Two weeks ago it was OSLO NIGHT 2016 and Cristian, Petr and Martin decided to show their work and open their atelier space for the OSLO NIGHT. They finished their work, created a flyer and started to invite people. That was the start of OPEN ATELIER @ OSLO NIGHT 2016.
Martin, Cristian and Petr have worked in the Atelier at Oslostrasse 10 for the past three months. They showed their output at the OPEN ATELIER at OSLO NIGHT which was also their last day in that very Atelier. I am going to show you lots of photos and was able to ask some questions about their art pieces.
Lets start with Petr. He was showing very beautiful black and white analog photographies. I asked him some questions about his work and here is what he said.
1. Photography seems to be your passion, how did it all start?
Probably it all started like any other story, the moment I took the camera in my hands. I believe I was not more than 7 or 8 years old. (By the way, I can clearly remember this first encounter with the camera 🙂 ) It was some sort of attachment to this domain, which surprisingly didn’t let me go ever since. I think it came to me very naturally or unconsciously, I never asked myself any question why do I take a photograph.
2. What was the idea behind your work that you are showing?
The opportunity to show my work among friends luckily has been coincided with the moment, where I felt like it is time to shift from “snapshotting” to conceptually thought trough photography. Basically trying to ask myself, why do I shoot this specific thing, why do I compose the image this way, and what do I want show or what kind of questions I want to ask the observer by doing this specific photograph. At this moment for me it was more about the step rather than a result, also taking into account that it is an actual first step in shifting to the new “category” of photography, hoping that the result will come in the next steps. So I asked myself what would be the perfect first. There was always some attachment to mountains for me and the fact that I currently live in Switzerland. It felt to me like the right thing to do, to make a series of the Swiss Alps. In order to proceed with the project, as the first step I decided to examine my subject in order to see where the project can lead me and which questions I should raise by doing so. I took the step as simple as possible – black and white film 100 iso, tripod and middle format camera. I started to shoot mountains, spending almost the whole day shooting the same mountain from the same point of view, examining and researching my subject. So now I am reflecting back on it and trying to figure out the questions I should ask for my next project and how I can make a final series with a strong conceptual base behind it. The pictures that were exhibited during our OPEN ATELIER were more “work in progress” photographs or a research phase of the project. I already have some ideas about the questions I’d like to raise in my next project, but I would prefer to share it later, hopefully there will be another opportunity, with actual photographs, rather than speculate here about it.
3. Which cameras do you use for what?
For the last 6 to 7 years I have only used analog cameras and I am a strong advocate for the analog photography. I prefer to use my middle format camera Hasselblad 500 cm, due to the higher resolution of the film and also the fact that I love the square format. I think it is the most democratic format, which doesn’t give a priority in any direction of the image. However when I can’t afford to invest a lot of time in a photo shooting I use my Leica m6. I have it with me amost every day just in case I see something nice I want to capture.
And now let’s talk about Cristian’s work. His pieces came with a text that you can read below.
The show is a collection of drawings, sculptures and models that are all developed
along the idea of the GRID as a tool for an anthropology study. The GRID stands as a
metaphor for human society with everything that the term can incorporate: politics, culture, history, interaction with natural elements and religion. The project is in the same time a personal memory box or journal, giving me the liberty to analyse trough the means of artistic expression my own Zeitgeist. The concept is broken in four major themes the GRID vs EVOLUTION, the GRID vs HUMANITY, the GRID vs LANDSCAPE and the GRID vs IDOLS. The show is a first step in this parkour. Moving from figurative to abstract, it formalises thoughts, questions and observations with the clear intention of not drawing any conclusions.
I asked him what kind of materials he has used and his answer was: plaster, rasin, achrylic paint, foam and clay.
GRID VS EVOLUTION
GRID VS LANDSCAPE
GRID VS LANDSCAPE
GRID VS IDOL
GRID VS LANDSCAPE
GRID VS HUMANITY
The OPEN ATELIER @ OSLO NIGHT was a big succes. I have already been to some OSLO NIGHTS before and I always like to check out the diploma projects of the Industrial and Fashion Design students. Like every year there is an After Party at the HEK, House of Electronic Arts.
Last but not least, lets talk about Martin’s work. I asked Martin a couple of questions about his work that you can see below. I was amazed how well the pieces of the three worked together. It was a great way to use the space and show their work of the past three months.
Here is what Marin told me about his work.
1. How did your passion for art start?
I spend all the hours in primary school doing drawings (mostly dinosaurs and war machines). Soon I figured out that drawing was the easiest way for me to “impress” my teachers and friends, so I guess it started there.
2. What describes your work best?
Hmm. Today I only show my abstract work, but normally I would say that what I do is very diverse. Maybe curiosity is a good way to describe my stuff.
3. What’s the idea/story behind the work you were showing at OPEN ATELIER?
I wanted to take my abstract work a step further. In order to do so I stacked all my old drawings and paintings on the floor to figure out what I was actually doing. It annoyed me that I could not see through everything at once and then the idea to paint on transparent materials started. After this it evolved into these transparent foils that I do myself. The idea is very basic, if there is no paint to hold the foil together it dissolves into pieces and there is nothing left at all.
So, that was it from the OPEN ATELIER @ OSLO NIGHT 2016. I hope you were there yourself and if not, hopefully this was helpful to give you an impression of their work and workspace. I recorded a video of that event and will make a time lapse, soon to come. X
TERMS & CONDITIONS thats the name of the exhibition by SYLVAIN BAUMANN in collaboration with DOUGLAS STICHBURY, SHELBY LEE STUART and CLAUDIA DI LECCE.
WHERE & WHEN
Espace d’Art Contemporain LES HALLES
July 3 – August 21
Thursday 5-7pm // Saturday 10-12am and 1:30-5:30pm // Sunday 1:30-5:30pm
Finissage : 21.08.16, with BBQ and more!
ABOUT SYLVAIN BAUMANN
Sylvain Baumann (*1981, vit à Bâle et Le Frasnois, France) mène une recherche sur ce qu’il nomme un « climat de confiance » qui trouve un terrain particulièrement propice dans la complexité et l’accélération du monde actuel. Pour mieux décortiquer les dispositifs constitutifs de ce climat, l’artiste a pour objectif de créer sa propre entreprise d’ingénierie de la confiance. L’espace d’art de Porrentruy lui sert de laboratoire pour en expérimenter les premiers éléments distinctifs et identitaires au moyen d’un vaste vocabulaire visuel. Ce faisant, il met en exergue la notion de contrat qui lie le public à l’œuvre et au lieu d’exposition. Par son installation, il parvient à poser les jalons de la réflexion sur la multitude de réseaux opaques de règles et de conditions qui contribuent à instaurer un sentiment de confiance ou, a contrario, à nous fier de plus en plus à notre intuition.
TEXT AUBOUT THE EXHIBITION TERMS AND CONDITIONS (FRENCH)
“Dès son entrée dans l’exposition, le visiteur est confronté à un document contractuel. Imprimé en noir sur une stèle métallique accroché au mur, un texte définit les droits et les obligations qui lient le spectateur au lieu où il se trouve. D’emblée, l’artiste amorce une tentative de mise en confiance du public, libre d’accepter les termes du contrat ou de les refuser en quittant la pièce. Cette confiance est toutefois mise à mal par la longueur excessive du texte, comme il est d’usage pour les termes et conditions. Le contraste entre le contenu juridique de l’inscription et le support qui rappelle une stèle commémorative, symbolique ou religieuse, déroute.
Passé cet incipit contractuel, le spectateur pénètre dans une salle d’exposition où différents éléments évoquent une agence en cours d’élaboration. Du mobilier l’invite à s’asseoir et à consulter des documents promotionnels. Trois grandes boîtes, qui rappellent des machines de banque ou des urnes électorales, présentent chacune une ouverture en forme de rond, de triangle ou de carré. A travers ces signes, à la fois primitifs et ésotériques, apparaissent les trois couleurs primaires: rouge, bleu et jaune. Des éléments décoratifs et architecturaux complètent le corporate design de l’agence comme cette série d’images réalisées par thermoformage qui reconstitue un ersatz de paysage et vient parfaire le mécanisme de mise en confiance.
En mettant en œuvre des dispositifs participant à l’ingénierie de la confiance à partir de différents modes d’expression, documents contractuel, design industriel, graphisme, objets récupérés et photographies, Sylvain Baumann insinue le doute dans notre pensée. Il exalte la superficialité et l’absurdité de l’incitation ambiante à faire confiance au sentiment de confiance. Plus généralement, le travail artistique de Sylvain Baumann démontre qu’en établissant tout une série de limites, d’obligations, de situations exceptionnelles et de définitions des risques, on pointe paradoxalement ce qui entrave la confiance.
La réalisation de l’exposition est le fruit de collaborations avec l’artiste néo-zélandais Douglas Stichbury, l’écrivaine américaine Shelby Lee Stuart et l’historienne de l’art Claudia Di Lecce.
A l’occasion de l’exposition paraîtra une édition intitulée : ’’Tous les jours, à tous points de vue, tout va de mieux en mieux.’’, héliogravure réalisée à l’Atelier de gravure de Moutier, édition de 10.”
TERMS AND CONDITIONS PRESS RELEASE (French) and more links
Parc Saint Léger, NEVERS/POUGUES-LES-EAUX-F
yesterday at the preview day at VOLTA12 I met Anca and Cristina from Anca Poterasu gallery and I fell in love with Zoltan Bela’s work ADAM and EVE. I am fascinated by the faces that he cut out of an ordinary object and how young and old versus new and used is shown in this work. I really like the fact that they can not be seperated. the pieces are only sold together, Adam only comes with Eve and vice versa.
Zoltán Béla (b. 1977) is a widely-known contemporary artist, especially through his paintings. He graduated from the University of Arts and Design in Cluj, and he presently lives and works in Bucharest. Zoltán Béla is mid-through his career in painting, installations and object-making, which are imbued in historical and metaphysical references inspired by his personal biography and from the recent historical timeline of Eastern Europe.
Zoltán’s most recent work returns to his first love Antoni Tapies, in his latest experiments in object-making, with a focus on the materiality of details in painting, where the figurative taunts the abstract without ever fully giving in to it.
Selected Solo Shows: L’Espace Ventriloque (2016), Anca Poterașu Gallery (RO); Participare în programul “Arta la fereastră” (2016), as guest artist at Simeza Gallery (RO); Installation (2014 – 2015), Anexa The National Museum of Contemporary Art (RO); Traces (2012), Anca Poterașu Gallery (RO) ; In meditation: Feeling the Silence (2011), Anca Poterașu Gallery (RO), A certain time, a certain place, a certain state (2010), Little Yellow Studio (RO); Self Reflecting 30 (2009), Point Contemporary Gallery; Transition Icons(2009), Carini & Donatini Gallery (IT).
Selected group shows: Extension.RO (2016), Triumph Gallery, Moscow (RU); Vom Allmächtigen zum Leibhaftigen (2016), curator: Tom Beege, Kunsthaus Apolda Avantgarde, Apolda/Thuringia (DE); BB6 (Bienala Bucharest 6), 2014, (RO); Curators Network (2012), Muzeul Bruckenthal (RO); The New Figurative (2011), Victoria Art Centre (RO); Coloring the Grey (2011), The 4th Moscow Biennale of Contemporary Art (RU); I Am a Romanian: The Bucharest – Tel Aviv Route (2011), The Romanian Cultural Institute in Tel Aviv (IL); Out Of Sacred (2010), Arezz (IT); Police the Police(2010), The fourth biennial for young artists (RO); The Berlin Wall (2010), Promenade Gallery, Vlore (AL).
as I have already told you before this years VOLTA I am going to focus on Bonnie Maygarden and her works. yesterday it was the Preview Day of VOLTA12 at Markthalle and I got to visit Bonnie Maygarden ‘s gallery where she also had some of her work on display in addition to her sticker works for AESOP in the city center. I had the chance to ask Bonnie some questions and am very happy to share everything with you.
1. What was the idea behind the artwork for AESOP?
“I knew I wanted to create something that is conceptually in line with my current work, but would also work to draw people to the VOLTA Art Fair and the AESOP Store. In early discussions of the project what felt most interesting was creating an installation of paintings on the storefront rather than the typical digitally printed reproductions of artworks. I painted directly onto adhesive vinyl using the same process I use to create my works on canvas and paper.
I am fascinated by the role of painting in the digital age, and the way this project unexpectedly uses paintings to replace something that would usually be created digitally is conceptually consistent with with my current work. The works themselves are also meant to reference digital imagery with the use of bright colors, gradients, floating geometric shapes, trompe l’oeil, and photorealism. Playing with traditional modes of painting in a language that visually references technology allows me to explore what our expectations of contemporary images are in a digital world.”
2. How do you approach your art, meaning where do you get your inspiration from?
“I think, like many painters, that I’m inspired equally by the past and the present, and, like many painters, I am essentially making paintings about painting. I am inspired by movements in art history such as Minimalism, Photorealism, and Op Art, as well as how the visual narrative of painting has generally evolved over time. I am also interested in processes and imagery that feel seamless to our current digitally dependent culture, and I mimic elements of those aesthetics using painting. I look at stock photography, advertisements, graffiti, photoshop filters, and the digital screen as inspiration for my work.”
3. Do you like the AESOP products, and if so which one is your favorite?
(my favorite one is their hair and scalp rose masque.)
“I love the Fabulous Face Oil and Parsley Seed Facial Cleansing Oil. A couple of years ago I discovered how amazing oils are as cleansers and moisturizers, these two really are fabulous!”
“Absolutely, if the right situation came along. The theme of the trompe l’oeil crumpled surfaces that runs throughout my work is meant to hit on a history of drapery in painting as well as natural phenomena of light and color. A the same time it is also something that people want to somehow interact with. People always want to touch the paintings to understand them. The playfulness of something that is a flat pattern but looks three-dimensional is something I could certainly see being exciting to wear.”
5. Do you have a favorite fashion designer?
“I absolutely love Céline, Stella McCartney, and Alexander Wang. I am always looking to innovation in fashion and design for artistic inspiration. However, I tend to dress much more subdued than my work, lots of black and white- I leave color for paintings!”
read my previous blogpost about Bonnie Maygarden:
thank you so much Bonnie for answering all my questions, too bad we could not meet in person but I am looking forward to seeing you in the US or another year in Basel.
in case you are in Basel you should come by at VOLTA12 BASEL NACHT and get your free ticket here https://www.microspec.com/tix123/eTic.cfm?code=VOLTA1216 by entering the code: SOMETHINGNICE – see you on Thursday June, 16, 2016 at 5 PM at Markthalle. X
#JFGnews ||| http://jonathanferraragallery.blogspot.com
this years VOLTA I wanna focus very much on the works of BONNIE MAYGARDEN, a talented multimedia artist who received her MFA in Studio Arts from Tulane University and attended Pratt Institute in New York, where she received her Bachelor’s of Fine Arts.
when I heard that Bonnie Maygarden is going to be showing her work at the AESOP shop in BASEL and that I can write about it on the blog I felt very honored for two reasons. firstly its awesome to have the work of such a great young artist in Basel and secondly that I can interview Bonnie and ask her a bit more about the piece she is showing in Basel. so after this blogpost there will be a follow up where I can tell and show you more about the AESOP exhibition.
MORE ABOUT BONNIE MAYGARDEN (*1987)
Bonnie Maygardens work has been featured in exhibitions both nationally and internationally in various museums, galleries and alternative venues including: Université Lumière Lyons (Lyons, France), Pratt Institute, Icosahedron Gallery (New York City), East Hall Gallery (Brooklyn), SALTWORKS (Atlanta), The Front (New Orleans) and New Orleans Creative Center for the Arts where she attended high school. several notable publications have featured Maygarden’s work; including, Gambit Weekly, NOLA DEFENDER, and INVADE NOLA. curator and art critic Tori Bush featured Maygarden’s Master’s thesis exhibition “Hyper Real” in her May 2013 artist spotlight. she also received an honorable mention for her work in UNO Visual Arts Leagues Juried Exhibition in 2013 from Miranda Lash, curator of Contemporary Art at the Speed Museum and former curator of Modern and Contemporary Art at the New Orleans Museum of Art. her work was reviewed in ArtForum and Burnaway for her inclusion in “Staring at the Sun” curated by Craig Drennan. Maygardens paintings were also featured in New American Paintings (No. 112, June/July Issue) concurrently with her premier solo exhibition at Jonathan Ferrara Gallery entitled “Desert of the Real”. she will also be featured in the forthcoming Issue No. 124. her work was selected for the Ogden Museum of Southern Art’s third annual LA Contemporary Juried Exhibition, juried by Jonathan P. Binstock of Citi Private Bank Art Advisory & Finance. she has been exhibited nationally at art fairs including: Pulse New York, Miami project for Art Basel Miami Beach, Texas Contemporary, Art Market San Francisco, and the Seattle Art Fair with an upcoming showcase at VOLTA12 Basel (Switzerland) this summer. following Volta, her work will also be featured in EXCHANGE, an international exhibition at Galerie Jochen Hempel, Berlin. also forthcoming, Maygarden has also been awarded a position at the Slade for the London Summer Intensive Residency Program 2016. her work appears in the collections of former LACMA curator and current Perez Art Museum director Franklin Sirmans (Miami), private collectors Lester Marks (Houston), Myrna Kaplan (Chicago) and Susan and Ralph Brennan (New Orleans), and corporate collections of Advantage Capital Management Corporation, RPM Casting and University Medical Center (New Orleans). Maygarden has been commissioned for Hollywood feature films by several production companies including: ABC Studios, Flashfire Productions, Danni Productions, Georgia Film Fund Seven, Abby Normal Pictures, Lamb Productions, Furlined, LLC and The Goats, LLC.
“I create paintings without the aid of technology, yet I am interested in making works that are informed by and react to a culture defined by a digital experience. My work references familiar technology-created images, such as photography, x-rays, or Photoshop filters, yet are created only using the meticulous illusion of paint. Through referencing the digital image I am able to make paintings that walk the line between something and nothing, that both play to our expectations of the disposable contemporary image and the valued tradition of the handmade.”
as you just read in the text above, Maygarden is having a run. I really appreciate the color sensitivity in her artworks and am a huge fan of her patterns. the pieces that I am showing in this post have a great depth and an almost relief-like appearance. her work reminds me a lot of fabric and tissues. another impression that her artpieces leave on me is the feeling of nature and landscape, I somehow think of the swiss alps and the relief maps of them.
in case you are in Basel you should definately pass by the AESOP shop at Spalenberg 24 that is showing her art work in the window. (from now until end of VOLTA12). stay tuned for my next blogpost where I will tell you more about her works for AESOP.
more about BONNIE MAYGARDEN here:
JUNE 13-18 – 2016 / MARKTHALLE BASEL
yay, I can not wait for the Art Basel week to come where Basel turns into a beautiful international art circus and like the years before VOLTA is showing inside Markthalle, very close to the SBB train station.
my main focus this year will be on Bonnie Maygarden and her works. (you can see one of my favorite above, its called GRAYSCALE II) there is going to be one very special artwork, exhibited in Basel, and I am going to show and tell you more about it very soon here on the blog.
but first let me tell you a bit about VOLTA and their exhibitors.
VOLTA, the renowned art fair for new international positions, debuted in Basel in 2005 as a collaboration between dealers and friends. The aim was to secure a platform for international galleries beyond young art stalwart Liste and market heavyweight Art Basel. Concerns and aspirations of the exhibiting gallerists have been first and foremost since VOLTA’s inception; in combination with the curatorial mind of Artistic Director Amanda Coulson, eclectic and dynamic presentations with a strong focus on solo presentations find a stage as refined as at the main fair. VOLTA has already created a brand known and respected for its strict selection of exhibiting galleries and artists, including a growing list of alumni who have graduated to the main fairs. Former exhibitors like A Gentil Carioca (Rio de Janeiro), STEVENSON (Cape Town / Johannesburg), One and J. Gallery (Seoul) and bitforms gallery (New York) ascended to Frieze and Art Basel after exhibiting at VOLTA. Likewise, artists including Theaster Gates, Chris Johanson, Zilvinas Kempinas, Cameron Platter, Araya Rasdjarmrearnsook, and Adrian Williams have shown in prestigious events like the Venice Biennale, the Orangerie (Paris), dOCUMENTA, Art Basel’s Art Parcours and Art Unlimited, following their featured showings at VOLTA.
did you know that there is going to be another VOLTA12 BASEL NACHT?
Basel Nacht – VOLTA 12
Thursday, June 12 from 5–9pm
HOW TO GET YOUR FREE TICKET TO VOLTA12 BASEL NACHT?
visit this LINK here << enter the code below and sign up for your free Basel Nacht pass.
the ticket/s will be automatically emailed to you.
please bring your friends and be ready for a wonderful night in Basel with VOLTA12. sharing is caring, right?
I hope to see you there. have a lovely day. X
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about BEN GODWARD
Ben Godward was born in Indianapolis, grew up in St. Louis, MO and received his B.F.A. at Alfred University and an M.F.A. in Sculpture from the University at Albany where he won the 2007 Outstanding Achievement in Contemporary Sculpture award. After Albany, Godward moved his studio to Brooklyn, where he currently lives. He has shown extensively in NYC including at Sardine, Fortress to Solitude Lesley Heller, Moti Hassan, The Laundromat Gallery, Pocket Utopia, Centotto, Famous Accountants Gallery, Way Out Gallery, NYCAMS, Norte Maar, Storefront Gallery and Factory Fresh among others. Ben has also completed large outdoor public art projects, in 2010 at Franconia Sculpture Park in MN and in 2011 at Socrates Sculpture Park in Queens, NY. Ben’s work has been featured in The L Magazine, The Brooklyn Rail, Sculpture magazine and on WNYC Radio. www.slaggallery.com
“The conscious mind may be compared to a fountain playing in the sun and falling back into the great subterranean pool of subconscious from which it rises.” – Sigmund Freud
I absolutely love his works and I adore the way he made them. silk screen print on wax that later will be heated and cause the change of the lines and patterns.
about MITSO KIM
in case you wanna contact them
STURTEVANT was born in ohio (USA) and made the first years of her artists life working in new york where she began in 1965 to manually reproduce paintings and objects created by her contemporaries with results that can immediately be identified with an original – closely enough to intrigue the viewer and raise the fundamental question, what am I looking at? reflection, thinking, and analysis is the core of her work, from the paintings of the late 1960’s to the most recent videos and installations. there is a famous Sturtevant maxim that runs, “negative definition is a very powerful philosophical position.” during the era of pop-art sturtevant made her version of warhol’s flowers, john’s flags, stella’s black and grey paintings and developed this discourse a decade later after moving to paris, with works based on marcel duchamp, joseph beuys and anselm kiefer. in the last two decades sturtevant has evolved a highly structured and rigorous exploration of current events making multi-screen video works, and installations exposing the simulacrum that is as much an attack on arts media/advertising dimension as the corrupt power structures that surround it.
In 2010 sturtevant had an important exhibition titled The Razzle Dazzle of Thinking at the musee moderne de la ville de paris. the artist was awarded The Golden Lion award for lifetime achievement at the venice biennale in 2011. the moderne museet, stockholm presented an exhibition curated by daniel birnbaum in march 2012 which moved afterwards to the kunsthaus zurich.
On may 7, 2014 Elaine Sturtevant passed away in paris where she worked and lived since the 1990s. her timeless work and unique contribution to contemporary art in connection to other intellectual discourses will forever be reflected in future avant-garde generations.
in 2014/2014, the MMK museum für moderne kunst in frankfurt am main (Germany), the albertina in venna (Austria) as well as the hamburger bahnhof in berlin (Germany) presented a comprehensive survey of her works on paper, titled Sturtevant, drawing double reversal.
in the USA, the museum of modern art new york and the museum of contemporary art LA honoured Sturtevant with a retrospective bringing together over 50 key artworks from all periods and in almost every medium in which she worked.
mmhhmm, candies.. it was hard not to take one : ) and guess what I know someone who did, in fact many people did but still that doesnt mean that I have to take one too. anyways, I really like this piece and I absolutely love STURTEVANTs work.
at this very moment I am flying to Sicily for one week of vacation – and I thought that this is the perfect art piece to show today. blue like the sea or like the sunny summer sky. in case you wanna stay up to date with what I am doing then please check my SOCIAL MEDIA category. you will find all the twitter, instagram and facebook posts. stay tuned. X