Maniac visits Groningen
MANIC EPISODE 4
MANIC EPISODE 4 Maniac visits Groningen
International Art Exhibition Internationale Kunst Tentoonstelling T.A.S. (Temporary Art Space) Stationsstraat 7, Groningen - Netherlands Vernissage of the exhibition by Petri Leijdekkers on December 7, 2013 at 20:00 Exhibition Dates: December 2013 (12,13,14,15 19,20,21,22 - 27,28,29) / January 2014 (2,3,4,5) at 13:00 - 17:00 hours curated by Wilma Vissers firstname.lastname@example.org tel:0031628718558
Manic Episode 4, MANIAC visits Groningen From 7 december to 5 January 2013 2014 is the exhibition “Manic Episode 4, MANIAC visits Groningen” on display at Temporary Art Space (T.A.S.) to the Stationstraat 7 Groningen.This is a travelling exhibition of the works of art by internationally active artists from several countries (U.S.A, Australia. Turkey, Germany) This exhibition is combined with the art work of 8 visual artists from the city or vicinity of Groningen. MANIAC is a group established on Facebook by Kevin Daly from the U.S.A. with the aim to offer a stage for exhibitions and the sharing of ideas about each other’s works of art.This is a short text of the founder about the Group: “The group is designed to bring artists together through studio visits, discussions, and collaborations. Art is about the exchange of ideas, and this is often mediated through an institutional venue like a gallery, school, or publication. My goal for this group is to provide a vehicle for artists to share thoughts about each others work, discuss current topics informing art, to work collaboratively in creating works of art, and in curating/installing shows in alternative spaces (Manic Episodes).” The works of art from the Maniacs are abstract and experimental in nature and refer to a non figurative flow within the abstract painting, concrete art. This is (often) painting which only refers to itself. The combination with visual artists from the city and surrounding area of Groningen shows that these artists are in contact with international movements in the Visual Arts. In the artworks at the exhibition it is obvious that art history is “relived” again and reinterpreted by every artist. Manic Episode 1 was in 2009 in Hartford (USA) at Artspace, Manic Episode 2; “Hit By the Eidolon” was in 2010 in Sacramento (USA) at the Brickhouse Gallery and then moved to the Reynolds Gallery at the University of the Pacific in Stockton (USA), Manic Episode 3 was in Hamburg (DE) About T.A.S. (Temporary Art Space) Groningen : T.A.S. Temporary Art Space is a temporary exhibit space in management of Havik/Carex.It is a welcome addition to the declining amount of Galleries in the city of Groningen.A city with an art school and many active visual artists and other cultural activities, needs a space where this kind of noncommercial activities can take place. I hope with this exhibition to be able to show that developments in Groningen do not stand alone but are part of a wider context. With this exhibition Wilma Vissers shows that developments in Groningen do not stand alone but are part of a larger context. T.A.S. ( Temporary Art Space ) Address: Stationsstraat 7, Groningen - Netherlands Telephone: +31 050-3143330 / 06-30741182 Website: www.skpn.nl/index-tas.htm
For more information contact Wilma Vissers ( email@example.com ) 2
Manic Episode 4, MANIAC visits Groningen Van 7 december 2013 tot en met 5 januari 2014 is de tentoonstelling ‘Manic Episode 4, MANIAC visits Groningen’ te zien bij Temporary Art Space (T.A.S.) aan de Stationstraat 7 in Groningen.Dit is een reizende tentoonstelling met kunstwerken van internationaal actieve beeldend kunstenaars o.a. afkomstig uit de U.S.A. en Australië. Deze internationale tentoonstelling wordt gecombineerd met de kunstwerken van 8 beeldend kunstenaars uit de stad of omgeving van Groningen geselecteerd door de kunstenaar Wilma Vissers. MANIAC is een groep opgericht op Facebook door kunstenaar Kevin Daly uit de U.S.A. met als doel een podium te bieden voor exposities en het uitwisselen van ideeën over elkaars kunst. Kevin Daly’s statement: “The group is designed to bring artists together through studio visits, discussions, and collaborations. Art is about the exchange of ideas, and this is often mediated through an institutional venue like a gallery, school, or publication. My goal for this group is to provide a vehicle for artists to share thoughts about each others work, discuss current topics informing art, to work collaboratively in creating works of art, and in curating/installing shows in alternative spaces (Manic Episodes).” De kunstwerken van de Manics zijn abstract en experimenteel van karakter en refereren aan een non- figuratieve stroming binnen de abstracte schilderkunst, concrete kunst geheten. Dit is voornamelijk schilderkunst die alleen naar zichzelf verwijst. De combinatie met beeldend kunstenaars uit de stad en omgeving van Groningen laat zien dat beeldende kunst grenzen overschrijdt en ook analoge kunstenaars via hun werk en sociale media contact maken met internationale stromingen binnen de beeldende kunst. Deze expositie laat zien dat kunstgeschiedenis niet stilstaat maar leeft en zich blijft ontwikkelen. Iedere kunstenaar van ‘MANIAC visits Groningen’ is zich bewust van de kunstgeschiedenis, ‘herinterpreteert’, experimenteert met de schilderkunst met een gevarieerde, poëtische en concrete expositie als resultaat. T.A.S. (Temporary Art Space) Groningen : Kunstruimte Temporary Art Space is een tijdelijke expositie ruimte in beheer van Havik/Carex. Het is een uiterst welkome aanvulling op het afnemende galerie bestand van de stad Groningen. Een stad met een kunstacademie, veel actieve beeldende kunstenaars en andere culturele activiteiten heeft een ruimte nodig waar dit soort non-commerciële activiteiten kunnen plaats vinden en bezoekers laagdrempelig met allerlei soorten kunst in aanraking komt. Met deze expositie laat Wilma Vissers zien dat ontwikkelingen in Groningen niet op zichzelf staan maar deel uit maken van een groter verband. T.A.S. ( Temporary Art Space ) Contactadres: Stationsstraat 7, Groningen - Netherlands Telefoon: +31 050-3143330 / 06-30741182 Website: www.skpn.nl/index-tas.htm
meer informatie contactgegevens Wilma Vissers ( firstname.lastname@example.org ) 3
T.A.S. ( TEMPORARY ART SPACE ) GRONINGEN
ARTISTS / KUNSTENAARS
Adam Lister (USA) Aimee Terburg (NL) André Geertse (NL) Andrew Small (USA) Andy Cunningham (USA) Arjan van Es (NL) Arleta Cehic (BİH) Bogumila Strojna (FR) Christine Boiry (FR) Christine Jacquesson-Troisveaux (FR) Connie Goldman (USA) Cyndy Goldman (USA) Dennis Meier (DE) Dorothea Fischer (DE) Douglas Witmer (USA) Emma Langridge (AU) Erdem Kucukkoroglu (TR) Eunyeon Yang (DE) Fabian Westphal (NL) Gaston Bertin (USA) George Schade (NL) Jan de Boer (NL) Janet Meester (NL) Jeanne Criscola (USA) Jill Vasileff (USA) Karen Schifano (USA) Kathy Goodell (USA) Katrin Keller (DE) Kevin Finklea (USA) Louise Blyton (AU) Maria de Werker (NL) Michael Perlbach (DE) Munira Naqui (USA) Niki Lederer (USA) Richard Bottwin (USA) Sam Still (USA) Shawn Stipling (UK) Steven Baris (USA) Sue Post (USA) Susan Scott (USA) Suzan Shutan (USA) Tineke Porck (NL) Tony Harding (UK) Vitor Mejuto (ES) Wahida Azhari (DE) Wilma Vissers (NL) 5
ADAM LISTER (1978 / USA)
This group of work is about desire and the struggle to get what is just out of reach, the unobtainable. The delicacy of these sculptures also conjures up thoughts about the fragility of life and our kind of collective temporary existence in an infinite space. The small rings of magnetic energy circling each magnet, pulling towards each other, frozen and harnessed in space, tread a fine line at the edge of failure and success.
The Resistance, neodymium magnets, boots, string, dimensions variable, 2012
AIMEE TERBURG (1971 / NL)
She is a visual artist who within the art of abstract painting deals with depth, plane and the painting as a concrete fact. She reflects on the process of painting and design therefore challenges time and control by using acrylic - a quick drying paint - and researches the manner of raw umber against non-naturalistic colours. In installations she combines her paintings with work in situ to make new contexts; questioning these illusionary and formal characteristics result in balanced differences, in visual minimal poetry.
Untitled, acrylic on polyester, 55 x 40 x 2,5 cm, 2012
ANDRE GEERTSE (1959 / NL)
The main themes in his works are colour, light and space. His work involves a painterly research of abstract and minimalist principles and includes paintings, drawings and artist books. It gives form to the inquiring wonder about relationships and interactions of lines, forms and colours.
Untitled, acrylic on wood, 60 x 110 cm, 2012
ANDREW SMALL (1981 / USA)
I am interested in creating non-objective paintings that take their inspiration from the outside world. By filtering stimuli culled from random and eclectic sources into my work, my paintings exist in a distinctive gap between a structured precision and a peculiar and spontaneous awkwardness.â€?
Main Offender, Oil on canvas, 14 x 12 inch, 2012
ANDREW CUNNINGHAM (1966 / USA)
My work is about painting and color. It is about space, line, mass, shape and composition. The residue of working quickly plays in integral part in my work. I like to see the artist hand as it speaks of history and its connection with the process. “And then sometimes I think the people to feel saddest for are the people who once knew what profoundness was, but lost or became numb to the sensation of wonder- people who closed the doors that lead us into the secret world- or who had the doors closed for them by time and neglect and decisions made in times of weakness.” Douglas Coupland
Cargo, mixed medium, 8 inch round, 2011-2012
ARJAN VAN ES (1969 / NL)
After devoting more than ten years largely to drawing (variations on self-portraits with pencil and crayon on paper), I have been engaged in painting since 2011. I paint without a concrete plan or impulse, often with no more than a vague intuition in advance. The work gradually acquires direction in the generative process, a direction that embodies a sort of undefinable innate logic.
Untitled, oil on canvas, 24 x 20 cm, 2012
ARLETA CEHIC (1963 / BÄ°H)
I am witness to an existential decay â€“ I am interested in the roughness and strength of aging iron and the falling monolith. I give back dignity to the destroyed, finding and connecting lost objects like signs which are leading me to the truth. This is a part of procreation.
Assamblage, old iron, 31,5 x 49 x 15 cm, 2011
BOGUMILA STROJNA (FR)
The cubic form is the base and also the constraint of my exploration. I have produced several works using optical illusion, which raise questions about perceptual phenomena and our construction of reality. I use traditional materials to create my works (metal, woodâ€Ś), as well as non art specific materials, such as PVC sheeting or adhesive tape as used in the construction industry.
Pink Conversation, wood, lazure painting, 80 x 50 x 60 cm, 2013
CHRISTINE BOIRY (1947 / FR)
Trained in the sciences, i was soon attracted by the abstract and playful spirit of mathematics. My art comes from the study of material and colour to create a minimal, often mono-colour, space in search of rythm, emptiness and light. Recently I have focused more closely on the interaction between my work and the surface of the wall.
untitled, acrylique spray paint on finland birtch tree wood, 15 x 20 cm, 2013
CHRISTINE JACQUESSON-TROISVEAUX (1954 / FR) cjt-cjt.blogspot.com
From my studies in biology and geology, i am near microscopic pictures, stylisation and observation of shapes and colors. In my painting I try to translate the links between micro and macro cosme.
Untitled, acrylic on canvas, 40 x 40 cm, 2011
CONNIE GOLDMAN (1958 / USA)
Phasis Series Phasis n. / a manner, stage, or aspect of being; phase [<NL <Gk phasis, appearance] Phase n. 1. any of the major appearances or aspects in which a thing of varying modes or conditions manifests itself to the eye or mind.
2. a stage in a process of change or development 3. the particular appearance presented by the moon or a planet at a given time. Lunar Phase Lunar phase refers to the appearance of the illuminated portion of the Moon as seen by an observer, (usually) on earth. The multiple panels allow for time elapsed and changing points of view. These pieces speak to the constancy of change, the predictability of uncertainty... Phases VI, oil on panel, 16 x 18.5 inches, 2007
CYNDY GOLDMAN (USA)
This work is an arrangement of vertical proportions which explore building and generating a rhythmic color frequency which can be seen or felt. The optical equilibrium is repeated as a group or unit interatcing between elements which move from static to a dynamic field. The â€œGrove Paintingsâ€? references the rhythmic beats in jazz. Through an intuitive organization of line, form and color, the painting moves forwards and backwards similar to patterning and feelings in music. Like that of color systems, music creates a response to the cyle of motion that emerges in aligned concurrent rhythmic patterning. The painting finds resolution through evolving organically while pushing and influenceing spacial elements into a corner to work itself out. The process stops when the optical satisfaction lands a visual surface beat without losing the whole. Roots, graphite, acrylic & oil canvas on Panel, 20 x 20 x 2 inches, 2012
DENNIS MEIER (1979 / DE) Reducing elements to establish a space. A space of possibilities which carries no emphasis. Periphal. Focusable. Dennis Meier Fall 2013
untitled, tape on wall, site specific installation, 2012
DOROTHEA FISCHER (1937 / DE)
My little blocs originate in my big paintings, in which I try the colours be thought expanding into the environment. That ﾌ《 why the blocs hang with their basements against the wall and the surfaces reach out into the room.
Fleurtjes, acrylic paint on wood, 10 x 10 cm, 2008/2010
DOUGLAS WITMER (1971 / USA)
A painting is not a statement. It is the evidence of painting. Painting is a relationship. The relationship is ongoing. To paint is an act of devotion in the relationship. I want to believe the in the relationship of painting the act of painting is its own reward. I want to believe that the relationship of painting, when one devotes oneself to it, extends beyond the boundaries of a painting, however indefinite or unmeasureable this extension may seem to be. I want to believe that the relationship of painting values inquiry over conclusion. To attempt to be conclusive in painting is to attempt to make paintings that are, in effect, statements. Attempting to make a statement with a painting undermines the idea that painting is a relationship. These words are a statement and they are not painting. Fruitville, n.d., acrylic and pumice on found wood, 10 x 8 inches
EMMA LANGRIDGE (1974 / AU)
Through a series of preliminary drawings I distill a composition reconciling the given area. Playing with ‘figure and ground’ but maintaining ambiguity, I toy with assumptions and attempt to find common ground between balance and imbalance, symmetry and asymmetry.”
Shared Wall’, enamel / acrylic on aluminium, 40 x 80 cm, 2012
FABIAN WESTPHAL (1982 / NL)
‘It is what it is (concrete thinking) even if it is not (association).’ Fabian Westphal
Constellation with Blue and Yellow Disk, Grote Kerk Veere, 2013
GASTON BERTIN (USA)
My non-figurative photographs are not computer generated. Searching for things that do not exist I take pictures of handmade paper collages. I like to think that my photographic activity is a ritual that is a crossover between painting and sculpture. Painting because there is on my part a physical involvement when making and photographing my paper collages. Sculpture because the purpose of my photographs goes beyond being decorative, their display intends to have a spatial influence in the context of their settings. When shown in a gallery they are shown as installations, at times they even occupy the floor space.It would also be nice to believe that my work is conceptual because after all, all art is conceptual...and, why not, political since all our actions are political.... but at the end it really does not matter... my work is simply about â€œmaking now specialâ€?, a desire to record the ephemeral and to share it with others. Not pictures of reality but the reality of pictures.I intend to say nothing, I know it is impossible. Still Now 1, photographic c-prints mounted on forex, 23 x 23 cm, 2009
GEORG SCHADE (NL)
Art is not a market-oriented economic product. Art is communication, A universal language and a translation of the universal. Art is not a product of man, But an expression of humanity. Art is not a car, television, computer or other acquirement. There is no time “for the art.” There is no time “when there was no art.” Humanity is the origin of art, the language in which mankind its connectedness has depicted with the universe and humanity ART & MENS = 1 Panel, corrugated cardboard; paper and acryl, 80 x 80 x 2 cm, 2008
JAN DE BOER (NL)
The art works donâ€™t refer to everyday or concretely situations or meanings. They unroll a beauty or reality of its own kind. The way different kinds of materials are placed togheter and the use of color, takes the art works far beyond everyday live and its trivialities.
untitled, epoxy; wood and acryl, 19 x 14,5 cm, 2013
JANET MEESTER (1960 / NL)
“The mystery of things, where is it?” (Fernando Pessoa)
Installation of stacked paintings, 35 pieces, each 20 x 20 x 4 cm / 18 x 18 x 1 cm, oil on canvas, 2009
JEANNE CRISCOLA (USA)
Work, play, and time are the conceptual centerpieces of Jeanne Criscolaâ€™s animations. Each takes a unique perspective and perception on society, where their meanings unite and fracture us. The content of each series focuses on specific ideas that recur in her work: demarcation, appropriation, and chance.
Tic Tac Toe 2011, Screen grabs Single-channel projection, 4.5 minute loop, 3880 x 2880 pixels, 2011
JILL VASILEFF (USA)
My process is informed by a preoccupation with the imprint of visual & emotional memory filtered through the lens of my childhood home-a Mies van der Rohe glass townhouse in Detroit’s Lafayette Park. I continually summon the wall-to-wall windows (with grid) to frame my internal & external worlds as I search for poignant visual relationships, triggers & resonance within the work. My sense of space and self often straddles the rumblings I recall while living in a room (home) with a view through a Mies “wall of glass”, sometimes having only the slightest sense of separation between nature & shelter / inner & outer, and the luminous intricacies of light, place & uncertainty.
Little by Little, acrylic on balsa wood, 2012
KAREN SCHIFANO (USA)
The idea that paintings are also objects has informed my art practice for many years, and has led me to explore the boundaries between what we think of as “painting” and “sculpture”. The piece being shown with Manic Episode 3.5 in the Netherlands is an examples of this exploration, and also plays with another boundary, that between the non-objective and the narrative. The title (“The Weight”) is a references to a property of objects, and the work itself can be read in a narrative fashion, and yet abstract form plays an equally strong role. I see it as painting and sculpture, narrative and abstract, veering back and forth between these categories and mining the territory in between. As we move through the world, nothing is permanent; everything, including ourselves, is mutable, changeable and open to transformation. Painting/Sculpture, illusion/ solidity, narrative/abstract, are all polarities and are all constructs. Reality exists somewhere in the middle. I hope that the tension explored in this work creates an opening where something new can enter. The Weight, acrylic on canvas & vinyl tape, 57 x 7 inches, 2012
KATHY GOODELL (1949 / USA)
I am in love with the discovery process, an ardent experimenter in pursuit of the unknown. There is no object of desire other than my embrace of â€œfluxâ€?; I am involved with paradox, synchronicity and joining the tangible and the temporal in equal balance. I am interested in the unfolding of process and image and its unpredictability, and allowing my work to move freely from one form to the other; using optical lenses, motors, together with painting, drawing, sculpture and photography.
Abduction of Cardioids II, encaustic; metal, 3 x 120 x 6 inches, 2012
KATRIN KELLER (DE)
My work is focused on the experience of colors and their perception. In my mainly geometrical constructed paintings, I often combine greyscales with bright glowing colors. In this image, color appears as a reflection on the white subsurface.
Between, mixed media (mainly oil on acrylic glas), 67,5 x 67,5 cm, 2010
KEVIN FINKLEA (USA)
My origins lie in the very simple premise of making more with less. I had gone into the studio to make simple wooden forms. The first piece came about when two scraps from a crate were leaning up against one another. I continued from this simple arrangement, fabricating work using already cut pieces of lumber and plywood that I had in my various material piles. Plywood from old crates formed the bases of pieces completed with the cutoff from older wooden works. The rule I set for myself was to not think about it too much.Simply put: glue it, screw it and paint it. And so I did so. When I painted them, i made use of already mixed pots of paint. This was paint remaining from formerly completed works in my painting studio. This wasnâ€™t so much about recycling and more about using what I had readily at hand. I had to augment some of these colors and in some cases mix new colors when the pieces called for it. A List of Things We Said Weâ€™d Do Tomorrow #22, acrylic on laminated sapele on plywood backboard, 13.5 x 19.5 x 10 cm, 2010
LOUISE BLYTON (1966 / AU)
For many years now my practice has been committed to and informed by reductive art and itâ€™s histories. My early work concentrated on using only straight vertical and horizontal lines to demarcate solid shapes. This structured method led me to a new concentration on the materials I was using. I became interested in reducing the materials to reveal a purity and simplicity that mirrored the minimalist forms and composition they are inspired by. I have long harboured a love of raw pigments; the amazing saturation of true colour, the intense matteness and the physicality they possess. Similarly, I am drawn to the tactile texture and historical significance of linen, which evokes in me a certain romance. Linen provided a substrate with a rawness and simplicity that partnered beautifully with raw pigments. Both materials have been chosen for their purity, which allows their innate aesthetic to resonate in the work. Sugarland, Pigment on linen, 12 x 6 inches, 2012
MICHAEL PERLBACH (1963 / DE)
I mainly produce drawings with black ink and digital photography. In both areas I try to reach the limits of the appropriate medium, thus questioning those media themselves as well as my own abilities. The works themselves are testimonies of my efforts to catch the attention of recipients by creating uncommon optical experiences as also enriching them with additional semantical references. This deliberate multiplicity of dimensions within my work creates an offer from which a spectator - in accordance with his education, interest or aesthetical penchant can retrieve his appropriate degree of artistic density.
Pixelcollection 4, black ink on bristol carton, 70 x 70 cm, 2012
MUNIRA NAQUI (USA)
My work consists of paintings that can be grouped. The serial nature of my work tracks the exploration of the theme. The paintings in this exhibit is from the series â€˜Silenceâ€™ where I examine the different textures of silence. I used graphite powder on an encaustic layered ground on an aluminum support. The limited palette and reductive method employed in these paintings seek time from the viewers inviting them to a quiet contemplation. I live and work in Maine, USA.
Silence, graphite powder, encaustic wax on aluminum support, 31 x 31 cm, 2013
NIKI LEDERER (USA)
Color Me Clean is a work created by re-purposing plastic bottles put out on the sidewalks of Brooklyn each week for New York Cityâ€™s curbside recycling program. When I take the dogs out for their evening walk, I collect plastic bottles from these bags of recycling and use that as source material for my sculpture. The optimistic colors are a sharp contrast to the environmental impact these plastics create.
Color Me Clean, plastic, metal hardware, wood dowel, aluminum paint, 28 x 31 inches, 2012
RICHARD BOTTWIN (1950 / USA)
Architecture and functional objects inform the vocabulary of Richard Bottwinâ€™s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are configured to reveal surprising shapes and patterns with shifts in the viewerâ€™s perspective. A sense of disorientation, implied weightlessness and the element of surprise are created by the reductive forms and subvert the modernist vocabulary of the simple constructions.
Facade #11, acrylic color on wood, 20 x 38 x 8 inches, 2013
SAM STILL (1953 / USA)
I make both small and large format burnished black ink drawings on paper. Some with emphatically flat silhouettes of organic shapes as well as rectangles that are divided and or connected, others with exposed white shapes, that when engaged over a prolonged period, will oscillate between object and opening. Obsessively calculated edges define my practice. One of my pleasures is the rigor involved in creating these drawings, the burnishing with an agate stone, the layers of ink built up over time through a repetitive process, both akin to meditation, losing myself, being transported to an ambiguous world of thought, memory and instinct. The images both contain and obscure my emotions, a document of my inner experience and the life cycle of the drawing itself. There is also the pleasure of creating work facilitated by a specifically designed system of self imposed limitations and controls. Untitled 1-2-3, India ink on paper, 43 x 28 cm, 2011
SHAWN STIPLING (UK)
I produce very precise paintings using card or paper. They are usually sparse in their content and, although laboriously hand-made, have a deceptively manufactured appearance. These are works made to be viewed at close quarters. The simplicity of the image focuses our attention towards the minscule and demands close scrutiny. One is drawn in to an intimate space where the barrier between viewer and artist diminishes.
Untitled #71, acrylic; emulsion and gesso on plywood, 24 x 18 cm, 2013
STEVEN BARIS (USA)
Nested Forms is series of acrylic paintings on irregularly shaped Plexiglas panels. These pieces address my long- running fascination with the intersections of form, structure and notional space. Whereas in much of my other work, the forms are dispersed and randomly distributed over a larger surface, with the Nested Forms I aim to compress multiple shapes into a single, flat object. I am interested in how that object can simultaneously hold and lose its form identity when its component parts vary so widely in shape, transparency and other intangible surface qualities. I am especially interested in the juxtapositions of opaque, metallic surfaces with more translucent paint. I like how each of these surfaces suggests very different spatial registers, one projecting forward and the other inward. To riff off an old expression, I feel that a painting is finished when it seems to occupy two places at the same time. Nested Forms #16, acrylic on plexiglas, 11.75 x 19 inches, 2012
SUE POST (USA)
I find ways for paint to â€˜behaveâ€™, where simultaneous contrast and ambiguous space make surfaces both flat and deep. Recently I have been experimenting with placing these grids within a field.
Whitewash Too, oil on line, 51 x 51 cm, 2008
SUSAN STILL SCOTT (1961 / USA)
I situate my work somewhere between painting and sculpture, not necessarily by design, but because I want to see what happens in a painting when the normally rectangular plane is seriously compromised. Almost any object like a piece of wood, a cardboard box or a wire frame can substitute for a pictorial format, but then there’s no longer a flat neutral ground. You can confound the fiction and definition of abstract imagery and still have the foundation of a painting. The physicality of a particular piece informs how I paint it, as the developing image changes how I see the form. I like to have the sense that something is happening that there are possibilities I can’t completely know. And while it can be time consuming and cumbersome, that’s what this process affords me. I like to know I can reconcile visual and physical integrity through my work and still be surprised with the result. Sharing Space, oil and gouache on canvas with string; styrofoam; staples; polymer glue; plastic bag; duct tape, 9 x 11.5 x 2 inches, 2011
SUZAN SHUTAN (USA)
My work is often inspired by materials that are manufactured. I repurpose and transform them as contemporary artifacts commenting in part upon the accumulation of cultural debris. Vibrant, repetitive and geometric, they echo systems found in the natural world. Contemplating daily life as a collection of observed objects and data whose order is betrayed by the unexpected, allowing a quirky transformation.
Button Pusher, Wood & Foam, 4.25” h x 3.5” w x 3.5” d, 2013
TONY HARDING (1946 / UK)
I paint because itâ€™s a way of expressing thoughts/feelings/ideas in a medium which leaves things open & whilst writing a text uses a verbal medium - the strength of which lies in defining and narrowing down meaning, hence I prefer to remain silent.
Mass + Dynamic Series, pigment & acrylic medium on canvas, 73 x 60 cm, 2010
VITOR MEJUTO (ES)
Personally I think and dream in the same language I use to paint. It doesnâ€™t mean I am not able to deal with more current information, but I am just not sure that my place is in these avant-garde positions. Although I started out in Fine Arts in Salamanca, I wasnâ€™t able to adapt my rhythm to that of the academy. The academic aspect does not necessarily have to be conservative; most of the conceptual art I see now is pure academic posturing. But for me it has always been difficult to accept that artistic activity is something that one can study. I suppose that this is the arrogance that comes with the more or less self-taught painters. The case is that at the beginning, at university, we all wanted to be Van Gogh; three years later many of my fellow students had become conceptual artists. I carried on doing brush strokes, but I was already interested in Sean Scully and Richard Diebenkorn. I was already interested in organizing the space... Untitled, acrylic on canvas , 60 x 60 cm, 2012
WAHIDA AZHARI (DE)
My art is an exploration of the experience of space, void and light. Light as a source, a ground of origin, a source of information in itself, carrying a message. The lines, forms and surfaces of my works exist through their specific interdependences and coexistence with emptiness and space. Their relationship is variable, there is no unique right and definite solution, but many, unknown and changing.
untitled 2013, acrylic on wood, 30 x 30 x 3 cm, 2012
WILMA VISSERS (NL)
I am inspired by emptiness and space. Spatiality and infinite space must be present even in the smallest work. Space plays an important role: not only the space between my artworks, but also how a space is used when I present them as a large installation on the wall. I want to pay attention to the detail of each individual work of art that was made separetly, without losing sight of the larger whole formed by all of them together.
Wilma Vissers studio, 2013
EXHIBITION PHOTOGRAPHS / TENTOONSTELLING FOTO
Manic Episode 4, Speech of Petri Leijdekkers With consent I have read the article by Sven LŸtticken about the criticism on Ann Goldstein, director of the Stedelijk Museum, who is not in function anymore (Metropolis M 6, dec 2013 - jan 2014). In his story he denounces the Dutch art critics, who are always looking for thrills and exitement, as if they own the Stedelijk Museum and they accuse her off turning the Museum into a dull place. He opposes these criticisms by suggesting her care, her thorough knowledge and courage to take the meaning of art from the second half of the 20th century, when its conceptual value and shape were examined and made sustainable. And show this process to the audience. Ann Goldstein was not afraid to defy the taste and desire of art criticism. In one stroke she returned the Stedelijk Museum to its position as a member of the world’s top contemporary museums. Thus LŸtticken. This kind of criticism makes me happy because it opposes the tendency to approve only understandable figuration and artistic celebration projects. In the museum of contemporary art, we must witness particular approaches, ideas and performances of artists. That must be performed daring, precise and carefully. I found the exhibitions of Wim Beeren, from 1985-1993 director of the Museum, a great example of this. As in the summer of 1992, the comprehensive exhibition from the big book ‘The Great Utopia’, Russian Avantgarde 1915-1932. Three years before, (1989), he had already shown an excellent overview of the art off Kasimir Malevich with artworks from the collections of the State Russian Museum in Leningrad, the State Tretyakof Gallery in Moscow and the City itself Now Ann Goldstein, (probably) forced to leave, shows a retrospective review off this painter. From its own collection and those of Russian museums.What makes the work of Malevich so fascinating ? He distinguished himself by Mondrian by the absolute position he had on a very early stage (1915): the actual appearance of his abstract art. While Mondrian still experimented with cubism and Van Doesburg lapsed again and again into Malevich painted in 1915 the Black Square. After reaching zeropoint, the art started to count again, new meant objectless, abstract. It was like a countdown off the launch of a rocket. But also the tradition of Russian icons that were painted in the history of the Russian Orthodox Church, again and again and always in the same form. During the last futurist exhibition 0,10, which was held in St. Petersburg in 1915, the Black square hung high in the corner of the exhibition hall in the place off the Russian house icon, the mother with the Pantocrator staning on her lap, the promising child who would control everything. The black square was painted several times. Just as an icon is created in the same form, again and again. Malevich’s art was the icon of the Russian revolution and, together with those of Mondrian and Duchamp that of Western art. It adorns Goldstein that during her time spent, she showed these art with as much precision and attention in the Stedelijk Museum. The concrete art of Malevich and others is hardly the cause of any commotion nowadays and is therefore difficult to rate and esteem. Yet she gives freedom of choice to explore the unlimited space of the image, in which nothing is determined and there is a possibility to dream. When Malevich (1927), returned to Russia , after a visit to Warsaw and Berlin . Stalin was busy to dissociate from abstract art. 106
Malevich yielded to the new pressure of the people , and he started to paint strange images with doll like creatures without a face, (yet again) signed with the emblem of the Black Square. One of his followers was the Polish painter Wladyslaw Sztreminski.. He had already worked with Malevich in Vitebsk in the early 20s and he had taken to the absoluteness mainly. He created this into a new program, the Unisme: Image and reality were one. The consequence was that the painting, in a relatively short time - from 1915 to 1930 -, had developed into something only referring to itself. That pragmatic state of the art was acquired by the American art after the war. MoMA had some paintings by Malevich.Mondrian painted during the war in New York Victory Boogy Woogy (continuous in motion city). That inspired artists such as Elsworth Kelly , Donald Judd , Sol LeWitt, Agnes Martin and Richard Tuttle. Even before the war there was a visual language that was international, in which artists from anywhere communicated through their work with each other through exhibitions, demonstrations and magazines, that were created by them. Never before so many international magazines emerged as in the pioneering days of abstract art: De Stijl, Le Cercle et CarrŽ and many others in Europe. The Dutchman Theo van Doesburg was involved in everything, as after 1960, Henk Peeters, the Dutch contactman of NUL/Zero. While we where trying to know and to work with the idiom of Mondrian through the painting of the tree which became abstract because we held on convulsively to the natural growth (see the figurative abstractions of COBRA), in the USA, a specific abstract language was used. Figures and space on the flat surface on the painting. The unisme of the Polish artists Sztreminsky became concrete reality after the war in the art works of the Americans. In this exhibition we find many painted objects who have no other wish than to be them selves. They do not refer to anything in reality but are small forms on the wall, on the floor and leave marks. They are like letters of a new language , the international language of visual communication.There appears to be no world outside that area. But it just opens into itself. See what Mondrian did with his Victory Boogy Woogy, where he let us join in the rhythm of colors, Malevich with his black sucking black, Rothko with its large areas where you are sucked through the glow and Tuttle with his little images in a exhibition are scattered everywhere. Here in this exhibition there are also these kind of images, each with its own idiom , monochrome or signed, hard or soft edge. It’s a great adventure to walk through. In this exhibition there is a large painting which is the monochrome canvas of Groningen Janet Meester. The edges are painted in a businesslike manner. The large inner surface has a key of different layers The color glow is warm, brown, orange. The layers provide an experience of space in the paint. If you look at it long the surface opens and gives the illusion of allowing you in.Looking to this painting I was reminded of a story by Philip Peeters, editor of Museumjournaal, between 1955 and 1997 a major Dutch magazine on contemporary art. In a story that he wrote for the Frank Mohr Institute at my request “How does the painting come to life? “ he wrote, After spying on the relation between a viewer and a painting, that if the viewer and the painting would come to each other (which can be done) a moment of mystical union could occur: unity of painting and viewer. That moment happens when you look at abstract art. Petri Leijdekkers
PRESS / PRESSE
Dagblad van het Noorden. 30-12-2013
“ This kind of art doesn’t visit Groningen often” interview Wilma Vissers Facebook exhibition combined with northern artists By Illand Pietersma
Groningen “The art scene in Groningen is so boring” says Wilma Vissers. “There is always great attention for figurative art, but now recently several galleries have stopped, there is almost no space left for different kind of art exhibitions. I wanted to exhibit art which is not often on display here . “ Last year she visited in Hamburg with an artists form France “ Manic Episode 3” . “That is a traveling exhibition of artists, aquainted through Facebook, from America and Australia, Germany, France, and Turkey. This international group of artists is called Maniac . The participants are mainly abstract, so-called ‘concrete ‘ art . When Vissers learned that the exhibition in Hamburg would be the last show. She had the idea to exhibit their artworks in Groningen. The idea was well received. “I liked the idea about artists from New York , who love to exhibit in the little town of Groningen “ Now Episode 4 from Manic is at Temporary Art Space (T.A.S ) , the former exhibition space of the gallery Anderwereld and now temporarily in management of Havik/Carex . Vissers searched for Groninger artists who could join the exhibition of Maniac. “I wanted to show this innovative art in dialogue with art from here . So I could show that art from the City and surrounding province is analogue with international art. I especially chose artists who challenge the artworks of the Maniac a bit”. What stands out in the exhibition is that the Dutch artists often pay attention to paint and the surface of the canvas, while the artists of Maniac art works are more conceptual orientated. “You could say that to a large exent this is true” responds Vissers, who takes the development of Piet Mondrian as an example . “He painted first figurative and eventually found the purely abstract art. In a similar way, you can say that European artists have a strong feeling off tradition , while the Americans started at a later stage. The dividing line between artistic tradition and concept is somewhere between the European and American art”. Such initiatives through social media for artists is the only way to survive in the Netherlands, says Vissers. “Now there are almost no more galleries and we are looking for other possibilities through facebook. I found a large international network. It has brought me exhibitions in France and New York . It seems easier than exhibit in my own city”. If this is the only way to survive how big is the success of this exhibition ? “At the opening were hundred visitors and there are now four artworks sold”. That’s not that much ? “It’s more than I expected”. Especially when you realize how it ultimately fared the gallery who was here first. With Maniac, i would like Groningen to become acquainted with such network of international artists. It is a special exhibition. Because after previous exhibitions in California and Hamburg, there are plans that Maniac will probably go to London or Paris. Groningen looks good in between these two cities. Dagblad van het Noorden. 30-12-2013 110
Founder of the Maniac Art Group : Kevin Daly www.kevindaly.us Manic Episode 4 Exhibition Curator : Wilma Wissers www.wilmavissers.com Exhibition & Vernissage Photographs : Michael Perlbach www.art.mikelmade.de Aimee Terburg www.aterburg.nl Bogumila Strojna www.strojna.net Catalogue Design : Erdem Kucukkoroglu Logo Design : Kevin Daly
Thanks : Wahida Azhari Aimee Terburg Maria de Werker Arjan van Es Fabian Westphal David Stroband Tini Buurke Hans Goudsblom Ursula Kunst Copyright ÂŠ Manic Episode 4 Artists 2014 111
Maniac visits Groningen
MANIC EPISODE 4