. Since I have been living, studying and working abroad for more than a decade (London and Paris) it has become crucial for me to move around and get to know other cultures and arts. New places stimulate my creativity and challenge my resourcefulness. I live in Zagreb at the moment and I still try to travel as much as I can, to freshen up my mind. I like to photograph ordinary objects of everyday life, simple details that may have a poetic atmosphere. I work towards transforming ordinary things into the solitary objects that radiate a beauty, producing the atmosphere of the quiet intimate spectacles. I took most of my photos that I am working with right now during my stay in Brazil where I became enchanted with tropical imagery. I continued taking photos of similar subjects during my artistic residency in Lisbon.
Shared space is wherever I can interact with other energies and surroundings. In the era of freelancers and coworking concepts, shared space is becoming more and more common and natural. My last conscious shared space happened in Lisbon during my art residency. The whole city was a research field, where I connected with the vibe of the place and took photos of everyday objects, where everything was a stimulant.
The mural of Poseidon (by PichiAvo) overlooking the river Tejo was my regular sighting, the mural itself shared the space with those two cranes overlooking the river.
24Victor BuehringVictor Buehring enjoys making social assemblage montages for cities. Participants give away to a montage an object possession and then write out directions for the next location and person, or ‘pocket’ to be visited in a city. The trail of referrals from person to person continues until at least 25 objects from 25 referrals are collected. The objects collected are then incorporated into a final, framed collage I feel that shared space happens when individual structures and social configurations become connected and transformed through shared interactions in a collective
25Victoria Casillas​Victoria Casillas, a mature BA Fine Art student at the University of Kent. I have always had a love for art and painting so I self-taught myself until 2016 when I entered the course on an interview presenting paintings and photos of murals. This course has provided me with new techniques and different art media in which I have had the opportunity to investigate and grow as an artist. I discovered a love for sculpture, video art and art installation.I have been working this year in a compilation of personal stories of 28 European member who are living in the UK. Once received the stories I’m embroidering the words into organza material in both English and native language, each story is 1.50 x 1.00 m approx.
I believe this works enhance communities and the mix of culture sharing space within cities, the organic feeling of the material floating appear ghostly and give voices. The work is presented as an installation, site specific.
Instagram: @artwithvictoria