Dates:  23 – 27 January 2018
Times:  10:00 – 18:00
Venue:  Delfina Foundation
Entrance:  Free
Private View:  Monday, 22 January 2018,
18:00 – 20:00

In partnership with ArteVue, Delfina Foundation is delighted to present an exhibition of work by the four finalists of the inaugural ArteVue ArtePrize: Zuza Golińska (Poland), Sahil Naik (India), Kiah Reading (Australia), Lukas Zerbst (Germany).

Zuza Golińska was announced as the winner of the ArtePrize 2017 at a private view on 22 January. She was awarded a cash prize and a three month residency at Delfina Foundation. Read more here.


The prize has been designed to support young, emerging talent and is open to artists aged 18 to 30 who are not yet represented by an established gallery. Harnessing the power of technology to simplify and democratise the application process, submissions were made exclusively through the ArteVue App, which allows artists to upload and curate images of their work into galleries, before exporting PDF catalogues to print for exhibitions, sales or, in this case, competition entries.

The four finalists of the ArtePrize 2017 were selected from 650 applications submitted by a range of international artists, encompassing photography, 2-dimensional works on paper and canvas, and 3-dimensional sculpture. The submissions were shortlisted by a panel consisting of Aaron Cezar, Director, Delfina Foundation (chair); Nada Raza, Curator, Tate Research Centre; Joe Kennedy, Founder, Unit Gallery; Rana Begum, award-winning British artist, and Shohidul Ahad-Choudhury, Founder, ArteVue and ArtePrize.


Zuza Golińska deals with the relationship between humans, public space and architecture. Based in Warsaw, Poland, her work is strongly influenced by the way people behave in and interact with the public realm.

Dead End is about relations between people and the ecosystem those relations create. Shown as a laser installation in the three dimensional space, it is also about all the borders and structures people experience while being a part of the art world or any other environment. It is about the paths that will eventually cross and some that will remain parallel.

Sahil Naik has a studio practice in Baroda and Goa, India. He was born in a temple village near Ponda, which was frequented by pilgrims from all over the world and received a series of bomb threats/hoaxes. He is interested in the idea of the post- (post-truth/post-fact) and draws inspiration from pre- (myths and history) to seek the inverse relationship between power and fear.

Ground Zero: Artist as the Suspect/Bomber is a series of modelled replicas of familiar locations, which have been subjected to explosions. The project shines a light on the vulnerability of our everyday spaces and the human instinct to think of terror being at a distance from us – to believe “this can never happen to me”. Naik collects news reports, CCTV footage, investigative reports and interviews from the internet, including them in the physical and conceptual premise of the work, closely examining what forms the idea of safety and familiarity in certain spaces.

Kiah Reading investigates the intersection of people’s behaviours and the contemporary desire to commercialise non-economic phenomena – such as passion, creativity and communication. He has previously conducted projects in a former prison and an illegal gold mining town, and is based between Lima, Peru and Brisbane. His multidisciplinary practice incorporates technology, drawing, embroidery and performance.

Zen Tech presents an interruption to today’s economic environment. It transfers the qualities of a Japanese Zen garden through digital coding, electronics and desert sand, creating a piece of technology that serves as an aid to meditation. It questions the operative nature of technology, derived from the belief that productivity is imperative.

Lukas Zerbst makes site-specific sculptures, occasionally enhanced with video, created on the spot using existing materials. Born in Poland, his family emigrated to Germany, where he received 1st prize for Fine Arts of the University of the Arts Bremen in 2016. Based nowhere today, he is also engaged in transcultural projects in Vietnam and Lithuania. Coming from the field of performance art, Zerbst looks at the temporary moment of the exposition of an art work. His use of electronics raisesquestions about the global art market: Does art have to be determined by a space such as a gallery? Does art have to be part of a hyper-producing global society or can it be visualized by a small intervention?

OFFSPACE has been inspired by the Nhà Sàn Collective in Vietnam, an artist collective temporary space located in a generic concrete high-rise, surrounded by shopping malls, fitness studios and offices. The original gallery had a shiny floor, concrete walls and metal studs hanging ceiling-panels and industrial white neon lamps. OFFSPACE extends the ceiling metal studs to redefine the form and shape of the gallery. The neon lamps are rehung along the reformed ceiling and blink randomly by a technical manipulation created by computer programming


The ArteVue App is a social art sharing platform that uniquely links everyone in the art ecosystem in the palm of one’s hand. Free to use, it allows artists, galleries, curators, collectors and enthusiasts across the world to discover, collect, curate, share and purchase art. In doing so it makes the art world instantly more accessible, on a global scale. Using the latest image recognition and integrated social technology, it provides a highly effective platform for emerging artists to connect to an audience for their work and for gallery-goers to photograph, curate and share the art that they love.