Exhibitions

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Artists' voice

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

The Digital Other Within

Hanbing Fang

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

The Digital Other Within

Hanbing Fang

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

The Digital Other Within

Hanbing Fang

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

In recent exhibitions by emerging artists on this platform, I’ve noticed a common thread — the tension between what is visible and what is withheld. These works do not shout. They suggest. They ask. They sometimes withhold more than they offer, inviting viewers to step into an emotional negotiation.Take for example, the recent piece by [Artist’s Name]. At first glance, it appears serene. But the brushwork reveals unrest. There’s a visual contradiction — and that’s where the work becomes powerful. Not in resolution, but in conflict.

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Re:art encompasses the print and digital magazine, a series of thematic exhibitions, and collaborative projects with art institutions worldwide. Published quarterly by Spira9art, it charts pivotal developments in contemporary art, curatorial practice, and creative thinking, fostering a global conversation that connects creators, professionals, and audiences.

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About

SPIRA9 is a London- based arts organisation that supports under-represented voices and emerging artists.

Established in 2024, our programs enable makers, community groups, professionals, and the public to unite around unique art and cultural experiences and curated events.