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.
Poetry Expo 23
by Mo Maria Sarkis
Art Installation/Intervention by Mo Maria Sarkis.
Video/Editing: Christine Safi.COPYRIGHT © “Complex, Fluxes(2)” Art Installation/
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.
#internationalpoetry #poetrypublisher #poetry #versopolis #wherepoetrylives #poetryexpo #literature #poetrycommunity #poem #poet #writer #life #poems #thoughts #writing #poetrylovers
“Let’s play Hopscotch”
“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…
– Medium : Photography, Serie of 7 Photographs, Edition 1/7, Available for sale, Framed, numbered and signed, see them on the following link:
– 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:
“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 toplease the public, to satisfy its a aesthetic desires.But neither did the avant-garde artists want toshock the public, to produce displeasing images ofthe sublime. In our culture, the notion of shock isconnected primarily to images of violence and sexuality.But neither Malevich’s Black Square (1915),Hugo Ball’s sound poems, or Ducham p’s Anem/cCinema (1926) presented violence or sexuality inany explicit way. These avant-garde artists also didnot break any taboos, as there never w as a tabooforbidding squares or monotonously rotating disks.And the y did not surprise because squares anddisks are unsurprising. Instead, they demonstratedthe minimal conditions for producing an effectof visibility— on an almost zero -level of form andmeaning. Their works are visible e m b o d im e n ts ofnothingness, or, equally, of pure subjectivity. Andin this sense they are purely auto poetic works,granting visible form to a subjectivity that has beene m p tied o u t, purified o f any specific content. Theav a n t-g a rd e the dramatization o f nothingness andnegativity is there fore not a sign of its “nihilism ,”or a protest against the “nullification ” of life underthe conditions o f industrial capitalism . They aresim ply signs of a new s ta r t— of an artistic metanoiathat leads the artist from an interest in the externalworld to the aToday, this auto poetic practice can be easilyinterpreted as a kind o f commercial image production,as brand development or trend setting . Thereis no doubt that any public persona is also a com –modity, and that every gesture towards going publicserves the interests o f numerous profiteurs andpotential share holders. And it is also clear that theavant-garde artists them selves became such com –mercial brands long ago. Following this line of argument,it becomes easy to perceive any auto poeticgesture as a gesture o f self-commodification — andto then launch a critique of auto poetic practice asn cover operation designed to conceal the protagonist’ssocial ambitions and lust for profit. But w hilethis critique appears persuasive at first glance,nnother question arises. What purpose does thiscritique itself serve?”
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