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  • Poetry Expo 2023

    “Complex, Fluxes2” by Mo Maria Sarkis is part of “Poetry Expo 23” online February and March 2023, the project is part of the subthemes Human and artificial creativity, Future prospects and Connect not divide.

    “Poetry Expo 23” by @versopolis the world’s first digital poetry fair, organised by the European platform Versopolis and dedicated entirely to poetry, human creativity and literature.

    “Complex, Fluxes2”
    Poetry Expo 23

    by Mo Maria Sarkis

    Art Installation/Intervention by Mo Maria Sarkis.
    Video/Editing: Christine Safi.COPYRIGHT © “Complex, Fluxes(2)” Art Installation/
    Intervention.
    With special thanks to Beirut Souks Food Court “The court”.

    Already the video was shown in Lebanon, Turkey, Macedonia.
    By MO MARIA SARKIS, July 2015.

    https://www.versopolis.com/initiative/poetry-expo-23/content/1291/complex-fluxes2

    #internationalpoetry #poetrypublisher #poetry #versopolis #wherepoetrylives #poetryexpo #literature #poetrycommunity #poem #poet #writer #life #poems #thoughts #writing #poetrylovers

  • Nice Memory, Nice Magazine

  • “Let’s play Hopscotch”

    mo.maria.online.art.gallery

    “Let’s play Hopscotch” by Mo Maria Sarkis

    It’s an Interactive-Art-Installation by Mo Maria, Dimensions 3 per 4 m, In a part speaks about accumulation of weight / power and the territorial from a feminist point of view, it aims to record or questions weight/power in patriarchal society, it questions the position of female body that has no space to exist as entity but as affiliation to pre-established patriarchal order where space is in constant negotiation, it talks about the “body” or “female body” as inscription in a social game, through private lens to own personal body and quest or longing to “intimacy” or “identification” with oneself… Hence the female body becomes a social element deprived from its own integrity, in a patriarchal social order…
    Summer 2016

    – Medium : Photography, Serie of 7 Photographs, Edition 1/7, Available for sale, Framed, numbered and signed, see them on the following link:
    https://www.artpeoplegallery.com/lets-play-hopscotch/
    – Dimensions: 40 per 60 cm (each)
    – Price : ask price by email (all serie of 7 – It is possible to purchase one piece separately)
    ☑️AVAILABLE FOR SALE☑️ Delivery is possible worldwide.
    For inquiries about purchase please contact us:
    ashesspaces@gmail.com

  • “Medusa Republic”

    “Medusa Republic” by Mo Maria Sarkis,

    New Painting from a New Serie in Process, 60 per 80 cm, Oil on canvas.

    Now you can visit our Online Art Gallery: https://www.instagram.com/mo.maria.online.art.gallery/

  • Extract From ‘Going Public’ by Boris Groys

    “Obviously, these artists did not seek to
    please the public, to satisfy its a aesthetic desires.
    But neither did the avant-garde artists want to
    shock the public, to produce displeasing images of
    the sublime. In our culture, the notion of shock is
    connected primarily to images of violence and sexuality.
    But neither Malevich’s Black Square (1915),
    Hugo Ball’s sound poems, or Ducham p’s Anem/c
    Cinema (1926) presented violence or sexuality in
    any explicit way. These avant-garde artists also did
    not break any taboos, as there never w as a taboo
    forbidding squares or monotonously rotating disks.
    And the y did not surprise because squares and
    disks are unsurprising. Instead, they demonstrated
    the minimal conditions for producing an effect
    of visibility— on an almost zero -level of form and
    meaning. Their works are visible e m b o d im e n ts of
    nothingness, or, equally, of pure subjectivity. And
    in this sense they are purely auto poetic works,
    granting visible form to a subjectivity that has been
    e m p tied o u t, purified o f any specific content. The
    av a n t-g a rd e the dramatization o f nothingness and
    negativity is there fore not a sign of its “nihilism ,”
    or a protest against the “nullification ” of life under
    the conditions o f industrial capitalism . They are
    sim ply signs of a new s ta r t— of an artistic metanoia
    that leads the artist from an interest in the external
    world to the a
    Today, this auto poetic practice can be easily
    interpreted as a kind o f commercial image production,
    as brand development or trend setting . There
    is no doubt that any public persona is also a com –
    modity, and that every gesture towards going public
    serves the interests o f numerous profiteurs and
    potential share holders. And it is also clear that the
    avant-garde artists them selves became such com –
    mercial brands long ago. Following this line of argument,
    it becomes easy to perceive any auto poetic
    gesture as a gesture o f self-commodification — and
    to then launch a critique of auto poetic practice as
    n cover operation designed to conceal the protagonist’s
    social ambitions and lust for profit. But w hile
    this critique appears persuasive at first glance,
    nnother question arises. What purpose does this
    critique itself serve?”

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