Neon, Ingolstadt (II)

 
Neon catalogueCatalogue
Neon – Vom Leuchten der Kunst. Edited by Amely Deiss, Andrea Jahn and Simone Schimpf. With texts by Amely Deiss, Karin Lutzenberger and Tillmann Prüfer. Wienand Verlag, 2013. ISBN 978-3-86832-189-0. € 34.

From the catalogue:

‘Neonfarben erregen Aufmerksamkeit, rütteln wach, warnen und setzen leuchtende Akzente. Aus Werbung, Mode und Verkehr sind sie nicht mehr wegzudenken und seit den 1950er Jahren spielen sie auch in der Kunst eine wichtige Rolle. Die große Gruppenausstellung mit Werken von 38 Künstlern legt erstmals den Schwerpunkt auf die Verwendung von Neonfarben in der Kunst. Anhand der Präsentation ausgewählter Gemälde, Skulpturen, Installationen und Fotografien wird der Frage nachgegangen, warum Künstler die Signalfarbe als konstituierendes Element einsetzen.’
 

Doppler, New York (I)

Interior Glow, 2013, 19x23x7 cm

Interior Glow, 2013, 19x23x7 cm

Doppler
Parallel Art Space
17–17 Troutman Street # 220
Ridgewood, NY 11385
Bushwick, New York

July 13 – August 18, 2013
Hours: Sat–Sun 1–6 pm, and by appointment
Opening: Saturday, July 13, 6–9 pm

 
Catalogue
Preview of the catalogue, designed by Nancy White

 
Participating artists: Steven Baris (US), Richard Bottwin (US), Edgar Diehl (DE), Iemke van Dijk (NL), Kevin Finklea (US), Brent Hallard (US), José Heerkens (NL), Henriëtte van ’t Hoog (NL), Gilbert Hsiao (US), Gracia Khouw (NL), Sarah Klein (US), Stephen Maine (US), Gay Outlaw (US), Mel Prest (US), Debra Ramsay (US), Albert Roskam (NL/FR), Karen Schifano (US), Ruth van Veenen (NL), Don Voisine (US), Nancy White (US), Guido Winkler (NL), Patricia Zarate (US).

 
Doppler is an international traveling exhibition organized by Mel Prest. The exhibition features works by twenty two artists living in the US and Europe. The exhibition title refers to the Doppler Effect as well as synesthesia. The intent of the exhibition is to visually question or crush the illusion of difference between 2D and 3D. The artists chosen have created work that optically straddles this un-locatable perceptual space where static objects move and shift or trigger simultaneous sense-readings.
 

Rhythm and Method, Wuhan (I)

Rhythm and Method. Abstract Art in China and Germany
Hubei Museum of Art
Hall No. 3/4/5/6
1 Sanguandian Donghu Road
Wuhan, Hubei
China

June 28 – August 4, 2013
Opening: June 28, 2013, 3:30 pm

 
Participating artists: Chen Ruobing (CN), Huang Gonghong (DE), Henriëtte van ’t Hoog (NL), Oleksiy Koval (DE), Yuliia Koval (DE), Li Lei (CN), Li Peng (CN), Li Zhanhao (CN), Kuros Nekouian (DE), Stefan Schessl (DE), Tang Xiao (CN), Yu Xiaozhen (CN)

Curators: Li Jianchun (CN), Laura Sánchez Serrano (DE)

 
A Question of Rhythm and Method
Preface by Laura Sánchez Serrano in the catalogue

Bars VI, 2012

Art schools or art movements used to be a phenomenon on a regional or national scale. However, in the last few decades, we have witnessed a process of globalisation that has significantly impacted the development of art and the way we understand it. Thanks to the Internet, new media and low-cost flights, art has become a global issue, allowing artists and curators to establish new methods of collaboration and cultural enrichment. Such is the case for the exhibition Rhythm and Method, Abstract Art in China and Germany. Initiated by the artists – already a sign of how things are changing in the cultural field – the exhibition aims to create a Sino-German dialogue between contemporary artists specialising in non-figurative art.

Taking the concepts of Rhythm and Method as a starting point, the exhibition highlights the similarities and differences between abstract art in Germany and China, building a bridge for cultural exchange and artistic dialogue. Rhythm and Method represent intriguing principles for understanding and appreciating abstract art: one focuses on composition and the other on procedure. Rhythm is a term normally used for music and literature, defined as a strong, regular, repeated pattern of movement or sound. In visual arts, rhythm is created through the repetition, alternation or gradation of pattern on a surface. Our eyes follow the surface, where patterns are arranged in a certain order, enabling us to experience the whole as a visual melody in time. Method describes the specific procedure used to accomplish a work of art. It refers to the specific technique used by the artists, the particular way they apply it and how their personal technique affects the result. There is no method without rhythm, nor rhythm without method. Method is the structure that allows rhythm, the engine that turns chaos into logical order.

Bars VIII, 2012

Bars VIII, 2012

In the case of the German group of artists, rhythm is the basis of their artistic research, the framework for their theoretical work. In 2010 Oleksiy Koval, Stefan Schessl and Kuros Nekouian founded the “Rhythm Section” group, a collective that supports artists in exploring the theme of rhythm through exchanges and exhibitions. Members of the group consider rhythm as the key for the perception and reception of art. But they all use rhythm in a personal way, expressing their own talent by different means, whether it be through geometrical compositions, in the case of Henriëtte van ’t Hoog and Oleksyi Koval, lyrical arrangements, in Yuliia Koval’s works, organic structures, typical of Kuros Nekouian, or expressive strokes, in the paintings of Stefan Schessl or Huang Gonghong.

The Hubei Museum of Art in Wuhan is showing works from the German “Rhythm Section” group for the first time, in dialogue with those of six renowned Chinese artists. It is an ideal scenario for creating intellectual exchange and stimulating debate about abstract art, immersing the visitor in a world of visual sensations connecting East and West.
 

Space, Expanding, Staphorst (I)

Xtra (Yellow), 2012, 55x26x18 cm. Photos: Paul Vos de Wael.

Space, Expanding
Galerie Hein Elferink
Kastanjelaan 5
7951 KD Staphorst
The Netherlands

December 1, 2012 – January 13, 2013
Opening: Saturday, December 1, 3–5 pm
Finissage: Sunday, January 13, 2–3 pm
Hours: Thu 2–6 pm, Fri–Sat 10 am – 6 pm, and by appointment; also open on December 9, and January 13, 1–5 pm

Participating artists: Henriëtte van ’t Hoog, Gracia Khouw, Mischa Rakier, Sonia Rijnhout.

 
Catalogue of Space, Expanding in PDF


From Gracia Khouw’s preface in the catalogue:

Facet I, 2012, 43x41x13 cm

Facet I, 2012, 43x41x13 cm

In cosmology there is a theory that the universe is expanding at an ever-increasing rate. Started from a small universe that sprayed apart with a big bang, this unknown force is still continuing and increasingly pushes galaxies apart. This takes place in a time and space that are almost unimaginable and immeasurable for us.

Scientific discoveries about the universe expand our perception and provide a framework for the imagination. Painting does this as well. If you stand in front of a painting, you dive into the time and space of the painting. The eye sees lines, surfaces, colour and paint in a certain order and puts the imagination to work, looking for meaning that relates primarily to our immediate surroundings, the habitable world. But what if the meaning refuses to be reduced to the reality as we experience it in everyday life?

In the exhibition Space, Expanding four artists are brought together who investigate ‘space’ in a manner akin to thinking about the universe. Unlike an architectural, habitable room you can build, which has dimensions through which you can walk, there is also space that denies any such foothold. Imagine a space that is continuously expanding and where there are no fixed dimensions or distances. What effect will that have on our perception of depth, motion and matter?

The artworks in Space, Expanding approach space differently from what we are accustomed to seeing. At first glance, they proceed from a recognizable starting point, such as perspective, grid lines, text, images or reflections of reality, but on closer inspection each image contains within itself multiple representations or propositions of reality.