archive-de.com » DE » A » ART-IN-SOCIETY.DE

Total: 283

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • Nature - D - Natured. Works by Angelo Evelyn in Kranenburg
    propagandistisch einem bestimmten konkreten Anlaß zugeordnet ist wie in der Kunst sagen wir mancher sozialkritischer Realisten sondern der die condition humaine in unserer Zeit einer bösen brutalen oft auch gewaltsamen Zeit in ganz eigener Weise auf den Begriff bringt Es gibt Arbeiten dieses kanadischen Künstlers die meine These wenn nicht der Unwahrheit überführen so doch extrem zu konterkarieren scheinen Da ist etwa das Gesicht seines Vaters auf dem Porträt das ihn zeigt in kanadischer Militäruniform Father I ca 1998 Ich sehe eine Erinnerung des Kindes Angelo sehe die stille Trauer nicht Heroisierung einen verhaltenen nachwirkenden Schmerz echogleich lebendig in dem erwachsenen Künstler und in dem Bild Dieses visuelle Gestalt annehmende Erinnern aber gilt dem zu früh Verstorbenen dem See Offizier der Handelsmarine der im Krieg eingesetzt auf Geleitzugfahrten im Nordatlantik zum russischen Murmansk Sympathien für die Menschen jenes geschundenen von den Nazis angegriffenen Landes im Norden Europas zu empfinden begann Der Erinnerte die Erinnerung werden eingetaucht in ein unwirklich glühendes Grün vielschichtig irritierend wie das Leben des Dargestellten ist auch das Bild Realistisch auf eine verunsichernde Weise nicht wie jenes Pop Art Abbild von Mao konvertiert zur bloßen Oberflächen Ikone das ein amerikanischer Künstler schuf und das sich säkularisiert in der suggerierten Trivialität des Konsumfetischs um sein Heilsversprechen gebracht sieht Sondern in entgegengesetzter Richtung ambivalent gemacht vieldeutig aufgeladen mit persönlicher Emotion welche jede Oberfläche von Heldengedenkphotos oder hinterfragten Idolen der consumer society desavouiert Später in den Norwegen Bildern taucht der Schmerz um den Vater den Atlantik Fahrer wieder auf die Wale zerlegt zu Stückwerk die Schiffe aufgeschnitten segmentiert Frachter Walfangmutterschiffe U Boote erscheinen als Seitenansichten und Aufsichten diagrammartig Ein zugleich harter und stark expressiver Konstruktivismus enthüllt sich hier auch in der medialen Mischung von Druckgraphik und Malerei Die Wunde wird aufgerissen der See die so viele verschlang der Erinnerung persönlicher und gesellschaftlicher Erfahrung das vermischt sich mit der Rauheit der Landschaft mit der ökologischen Katastrophe dem Leerfischen der Meere in die eine Fischfänger Nation wie Norwegen so tief involviert ist North Sea Landscape Diese leuchtenden Blaus und Rots diese starken linearen Elemente indizieren das Rohe die Traumata reißen das Loch in die Oberfläche der Erscheinungen so malt keiner so zeichnet und druckt keiner der das Idyll sucht die friedliche Form der Natur und der Boote und Menschen in jenem Norwegen dem Angelo Evelyn in Trondheim begegnete Trondheim überlagerte sich in seinem Bewußtsein in diesen Arbeiten mit Kanada und die Gegenwart mit der Vergangenheit Ein komplexer antinaturalistischer schneidender das Verborgene öffnender und doch nicht plakativ offenlegender Realismus trat hier an s Licht lesbar dem der die Werke zu lesen versteht nicht als pures Experiment um seiner selbst willen als artistische Spielerei l art pour l art unterwegs zu immer größerer Abstraktion sondern als Reflexe einer vielschichtigen zeitübergreifenden Wirklichkeit In den Arbeiten der Elgin Marbles Serie darunter Arbeiten wie The BM Celebrates the Millenium The Millenium Project und Going Out With A Bang Not A Whimper alle entstanden im Jahr 1997 entdecke ich entdecken wohl nicht wenige Betrachter eine große anarchische Freude

    Original URL path: http://www.art-in-society.de/AS2/AWKra/KranenburgExpo.html (2016-04-25)
    Open archived version from archive


  • Angelo Evelyn, Eine andere Zeit, ein anderer Ort
    Stärke bezieht es wie mir scheint aus der mehrfachen or zwiefachen you decide that Reproduktion des Porträts und den verschiedenen Tapetenmustern die darunter or darüber you decide that gelegt sind Das Bild meiner Mutter zeigt sie als stark stolz und beinahe arrogant sie war italienischer Abstammung Es entstand ungefähr zu der Zeit als sie meinen Vater kennenlernte Diese hommage hat für mich eine andere Bedeutung als jene für meinen Vater den ich auch aufgrund seines allzu frühen Todes nie wirklich kannte Die Erinnerungen an meine Mutter sind komplexer und ambivalenter polarer und weniger mythologisch Die Erinnerung an sie ist weitaus lebendiger Die komplexe Intertextualität welche aus dem Zusammenspiel von stilisiertem Salon Porträt floralen Rokokko Tapeten und den verschiedenen über einander gedruckten Farben resultierte läßt sowohl metonymische wie metaphorische Lesarten zu Der miteinander im Wettstreit liegende deskriptive und emotionale Gehalt ist reich an Erinnerungen für mich Biographie Angelo Evelyn geb 1942 in St John Canada Evelyn studierte Physik und Mathematik an der Universität von British Columbia in Vancouver bevor er im Jahre 1970 als Autodidakt in Montréal seine künstlerische Karriere begann Ab 1979 studierte er Kunst an der Hochschule für Gestaltung und Musik in Bremen er schloß dieses Studium 1983 mit einem Diplom in 2D design zweidimensionalem Design ab Er vertiefte seine druckgraphischen Kenntnisse durch die Teilnahme an mehreren advanced workshops des Franz Masereel Centrum Kasterlee Belgien der Rijks Hoger Kunstonderwijs Flämische Kunst Akademie Brüssel und der Wimbledon School of Art London wo er 1998 den Grad des Magister Artium M A erhielt Seit 1983 hat Angelo Evelyn als unabhängiger Künstler in Kanada Westeuropa und Skandinavien gearbeitet und ausgestellt Er lehrte 1990 an der Kunstakademie Trondheim Norwegen und 1999 2000 in Strasbourg als Gast Lektor und gab dort Kurse in Druckgraphik 1998 gründete er mit zwei deutschen Künstler Kollegen ein Lithographie

    Original URL path: http://www.art-in-society.de/AS2/AEvelyn/AEvelyn.shtml (2016-04-25)
    Open archived version from archive


  • reminder of the world wide scourge of unnecessary famine and stark hunger typified by a human being thin to the bones with wide open expressive eyes and sorrowful mouth The work is a straightforward J accuse an attack leveled at a world ready to ignore millions of excluded human beings A rich world in the North to be sure But rich also in the guarded compounds of its accomplices in the so called Third World Betterman who travelled widely in Europe and Egypt between 1927 and 1932 years of vagabondage they have been called was a victim of Nazi administrative actions taken against degenerate art in 1937 Klaus Boettger born in 1942 in Dresden uses elements of montage and collage as well in works that recall moments of social struggle but also defeat Las Vidas zu Pablo Neruda combines a portrait of the poet a negative photographic image of a hand written page with his poetry and young people racing ahead in the street during a demonstration in Chile Banners carry the word LIBERTAD His montage technique seems more contemporary more part of the 1970s than the approach chosen in the case of Bettermann s works which are still rooted in the pre war years If we look at the poem as a found object if we reflect on the photographic source and the method of combination of the images used as elements in the work if we marvel at the magic effect of the light that appears like a new dawn arising or perhaps more like a threatening flash of light in the dark we cannot help sensing the aesthetic influence of surrealism The same is true of the dreamlike appearance of Neruda s face in the foreground and of the way the words of his poetry appear as if written into the sky by an imaginary pen Blots of ink or impurities in the translucent page have become clouds throbs of darkness very much like a pulsating night that the demonstrators try to emerge from In a similar way a work like Zu Erich Muehsam dedicated to a German anarchist poet murdered by the Nazis combines elements that bear witness to Muehsam s existence as a poet and to his prison existence and death in dreamlike fashion A page of his writings appears in the background above him as if written onto a prison wall partly lightened up by a source of light somewhere beyond the art work and in fact in the eyes and mind of the observer The poet s wide eyed face looks at us with terse and determined half open mouth It appears to us not as a naturalistically represented face but rather as an image projected onto the prison wall into which also the words of the poem have seeped like black ink In front of his chest a cardboard piece of paper shows the number of this political prisoner On the left in the background again we discover another portrait of his this time not frontal but sideways Of course these are photographs taken of Muehsam by the Gestapo or the police In the second portrait the white shirt stands out against the darkness But looked at hurriedly at a first glance so to speak the white shirt appeared to me as if it was a hand of the man looking at us a hand that he may have raised in warning Again there is an irritating surrealist effect It merges with the realistic approach of an artist who is denying the possibility to credibly rely today on naturalistic depiction Historical documents the image of a manuscript page chosen from the work of Muehsam and two photos taken by his captors are being used to reconstruct a historical situation In this way they serve as a point of departure for our emotions and our conscious analysis Ernest pitz born in Czechoslovakia in 1927 is another realist artist influenced strongly by the experience of Fascism Echos of the Nazi German occupation liberation from Fascism by the Red Army in 1945 and of the subsequent years of Stalinism can be deciphered in his uvre His early works created during the late 1940s are harrowing expressionist paintings mirroring the isolation and Angst of small groups of individuals Thus Utecenci Uteczenci 1948 49 portrays barefooted women and children in a doomsday situation Speechless for sure If they d be shouting it would recall the frightened shout of a figure by Munch The desolation captured in Neistota 1957 is janusheaded and thus irritating There is the row of dark figures maybe prisoners liberated from a concentration camp still dressed in their striped prison wardrobe Lined up as they are they seem to look full of anticipation perhaps but also full of doubt at a uniformed figure on a pale white horse a man who is brandishing a gun and carrying a rifle on his shoulder Two other soldiers on horseback are visible a little behind and to the right of the first one The horses are restless whinnying Their restlessness as well as the twilight sky mirror the openness of the situation that announces a new day or a new hell Incertainty above all But also hope of a new beginning as the light erupts faintly and the fog lifts Another possible reading would let us see the moment before an execution by members of the Sonderpolizei or Wehrmac ht soldiers The sky in Zbytky 1948 49 takes up more than two thirds of the canvas The colors leave no impression of transparency on the contrary they are thick and gloomy They are reminding us of a sandstorm Or of a sea of flames that rise up in the distance Embracing parts of the sky their reddish and ochre hues leave scarce space for a few remnants of grey small glimpses of greyish light that are appearing nightmarishly among traces of darker olive greens and blackened blues The grass has withered and turned dark red a crimson

    Original URL path: http://www.art-in-society.de/AS2/Real/Realism.shtml (2016-04-25)
    Open archived version from archive


  • Begrenzung in Gestalt deutlicher Linien das steht in einem Spannungsverhältnis zu anderen Flächen und Linien etwa denen des Sessels oder Sofas oder jener dahinter wahrgenommenen lichterfüllten Fläche der nichts Abbildhaftes mehr zuzuordnen ist Da sich die Unterkante des Bilds im Bild über der rechten Tischkante befindet wird das Sofa unter naturalistischen Gesichtspunkten gleichsam in einen irrealen abgebildeten Raum abgedrängt dieser ist jedoch in Wahrheit Teil eines gleichberechtigten offenen Bildraums sodaß durch die Weise der Kombination der Gegenstände ein beinahe kubistisch zu nennendes Raumgefühl entsteht insert image Anton Woelki Blumenstück 85 5 X 66 5 cm Es entsprach den Sehgewohnheiten eines durchschnittlichen Publikums seiner Zeit unter dem Woelki auch Käufer seiner Arbeiten zu finden hoffte daß die montageartige Zusammenfügung der Bildelemente verhalten ja durch sanfte Übergänge in der Farbmodulation kaschiert statt radikal geschieht Ähnlich hat zu jener Zeit der Hollywood Film harte Schnitte vermieden und sie geschickt zu überspielen versucht was dann auch seine gekonnte Glätte ausmachte In dem Bild von Woelki gibt es jedoch durchaus Störfaktoren daß das Bild im Bild im luftleeren Raum hängt konnte dem Betrachter nicht entgehen ebenso wenig daß der Tisch nach vorne abfällt und so die Blumenvase an Bodenhaftung verliert Das mag damals von einem an eine andere Darstellungsweise gewohnten Publikum kritisiert worden sein Max Liebermann soll einmal darauf angesprochen daß in einer begutachteten Arbeit eines Kollegen ein Arm einer figürlich dargestellten Person zu lang sei gesagt haben Der Arm ist so schön der kann gar nicht lang genug sein Ähnlich hätte man damals dem Kritiker des schiefen Tisches sagen müssen Der Tisch sitzt so richtig in der Versammlung der als Gegenstände nur zum Vorwand genommenen Farbflächen der kann gar nicht schief genug sein Mit dem verhalten experimentellen in Wahrheit um eine Versöhnung von kubistischen Tendenzen und figurativer Malerei bemühten Ansatz Woelkis versöhnen sollte das

    Original URL path: http://www.art-in-society.de/AS2/Kriedtke/Woelki.shtml (2016-04-25)
    Open archived version from archive

  • Empires, Ruins + Network
    new loyalty tests Empires Ruins Networks sets out to provoke a dialogue between art and politics It will ask artists critics and curators to think of the place and function of art in the contemporary world It will question how artists can contribute to cultural and technological change While the debates on art and cultural difference have been raging for decades current circumstances are compelling us to reframe the issues The complexity of cultural flows and exchanges sustained through new media practices defy older ethno nationalist representations of cultural identity In the context of new border crossings by migrants and refugees and the formation of new social collectivities there is a need to develop links that can be forged both across distant spaces and within local places Empires Ruins Networks will seek to explore the shifting forms of otherness and the new modes of cultural production in contemporary culture It will question the politics of fear that is supporting a new authoritarianism It will seek to build bridges across the South It will speak against the attempt to silence the histories of indigenous and immigrant communities It will propose new models of artistic and cultural collaboration that will expand the democratic principles of public culture The emphasis in the content and form of Empires Ruins Networks will be peer to peer participation and discussion The conference will be structured around a relatively small number of high quality presentations opening the space for discussion workshops and critical feedback to the presenters in open fora CONFERENCE PROGRAM Keynote address Friday April 2 7 30pm CRISIS IN GLOBAL CAPITAL AND THE WAR ON CULTURE Okwui Enwezor USA Artistic Director Documenta Saturday April 3 Morning session MAPPING FLOWS AND LINKING CLUSTERS Lisa Reihana Aotearoa New Zealand Artist Carlos Cappelan Uruguay Spain Artist Kendell Geers

    Original URL path: http://www.art-in-society.de/AS2/ArtNews/Melbourne.shtml (2016-04-25)
    Open archived version from archive

  • Action in Silence
    We hope through art and this exhibition we can continue to express our unwillingness to submit ourselves to violence Action in Silence committee FAAB Thanks to Women in Black Tokyo and elsewhere Kyoto Joshi demo Exhibition information Date May 31 June 7 Time 12 00 19 00 Opening party May 31 19 00 Place Pa F Space Shinjuku ku Baba shitacho 18 Phoenix building 3F Across the street from Ana Hachi man shrine opposite to Waseda U literature dept 2 min from subway Tozai line Waseda station Event schedule June 1 We don t want militarism in our lives 14 00 17 00 admission 800 yen discussion with Motoyama Hisako Women in Black Tokyo Mizushima Nozomi Kyoto Joshi demo Shimada Yoshiko FAAB June 7 Big Head video showing and talk with Denise Uyehara from LA 19 00 21 00 admission 1 000 yen 4th generation Japanese Okinawan American artist Denise Uyehara will show a video of her new work about attack on Arab Americans during Iraqi war Discussion follows June 8 Performances 17 00 admission 2 000 yen Tears by Ono Nonko Insane Body by Ito Tari FAAB Feminist Art Action Brigade We would like to announce the inauguration of FAAB the newest feminist art organization in Tokyo Feminism Isn t it dead Well no In the past decade or two we thought modernism is dead history is dead etc but old habits die hard While we thought ideologies weredead Imperialism colonialism and militarism all made great comebacks The bad old patriarchal system is more alive than ever They have become unapologetically ruthless Faced with this harsh reality we think feminism is still one of the few ideals we can hang on to in order not to be completely disillusioned by the state of the world today We know there are many different versions of feminism Our version of feminism is made clear in the statement below We would like to stress that our feminism is not to expand the rights of the biological female All we need is Action FAAB is not a fraternity club We are a brigade of artists who use our artistic expression as weapons We don t have one commander instead whoever plans a project is responsible for the completion of that project Our current projects are ACTION IN SILENCE exhibition in which documentation of world wide anti war anti imperialism movement will be shown along with performances and installation MINI QUEER SHOW a preparatory exhibition for a big international queer show in the future Whoever or whatever group which want to do something with us participate in our events support FAAB be on our Mailing list please get in touch with us e mail English OK yoshimada aol com http www egroups co jp group FAAB net Ito Tari Lim Desiree Nishimura Yumiko Ono Nonko Shimada Yoshiko Takahashi Fumiko Yasuda Kazuyo in alphabetical order FAAB Manifesto FAAB questions the prevailing social and artistic value system What is valuable art and who can be artists

    Original URL path: http://www.art-in-society.de/AS2/ArtNews/Silence.shtml (2016-04-25)
    Open archived version from archive

  • Focus on Other art Media
    to rethink the base and working conditions of InteractivA Well a lot of us started brainstorming in Merida In a few months will have regained the energies to keep the work Gracias a todos and Eduardo my very best warm wishes for articulating your experience at InteractivA Your words showed me that the work I did was worthy Saludos Raul Raul Moarquech Ferrera Balanquet MFA Artist Writer Curator krosrods cartodigital org ektenel hotmail com http www cartodigital org krosrods A NOTE FROM FATIMA LASAY It will take a while before 2005 and who knows what will be the state of new media art It will be great if another InteractivA takes place but I have done this work as part of my social responsibility with Latin Latino Culture and I can not used my energies to develop a name for a museum which doesn t support the work I do especially when I don t get paid I feel exploited by my own people because they know that I figure out ways and have the support to make the exhibit work I need to rethink the base and working conditions of InteractivA Well a lot of us started brainstorming in Merida In a few months will have regained the energies to keep the work Sometimes a museum institutional base for new media projects is useful which is why we often tolerate problems and incompetence Also the nature of new media makes it difficult for traditional art institutions to support it fully It is ideal to have a harmonious working relationship with art institutions but this does not always happen I am curious what were the specific problems of MACAY apparently they knew they had problems and were probably guilty so they did not even show up to welcome the participants

    Original URL path: http://www.art-in-society.de/AS2/ArtNews/Raul.shtml (2016-04-25)
    Open archived version from archive


  • to life it reverberates in these work peaceful at times but by no means always Maybe it is a weak helpless sign of protest against the senseless cruelty of war against the invaders sent in to chase a dictator and take control of the natural wealth of Iraq that today we want to say there is another Iraqi reality It is not about power it is not about selfish neo imperialism opposing selfish one man control of a country It is about humanity sensing its sources About Iraq s distant past But also its every day presence as felt in the days that went by not long along Here in the swamp lands of Basra in the network of channels and fields of pathways and roads and houses and villages the traces of the first bloody Gulf War mingle now with those of the Second and Third But as the presence pervades the past and the past imbues the presence with its spirit and echos and surfacing remants we still regard the not always easy and yet rather peaceful life in the countryside The life that Haddad Maurice remembers when he thinks of the source of his work Having turned to Haddad Maurice it seemed to make sense to focus on art from Iraq and the Middle East in a wider more encompassing sense What we found in terms of recent reflections on this topic is of the sort that lets us encourage our readers if they are experts or lovers of art or in other ways take to this subject to contribute more Here in the West the ignorance of what s going on in a corner of the world so close to Europe is quite unbelievable A fruitful discussion an attempt to improve our dialogue to stimulate inter

    Original URL path: http://www.art-in-society.de/AS1/Editorial.shtml (2016-04-25)
    Open archived version from archive



  •