George Bezani is an American multidisciplinary artist based in New York City. Bezani received his MFA in fashion design from the University of Applied Arts in Vienna in 2011 under the professorship of Veronique Branquinho. After winning various awards for his work in fashion design, including the prestigious Fondazione Claudio Buziol prize in Venice in 2008, Bezani received an Outstanding Artist award supported by the Austrian Ministry of Culture in 2011. His work has been shown at the MAK Museum in Vienna, Arnhem Biennale, Guggenheim in Bilbao and CICA in South Korea, among others. After a successful decade spent in the fashion industry working for his eponymous brand as well as for 3.1 Phillip Lim, Ralph Lauren and The Row. Bezani now solely dedicates his time to his painting practice. In 2022 he was awarded a two-month artist residency by Liquitex in New York, as part of its residency and mentoring program.
George Bezani decodes the compositions of quotidian moments, altering and reorganizing them through his own visual language. Inspired by compositions and object placement in Japanese Nihonga paintings, he uses a unique, self-taught mark making technique that developed from his diverse experimentations over the past five years.
His paintings convey the fragility of our modern world, with slow, meditative brush movements and bold coloured marks on the canvas. The works are a dialogue between the painter and the moments of reality that he reinterprets. Bezani draws inspiration from personal and collected photographs, collages, sketches and images.
Bezani’s 2020 series of drawings _Nowhere to Go_ is a visual diary created with short reflective lines of ink on paper. Diving into the memories and dreams, elapsed lives and beliefs, he reflects on the skittish nature of the past, and its unclear, decomposed moments. The artist tries to find strength, resilience and light through repetitive movements. In the series he draws amulets, necklaces, garments and other objects of desire as symbols of armor: a protective second skin against the destructiveness of digital era.
In his latest series of works _TenShen_, Bezani explores the antagonistic impact of technology. Its vigorous, authoritative power pulls societies apart, and it remains incompatible with lived reality. It also provides the possibility for extreme escapism and debilitates our capacity to collectively navigate the future. In these works, characters are digitally infused with cybernated dopamine or oxytocin, ephemeral figures with the shadow of doubt are combined with gadgets, and ambiguous vast network landscapes are filled with desolation and tension.
Absorbed by the postures and poses of contemporary bodies, George Bezani observes a human form that is no longer autonomous, but rather fused with devices, displaying homo-apparatus symbiosis. He delves into the influences and consequences of screen culture, while exploring the human condition. What is the purpose of a life lived on screen? Bezani’s work captures unconcealed moments of intimacy, exposed vulnerability and uncertain self-esteem. He questions the 21st-century human’s curatorial capacity, dedication and execution of plans, goals, chores or tasks with or without the security of the proposed, simplified algorithms. These bodies seem to have a perpetual dependency of daily duties, bonds and life at large on cybernated data.
Bezani observes an ongoing tension between a digitally fabricated, designed and often custom-made screen presence versus the physical, tactile experience of the world as is. His work blurs the lines of existing formats, finding arcane edges.
The artist detects and uncovers the layers of techno fatigue and social amnesia which the contemporary human body experiences, by painting, mostly in color palette from CT scan images, using this as a metaphor for his practice of body examination.
His work proposes the human figure as a voyeur and the selector of future communication mechanisms. He brings together labor-intensive craftsmanship with an automated process: a quick splash of techniques, metaphors and often inconsequential symbols.
2011 MFA , University of Applied Arts, Vienna, AT
2023 Gagosian Gallery Staff Exhibition, Gagosian 541 West 24th Street, New York City , USA
2023 “Breath” CICA Museum, Gyeonggi-do, KOR
2022 Speaklow, New York City, USA
2020 “ Show Off “, MAK Museum of Applied Arts, Vienna, AT
2018 “ Mode als Statement” , Galeriefreihausgasse, Villach, AT
2016 NJAL at Waldorf Astoria Hotel, New York City, USA
2011 Arnhem Biennale, Curated by Carlo Wijnands, Arnhem, NL
2010 Bilbao International Art & Fashion Competition, Guggenheim Bilbao, ES
2022 Liquitex Residency Program, New Jersey, USA
2023 Art Vue Foundation Award, Brussels, BE
2022 Liquitex Award, New York City, USA
2011 Outstanding Artist Award supported by the Austrian Ministry of Culture , Vienna, AT
Der Standard - Rondo Voeslauer Award, Vienna, AT
2009 Swiss Textiles Sponsorship Prize, Zurich, CH
SONG Concept Store Prize, Vienna, AT
2008 Fondazione Claudio Buziol Prize, Venice, IT
Fashion - Aus der Kostüm- und Modesammlung by Elisabeth Frottier, Birkhäuser Verlag 2017, AT
Menswear: Fashion Forward Designers by Louis Bou, Instituto Monsa de Ediciones 2012, ES
Fashion 2 by Friederike Krump, alt/cramer publishers 2012, Berlin, DE
The Poetry of Fashion Design by Paz Diman, Rockport publishers 2011, USA
Master Class in Master Crafts by Camper, Nova Era Barcelona 2010, ES
The New York Times, Style.com Magazine, Citizen K, Fashionisto, Amarta, Peng! Magazine, Vogue Ukraine, Wallpaper*, Der Standard- Rondo,
Die Presse, GQ Russia, Cosmopolitan, Boulevard Magazine, Diva, Harper's Bazaar KZ, Maxima, uMag, Dash Magazine, FLUX, Missy Magazine, Harper's Bazaar Japan, XII Magazine, FAQ Magazine, Vogue Japan