April 25th, 2015  LandEscape Now! International Call for Artists 7th edition: DEADLINE EXPIRED  We inform all the artists that has submitted their works to the 7th edition of LandEscape Now! that submissions are now closed and that in the next few days we'll start the selection process. We would like to thank you all for the amazing response to our call: selected participants will be notified via email of their status of acceptance by the end of the current month.

April 18th, 2015 Due to the large number of applicants, the deadline for the 7th edition of "LandEscape Now!" has been prolonged of a week: you have time till April 25th to enter your submission.

If you experience any issue with our entry form and you would like to include more information as well as specific materials, please contact our editorial board, mailto: landescape@artlover.com or landescape@europe.com

December 19th, 2014   LandEscape Now! International Call for Artists 7th Edition 2015

LandEscape is launching the 7th edition of “LandEscape Now!”, an international contemporary art competition, which introduces nine works of art by nine international artists from the international scenario in various fine arts disciplines.

LandEscape aims at presenting innovative and cutting-edge artworks in contemporary scenario and seeks to support contemporary creation worldwide through the advertising of works of art which focus more particularly on the theme of landscape in all the accepted meaning of the word and the recognition of the fundamental role which the landscapes of any kind have in the composition of an artwork.  This will be a recurring theme but not the only one, since LandEscape is open to a large variety of submissions including, but not limited to:

  •  Fine Art Photography
  •  Painting
  •  Video art
  •  Interactive art installations
  •  Audio / Sound
  •  Performative Arts
  •  Mixed Media

The contest is open to all artists or groups of artists and professionals from any country: selected works will be published in the next issue of "LandEscape Art Review"

Submission guidelines

Prospecting participants must submit an abstract describing their works and additional attachments (video, photos) for a thorough evaluation of the contribution.Submissions should be written in English and the abstract must be mailed as PDF (or RTF / DOCX document) to landescape@inbox.com

LandEscape submissions do not require any entry fee and only selected participants will be required of a small contribution in order to support the independence of LandEscape.

March 16th   OPPORTUNITY Summer Study in London

Summer Study in London and New York, by Sotheby's Institute of Art

"Every summer, Sotheby’s Institute of Art welcomes hundreds of students from around the globe to our campuses in the great art capitals of London and New York.
Summer Study is designed for students, professionals, career changers and art enthusiasts interested in developing a deeper understanding of art and the international art market.
Taking full advantage of each city's rich cultural offerings, our summer courses include classroom lectures and site visits to museums, galleries, artist studios and special exhibitions led by leading art world scholars and practitioners in the field."
Learn more: Summer study in London Summer study in New York

January 15th, 2015  Special 2015 issue just released!

We are glad to announce that the January Special issue of LandEscape Art Review is finally out.

We had the chance to interview 8 amazing artists from the international scene, whose works are capable of establishing a deep synergy between unexpected aspects of the way we perceive the world we inhabit in, creating a channel of communication between reality and imagination.

We are proud to present their multifaceted production to our ever growing international audience.

In this issue:

Artemis Herber (USA)
Sarah Scaniglia (France)
Thea Stevenson  (United Kingdom)
Satsuki Imai (Japan)
Christine Holtz (USA)
Lauren S. Zadikow (USA)
Jacqueline Sim (Singapore)
Heidi Neubauer-Winterburn (USA)
Yechiam Gal (Israel/USA)
March 23rd, 2015  Harry Burke interviews Kari Altman

Kari Altman is an American artist, art director, performer, and musician focused on the tropes of today's survival fantasy aesthetics, identity mutation, and "sharing culture" an American artist, art director, performer, and musician focused on the tropes of today's survival fantasy aesthetics, identity mutation, and "sharing culture"
As she underlines " You could make other people's art, you could predict what everyone was going to post next, faster than they could post it. Your ideas and personalities became brands instantly. You started viewing everything in situ with similar and related content around it, which in art always included other work that was copying it or at least was uncomfortably similar. It also included products, artifacts, architecture, and selfies. The timeline from thought to post diminished. All content sources became equalized. Resources were scarce. Memes dominated. It's a story for another time." Read the >>>complete article>>>
09.00.2014 TOPICAL CREAM
ari Altmann: Context Coaxing"

Helen Varley Jamieson performing “make-shift,” Brisbane, 2012; photo by Suzon Fuks

March 26th, 2015 Cyberformance in the Third Space: A Conversation with Helen Varley Jamieson
(interview by Randall Packer)

Randall Packer has interview Helen Varley Jamieson, an interesting digital media artist, playwright and performer from New Zealand.
She underlines "that there are different kinds of relationship between audience and performers, at least in performances using platforms such as UpStage, where the audience have the possibility to chat with each other and with the artists.  The response from the audience to the performance is in some ways more direct – they can comment in the chat and will often be very honest in their comments; and in other ways more distant – a standing ovation has to be typed into the chat, which is less of a loud emotional outpouring." 
Read the >>>complete article>>>

October 15th, 2014  Special 2014 issue just released!

We are glad to announce that the October issue of LandEscape Art Review has been finally published.

In this issue we have focused on Visual Arts, with a particular attention on a representative approach, as well as experimental media and dance, as the interesting pieces of Poland based artist Gosia Mielech

We are glad to invite our readers to get to know the stimulating words that we had the pleasure to select.

In this issue:

Jana C. Perez (USA)
Frances Schandera-Duarte (Germany)
Gosia Mielech (Poland/Germany)
Kahori Kamiya (Japan)
Marinda Scaramanga (France)
Agata Wisniowska (USA)
Clare Petherick (United Kingdom)
Geetha Alagirisamy (Switzerland)

View of Ei Arakawa & Sergei Tcherepnin, Taka Ishii Gallery, Tokyo
September 16th, 2014  Charles Eppley interviews the artist Sergei Tcherepnin

Charles Eppley has interviewed the artist Sergei Tcherepnin who participated in a lecture series organized by the Center for Experimental Lectures at Recess. The evening was dedicated to investigating sound as an artistic material, both material and psychological, and also featured philosopher Christoph Cox. While Cox discussed the idea of sound as a pre-linguistic material, Tcherepnin took the opportunity to discuss an aspect of sound practice that remains largely unheard: queer sound and queer listening.
Tcherepnin underlines that he "started to realize that there was not much conversation on sound, which in reality is very subjective... but normally it is talked about much more objectively. For example, even though a lot of the early 1960s pieces might have subjective tactics or strategies, like liberating the spectator to experience sound differently by walking around the space, there was still always an acceptance of sound as a pure, absolute material.>>>complete interview>>>
March 12, 2015  Global Audiences, Zero Visitors: How to measure the success of museums’ online publishing
(posted on Rhizome by Orit Gat)

An interesting article that can be read on Rhizome "As museums are rethinking their relationship to their audience online, an increasing number chooses to publish online magazines, and many of these publications emerge from institutions that are not necessarily the major museums in art world hubs. The attitudes toward these publishing initiatives vary—some choose to outline the scope of their publishing platforms in the shape of their programming, while others produce magazines that are thematically related to subjects the museum covers but are not directly linked to the art on view. What they all share is a feeling that online publishing expands the museum's audience, making it a potentially global one."  >>> read it >>>

May 9th, 2014  May issue just released!

After a really exciting spring when we had the chance to get in touch with the worldwide artistic scene, the new Special issue of LandEscape Art Review is finally ready.

We have paid a particular attention on contemporay Fine Art Photography and we have appreciated the historical approach of Massimo Cataldo as well as the refinied approach of Katy Unger and Phelan McConaha.

We are glad to invite our readers to get to know the stimulating words that we had the pleasure to select.

In this issue:

Andy-Jean Leduc (USA)
Alice Zilberberg (Germany)
Lois Cremmins (USA)
Thomas S. Ladd (USA)
Mandy Williams (United Kingdom)
Phelan McConaha (USA)
Gurkan Mihci (Turkey)
Massimo Cataldo (Belgium)

read the previous issues of LandEscape directly on issuu.com or visit our >>>archive page >>>

April 5th, 2015   Coming soon: Anniversary special edition...!!!

To celebrate the 5th anniversary of LandEscape, we have prepared a special issue that will be officially published in the next days
We had the chance to get in touch with 9 artists from the worldwide scene who have developed a significant body of work deeply engaged with a multidisciplinary approach, which reveals the kaledoiscopic nature and the creative potential of Contemporary Art

We are pleased to announce the shortlisted artists that will be featured in the upcoming Anniversary Edition of LandEscape Art Review

Mandy Williams
(United Kingdom)
I am a photographer and video artist who is interested in the social dynamics arising from contemporary culture - particularly how personal identity is affected by environment and how our social and affective lives interconnect.
My interest in the psychology of place and how a sense of home is created and sustained has been a catalyst for both autobiographical and voyeuristic projects, documentary approaches to more conceptual ones.
Much of my photographic and video work highlights the domestic environment, although projects sometimes refer more broadly to place and sites in transition.
My recent landscape work and photographs of the built environment share an underlying narrative about human interaction or presence and the psychology of a particular place will always lead me to research and initiate a project.
Brice Bourdet
Where are we today and where do we come from? This generation creates new encounters, while keeping the old ones. That’s what we call our «sou- venirs» our memories. It’s also the idea of an individual seen as a moving border, the idea of a place which is called «here» is connected to elsewhere.The idea of different terms which act as a border that rather connects than separates. In a world more and more disenchanted and materialistic, the notion of travel, of the faraway, of elsewhere, are in a sense, what let people escape the grip of everyday life. But beyond travel, there is also the choice to live elsewhere, to live abroad. « You are here » - written right next to a big red dot – this is what we can read on urban maps in big cities. These representations of the city are sup- posed to help us lost newcomers. But actually this signs are more confusing than helpul.  This work is linked to the city of Berlin, today one of the most multicultural places in the world. A transit city, where almost everyone speaks several languages. It is also a border-free city compared to it´s recent past.
MyLoan Dinh
I came to know the Beats during my college years. I had a wonderful professor, Daniel Gerzog, who taught a literature course who introduced me to the work of Ginsberg and Kerouac. I believe this generation of aesthetic souls to be instrumental—an entire group witnessed the talks of Zen scholar Daisetz T. Suzuki at Columbia (including Agnes Martin, Rothko and Cage, amongst others). During the time while I was in college, Ginsberg was still alive, and he was quite active in NYC those days. I remember hearing him read his work at MoMA and elsewhere. The Beats for me carry a sense of freedom, and they followed their “truth”, albeit theirs was built on decadence but also of self-discovery. The latter is what I am focused on.The scroll for “On the Road” by Kerouac is present symbolically throughout several bodies of work that I produced in 2013—I tend to appropriate sometimes without even knowing—but in this body of work, I purposefully transpose a scroll like form reminiscent of his scroll, which to me represents a longing for being able to exist within my studio practice voids for interruptions
Victor Pardinho
Audio-reactive pieces is one of my biggest research and interest field.  When I started doing this piece I just had the music to follow so I started to experiment on catching some frequencies of the sound and generating some real-time graphics. By this time I already knew that I wanted to do a video mixing foreign places footage, that I had some editing already done. So I catch this edition and started to link some modulations, like contrast and saturation, with the nuances and frequencies of the sound using programming and a very good new software called TouchDesigner. That's where this red tone came and that's what I liked about it, making variables and being surprised by the result. The lines and textures that move throught the video are also linked with the frequencies, so it was all a work of preparing the connections and then seeing everything flowing generatively.My biggest influence of course was the music itself and the musical work of Victor Lucindo (Iridescent) who later told me that this music was indeed about foreign places so it was linked beautifully even without we getting in touch before.
Gosia Mielech
We live in a society that cultivates speed, greed, a culture of material achievement, power and superficiality.
There is seldom a place left in life for deeper contemplation, pursuit of peace and balance. It is a pure luxury being able to appreciate the reality and listen intently to yourself. Sababa is all about sharing and rediscovering inner perception.
Sababa is a dance piece, that illustrates Zofia and my (co- creator of the piece) overwhelming fascination with dance, freedom and commendation of Israeli culture. It presents a sine wave of people’s emotions.
The viewer can either relate to it, or just observe. 
We are not trying to describe anything, or ask questions.
We simply reveal a piece of our inner, abstract world. We are inviting the audience to enter a non verbal dialogue, from which the spectator takes whatever he or she wishes and builds a fantasy story.
Wang Haiyuan
My life experience has decided my interests and the way I’m doing my job. Pay more attention to other people and ask more to myself, can I change myself and the surroundings?
The small problem I faced today might be the big problem we are facing nowadays my job as art designer gives me a lot of experience. Due to space constraints the project ”Empty house” has not been fully exploited and completed.

The original idea of this project is to make a static noise environment firstly, when participants walked into the space, shied the amplified static noise by the sensor, and amplify the sound of participants’ bodies by the sensor.
Yong Zhang is an excellent sound engineer, we have the same cognition about the sound collecting. In our cooperation, we have enlarged the effect of this work to infinite possibility, this is the most pleasant and I’m looking forward to work with him again.

Alice Zilberberg
When you think of fairy tales, you might think of a beautiful princess with long golden hair, ahandsome prince in shinning armor, or a fairy godmother performing miracles. Think again. The sweet,innocent children's tales known today did not always end with “happily ever after”. The meaning, tone andcontent of older versions of these fairy tales, collected by the Brothers Grimm, was dark, even ugly. They included harsh punishment of characters, sexual inferences and often death.
These tales were rich andexpressive, passed down for generations through an oral tradition that allowed constant alterations byindividual story-tellers.
Criticized as unsuitable for children, the earlier versions of these stories were editedto suit ever-changing societal tastes. Over time, all ugliness and sexual connotations were removed, culminating in changes made over the last century – by Disney.
Katy Unger
Perception is sharp and delicateFrom sound to shape to colorLiving beings within the wombfeeding upon reflectionsin constant vibrationThe silent hum of an electrified landscapeA gradual warmthon the edge of consciousness'I am inspired by the fleeting moments on the edge of sleep or consumed by fantasy when there exists an overlap between fiction and reality. In my work and in my process, I look for a connection between the conscious and subconscious - in my execution, a balance between control and chance.I seek to find a unity within the anonymity of the vast social sphere we have created and the deeply personal individuality which we can never escape.I experiment with the applications of various mediums, particularly using combinations of charcoal, ink, and acrylic. Each has a specific characteristic and consistency that allows for spontaneity during my process. It is often within wayward lines and unguided brushstrokes that the essence is revealed. My work concerns the conversation of the body and the enigmatic environments that it occupies. It is the intuitive and subconscious bond between ourselves and our surroundings that fascinates me. Through my art, I seek to explore the intimacy and complexity of that relationship.
Nathalie Reynolds
Through an investigation of form and interplay of dark & light, I make reference to the dichotomies of randomness and chaos, vs. balance and renewal. Shapes, quirky brushstrokes, and contrasting colours become unintended characters in loose enigmatic narratives, woven via layers of paint.

I approach the act of painting with a barrage of material on canvas, then revisit the work at a later time to refine with a more controlled technique.

I aim to capture the immediacy of expression resulting in unexpected subject matter. Growing up amidst a forest, in a house of glass walls and contemporary art, has provided the inspiration and sets the tone for my work.

Frances Schandera

Frances Schandera-Duarte include´s a large palette of eclectic art materials in her paintings. These are fashioned in a way that merge and blend all elements into a unified and compelling whole.
She layers oil paint with ink, incorporates glued surgical gauze, mineral sands and various papers to create these meditative paintings. White provides her with an imaginary space, specific visual elements layered into the whiteness appear to ‘glow’ from within the surface.
This allows for many different interpretations of the final piece.
Without any figurative context, Schandera-Duarte manages to direct the living surfaces of her works with idiosyncratic structures to create dream-like mindscapes.
Her work has an alluring quality in that it pulls the viewer closer to the painting in an attempt to gain as much information from the surface as possible. Curiosity often results in the need to gently touch the paintings surface.
Juerg Luedi
My art practice refers to stories of reversion, representation and displacement. I understand my art work as multidimensional collages of opening spaces of intercultural contentions. It intends to evoke in the eye of the beholder individual, collective, socio-political and religious representations.

I like to shift, to shuffle and to superpose places, objects, artefacts, events and meanings to make perceptible, observeable and apparent, how our perception is situational and constructed.
The strategy of alienation, displacement and transformation is a search for making social conflict zones visible, to provide an insight to the public to think and perceive space and time on a different way. The artistic intervention in public spheres reflects social processes.
The process of alienation scrutinizes the perception: Is it a minaret? What is a symbol? What is a sign? How and what do they evoke? What is the impact of forms on our imagination? What creates a pictorial space? How do we move or are we moved in space and places?
Urte Beyer
The camera is the tool I use in the urban landscape to merge reality with utopia and triviality with complexity. My work revolves around the observation of what lies on the periphery – things and objects that frame our everyday life yet exhibit a spirit or a character of their own. Buildings that seem to stare back at me, brutal residential blocks that radiate their cold anonymity, or martial temples of Nazi origin cast in rock. I make copies of my prints, change their proportions, detach details and elements from their original cityscape surroundings. I then cut, fold and rearrange the prints, into three‐dimensional volumes.
The final products are sculptural re‐stagings; photographic models whose irritating, estranged appearances are of particular interest to me. Nothing familiar seems to last and visions arise of a time that has never been and will never be. The synthetic scenery of my photographic sculptures ‐ model cities of their own ‐ constitute a further layer to explore with my camera, resulting in the large, digital color prints in the series like “City Parts”. To me, visions arise of a time that has never been and will never be. Perception and memory are inherently unstable, their contents changing, their objectivity limited.
EVENT  Comrades of Time by Andrea Geyer at the Gilles Deleuze and Félix Guattari: Refrains of Freedom International Conference

The Non Profit Art Company “Out of the Box Intermedia” presents “Comrades of Time” by Andrea Geyer curated by Dr Sozita Goudouna within the context of the “Gilles Deleuze and Félix Guattari: Refrains of Freedom International Conference” on Friday 24th of April at 17.30-19.30pm at the French Institute of Athens and on Saturday 7.30-11.00pm at the Museum of History of the University of Athens, (Old University, or Oikia Kleanthous) Comrades of Time attempts to find new ways to capture time in the image by engaging with the question of time and with the provocation of Gilles Deleuze’s term the “Time-Image.” The artist is researching on the new significance of time and on the temporalization of the image as a political, historical and cultural construct by working with seven women who recite monologues composed from speeches, letters and essays from 1916-1941, written by architects, writers, philosophers and political organizers >>>read the complete article>>>
Refrains of Freedom