Since the beginning of time we've been living with our eyes pointed at the horizon. The purpose inside the horizon, the 'earthly' ideal has not been enough for us for a long time now. Our aspirations and goals lie beyond the horizon. If it weren't for this direction in the distance, there wasn't any support for our aspirations and our human existence would loose its meaning, its motives. One of the most vital elements of our self-identity is the longing for otherness and one of its emblems is the horizon. Expanding this horizon and constant cognition is our goal. This eternal fact , being as old as humanity itself, is nowhere as obvious as here in Europe. Our main drive has always been the wish for adventure, the temptation of the strange making us leave even our emotional bondings and homelands to the promise of learning something new. Nomen est omen – the name-giver of our continent, Europa means 'big-eyed'. Her faith was referred to by the Greek as apodemic (longing for traveling), for this is the drive of every traveler who leave their homes. Therefore apodemy has always been part of Europe. Here, in Eastern Europe where the right of free movement of the individuals was forbidden for decades, apodemy has become an obsession.
Our faith in the unknown inclined us, Eastern-Europeans to search for our dreams at the hallucination-generating line of our horizon. I lived under the spell of 'away' for a long time as well, for the question of freedom has been in my interest since my awakening. My own freedom and thus the freedom of the individual has been interesting me the most. My main source was Daedalus – father of Icarus – and Greek mythology in general. When I started to paint my Nightfall cycle in 2011, Daedalus was my starting point, I wanted to paint his story in particular. I found a story however in the meantime, a contemporary Eastern-European (Russian) story, the official version of which I already knew. After learning the unofficial version of the story through some writers, I got slightly distracted from my original concept. My attention was directed to the now and I also realized that freedom isn't only to be found in the unattainable distance. We can find it here as well but we tend not to notice it because of the enchantment of its constant search in the distance. I try to depict an existing story of today. A story of a man, a political prison, the background of which there are thousands of similar but unknown other stories, tragedies. I try to depict man loosing his freedom then finding it again inside the walls of his prison.
Section A through C
Bill Graham Presents
Bill Graham was at the forefront of innovative rock and roll marketing. After escaping Holocaust Germany as a child and growing up in a foster home in the Bronx, he moved to San Francisco and began organizing and promoting concerts. A fan of small, intimate concert venues, Graham helped make the Fillmore, a room with a personal vibe, famous. This feeling is reflected in the posters he commissioned and used to line the narrow walls of the club. His dislike for large concert venues and festivals, which he blamed Woodstock for popularizing, shaped his vision on how a concert should be presented. The Fillmore and his legacy reflect that to this day.
Section E and F
photo by Kade Kricko
Dialogue of Civilazation to Cuba, Summer 2013
Havana, Cuba is only 107 miles away from the United States, but Northeastern students from the Cuba Photography Dialogue of Civilizations program will tell you it feels like they have traveled back in time. In the summer of 2013, faculty members from the Art + Design Department, Luis Brens and Andrea Raynor, traveled with College of Arts, Media and Design students to study photography and the cultural history of Cuba through the Study Center of Jose Marti in Havana, Cuba. Now showing through Spring 2014.