aktuell / current

RHYTHM
SECTION
Painting
vs
Image

Karşı
Sanat
Çalışmaları
15/04 –
20/05/2020
Istanbul

ANNEKE BOSMA video
DANIEL GEIGER painting
HENRIËTTE VAN ‘T HOOG painting
GONGHONG HUANG painting
DAVID KEFFORD sculpture, photography, film and animation
OLEKSIY KOVAL painting
VERONIKA WENGER drawing, film
MICHAEL WRIGHT drawing, painting, video

Curated by SOPHIE-CHARLOTTE BOMBECK

>>>


SO
NEAR
YET
SO
FAR

15 / 02 / 2020
16.00 – 20.00

BERAT IŞIK
DANIEL GEIGER
FEYYAZ YAMAN
MARKUS KRUG
MEHMET ALI BORAN
MURAT GOK
OLEKSIY KOVAL
ORHAN CEM ÇETIN
REMZI SEVER
REZZAN GÜMGÜM
RUBBER HAMMER
SEFIK OZCAN
SELIM SÜME
UĞUR ORHAN
VERONIKA WENGER
YAĞMUR ÇALIŞ

Curated by Ezgi Bakçay, Bariş Seyitvan and Sophie-Charlotte Bombeck in cooperation with Karşı Sanat / İstanbul, Merkezkaç / Diyarbakır, Rhythm Section / Munich and the Department of Arts and Culture of the City of Munich, Villa Waldberta

Palmenhaus
Villa Waldberta
Höhenbergstr. 25
82340 Feldafing
+49 8157 9258280
www.villa-waldberta.de
villawaldberta@muenchen.de

Exhibition
16.02. – 02.03.2020

Visit by appointment registration
villawaldberta@muenchen.de
089 233-28718

admission free

So Near Yet So Far 

The world is becoming smaller; transport and communication technologies increasingly bring cultures and bodies closer….. Limits are rapidly melting; conceptual discussions are getting closer. Within the context of contemporary art, art is produced with common socio-political concerns beyond geographies and similar aesthetic approaches. International mobility opportunities create new artist networks and accomplish new collective art practices. Contemporary art projects reveal the value of being international, interdisciplinary, plural, participatory and collective. However, is it possible to tell the same thing for the quality of communication? To what extent does the global aesthetics of contemporary art involve the topicality, distinctness and diversity? Under the pressure of central environment hierarchies, how much can the artist share the issues of his/her geography, his/her audience and his/her own problems of existence How far can the languages spoken by the international field of art carry the plurality? Can artists that unite under all those heavy conceptual frameworks in the field of international contemporary art experience a commonality in a theoretical and aesthetic way?

So Near Yet So Far is a communicative aesthetic experience that focuses on these questions. This experience focuses on the boundaries of collective creativity in contemporary art. The project will consist of workshops based on a game, readings, performances and an exhibition organized by three international artist collectives based on three cities: Karşı Sanat / İstanbul, Merkezkaç / Diyarbakır and Rhythm Section / Munich. Artists from different cultural background are invited to play a game together by the tools of aesthetics, by taking and operating the decisions together, by shaping the space and time in collaboration and to create an collective exhibition.

The goal of the project is to create a deeper communication, powerful relationships between artists from different cultures and who speaks different native languages; contribute to the process of collective production; formulate new common notion sets and new common meanings. The methodological proposition of the project is a communicative aesthetic game experience.

The project starts with a game based on a schema: A triangle and three words. During the game, the schema will gain affective and sensitive dimensions by artistical tools. The words will reaches to the aesthetic expressions. The game will continue on/by bodies, movements, voices, colors and installations.

How it works the triangle of the project?

The game starts with a simple schema: An equilateral triangle with three words on three corners: Desire, Faith, Knowledge.

Step 1: We invite the artists of three artist initiatives to propose three notions for the three sides of the triangle, between Desire, Faith, Knowledge. ( DΔF, DΔK, KΔF)

Step 2: We invite the artists to choose words from the list given or propose their own words and install them on the schema. In this list there are notions, names, colors, numbers.

Step 3: Starting from this constellation of notions based on the first triangle, the artistic creation will continue independently, collective or personal, with unlimited ways of expression.

Step 4: The project will continue in the exhibition place by the participation of the audience. In order to make the audience a part of the artistic and intellectual creation, the audience will be also invited to play with the base triangle and insert their own ideas.

Word list to install on the schema:

Subject, Art, Happiness, Experience, Sexuality, Government, 3, Faust, Romeo, Christ, Sade, Marx, Medea, Oedipus, Persona, Psycho, Pasolini, Hitchcock, Ken Loach, Turkey, Germany, Kurdistan, Social Network, History, Religion, Science, Technology, Fears, Traditions, Freedom, Space, Political thinking, Moral, Politics, Voice, Luck, Fortune, Hope, Subject, Thing, Object, State, Theme, Rhythm, Diyarbakır, Istanbul, Munich, Faust, Romeo, Christ, Heart, Peace, Language, Orient, Passion, 2, Mother, Black, Envy, Solidarity, Distance, Friendship, Money, Winning, Ecology, Philosophy, Sisterhood, Curiosity, Mysticism, God, Women, Buda, Childhood, Father, Rhythm, 1, Yellow, Love, Red, Time, Innocence, Music, Life, Consciousness, Respect, Achievement, Loyalty, War, Peace, Mystery, Dependence, Addiction, Taboo, Self-esteem, Honor, White, Drugs, Silver, Sublimity, Bindless, Death, Hunger, Satisfaction, Routh, Soul, Universe, Radicalism, Aesthetics, Silence, Poem, Literature, Regard, Revolution, Resistance, Feminism, Queer, Tragedy, Comedy, Culture, Work, West, Nord, Sud, Animal, Creature, Monster, Physic, Perversion, Organization, Rights, Law, Migration, Deal, Memory, Trauma, Subculture, Nature, Shadow, Dark, Light, Line, Point, Acceleration, Game, Triangle.

Notes on Key Notions

The Desire:

When we cannot have an object that we desire, we move on without the mechanism of desire itself being affected. But when we lose our object-cause of desire, we not only lose something that we want, but the very mechanism of desire is stalled.

Freud has described in Three Essays on the Theory of Sexuality as love’s affectionate and sensual currents. (Freud’s term is Wunsch, which is translated as Wish) Jacques Lacan contributes the concept of desire, which must be distinguished from drive and love. The concept of desire is at the center of the works of Jacques Lacan;

“Desire full stop is always the desire of the Other. Which basically means that we are always asking the Other what he desires” (My Teaching, p.38).

“[Desire] is produced in the margin which exists between the demand for the
satisfaction of need and the demand for love” (Seminar V, 11.06.58., p.4).

Firstly, that desire is essentially a desire for recognition from this ‘Other’; secondly that desire is for the thing that we suppose the Other desires, which is to say, the thing that the Other lacks.

The most basic section of the Graph of Desire, as published in Lacan’s essay “The Subversion of the Subject and the Dialectic of Desire in the Freudian Unconscious.“

The Faith:

Stanford Encyclopedia of Philosophy: “Faith is a broad term, appearing in locutions that express a range of different concepts. At its most general ‘faithmeans much the same as ‘trust’. This entry is specifically concerned, however, with the notion of religious faith—or, rather (and this qualification is important), the kind of faith exemplified in religious faith. Philosophical accounts are almost exclusively about theistic religious faith—faith in God—and they generally, though not exclusively, deal with faith as understood within the Christian branch of the Abrahamic traditions. But, although the theistic religious context settles what kind of faith is of interest, the question arises whether faith of that same general kind also belongs to other, non-theistic, religious contexts, or to contexts not usually thought of as religious at all. Arguably, it may be apt to speak of the faith of a humanist, or even an atheist, using the same general sense of ‘faithas applies to the theist case. (…) There is no single ‘established terminology for different models of faith.” Benjamin’s faith inwe mention to the spiritual faith not the religious one, such as Walter Here the written word.

The Knowledge:

Michel Foucault argues that before the Classical Age, western knowledge was a disorganized mass of different kinds of knowledge; superstitious, religious, philosophical. With the Classical Age, clear distinctions between academic disciplines emerge as a part of a general enthusiasm for categorizing information. The aim of the science was a definitive cataloguing and categorization of what can be observed. Language was a simply transparently representing things. For the first time, however, there is an appreciation of the reflexive role of subjects in the enquiry they are conducting – the scientist is himself an object for enquiry, an individual conceived simultaneously as both subject and object. Then, from the beginning of the nineteenth century, a new attention to language emerges, and the search begins for precisely what is hidden from our view, hidden logics behind what we can see. To this tendency belong theories as diverse as the dialectical view of history, psychoanalysis, and Darwinian evolution. Foucault criticizes all such thought as involving a division between what is the Same” and what is other, with the latter usually excluded from scientific inquiry, focusing all the time on man” as a privileged object of inquiry.

In The Order of Discourse. In Discipline and Punish Foucault develops the notion of “power-knowledge,” recombining the analysis of the epistemic and the analysis of the political. Knowledge for Foucault is incomprehensible apart from power, although Foucault continues to insist on the relative autonomy of discourse, introducing the notion of power-knowledge precisely as a replacement for the Marxist notion of ideology in which knowledge is seen as distorted by class power. For Foucault, there is no pure knowledge apart from power, but knowledge also has real and irreducible importance for power.

Knowledge for Lacan: Since it is an articulation of signifiers in a signifying chain, the unconscious is a kind of knowledge (symbolic knowledge, or savoir). More precisely, it is an ‘unknown knowledge’.

Common Thinking Materials: Lectures and Movies

Lectures on Michel Foucault for the notions: “The will to knowledge” “the method of

subjection” “subjectivity” “power” “sexuality” “governmentality”

Michel Foucault, Discipline and Punish. London: Allen Lane, 1977.

Michel Foucault, An Introduction. Vol. 1 of The History of Sexuality. New York:

Pantheon, 1978. Reprinted as The Will to Knowledge, London: Penguin, 1998.

Michel Foucault, What Is an Author? (French: Qu’est-ce qu’un auteur?) is a lecture on literary theory given at the Collège de France on 22 February 1969.

The Decalogue (1988) Kieslowski and Piesiewicz made The Decalogue for Polish

Television in 1988, the ten part miniseries is loosely based around the Ten

Commandments and they used 9 different cinematographers to give a different aesthetic

look to each episode (Piotr Sobocinski DPed both episodes III and IX).

Teorema (1968) written and directed by Pier Paolo Pasolini and starring Terence

Stamp, Laura Betti, Silvana Mangano, Massimo Girotti and Anne Wiazemsky


RHYTHM
SECTION
BINÄR
Meural
Open
Loft
Event
05 / 12 / 2019
18.30

ELISABETH EBERLE (CH)
DANIEL GEIGER (DE)
DAVID KEFFORD (UK)
OLEKSIY KOVAL (DE)
GUIDO NIEUWENDIJK (NL)
SERENA SEMERARO (IT)
MIRCO TARSI (IT)
VERONIKA WENGER (DE)
MICHAEL WRIGHT (UK)

OutofOffice München
Kolosseumstraße 1 (4. Stock)
80469 München

The project Rhythm Section Binär encourages the cross-disciplinary exchange and engagement on the subject rhythm in contemporary digital art.

Not to be confined by the greatest, yet to be contained within the smallest is a definition, which declared the enterprise of the artists group Rhythm Section. The substantive trait, which linked the artists of the group Rhythm Section in their works is the commitment to a hyper reflexivity in dealing with the rhythm, not as a compulsion, but as an original constant. The clear handling of the rhythm allows an endless variety of individual variations.

This project is supported by NETGEAR and Meural Canvas II

05 / 12 / 2019

16.00 – 18.30
exclusively for journalists

18.30 – 21.00
vernissage

OutofOffice
Kolosseumstr. 1 (4. Stock)
80469 München

a separate registration is needed
(limited number of participants)

Anmeldung erforderlich
(Teilnehmeranzahl limitiert)


EAGLE
DRAGON
RHYTHM
SECTION
NOV 16 –
DEC 21
2019
REUTENGALERIE
AMSTERDAM

RICHARD VAN DER AA (FR/NZ)
LIANG CHEN (CN)
YUNFENG CUI (CN)
IEMKE VAN DIJK (NL)
HENRIËTTE VAN ‘T HOOG (NL)
OLEKSIY KOVAL (DE)
PENG LI (CN)
KE LIU (CN)
SHUQING MA (CN)
XIAO TANG (CN)
VERONIKA WENGER (DE)
MICHAEL WRIGHT (UK)

The exhibition encourages the cross-disciplinary exchange and engagement on the subject rhythm in contemporary art between China an Europe.

Not to be confined by the greatest, yet to be contained within the smallest is a definition, which declared the enterprise of the artists group Rhythm Section. The substantive trait, which linked the artists of the group Rhythm Section in their works is the commitment to a hyper reflexivity in dealing with the rhythm, not as a compulsion, but as an original constant. The clear handling of the rhythm allows an endless variety of individual variations.

This exhibition is supported by LG Electronics Benelux

REUTENGALERIE Amsterdam
Prinsengracht 510-0
1017 KH Amsterdam, Nederland
T 020-6207537
M 06-55828705
https://www.reutengalerie.com
reutengalerie@upcmail.nl

woensdag t/m zaterdag 13:00-18:00
en op afspraak
contact: Antoinette Reuten


THE PAST AND THE FUTURE
OF ABSTRACT ART
International Symposium
Guangzhou Academy of Fine Arts

Organized by: Guangzhou Art Academy
Supported by:Department of Oil Painting, Department of Research, Graduate Division, Department of International Exchange and Cooperation, Guangzhou Art Academy

Location:Guangzhou Art Academy, Changgang Campus
Schedule:2019.03.23.

Gonghong Huang
PAINTING WITHOUT TITLE AND
AUTONOMY OF ART WORKS

The mainstream Western tradition of painting understands the closed two-dimensional surface of painting as a window through which an external image is depicted. The discourse about painting is directed towards the external world. Painting is narrowly understood as an art of reproduction and imitation. The basic approach is to construct an existing and presupposed illusory three-dimensional space. >>>

Oleksiy Koval
PAINTING VERSUS IMAGE

In the agony of symbol systems (systems of expression) an image is painting’s most boring and wearing opponent. However, it has consistently been the case that one is mistaken for the other. Perhaps they are not rivals after all, and there is no difference at all between a painting and an image? >>>

Ke Liu
ABSTRACT PROBLEM OF MOTION

1. Creative Practice
2. Space Practice
3. Educational Practice >>>

Veronika Wenger
THE DRAWING AND THE LINE

Historically, drawing was not an autonomous medium. Nobody gave much thought as to whether a drawing was abstract or non-abstract, it merely existed to design something or to find a sign for something. Drawing was used for sketching, studying, or preparing a painting. >>>

Michael Wright / Iemke Van Dijk
ABSTRACT ART

The job of the artist is to really look hard at what is!
To see relationships
To get past Ego self consciousness >>>


风格派及未来
DE STIJL AND THE FUTURE
BETWEEN CHINA AND EUROPE

BOXES ART MUSEUM SHUNDE

The exhibition De Stijl and the Future presents the Artworks of several Artists from China, Germany, the Netherlands and Great Britain the Exhibition explores the relationships between the movement and the work of the participating artists who are influenced by the ideas of De Stijl. The show started already in January at the United Art Museum in Wuhan (China) and will now continue in a new order at the OCT Boxes Art Museum Foshan City (China). With the exhibition we started a new series of exhibitions which, from the basic concept, guarantees an exchange between the arts, the creatives, curators and the artists themselves. Based on these considerations, we decided to invite the artists to present their own statement about art and its relationship with De Stijl. And to allow this within our exhibition, but not to integrate directly, but at a certain distance. These works are not integrated into the exhibition as direct curatorial positions, but certainly in the experience process of the exhibition conception and theme. The second show of De Stijl and the Future will open on March 22th at 10:30am.

开幕时间 / OPENING TIME
2019/03/22 10:30

展 览 时 间 / EXHIBITION TIME
2019/03/22 TO 2019/05/05

展 览 地 点 / EXHIBITION PLACE
BOXES ART MUSEUM

主 办 单 位 / ORGANIZER
合美术馆 华侨城盒子美术馆
UNITED ART MUSEUM, OCT BOXES ART MUSEUM

ARTISTS

LIANG CHEN
IEMKE VAN DIJK
HENRIËTTE VAN ‘T HOOG
GONGHONG HUANG
OLEKSIY KOVAL
PENG LI
SHUQING MA
XIAO TANG
XIAOMING WANG
VERONIKA WENGER
MICHAEL WRIGHT

CURATOR
SOPHIE-CHARLOTTE BOMBECK

PRODUCER
ZHOU LI

ACADEMIC HOST
LIU KE

OPENING HOURS: TUESDAY TO FRIDAY 10:00 – 18:00 | SATURDAY, SUNDAY 10:00 – 20:00 | BOXES ART MUSEUM, SHUN FENGSHAN PARK (SOUTH GATE), SHUNDE DISTRICT, FOSHAN, CHINA

THE EXHIBITION IS SUPPORTED BY
HIPP AND LUFTHANSA CARGO


风格派及未来
DE STIJL AND THE FUTURE
BETWEEN CHINA AND EUROPE

UNITED ART MUSEUM WUHAN

The exhibition De Stijl and the Future presents Artworks of several Artists from China, Germany, the Netherlands and Great Britain. The Idea of the Exhibition is to turn around our aesthetic gaze in order to show that the movement of De Stijl has reached artists from all over the world even a hundred years after their act. The Exhibition explores the relationships between the movement and the work of the participating artists who are influenced by the ideas of De Stijl, a Dutch art movement that has had a profound impact on both design and modern art. Inhale the revolutionary atmosphere of the avant-garde and a new Expression of Life, Art and Technology.As seen in the Exhibition Elements of the artistic movement have found their way into modern art as seen in the work of our presented Artists.

The Exhibition encourages the cross-disciplinary exchange and engagement between China an Europe. The Show will take place at the United Art Museum Wuhan and Boxes Art Museum, Shunde.

开幕时间 / OPENING TIME
2019/01/11 16:30

展 览 时 间 / EXHIBITION TIME
2019/01/11 TO 2019/04/11

展 览 地 点 / EXHIBITION PLACE
合美术馆(5/6/7号厅)
UNITED ART MUSEUM

主 办 单 位 / ORGANIZER
合美术馆 华侨城盒子美术馆
UNITED ART MUSEUM, OCT BOXES ART MUSEUM

ARTISTS

LIANG CHEN
HENRIËTTE VAN ‘T HOOG
GONGHONG HUANG
OLEKSIY KOVAL
PENG LI
KE LIU
SHUQING MA
XIAO TANG
IEMKE VAN DIJK
VERONIKA WENGER
MICHAEL WRIGHT
XIAOMING WANG

PRODUCER
HUANG LIPING

CURATORS
DR.KARIN WIMMER
SOPHIE-CHARLOTTE BOMBECK

EXECUTIVE CURATOR
SUN JIANGSHU

OPENING HOURS: TUESDAY TO SUNDAY 09:30 AM TO 05:30 PM | NO ENTRY AFTER 5:00 | CLOSED ON MONDAY
UNITED ART MUSEUM, NO. 16 WEST YEZHIHU ROAD, HONGSHAN DISTRICT, WUHAN, HUBEI, CHINA | WWW.UNITEDARTMUSEUM.COM

THE EXHIBITION IS SUPPORTED BY
HIPP AND LUFTHANSA CARGO


BOOGIE WOOGIE
RHYTHM SECTION
INTERVIEW WITH
DR. WIES VAN MOORSEL

Video
ANNEKE BOSMA

Interview
ANTOINETTE REUTEN

Translation
KATHRYN M. RUDY

Photos
DMYTRO GONCHARENKO

Music
ERIC SATIE
JAKOB VAN DOMSELAER
PETRO VAN DOESBURG

2 thoughts on “aktuell / current”

  1. Rhythm is a very basic category of an aesthetic morphology in visual arts. I am curious to learn more about your concepts and thoughts … I believe there are more categories worth to be explored …

    Like

    1. You can learn more about my concepts and thoughts on rhythm here:

      RHYTHM IN SOCCER, PAINTING AND MUSIC
      https://oleksiykoval.wordpress.com/2010/08/02/rhythm-in-soccer-painting-and-music/

      RHYTHM IN MY PAINTING
      https://oleksiykoval.wordpress.com/2011/06/03/rhythm-in-my-painting/

      RHYTHMS OF PAINTING
      https://oleksiykoval.wordpress.com/2014/02/15/rhythms-of-painting/

      I believe there are more categories worth to be explored in visual arts as well:

      ELEMENTS OF PAINTING
      https://oleksiykoval.wordpress.com/2015/10/06/elements-of-painting/

      Best, Oleksiy

      Like

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