Kaleidoscope Catalogue - The Office of Public Works

KALEIDOSCOPE • Contemporary Art from EU Member States • 2013
KALEIDOSCOPE
Contemporary Art from EU Member States
KALEIDOSCOPE
CONTEMPORARY ART FROM EU MEMBER STATES
Farmleigh Gallery
Castleknock
Dublin 15
Ireland
1 M ay - 3 0 J u n e 2 0 1 3
© Government of Ireland 2013
Published by the Office of Public Works.
Production: IJP Print Services
Design: Cooke Design
To obtain copies, contact:
OPW Art Management Office,
Email: [email protected]
Dimensions in centimetres, unframed,
height preceding width.
ISBN: 978 -1-4064-2766-0
Acknowledgements
Exhibition organised by the Art Management Office from the Office of Public Works.
Research, administration and text by Marian O’Brien, Colin Butler and Dara Lynne Lenehan
from the Office of Public Works.
Introduction: Jacquie Moore.
Catalogue text, translations and images supplied by EU Member States.
Additional photography for images on pages 17,25,27,32 & 37 by Davey Moor and page 21 by
Colin Butler.
Special thanks to the artists, to all the EU Member State Embassies and the relevant cultural
organisations for releasing the included artworks and for their research assistance. Also, a
special thank you to the team at Farmleigh Gallery for their assistance in co-ordinating the
exhibition.
4
Foreword
Kaleidoscope: Contemporary Art from EU
public buildings throughout Ireland. The
Member States is an exhibition of a selection
majority of contemporary art works in the
of contemporary art works from the twenty-
State Art Collection have been acquired
seven Member States of the European
under the Irish Government’s Per Cent for Art
Union. This exhibition has been organised
Scheme.
by the Department of Arts, Heritage and
Gaeltacht and the Office of Public Works in
We would like to acknowledge the excellent
collaboration with the Embassies and various
co-operation we have received from the
cultural organisations throughout Europe.
relevant Embassies and cultural organisations
of the participating countries.
The exhibition forms part of Culture Connects,
a culture programme to celebrate Ireland’s
Finally and most importantly, we would like
Presidency of the Council of the European
to thank the artists themselves.
Union. Culture Connects is an initiative
of the Department of Arts, Heritage and
It is with great pleasure that we, as Ministers
the Gaeltacht and is a wide and varied
for the participating Departments, bring you
programme which involves the engagement
this exhibition.
of Irish artists in Europe and European artists
in Ireland. For many centuries, Ireland has
had strong historic cultural connections
to Europe and our Presidency offers an
opportunity to celebrate and build on these
connections.
Jimmy Deenihan, TD
Minister for Department of Arts,
The works in this exhibition reflect the
Heritage and the Gaeltacht
current art practice of contemporary artists
of many European nationalities, across a
variety of media – video, drawing, sculpture,
print and painting. The unique vision of each
artist reflects the diversity of new work being
created throughout Europe.
Brian Hayes, TD
The Office of Public Works manages the Irish
Minister of State at the Department
State Art Collection which contains over
of Public Expenditure and Reform (with
15,000 art works and decorative objects.
responsibility for the Office of Public Works)
These works are located in hundreds of
5
Kaleidoscope:
Supported by cultural institutions and other
creation of contemporary tangible forms.
Contemporary Art from EU Member States
lenders, the Embassies have ensured that
Ayamonsk is an object created through
visitors to this exhibition will obtain an idea
stereolithography – a complex engineering
of the creative energy that exists in their
process that involves 3D print. Another
countries.
artist who is interested in exploring the use
of technology in art is Kamen Starchev
Each Member State was invited to select
who represents Bulgaria. His abstract digital
one artist or one work for inclusion in the
print, Real Treasure, is a collision of forms that
exhibition. This, of course, proved a most
subtly prevents the viewer from settling on
difficult task. However, the challenge was
a viewpoint, but keeps the eye moving over
embraced with great enthusiasm and a
the image.
willingness to take part in the project and
The title of this exhibition evolved during
we are fortunate that every Member State
Cyprus is represented by artist Gloria
its organisation process. With the inclusion
is represented in the Farmleigh Gallery.
Marathefti whose cool toned composition,
of artworks from 27 EU Member States, it
The process behind the selection was
Silence Dressed in Blue, exemplifies her interest
was evident from the outset that such a
different for each country and a dialogue
in exploring the subject matter of dreams
gathering would be eclectic, as the call for
took place between Embassy staff, cultural
and memories in her work. Marathefti, like
works was purposely open in terms of media.
organisations, individual lenders and the Art
many of the other artists included in the
The motto of the EU ‘united in diversity’ was
Management Office of the Office of Public
exhibition, studied abroad before returning
the only conceptual premise that informed
Works. The resulting exhibition offers only
home to work as an artist. The Czech
the theme of the exhibition. It was from
a glimpse of visual arts practice throughout
Republic selected the playful graphic work,
this motto that the notion of a kaleidoscope
Europe, but it is hoped that it will provide
The Irish Sisypheus by the renowned Czech
emerged – an entity that creates a visual
an introduction to artists who might not
illustrator and cartoonist, Jiří Slíva. This
whole from a coming together of disparate
otherwise be known to Irish audiences.
limited edition print was commissioned by
elements.
the Czech Ambassador to Ireland to mark
Austria is represented by Olaf Osten, an
Ireland’s EU Presidency and copies have been
With the purpose of bringing European
artist based in Vienna, who has created
presented to the Taoiseach, Enda Kenny and
visual art, created in recent decades, to
a dynamic large-scale work, Pendeln 064,
the Minister of State for European Affairs,
an Irish audience and to provide these
Museums Quartier Wien, which is based
Lucinda Creighton.
artists with a platform during Ireland’s EU
on drawings he created in notebooks
Presidency, it was hoped that the co-
documenting his commutes through
Alongside the traditional media of painting
operation of the EU Embassies would be
Vienna and Hamburg. Belgium selected
and drawing, a number of video pieces
obtained. The organisation of this project
Nick Ervinck whose intriguing three-
were selected for the exhibition including
has been supported fully by all EU Member
dimensional print Ayamonsk pushes the
Dissolution by Pernille With Madsen
States and tremendous efforts were made
boundaries of artistic media, demonstrating
which represents Denmark. With Madsen
to source art works for the exhibition.
his interest in digital design and the
is an artist who works in a variety of media
6
including film, drawing and photography
submitted by the Goethe-Institut to
creates complex imagery, richly layered with
to explore human experience and our
represent Germany. The two images
meaning – invites an interesting dialogue
engagement with architectural spaces by
represent a weekly photographic exchange
between the eye and the ‘I’– the spectator
creating illusions that disorientate and raise
that took place between the artists from
and the work – an invitation to seeing what
questions about created realities. Estonian
their two very different cities via the
lies behind.
artist Kristiina Hansen also draws the
internet – each artist responding to the
spectator into an illusionary world with
other’s images, creating a photographic
Italy submitted the intriguing work on paper,
the dimunitive Little House in the Periphery.
project entitled Dakar/Berlin. The images
Il-Limite by Domingo Notaro, a renowned
Hansen has created a contemporary
not only reflect the artists’ individual
artist and poet who is based in Rome.
trompe l’oeil work that playfully provokes
aesthetic approaches but also explore the
Notaro consistently explores philosophical
its audience to investigate what is real and
experiences of individual citizens in each
issues, probing ‘the instant where eternity
what is perceived.
location. This exploration of identity and
is’, through manipulation of a variety of
individual experience is also the focus of
artistic media including painting, sculpture
Printmaker Kaisu Sirviö was selected
artist Stefanos Tsivopoulos, who represents
and poetry. In her multi-media installation,
to represent Finland. The mellifluous
Greece with his video installation The Land,
Latvian artist Kristīne Kursiša also addresses
composition, Heartstrings, is typical of her
(2006). Tsivopoulos follows the experience
philosophical issues. In the Diagnostics of
oeuvre, demonstrating her love of nature
of three men, speaking different languages,
Karma from the collection of the Latvian
and mastery of traditional stone lithography.
who attempt to understand their purpose
National Museum of Art, she examines the
This mastery of artistic technique is
in a strange land. In Poor Quasimodo,
human desire for long life and good fortune
also reflected in the work of renowned
Hungary’s representative, Ágota Krnács,
in terms of a struggle against karmic natural
French artist, Pierre Soulages whom
also focuses on the theme of the outsider,
laws where ‘to be ill and die is very healthy’.
we are fortunate to have included in the
presenting the viewer with a stylised
exhibition. Soulages is considered one of
depiction of Victor Hugo’s tragic character,
Lithuania selected Deimantas Narkevičius,
France’s greatest living artists and a major
woven into an elaborate patchwork of
an artist with an established international
international figure in post-war abstract
architecture and symbols that reflects the
reputation, who represented his country at
painting. Brou de Noix sur Papier 1998 13
artist’s interest in exploring the grotesque in
the Venice Biennale in 2001. Too Long on
represents his continued use of walnut stain
her work.
a Pedestal is a darkly humorous work that
throughout his career to create powerful
interrogates political histories by reflecting
abstract works that resonate with depth
As the purpose of this exhibition is to
on monuments erected to men of perceived
and his exploration of the profundity of the
focus on contemporary visual art practice,
greatness who were once revered but now
colour black.
it was decided to select an art work from
no longer hold power – reduced to a pair
the OPW managed State Art Collection to
of worn shoes filled with coarse salt. The
There are a number of photographs in the
represent Ireland that concerns itself with an
politics of place preoccupy Marc Scozzai
exhibition including two striking works
exploration of the relationship between the
who interrogates our experience of it
by Simone Gilges (Berlin, Germany)
subject and the object. Abigail O’Brien’s,
through the medium of video. Representing
and Mamadou Gomis (Dakar, Senegal)
Behind The i, wherein the artist’s own eye
Luxembourg, Scozzai ensures the viewer is
7
actively engaged in questioning reality as the
Portugal selected one of its most established
(in Spain). This work invites the spectator to
work cleverly manipulates what is seen and
artists, Rui Sanches as its representative in
view an image that at first appears abstract,
unseen. The artist uses the device of moving
the exhibition. Sanches is an artist whose
but gradually reveals itself as an architectural
cranes to interrogate human impact on the
works are in many key public collections
space.
environment.
within Portugal, and who has created
several important public commissions. He
Cecilia Danell’s painting Fracture represents
Malta is represented by Teresa Sciberras
is interested in experimenting with his
Sweden. Danell is a Swedish artist who is
with her precise small painting on panel Little
chosen media – whether it is plywood,
currently based in Ireland. This small work,
White Lies 05. Evocative of early Renaissance
stone, metal or paper to create structures
with its cool tones and quiet composition,
compositions in terms of perspective, the
that are confident, strong and technically
reflects the artist’s interest in exploring her
viewer is drawn into a painted structural
sophisticated. The works selected for this
Scandinavian heritage. The United Kingdrom
maze that floats on bare wood support
exhibition reflect how central drawings
is represented by Birmingham born artist
and demonstrates succinctly the artist’s
are to his artistic practice. Another sculptor
Idris Khan, with a dramatic, dark C-print,
technical ability. Another artist playing
selected for the exhibition is Bogdan
Bach … Six Suites for the Solo Cello from the
with perspective is Katrin Korfmann
Raţă. The vibrant figurative work entitled
Government Art Collection. In this work,
who represents the Netherlands. In her
Lonely represents Romania. In his work,
Khan layers musical sheets digitally to create
photograph, Cobra, the initial impression
Raţa recreates the human body in three-
an intriguing composition that raises issues
is that it is an abstract work. However, all
dimensional forms that unsettle and confuse.
in relation to creative histories and individual
is not as it appears - on closer inspection,
With a precise understanding of anatomy
authorship.
it is revealed that the work is in fact is an
and the use of synthetic media, he places
aerial photograph. The artist uses remote
body parts in strange compositions that
The artists included in this exhibition work
controlled helicams and cameras on cranes
provoke a response from the viewer.
in a wide variety of media. Photography,
to take bird’s eye view shots of selected
locations.
painting, sculpture, printmaking and
Other artists working through the medium
video are all represented. Some of the
of photography are internationally acclaimed
artists are established and internationally
Distinguished international artist,
Slovakian photographer Yuri Dojc who
recognised while others are in the early
Mirosław Bałka, represents Poland with
represents his country with the project
stages of their careers. It is evident that
his monochromatic lithograph entitled B.
Love Song to Slovakia and Jasmina Cibic,
certain themes run through the work of the
This still was taken from a video included in
representing Slovenia with the stylish
included artists – identity, place, history, and
his 2007 exhibition Mirosław Bałka: Tristes
diptych Boutique Airports I and II. Both
memory. It is also the case that many of the
Tropiques at the Irish Museum of Modern
artists, in two very different styles, present
artists are exploring new ways of creating
Art Powerful in its simplicity, the letter is
landscapes that capture the imagination
art – of engaging with new technologies
an inverted capital letter from a sign that
and engage the spectator in their visual
and exploring the boundaries of what is
was on display at the concentration camp
interventions. Spain is also represented by
traditionally considered visual art.
in Auschwitz. The themes of memory and
photography with an image by Ricardo
The Culture Connects programme for
history are at the core of much of his work.
Santonja from his series The Art of Building
Ireland’s EU Presidency is a dynamic one
8
involving all of the art forms and it is under
this umbrella that this exhibition was made
possible. Irish artists have travelled abroad
and the work of many European artists is
being exhibited in Ireland, in many cases
for the first time. Art has always been
international - opening up new territories
for artists and audiences. Art critic, Simon
Schama has stated that ‘art, like memory,
is never truly solid’ and it is hoped that
Kaleidosocope has created an awareness
of current visual art practice in Europe
demonstrating that the visual arts continue
to flourish and excite.
Jacquie Moore
Deputy Art Adviser
Office of Public Works
April 2013
9
Au s t r i a • Ö s t e r r e i c h
Olaf Osten
his life as a commuter between Hamburg
Stiegenhaus oder das Serapionstheater in
and Vienna. His old pocket calendar became
Wien. Eine Stadt erkenne man an ihrem
a graphic diary. Thus Olaf’s work plays with
Rhythmus, hat Robert Musil geschrieben,
the theme of travelling and the desire for
und eben diesen versucht auch Olaf
the new that always goes hand in hand with
Osten einzufangen und eröffnet dem
departure. However, after a certain time
Betrachter damit Einblicke in seine eigene
the desire to return to one’s daily routine
Pendlersituation zwischen Hamburg und
reappears. Since 1997, the artist is living and
Wien. Der Taschenkalender wird zu einem
working in Vienna.
gezeichneten Tagebuch. Solcherart spielen
die Arbeiten auch mit dem Thema Reisen
Olaf Osten, born in 1972 in Lübeck studied
und dem Bedürfnis nach dem Neuen – wenn
graphic design at the Hochschule für
Olaf Osten wurde 1972 in Lübeck
das aktuelle Umfeld zu klein wird –, das stets
angewandte Wissenschaft und Kunst in
geboren und absolvierte 1992 – 1997
mit einem Aufbruch einhergeht. Doch nach
Hildesheim, Germany and at the Dun
ein Grafikstudium an der Hochschule für
gewisser Zeit stellt sich wieder der Wunsch
Laoghaire College of Art and Design in
angewandte Wissenschaft und Kunst in
nach einer Rückkehr in den gewohnten
Dublin, Ireland from 1992 to 1997.
Hildesheim, Deutschland und am Dun
Alltag ein.
Laoghaire College of Art & Design in Dublin,
His series Pendeln (Commuting) was created
Irland.
in the last five years and represents a
Text: Silvie Aigner
biographical note of the artist. Documenting
Seit 1997 lebt der Künstler in Wien. Die Serie
his journeys through Vienna and Hamburg
„Pendeln“ entstand während der letzten fünf
with drawings in a used pocket calendar,
Jahre und ist zugleich auch so etwas wie eine
Olaf manages to portray both cities from
biographische Notiz des Künstlers. Olaf Osten
www.olaf-osten.com
his own perspective. Though the port of
dokumentiert seine Wege durch Wien und
www.baeckerstrasse4.at
Hamburg and the Museums Quartier in
Hamburg in Form von Zeichnungen, die er
http://www.bmeia.gv.at/botschaft/dublin.html
Vienna are quite characteristic places, Olaf
in ausgediente Taschenkalender skizziert und
is less interested in representative sites. His
die, die Städte jeweils aus dem Blickwinkel
interests lie in the details of a bottom view of
des Künstlers zeigen. Dabei interessiert ihn
a bridge crossing the Danube, or the facade
weit weniger die repräsentative Fassade der
of a house in Hamburg, the staircase of a
Orte, wenngleich der Hafen von Hamburg
typical house in Vienna or the the Serapions
oder das Wiener Museumsquartier durchaus
Theater in Vienna. You recognise a city by
als charakteristische Plätze gelten. Es sind
its rhythm, the Austrian author Robert Musil
Details wie die Unteransicht einer Brücke
once wrote, and Olaf wants to simulate this
über den Donaukanal, die Fassade eines
feeling by giving the viewers an insight into
Hamburger Hauses, ein typisches Wiener
10
Courtesy: bäckerstrasse4 – platform for young art
Pendeln 064, Museums Quartier Wien
Print on canvas/ 200 x 300/ 2011
B e lg i u m • B e lg i e n • B e lg i q u e • B e lg i ë
Nick Ervinck
Grenzen zwischen verschiedene Medien
avec une force dynamique vers le haut. Entre
und das ästhetische Potenzial von Skulptur,
abstraction et figuration, entre physique
3D Drucken, Animationsfilmen, Anlagen,
et numérique, cette sculpture est à la fois
Architektur und Design. Werke von Nick
fascinante et terrifiante.
Ervinck wurden häufig bei nationalen und
internationalen Ausstellungen gezeigt und
hat zahlreiche Preise gewonnen.
Steeds op zoek naar de kruisbestuiving
tussen het digitale en het fysieke verkent
Ayamonsk scheint im Boden verwurzelt
Nick Ervinck (1981, België) de grenzen tussen
zu sein. Seine pflanzliche Struktur richtet
verschillende media en het esthetisch
die Aufmerksamkeit auf das unter der
potentieel van beeldhouwkunst, 3D printen,
Fostering a cross-pollination between the
Oberfläche Lauernde, aber zur gleichen
animatie, installaties, architectuur en design.
digital and the physical, Nick Ervinck (born
Zeit lenken die ‘Zweige’ das Auge mit
Nick Ervinck’s werk werd opgenomen
1981, Belgium) explores the boundaries
einer dynamischen Kraft nach oben.
in talloze nationale en internationale
between various media and the aesthetic
Zwischen Abstraktion und Figuration
tentoonstellingen en heeft verschillende
potential of sculpture, 3D prints, animation,
sowie zwischen dem Physischen und dem
prijzen gewonnen.
installation, architecture and design. Ervinck’s
Digitalen balanzierend, wirkt diese Skulptur
work has been included in numerous
gleichzeitig faszinierend und beängstigend.
national and international shows, and has
Ayamonsk lijkt in de grond geworteld te
zijn. Haar plantaardige structuur focust de
won several prizes.
aandacht op wat net onder het oppervlak
Favorisant une pollination croisée entre
loert, maar haar “takken” leiden het oog
Ayamonsk seems rooted in the ground. Its
le numérique et le physique, Nick Ervinck
tegelijkertijd omhoog met een dynamische
vegetable structure focuses attention on
(°1981, Belgique) explore les frontières entre
kracht. Dit beeldhouwwerk balanceert
what is lurking beneath the surface, but its
différents supports et le potentiel esthétique
tussen abstractie en figuratie en tussen het
‘branches’ lead the eye at the same time
de la sculpture, de l’impression en 3D, de
fysieke en het digitale, wat het tegelijkertijd
upwards with a dynamic force. Balancing
l’animation, de l’installation, l’architecture
fascinerend en angstaanjagend maakt.
between abstraction and figuration and
et le design. L’oeuvre de Nick Ervinck’s a été
between the physical and the digital, this
exposée dans de nombreux salons nationaux
sculpture is at the same time fascinating and
et internationaux et a remporté plusieurs
www.nickervinck.com/
terrifying.
prix.
countries.diplomatie.belgium.be/en/ireland/
diplomatie.belgium.be
Ayamonsk semble prendre racine dans le sol.
Die Wechselwirkungen zwischen dem
Sa structure végétale attire l’attention sur ce
Digitalen und dem Physischen fördernd,
qui se cache sous la surface, mais au même
erforscht Nick Ervinck (°1981, Belgien) die
moment ses ‘branches’ captent le regard
12
Ayamonsk
Polyamide 3D print/36 x 42 x 33/2010
B u lg a r i a • Бъ л га р и я
Kamen Startchev
Kamen Startchev was born in Sofia, Bulgaria
Камен Старчев е роден в София, България
in 1971. He graduated from High School
1971. Завършва Художествената гимназия
of Fine Arts, Sofia im 1990 and the National
в София през 1990 и Скулптура в
Academy of Fine Arts, Sofia 1996 specialising
Националната художествена академия
in Sculpture. Among his solo exhibitions are
през 1996. Самостоятелни изложби
shows in Berlin, Vienna, Prague, Bratislava,
прави в Берлин, Виена, Прага, Братислава,
Bulgaria and projects with the best art
много градове и някои от най-добрите арт
institutions in the country. His collaborative
институции в страната. Общи изложби и
projects feature shows in the United States
други участия има в области като видео
in video art, print and other media as well as
арт, графика, скулптура и др. в САЩ и
sculpture. Startchev has many nominations
други страни. Старчев има номинации
and awards including the Union of
и награди, включително и резидентната
Bulgarian Artist’s Prize for residency in Cite
програма на Cite International des Arts –
International Des Arts, Paris, France.
Париж на СБХ.
Although predominantly a sculptor, Kamen
Скулптор по образование, Камен
Startchev also searches aesthetic expression
Старчев търси пластическо изразяване
in an abstract field of illusionary two-
в абстрактното поле на една въобразена
dimensionality. The work Real Treasure is
двуизмерност. Работата „Истинско
from the 2011 “New Land” solo exhibition at
съкровище” е от изложбата „Нова земя”,
the National Art Gallery - Sofia, Bulgaria.
представена през 2011 в Националната
художествена галерия. http://sic.mfa.government.bg/
14
Real Treasure • Истинско съкровище
Digital print/110 x 130/2011
Cyprus • ΚΥΠΡΟΣ
Gloria Marathefti
Gloria Marathefti was born at Famagusta on
Η Γκλόρια Μαραθεύτη γεννήθηκε στο
the east coast of Cyprus. She studied Graphic
Βαρώσι (Αμμόχωστος). Σπούδασε Γραφιστική
Design and Painting at Hornsey College of
και Ζωγραφική στο Hornsey College of Art
Art in Middlesex University, England. She is a
του Πανεπιστημίου του Middlesex. Είναι
member of Cyprus` Chamber of Fine Arts (“E.
μέλος του Επιμελητηρίου Καλών Τεχνών
KA.TE.”) and has participated in several group
Κύπρου (Ε.ΚΑ.ΤΕ.) και έλαβε μέρος σε
exhibitions both in Cyprus and abroad.
αρκετές ομαδικές εκθέσεις τόσο στην Κύπρο
She has worked as a teacher in secondary
όσο και στο Εξωτερικό. Εργάστηκε σαν
schools and many of her students have been
καθηγήτρια τέχνης στην μέση εκπαίδευση
awarded prizes in European contests of art.
στην Κύπρο και μαθητές της βραβεύονταν
Her works can be found in private collections
κάθε χρόνο στον διαγωνισμό τέχνης των
in England, France, Greece, USA and Cyprus.
σχολείων της Ευρώπης. Έργα της υπάρχουν
σε ιδιωτικές συλλογές στην Αγγλία, Γαλλία,
This painting entitled Silence Dressed in Blue
Ελλάδα, Ηνωμένες Πολιτείες και Κύπρο.
belongs to the Earth – Sky – Sea series of
2006. By opting for a restricted palette of
Το έργο με τίτλο Σιωπή Ντυμένη στο Γαλάζιο
cool colours and hues Marathefti manages
ανήκει στη σειρά Γη – Ουρανός – Θάλασσα
to integrate into a unified whole the
του 2006. Επιστρατεύοντας μια λιτή παλέτα
varied elements of the composition. The
ψυχρών χρωμάτων και αποχρώσεων η
anthropomorphic imagery depicted evokes
Μαραθεύτη κατορθώνει να συνενώσει
the dream-like world of human memories
τα διαφορετικά στοιχεία της σύνθεσης σε
and anticipations.
ένα συνεκτικό όλον. Οι ανθρωπομορφικές
εικόνες παραπέμπουν στα βάθη των
ανθρώπινων ονείρων, αναμνήσεων και
προσδοκιών.
www.mfa.gov.cy/embassydublin
16
Silence Dressed in Blue • Σιωπή Ντυμένη στο Γαλάζιο
Oil on canvas/40 x 30/2006
Czech Republic • Česká republika
Jiří Slíva
Czech artist, graphic designer and illustrator,
Český výtvarník, grafik a ilustrátor, autor
author of poems, aphorisms and lyrics, Jiří
básniček, aforismů i písňových textů Jiří Slíva
Slíva was born in Plzen, Czech Republic
se narodil 4. 7. 1947 v Plzni, kde vystudoval
on 4 July, 1947. He studied metallurgy at
hutní průmyslovku, na VŠE v Praze potom
technical college in Plzen, and afterwards
ekonomiku průmyslu. Osm let pracoval v
studied Economics at the University of
prognostickém oddělení Ústavu pro filozofii
Economics, Prague. He worked in the
a sociologii Československé Akademie Věd,
Prognostics department in the Institute
od roku 1979 je výtvarníkem na volné noze.
for Philosophy and Sociology of the
Czechoslovak Academy of Sciences for eight
První kresbu uveřejnil Slíva v roce 1972 v
years. Sliva has a worked as a freelance artist
Mladé frontě, s grafikou a dalšími výtvarnými
since 1979.
technikami ho později seznámili Jíří
Šalamoun a Jiří Anderle. Slívovy práce se do
Slíva’s first drawing was published in 1972
dnešní doby objevily v Die Zeit, The New
in Mlada fronta, with graphics and other
York Times, The Wall Street Journal a řadě
artistic techniques he was introduced to by
dalších časopisů, v Česku na Slívu narazíte
Jiri Salamoun and Jiri Anderle. His work to
pravidelně v týdeníku Euro.
date has appeared in Die Zeit, The New York
Times, The Wall Street Journal, and numerous
Každoročně vystavuje v České republice i v
other magazines. One can regularly come
zahraničí, ilustroval více než 150 knih a vydal
across Slíva’s work in the Czech weekly
dvě desítky vlastních knížek ilustrací, grafik a
magazine Euro.
básniček. Za svou grafiku a kreslený humor
získal na 20 festivalových cen v Česku i ve
Slíva exhibits annually in the Czech Republic
světě.
and abroad. He has illustrated more than
one hundred and fifty books and published
Irský Sisypheus vznikl na objednávku
twenty books of his own illustrations,
velvyslance České republiky v Irsku jako dar
graphics and poems. He has won twenty
a povzbuzení pro přední irské vládní činitele
festival awards from the Czech Republic and
v souvislosti s předsednictvím Irska v Radě
throughout the world for his graphics and
Evropské unie.
cartoons.
www.jirisliva.com
The Irish Sisypheus was commissioned by the
Czech Ambassador to Ireland and handed
over as a symbol of encouragement to top
Irish government officials in connection with
Ireland´s EU Presidency.
18
www.mzv.cz/dublin
The Irish Sisypheus • Irský Sisypheus
Lithograph/40 x 30/2012
Denmark • Danmark
Pernille With Madsen
Dissolution, imbalance, disorientation,
Opløsning, ubalance, desorientering, kollaps
collapse and loss of control are core themes
og tab af kontrol er tilbagevendende
in the work of Pernille With Madsen.
temaer i Pernille With Madsens produktion.
Through video, photography, drawing and
Gennem video, fotografi, tegning og
installation With Madsen creates various
installation stabler With Madsen forskellige
impossible, but insisting experiments,
umulige, men insisterende eksperimenter på
each of which, in their own way, evokes
benene, der på hver deres vis alle bevirker
a fundamental scale-related and spatial
en fundamental rumlig og skalamæssig
confusion in the spectator. Through
forvirring af beskueren. Via ganske simple,
simple, but often difficult and backwards
men ofte besværlige og bagvendte greb,
measures, the artist establishes a universe
etablerer kunstneren et univers, der indvirker
which affects the spectator both visually,
både visuelt, fysisk og mentalt på beskueren
physically and mentally, and which cause a
og genererer følelsen af at fortabe sig og
feeling of forfeiture through a combination
blive væk i en kombination af svimmelhed,
of dizziness, euphoria, visual distortion
eufori, synsforstyrrelser og rumlig
and spatial deconstruction. Besides the
dekonstruktion. Som et supplement til den
physical, almost phenomenological effect
fysiske indvirkning, værkerne etablerer, ligger
With Madsen’s works have on the spectator,
desuden et ønske om at opløse arkitekturens
the artist also has an ambition to dissolve
symbolske værdi og magtdemonstration - at
the symbolic and authoritative values
lade en kile af kontroltab og desorientering
of architecture and to let in a sliver of
skyde sig ind og afsløre de underliggende
disorientation and loss of control, to expose
strukturer, der gennemløber rum og
the underlying structures which saturate
arkitektur.
space and architecture. Dissolution was also
included in an exhibtion in the Justus Lipsius
Pernille With Madsen (født i 1972) bor
building in Brussels during the Danish EU
og arbejder i København. Hun blev
Presidency.
færdiguddannet i 2003 fra det Jyske
Kunstakademi i Aarhus. Hendes videokunst
Born in 1972, Pernille With Madsen
Dissolution blev også vist i Justus Lipsius-
graduated in 2003 from the Jutland Art
bygningen i Bruxelles under det danske
Academy in the city of Aarhus, Denmark. She
EU-formandskab.
currently lives and works in Copenhagen.
www.pernillewithmadsen.dk
20
Dissolution • Opløsning II
Video/7 mins/2010
E s to n i a • E e s t i
Kristiina Hansen
1
Romeo ja Julia. Näitus
Y-galeriis ja 1. Mai Galeriis.
[Näitusekataloog] Koostanud
Anneli Porri ja Indrek Sirkel.
Tallinn: Lugemik, 2013, lk 32
Kristiina Hansen (born 1986) works and lives
Kristiina Hansen (sünd 1986) on Tallinnas
in Tallinn, Estonia. She studied in Estonian
elav ja töötav kunstnik. 2008. aastal lõpetas
Academy of Art and received a Bachelor of
ta Eesti Kunstiakadeemias fotograafia eriala
Arts Degree in Photography in 2009 and later
bakalaureuse tasemel ning 2012. aastal
in 2012 a Master’s Degree in Fine Arts. She
omandas vabade kunstide magistrikraadi.
briefly studied in Bergen Art Academy, while
2009. aastal täiendas ta end vahetusõpingute
taking part in a foreign exchange student
raames Bergeni Kunstiakadeemias.
program. Hansen mainly uses photography
Hansen töötab peamiselt foto- ja
and installation as mediums for her artworks.
installatsioonimeediumites, ta on osalenud
She has had solo and also group exhibitions
nii soolo- kui grupinäitustel.
An art critic Anneli Porri described the
Kunstikriitik Anneli Porri on iseloomustanud
installation: ‘Little House in the Periphery is
installatsiooni järgmiselt: “Väike maja
a small golden building, a precious house
perifeerias” on üks tilluke kuldne majake,
with a gable roof, wide doors and windows.
kallis väike maja viilkatuse, aknaruutude
The house is located in the furthest corner
ja laia uksega. Maja asetseb galerii kõige
of the gallery, at the periphery, where the
kaugemas nurgas, täielikul ääremaal, millest
viewer cannot go any further. Suddenly it
kaugemale vaataja minna ei saa. Äkki selgub,
becomes clear that the perfection of the
et maja täiuslikkus on illusioon, temast
little house is only an illusion, because three
on tegelikult kolmveerand puudu. Ainult
quarters of it is missing. The mirrors have
peeglite optiline trikk teeb selle vaataja jaoks
created the optical illusion that makes it look
terviklikuks ja näitab ka midagi võimatut:
like an entirety and also reveals something
topeltpeegeldus laiendab ruumi kaugemale,
impossible: double reflection expands the
kaotab ära seinad, paneb kullaga vääristatud
house, makes the walls vanish, and stretches
ebatäiusliku maja ulatuma kuhugi, mille
the gold grafted house into an unknown
kohta me ei saagi olla kindlad, kas see ruum
space that we can’t be sure of if it even exists’.
on või ei ole olemas”.1
www.ekm.ee
www.estemb.ie
22
Little House in the Periphery • Väike maja perifeerias
Mirror, gold & wood/20 x 22 x 7/2012
Finland • Suomen
Kaisu Sirviö
Kaisu Sirviö was born in Finland in 1953 and
Kaisu Sirviö on suomalainen vuonna 1953
specializes in lithography. In her artistic work
syntynyt taiteilija, joka on erikostunut
she focuses on stone printed lithography.
litografiaan. Taiteellisessa työskentelyssä
According to Sirviö, being close to a stone is
Sirviö keskittyy kiveltä vedostettuun
even inspiring, the stone is a natural material
litografiaan. Sirviön mukaan “jo kiven
that dates back thousands of years. The
äärellä oleminen on inspiroivaa, kivi on
stones that she is using have been used by
luonnonmateriaali vuosituhanten takaa.
masters since the 19th century. “Maybe they
Kivillä, joilla teokseni syntyvät ovat jo
made nice labels or educational pictures to
menneet mestarit töitä tehneet aina
school back then”, Sirviö reflects.
1800-luvulta lähtien. Tai ehkäpä niillä
vedostettiin kiiltokuvia tai kauniita etikettejä
As a material stone is porous and creates
tai kouluihin opetuskuvatauluja. Kivi on
an animated expression. Sirviö’s style is
huokoinen materiaali ja antaa ilmaisulle
picturesque, and lithography allows a wide
elävän jäljen. Tyylini on maalauksellinen,
range of values, from opaque to translucent.
ja litografialla pääsen laajaan valöörien
The unique handcraft-like print together
skaalaan, peittävästä läpikuultavaan.
with the intensity of the colours is the
Uniikki käsityömäinen jälki ja vahva värien
advantage of stone-print lithography. Sirviö
intensiteetti ovat kiveltä vedostetun
has taken part in joint exhibitions in Finland,
litografian etuja.” Sirviö on osallistunut
Estonia, Sweden, Russia, the United States,
lukuisiin yhteisnäyttelyihin muun muassa
Thailand, the Philippines and Belgium,
Suomessa, Virossa, Ruotsissa, Belgiassa,
among other places.
Venäjällä, Yhdysvalloissa, Thaimassa ja
Filippiineillä.
www.finland.ie
www.kaisusirvio.com
24
Heartstrings • Sydänjuuret
Lithograph/95 x 127/2009
France • France
Pierre Soulages
From the beginning of the 1950s, the Phillips
expositions de groupe présentées à New-
Gallery, Washington; the Guggenheim
York voyagent ensuite dans plusieurs musées
Museum and the Museum of Modern Art,
américains : “Advancing French Art”(1951),
New-York ; the Tate Gallery, London; the
“Younger European Artists” Guggenheim
Musée National d’Art Moderne, Paris ; the
Museum (1953), “The New Decade”, Museum
Museu de Arte Moderna, Rio de Janeiro,
of Modern Art de New York (1955). Dès le
all acquired his works. Today, more than
début des années 50, la Phillips Gallery,
150 of his paintings can be found in
Washington ; le Guggenheim Museum et le
various museums. From 1987 to 1994, he
Museum of modern art, New-York ; la Tate
produced 104 stained glass windows for
Gallery, Londres; le Musée national d’Art
the Romanesque abbey church Sainte-Foy
moderne, Paris ; le Museu de Arte Moderna,
in Conques. On the eve of his 90th birthday
Rio de Janeiro, acquièrent ses œuvres.
in 2009, the Pompidou Centre dedicated to
Aujourd’hui, plus de 150 de ses peintures se
Pierre Soulages was born in Rodez on 24
Soulages a retrospective of his work. The
trouvent dans les musées. De 1987 à 1994,
December, 1919 and is France’s greatest
work shown here forms part of Soulages’
il réalise les 104 vitraux de l’abbatiale de
living painter. From a young age, he was
research on black which led him to explore
Conques. A la veille de ses 90 ans, le Centre
particularly drawn to Romanesque and
all the materials at his disposal – here, nut
Pompidou lui consacre une rétrospective
prehistoric art. At 18 years of age, he went
corrosion - to find out what is now known as
en 2009. L’œuvre ici montrée appartient au
to Paris to prepare for the entrance exam
“black light” and “beyond black».
travail de recherche de Soulages sur le noir
to the École Nationale Supérieure des
qui l’a conduit à explorer tous les matériaux
Beaux-Arts. He was admitted but refused to
à sa disposition – ici le brou de noix – pour
enter. He left again for Rodez. In 1946, he
Pierre Soulages est né le 24 Décembre 1919
trouver ce que l’on appelle désormais “noir-
found a studio on Rue Schoelcher in Paris,
à Rodez. Il est le plus grand peintre français
lumière” et “outrenoir”.
close to Montparnasse, and devoted his
vivant. Très jeune il est attiré par l’art roman
time to painting. In 1948 he participated in
et la préhistoire. A 18 ans, il se rend à Paris
exhibitions in Paris and the rest of Europe,
pour préparer le concours d’entrée à l’Ecole
chantier-soulages.grand-rodez.com
notably in a number of museums in
nationale supérieure des Beaux-Arts. Il y est
www.ambafrance-ie.org
Germany as part of “Französische abstrakte
admis mais refuse d’y entrer. Il repart pour
malerei”. Other group exhibitions presented
Rodez. A partir de 1946, il trouve un atelier à
in New York then travelled to a number
Paris, rue Schoelcher, près de Montparnasse
of other American museums: “Advancing
et consacre désormais son temps à
French Art” (1951), “Younger European Artists”
la peinture. En 1948, il participe à des
Guggenheim Museum (1953), “The New
expositions à Paris et en Europe, notamment
Decade”, Museum of Modern Art, New York
à “Französische abstrakte malerei”, dans
(1955).
plusieurs musées allemands. D’autres
26
Brou de Noix sur Papier 1998 13 • Nut Corrosion on Paper 1998 13
Walnut stain on paper, on canvas/75.5 x 56.5/1998 • Private Collection
Germany • Deutschland
and Ireland. Simone Gilges participated in
werden ihre Fotografien in zahlreichen
the ifa-workshop prêt-à-partager in 2008.
Ausstellungen gezeigt, u.a. in Berlin (Galerie
Giti Nourbakhsch) und New York (Foxy
Simone Gilges & Mamadou Gomis
Mamadou Gomis was born 1976 in Ndoulo,
Production), sowie in Frankreich, Italien und
Senegal. Since 1992 he has worked as a
Irland. Simone Gilges nahm 2008 am ifa-
photographer and since 2000 as a reporter
Workshop prêt-à-partager teil.
for newspapers, press agencies and non-
Each week one photograph – that was
governmental organizations. Mamadou
Mamadou Gomis geboren 1976 in Ndoulo,
Gomis is Vice President of the Union des
Senegal, arbeitet seit 1992 als Fotograf,
Photojournalistes du Sénégal (UNJP). His
seit 2000 als Reporter für Zeitungen,
photographs are exhibited internationally
Presseagenturen und Hilfsorganisationen.
and he has won several photo competitions.
Mamadou Gomis ist Vize-Präsident der Union
In 2008 he participated in the ifa-workshop
des Photojournalistes du Sénégal (UNJP).
prêt-à-partager.
Seine Fotografien werden international
the idea and mode of the photographic
ausgestellt und er gewann mehrere
interchange held between Simone Gilges
Fotowettbewerbe. 2008 nahm Mamadou
from Berlin/Germany and Mamadou Gomis
Jede Woche ein Bild – das war Idee und
from Dakar/Senegal. The photographs serve
Form des fotografischen Gesprächs zwischen
as a response and comment to the prior one
Simone Gilges aus Berlin/Deutschland und
www.neuedokumente.de/simonegilges
sent - taken in the very unlikely cities and
Mamadou Gomis aus Dakar/Senegal. Jedes
www.mamadougomis.com
addressing everyday life in the streets, rituals
Foto war dabei Antwort und Kommentar
www.ifa.de
of public and private life and the artistic
zum Vorangegangenen. Die Aufnahmen aus
www.goethe.de/dublin
work of both photographers. The entire ifa
den beiden so unterschiedlichen Städten
exhibition Dakar / Berlin will be on show in
thematisieren den Alltag auf den Straßen,
Dakar, Senegal in autumn 2013.
die Rituale des Öffentlichen ebenso wie
das private Leben und die künstlerische
Simone Gilges was born 1973 in Bonn,
Arbeit der beiden Fotografen. Die gesamte
Germany. Since 1996 she has worked as
ifa-Ausstellung Dakar / Berlin wird im Herbst
a free-lance photographer in Berlin. She
2013 in Dakar, Senegal gezeigt.
documents the permanent change of the
city of Berlin and its music and art scene.
Simone Gilges geboren 1973 in Bonn,
Since 2004 her photographs have been
Deutschland, arbeitet seit 1996 als freie
shown in numerous exhibitions, i.e. in Berlin
Fotografin in Berlin. Sie dokumentiert
(Galerie Giti Nourbakhsch) and New York
den ständigen Wandel der Stadt und
(Foxy Production) as well as in France, Italy
ihrer Musik- und Kunstszene. Seit 2004
28
Gomis am ifa-Workshop prêt-à-partager teil.
La Mer pour Tous • The Sea for Everyone
Deutsche Küste • German Coast
Digital print/70 x 100/2011
Digital print/40 x 60/2010
Greece • ΕΛΛΑΔΑ
Stefanos Tsivopoulos
In Stefanos Tsivopoulos’ The Land, the
Στη βιντεοεγκατάσταση The Land [Γη]
viewer watches three men of different
του Στέφανου Τσιβόπουλου, ο θεατής
nationalities who wake up on a rocky beach.
παρακολουθεί τρεις άντρες διαφορετικών
Like castaways, they begin to wonder out
εθνικοτήτων να ξυπνάνε σε μια βραχώδη
loud, each in his own language, about the
παραλία. Σα ναυαγοί που μόλις φτάσανε
land in which they ended up stranded. The
στη στεριά, αρχίζουν και αναρωτιούνται
camera is gradually revealing parts of this
φωναχτά, ο καθένας στη δική του γλώσσα,
land to eventually disclose, unexpectedly,
για τον τόπο στον οποίο βρέθηκαν. Η κάμερα
to the viewer that this place is in fact an
σταδιακά φανερώνει μέρη του τόπου αυτού
uninhabitable desert island. Its only three
και στο τέλος, αναπάντεχα αποκαλύπτει
non-indigenous inhabitants are attempting
στον θεατή ότι πρόκειται για ένα μη-
to describe it notionally with their questions:
κατοικήσιμο ξερονήσι. Οι τρεις μοναδικοί
“What is the name of this place? Who owns
ετερόχθονες κάτοικοι του, προσπαθούν
this place? Can this territory be defined
να τον προσδιορίσουν εννοιολογικά με τις
topographically and geographically or is it
ερωτήσεις τους: «ποια είναι η ονομασία
like a vacuum?” Being something between
αυτού του τόπου; ποιος κατέχει αυτό το
a tragicomic episode and a philosophical
μέρος; θα μπορούσε αυτή η γη να οριστεί
video essay on the notional qualities of a
τοπογραφικά και γεωγραφικά ή αποτελεί ένα
place, The Land reframes important timeless
κενό;» Μεταξύ κωμικοτραγικού επεισοδίου
questions about territory, borders and
και βιντεοσκοπημένης φιλοσοφικής
population shifts.
πραγματείας για τις εννοιολογικές ιδιότητες
της γης, το Land επαναδιατυπώνει σημαντικά
διαχρονικά ερωτήματα για τον τόπο, τα
σύνορα και τις πληθυσμιακές μετατοπίσεις.
www.stefanostsivopoulos.com
www.emst.gr
30
The Land
Video/8 mins/2006
H u n g a r y • Ma g ya r o r s z á g
Ágota Krnács
in. She regards herself a follower of neo-dada
bármely területen is alkosson, így a festés,
and pop-art. She builds line-structures as
egyedi és computer grafika, fotó vagy a
a graphic artist, pure, unmixed colours as
videó művészetek területén, a cél mindig
a painter, and contrasts as a photographer.
megmarad: egységes képet teremteni egy
As an electrographic artist she is combining
groteszk világról, amiben élünk. A művésznő
these three medias: the colours and the
magára úgy tekint, mint aki követi a neo-
compositions lead her the same way –
dadát, és szereti a pop-artot.
whenever she is telling a story, or creating
an ambiance, or just to grasp a moment
Grafikusként vonalrendszereket, festőként
through her art.
tiszta keveretlen színeket, fotósként
kontrasztokat épít. Elektrografikusként e
Contemporary visual artist, designer,
The painting “Poor Quasimodo” reflects
három médiumot ötvözi; színekben és
surrealist and ‘digitalist’, founder of the”1s”,
her grotesque view of our surroundings,
kompozíciókban mindig ugyanoda jut: ha
Ágota Krnács studied visual communication
experience and memories.
történetet mesél el, vagy ha hangulatot
in Nyíregyháza, Hungary and the Moholy-
teremt, vagy épp csak egy pillanatot emel ki.
Nagy University of Art and Design of
Budapest. Krnács taught visual culture and
Kortárs képzőművész és tervezőgrafikus,
A „Szegény Kvazimódó” című festmény a
worked as a graphic designer in Budapest.
szürrealista és digitalista, az “1-ek”
művész környezetünkről, élményeinkről és
She also worked as a graphic designer and
megalapítója. Krnács Ágota vizuális
emlékeinkről alkotott groteszk látásmódját
as a freelance artist in Dublin from 2005.
kommunikációt tanult Nyíregyházán és
tükrözi.
While in Dublin she was supported by the
a Moholy-Nagy Művészeti Egyetemen
Hungarian Embassy and The Baby Elephant
Budapesten. Vizuális kultúrát tanított
Gallery in her artistic endeavours. She was
Budapesten, ahol tervezőgrafikusként is
awarded several times for her caricatures,
dolgozott. 2005-től Dublinban dolgozott
grotesque drawings and illustrations. She
tervezőgrafikusként és szabadúszó
has exhibited and sold drawings, paintings,
művészként. Ez idő alatt művészként a
cartoons, photos and electrographic works
dublin-i The Baby Elephant Gallery, és
in several European countries over the last
Magyarország Dublini Nagykövetségének
13 years.
támogatását is élvezte. Grafikái, groteszk
ábrázolásai és illusztrációi révén több
Krnács has engaged herself in various fields
szakmai díjat, kitüntetést kapott. Az
of fine arts, from painting, through computer
elmúlt tizenhárom évben számos európai
graphics to video-art, yet her aims have
országban állított ki és adott el rajzokat,
remained the same: to create a holistic
festményeket, képeket és elektrografikákat.
image of the grotesque world we are living
A képzőművészet több területén is mozog,
32
www.mfa.gov.hu/kulkepviselet/IE/hu
Poor Quasimodo • Szegény Kvazimódó
Watercolour on paper/48.5 x 34.5 /1999
Ireland • Éire
Abigail O’Brien RHA
projects have received acknowledgement
Rugadh O’Brien i mBaile Átha Cliath in
and appreciation across Europe and America.
1957, bhain sí céim BA amach i Mínealaín sa
This success is reflected in the various awards
Phéintéireacht sa Coláiste Náisiúnta Ealaíne
won by Abigail as well as her representation
is Deartha in 1995 agus MA i Mínealaín sa
in a variety of public and private collections.
Phéintéireacht in 1998. Tá aitheantas agus
O’Brien’s work can be found in many
meas léirithe ar a tionscadail mheáite ar fud
collections, including the Irish Museum of
na hEorpa agus Mheiriceá. Tá sin le feiceáil
Modern Art, Dublin, the European Central
sna gradaim éagsúla atá faighte ag Abigail,
Bank, Frankfurt, Goldman Sachs, London, and
mar aon lena comhpháirtíocht i mbailiúcháin
the Volpinum Collection, Vienna. She has
éagsúla phoiblí agus phríobháideacha.
shown extensively, including Haus Der Kunst,
Tá saothair O’Brien le fail i mbailiúcháin
Munich, the Gemeentemuseum, Holland,
éagsúla ar a n-áirítear Áras Nua-Ealaíne na
Abigail O’Brien is an established Irish
and Centro Nacional de las Artes, Mexico.
hÉireann, Baile Átha Cliath, Banc Ceannais na
artist who has exhibited extensively
She currently lives and works in Ireland.
hEorpa, Frankfurt, Goldman Sachs, Londain,
internationally. Using a range of media,
agus i mBailiúchán Volpinum sa Vín. Tá
including photography, embroidery, video
taispeántais tugtha go forleathan aici, ina
and sound, O’Brien explores themes of
Tá Abigail O’Brien ar dhuine de na
measc san Haus Der Kunst, i München, san
domesticity, the habitual nature of everyday
healaíontóirí comhaimseartha is bisiúla is
Gemeentemuseum, an Ísiltír, agus sa Centro
life and rites of passage. The chosen art
Éirinn. Trí úsáid a bhaint as réimse de mheáin,
Nacional de las Artes, i Meicsiceo.
work for this exhibition portrays the human
ar a n-áirítear fótagrafaíocht, bróidnéireacht,
Tá sí ina cónaí agus ag obair in Éirinn faoi
eye from both the exterior and the reverse.
fís agus fuaim, scrúdaíonn O’Brien téamaí an
láthair.
The part of the eye that is visible to all is
teaghlaigh, imeachtaí an ghnáthshaoil ó lá
precise and composed while the part that
go lá agus deasghnátha aistrithe an tsaoil.
is hidden from view is chaotic and jumbled.
Tugann an obair ealaíne atá roghnaithe don
www.abigailobrien.com
In creating ‘Behind The i’, O’Brien took a
taispeántas seo léargas ar an tsúil daonna,
www.opw.ie
photographic image of her own eye and
ón taobh istigh agus ón gcúl araon. Bíonn
embroidered the pattern onto fabric. A
an chuid den tsúil a fheiceann gach duine
photograph print of either side was then
iontach cruinn agus comhchurtha, ach
made and mounted behind an acrylic
bíonn an chuid di nach bhfeictear, laistiar
surface.
den chlúdach, anordúil agus trína chéile. Ag
cruthú ‘Behind The i’ di, ghlac O’Brien íomhá
Born in Dublin in 1957, O’Brien graduated
fótagrafaíochta dá súil féin agus bhróidnigh
from the National College of Art and Design,
sí an patrún ar fhabraic. Ansin rinneadh
Dublin with a BA Fine Art Painting in 1995
prionta fótagrafaíochta den dá thaobh agus
and an MA Fine Art Painting in 1998. Her
cóiríodh é ar dhromchla aicriligh.
34
Behind The i
Lambdachrome print (Diptych)/30 x 45 (x2)/2013
I ta ly • I ta l i a
Domingo Notaro
science. During these cosmic journeys of
per essere vitale non trascura nulla, pur
his, Notaro comes close to the religious
privilegiando un dato che è particolarmente
core of the world, as it manifests itself in all
suo, vale a dire il rapporto con la scienza.
its integrity, something akin to Pascalian
Di fronte a queste navigazioni cosmiche
amazement and bewilderment. At the heart
Notaro sembra sfiorare un senso religioso
of his work one finds a clear sign of struggle
del mondo, così come ci si presenta nella
and direct confrontation with images and
sua integrità, qualcosa di simile allo stupore
the meaning of the things that outline
e allo sgomento pascaliano. Al fondo del
our existence. In this sense Notaro’s work
suo lavoro vi è ben netto il segno della lotta
is distinctly different from what has been
e del confronto diretto con le immagini e
achieved during the second half of this
i significati delle cose che circoscrivono la
century. The philosopher and poet have
nostra esistenza. In tal senso l’opera di Notaro
Domingo Notaro, painter, sculptor and
not suffocated the painter, but all three
si distingue nettamente da quanto è stato
poet has lived in Buenos Aires, Florence,
together have written a unique chapter of
fatto nella seconda metà di questo secolo,
Paris, Ankara and Rome, where he currently
contemporary art”. Carlo Bo
il filosofo e il poeta non hanno soffocato il
resides.
pittore, ma tutti e tre insieme hanno scritto
un capitolo inedito dell’arte contemporanea.”
Personal exhibitions and retrospectives have
Pittore, scultore, poeta, ha vissuto a Buenos
been held in the principal museums and
Aires, Firenze, Parigi, Ankara e Roma dove
galleries around the world: Buenos Aires,
tuttora risiede.
Florence, Rome, New York, Paris, Brussels,
Carlo Bo
www.ambdublino.esteri.it
Zagreb, Belgrade, Dubrovnik, Ferrara, Naples,
Le sue mostre personali e antologiche
Turin, Tokyo, Istanbul, Tunis, Rabat and
sono state presentate nei maggiori musei
London.
e gallerie del mondo: Buenos Aires, Firenze,
Roma, New York, Parigi, Bruxelles, Zagabria,
“It is by no means easy to establish where
Belgrado, Dubrovnik, Ferrara, Napoli, Torino,
Domingo Notaro begins. It is easier to say
Tokyo, Ankara, Istanbul, Tunisi, Rabat, Londra.
where he may come to rest for a while,
seeing that his art is constantly evolving
“Non è semplice dire da dove comincia
and never fixes its attention for very long on
Domingo Notaro, più facile invece dire
definitive points. In a certain sense this is his
dove approda provvisoriamente, nel senso
philosophy, or rather, his conception of art
che la sua arte è in perenne evoluzione e
which, to live, must overlook nothing, while
non si assesta mai su punti definitivi. Da un
privileging, however, one aspect which is
certo punto di vista questa è la sua filosofia
expressly his, that is, the relationship with
o meglio la sua concezione dell’arte che
36
www.iicdublino.esteri.it
Il-Limite
Chinacid on paper laid on canvas/58 x 78/1991
Lat v i a • Lat v i ja
Kristīne Kursiša
Born in 1979, Kristīne Kursiša graduated from
Kristīne Kursiša (1979) absolvējusi Latvijas
the Latvian Academy of Arts, Department
Mākslas akadēmijas Vizuālās komunikācijas
of Visual Communication, obtained a
nodaļu, Latvijas Kultūras akadēmijā ieguvusi
Master’s degree in film directing at the
maģistra grādu kino režijā. Viņas darbi
Latvian Academy of Culture. In 2008 the
eksponēti 6 personālizstādēs un vairāk kā
artist took part in the Latvian contemporary
22 grupu izstādēs Latvijā, Vācijā, Zviedrijā,
art exhibition Buket at the National
Čehijā, Francijā, Lielbritānijā., ASV un
Contemporary Art Center in Moscow, Russia.
Austrijā. 2008. gadā māksliniece piedalījās
Her works have been exhibited in six solo
Latvijas laikmetīgās mākslas izstādē „Buket”
exhibitions and in more than 22 group
Valsts laikmetīgās mākslas centrā Maskavā,
exhibitions in Latvia, Germany, Sweden,
Kristīne Kursiša veidojusi 10 īsfilmas, to
Czech, France, U.K., USA, and Austria. Kursiša
skaitā „Privātdetektīvs” un „Naktsmurgi”, kas
shot about 10 short films including Private
tapušas sadarbībā ar modes māksliniekiem
and Nightmare in collaboration with fashion
Mare&Rols. Nozīmīgākās Latvijas laikmetīgās
designers Mare & Rols. In 2011 she was
vizuālās mākslas prēmijas - Purvīša balvas
nominated for the Purvitis Award – the most
nominante 2011.gadā.
important prize for contemporary visual
artists in Latvia.
Videodarbā Karmas diagnostika ir apspēlēti
karmisko kopsakarību cēloņu un seku likumi,
The video work Diagnostics of Karma deals
kā arī mūsu nemitīgās vēlmes ielūkoties
with the regularity of the karmic cause and
nākotnē, mēģinājumi to kontrolēt un
effect relationships, as well as our constant
pakļaut savai gribai. Viens no veidiem, kā
and on-going desires to look into the future,
ielūkoties nākotnē, ir likteņa noteikšana
our attempts to control and submit it to our
pēc fotogrāfijām – bezvēsts pazudušo
will. One of the ways to look into the future
meklēšanas gadījumos, jaunā pāra saderības
is to foretell by using photographs – to
varbūtības vai kādas slimības noskaidrošanas
search for missing cases, to determine the
nolūkos.
compatibility of newlyweds or to find out
the causes of an illness.
www.lnmm.lv
38
Diagnostics of Karma • Karmas diagnostika
Video installation/8mins 9 sec/2003
L i t h ua n i a • L i e t u va
Deimantas Narkevičius
that had dominated social life for nearly 50
tebegyveno dešimtojo dešimtmečio
years was being replaced by a new one.
pradžioje vykusių esminių politinių
This work, tinged with subtle humour, is
ir socialinių pokyčių nuotaikomis, kai
a reflection on how the heritage of the
sustabarėjusią, moralinį autoritetą ir galią
political system becomes history. The means
praradusią ideologinę sistemą, beveik
of expression selected by the artist, a pair of
penkiasdešimt metų lėmusią visuomenės
worn-out classic-style shoes, now filled with
gyvenimo raidą, keitė nauja. Šis kūrinys –
coarse salt, points to the statues of heroes
tai subtilaus humoro refleksija apie istorija
that used to embody the value system of
tampančios politinės ir meninės sistemos
the former epoch, but the people promptly
palikimą. Menininko pasirinktos raiškos
Born in 1964, Deimantas Narkevičius lives
removed them from their pedestals, as
priemonės – pora klasikinio stiliaus dėvėtų
and works in Vilnius. In 2009 he became
politics changed its course.
odinių batų, pripildytų rupios druskos, – tai
Lithuanian National Arts Laureate, and
nuoroda į praėjusios epochos sužlugusią
has represented Lithuania at the Venice
vertybių sistemą įkūnijančius didvyrių
Biennale (2001), and in 2008 was awarded
Deimantas Narkevičius (g. 1964) gyvena ir
monumentus, kuriuos, prasidėjus politinėms
the prestigious Vincent Award by the
dirba Vilniuje. 2009 m. jis tapo Nacionalinės
permainoms, visuomenė iš karto nukėlė nuo
Stedelijk Museum, Amsterdam. He has
premijos laureatu, 2001 m. pristatė
postamentų.
held solo shows at the most prominent
Lietuvą Venecijos bienalėje, 2008 m.
European modern art museums, such as
buvo apdovanotas Stedelijko muziejaus
Reina Sofia (Madrid), Van Abbemuseum
Amsterdame skiriama prestižine Vincento
https://ie.mfa.lt/
(Eindhoven), Bern Kunsthalle. Narkevičius
premija. Yra surengęs personalines parodas
www.ldm.lt,
is mostly known as a video and filmmaker
svarbiausiuose Europos modernaus meno
www.ndg.lt
exploring fascinating, problematic and
muziejuose – Reina Sofia (Madridas), Van
overlooked passages of recent post-
Abbe (Eindhovenas), Berno kunsthalėje.
communist European history, including his
Narkevičius labiausiai žinomas kaip filmų
personal history of living and working in
ir videomeno kūrėjas, kurio darbuose
Lithuania during the Soviet era and after.
aktualizuojama pastarųjų dešimtmečių
Narkevičius has trained as a sculptor and
Rytų Europos istorija, didelį dėmesį skiriant
in the middle of the 1990s and also in the
asmeninei patirčiai. Tačiau studijų metais
2010s he has created a number of objects
Narkevičius buvo pasrinkęs skulptūrą, ir savo
and installations.
kūrybinio darbo pradžioje bei pastaraisiais
metais yra sukūręs nemažai objektų bei
The work Too Long on a Pedestal was made
instaliacijų.
in 1994, when the Lithuanian public was
still affected by the huge political and social
Narkevičiaus kūrinys „Per ilgai ant
shifts of the early 1990s. The stagnant and
paaukštinimo“ buvo sukurtas 1994 m. –
morally compromised ideological system
laikotarpiu, kai Lietuvos visuomenė
40
Too Long on a Pedestal • Per ilgai ant paaukštinimo
Leather and salt/10 x30 x24 (x2)/1994
Lu x e m bo u r g • L ë t z e b u e r g
Marc Scozzai
The film shows a static shot of a building
Dëse Video weist ë fixen Bleck op ë Chantier
site containing moving cranes. As the film
op deem Kraanen sech beweegen. Wei
progresses, the picture breaks up, causing
d’Kraanen, baut d’Bild sech op an oof am
the cranes to appear and disappear on
Laaf vum Film. Dei eenzel BiIler déi esou
screen. Successive images of the scene,
noeneen entstinn, sinn all an sech koherent
with and without cranes, appear completely
an stellen eenzel Meíglechkeeten duer. Waat
genuine. Reality and illusion become more
ass wierkelech an waat net, ass schwéier ze
and more inextricably entwined. Just
soen. Deen Moment wou eppes wierkelech
when the viewer thinks they see the “real”
schengt ze sin, ännert sech d’Bild, an eng
picture, the image subsides and gives way
aaner Wierkelechkeet entsteet. Waat ass
to another, equally realistic image – which
also dei «wierkelech» Wierkelechkeet? Waat
then distorts and breaks up to form the next
ass daat «wierklecht» Bild? Gëtt et nëmmen
picture.
eent, oder ginn et der e puer? Sinn së all
«wierkelech» oder nët?
Out of confusion a question emerges: Which
image is the “real” picture? Is only one real –
D’Kraanen weisen op Mënschen hin. D’Video
or several? Are they all real – or none?
huet keen Ufank an keen Enn; sie dréint
am Krees, ouni Enn. De Mënsch kann seng
A human presence is implied by the cranes’
Emwelt nët matt Rou loosen; emmer muss
activity. Also, the film has neither beginning
ën eppes ännere goen. Och daat ouni
nor end – it runs on a loop. Humankind
Enn: futti maachen, upassen, emänneren,
has a constant need to impact on its
opbauen, emrappen.
environment, to change it. The action is
continuously renewed as, without cease,
De Marc Scozzai, Joergang 1980, ass
man destroys, alters, transforms, reconstructs,
diploméiert fun der Ecole Nationale
demolishes.
Supérieure d’Art de Nancy. Heen wunnt
zu Lëtzëbuerg an schafft zesummen
Born in 1980, Marc Scozzai graduated from
matt senger Partnerin Saskia Raux un
the Superior National School of Arts in
verschiddene Projéen zenter 2003.
Nancy. He lives and works in Luxembourg
and has been collaborating on various
projects with his partner, Saskia Raux, since
2003.
42
Untitled • Sans Titre
Video/Continuous loop/2006
Ma lta • Ma lta
Teresa Sciberras
Little White Lies 05 is an intriguing
Little Lies White 05 huwa xogħol
contemporary work by Teresa Sciberras (b.
kontemporanju intriganti mill-artista Teresa
1979). Born in Nigeria, Teresa grew up in
Sciberras (b. 1979). Imwielda fin-Niġerja,
Scotland and Malta. She studied Visual Arts
Teresa kibret fl-Iskozja u Malta. Hi studjat Arti
at the Santa Reparata International School of
Viżiva f’Santa Reparata, Skola Internazzjonali
Art in Florence and continued her studies at
tal-Arti f’Firenze, u kompliet l-istudji tagħha fi
Gray’s School of Art in Aberdeen.
Gray’s School of Art, f’Aberdeen.
This very small wooden panel combines
Dan ix-xoghol ċkejken fuq l-injam jgħaqqad
traditional painting methods with
metodi tradizzjonali ta’ pittura b’dettalji
unreal details which definitely show the
mhux reali li żgur juru l-ideat kontemporanji.
contemporaneity of the piece. This curious
Din il-kombinazzjoni kurjuża iġġiegħel lill-
combination intrigues the viewer into asking
ispettatur isaqsi mistoqsijiet biex jipprova
questions to uncover dilemmas set by the
jikxef id-dilemmi stabbiliti mill-artista.
artist herself.
Ix-xogħol rappreżentat għandu elementi
The work looks like a three-dimensional
tridimensjonali li jixbħu dawk ta’ biċċa
piece of furniture on first impression. A
għamara. Ħarsa eqreb lejn l-ispazju mpitter
closer look at the space depicted reveals
tiżvela xi ħaġa lil hinn mir-realtà. Dan
something beyond reality. This interesting
l-effett interessanti huwa possibbli grazzi
effect is possible thanks to Sciberras’
għat-teknika tradizzjonali li użat Sciberras, li
traditional painterly technique, which
tfakkarna fl-artali tar-Rinaxximent, b’kuntrast
reminds us of early Renaissance altarpieces,
mal-materjal fuq x’hiex giet magħmula. Barra
albeit using a very raw and unprimed
minn hekk, id-dettalji mpenġija jagħmlu
support. Besides, the minute details
lill-ispettatur iħares aktar mill-qrib biex jifhem
depicted make the viewer look closer to
aħjar l-oġġett irrappreżentat. L-għan huwa
better understand what the depicted object
elużiv; jista’ jkun dettall ta’ xi ħaġa oħra jew
represents. The object per se is elusive; it can
biċċiet ta’ oġġetti li tpoġġew flimkien. Dak li
be a detail of something else or pieces of
verament huwa importanti huwa l-proċess;
objects put together. What really matters is
mill-mument meta l-artista bdiet toħloq din
the process from the instant the artist started
il-biċċa xogħol sa meta l-ispettatur isir parti
creating this piece to the now factor, that
mill-biċċa xoghol tal-arti. Dan sar permezz
is when the viewer becomes part of the art
tal-mistoqsijiet li saru mill-ispettatur stess.
work by interacting while posing all these
questions.
44
www.heritagemalta.org
Little White Lies 05
Oil on panel/40 x 30/2011
Netherlands • Nederland
its role as a witness of truth.
door het verschuiven van de documentaire
en verhalende aspecten van de fotografie
Katrin Korfmann
What at first sight seems to be a precisely
waardoor het lijkt te twijfelen aan haar rol
painted abstract image turns out upon
van getuige van de waarheid.
closer scrutiny to be an ice skating ring
photographed from above. What looked like
Wat op het eerste gezicht lijkt op een
paint strokes turn out to be scratches and
nauwkeurig geschilderd abstract beeld,
piles of snow which are formed by the tracks
blijkt bij nader onderzoek een van bovenaf
that skaters have left behind. The title of the
gefotografeerde ijsbaan. Wat eerst
work refers to the CoBrA movement and the
verfstreken leken, blijken krassen en hoopjes
visual language associated with those artists
sneeuw te zijn die door de bewegingen van
as well as to the actual cobra snake, which
de schaatsers zijn gevormd. De titel van het
Katrin Korfmann grew up in Berlin, Germany
underlines this challenging multi layered
werk verwijst naar de CoBrA-beweging en de
and lives and works in Amsterdam, The
readability in the image.
visuele taal die in verband wordt gebracht
Netherlands. She studied at Kunsthochschule
met die kunstenaars, maar ook naar de
Berlin and Rietveld Academie in Amsterdam,
werkelijke cobraslang. Dit alles benadrukt
where she specialized in photography.
Katrin Korfmann is geboren in Berlijn, woont
de verschillende uitdagende lagen van
Stemming from her background in
en werkt in Amsterdam, Nederland. Ze heeft
leesbaarheid van de afbeelding.
photography, Katrin Korfmann’s works
gestudeerd aan de Kunsthochschule Berlijn
in various media – photo works, videos
en aan de Rietveld Academie in Amsterdam,
and installations – are concerned with
waar ze zich heeft gespecialiseerd in
http://www.katrinkorfmann.com/-en
photographic concepts of framing,
fotografie. Vanuit haar achtergrond in
http://ierland.nlambassade.org/
perspective, and the social dimensions of
fotografie werkt Korfmann met verschillende
perception, such as the relationship between
media zoals foto’s, video’s en installaties. Al
the observer and the observed, the effect of
haar werken richten zich op fotografische
the camera on behavior and the social codes
concepten van inlijsten, perspectief, de
of looking in a public environment.
sociale dimensies van perceptie zoals
de relatie tussen de waarnemer en
In Cobra the technical and visual
waargenomenen en op het effect van de
conventions which Katrin Korfmann brings
camera op gedrag en sociale gebruiken
into play are readdressed through a visual
omtrent het vastleggen van de beelden in
as well as conceptual premise, by shifting
publieke ruimte.
the documentary and narrative aspects of
In Cobra komen de technische en visuele
photography and, in so doing, questioning
conventies die Korfmann gebruikt naar voren
46
Cobra
Ultra-chrome print/173 x 120/ 2012
Po l a n d • Po l s k a
Mirosław Bałka
The lithograph B was created on the
and Sculpture Garden (Waszyngton), Tate
occasion of Bałka’s 2007 exhibition at IMMA.
(Londyn), Museet for Samtid-kunst (Oslo),
The print taken from video work comprises
The Museum of Contemporary Art (Los
close-up footage of the isolated letter B in
Angeles), Kaiser Wilhelm Museum (Krefeld),
the infamous phrase ‘ARBEIT MACHT
Museum of Modern Art (Nowy Jork),
FREI’. This statement greeted prisoners
Muzeum Sztuki (Łódź).
passing through the gates of Auschwitz
Concentration Camp, and historians have
B to litografia stworzona z okazji wystawy
noted that the reversed capital B was an
Mirosława Bałki w Irish Museum of Modern
attempt by prisoners to signify to the outside
Art w Dublinie w 2007 r. Obraz pochodzi
world that all was not as it seemed within
z instalacji wideo, w której znajduje się
Mirosław Bałka (born 1958) is one of the
the camp, and that the slogan ‘work shall set
zbliżenie odosobnionej litery B z hasła
most distinguished contemporary sculptors.
you free’, was a cruel misgiving.
„Arbeit macht frei”, umieszczonego nad
Bałka studied at the Academy of Fine Arts in
wejściem do obozu koncentracyjnego w
Warsaw, where he is now a senior lecturer
Oświęcimiu. Niektórzy historycy twierdzą,
in the Sculpture Department. Together
Mirosław Bałka (ur. 1958) jest jednym z
iż odwrócenie litery w napisie było ze
with Marek Kijewski and Mirosław Filonik
najwybitniejszych współczesnych rzeźbiarzy
strony więźniów próbą pokazania światu
he founded the Neue Bieriemiennost
i artystów. W latach 1980-85 studiował na
zewnętrznemu, że życie w obozie jest inne
group, where he exhibited until 1989. His
Wydziale Rzeźby warszawskiej Akademii
niż to przedstawiane przez propagandę, zaś
initial works were influenced by neo-
Sztuk Pięknych, gdzie obecnie wykłada i
samo hasło powinno wzbudzać obawę i złe
expressionism, but at the beginning of 1990s
kieruje Pracownią Działań Przestrzennych.
przeczucia.
Bałka turned to minimalism. The central
W latach 1985–1988 wystawiał swoje prace
topics of his works include the human
w ramach grupy Neue Bieriemiennost z
body, remembrance and vanishing. Bałka’s
Markiem Kijewskim i Mirosławem Filonikiem.
www.imma.ie
works are owned by museums worldwide
W latach 80. Bałka kojarzony był z nurtem
http://miroslaw-balka.com/
including: Hirshhorn Museum, Washington
neoekspresjonizmu, aby w początku lat 90.
http://dublin.msz.gov.pl/en/
DC; MOCA, Los Angeles; MOMA, New York;
zwrócić się ku minimalizmowi. Do głównych
Museu Serralves, Porto; Muzeum Sztuki,
tematów podejmowanych w twórczości
Lodz; Tate Modern, London; The Art Institute,
artysty należą ludzkie ciało, pamięć,
Chicago; The Israel Museum, Jerusalem; The
przemijanie. Prace Mirosława Bałki znajdują
National Museum of Art, Osaka.
się w największych międzynarodowych
kolekcjach sztuki, m.in.: Hishhorn Museum
48
B
Lithograph/29 x 43.5/2007
Po r t u g a l • Po r t u g u e s a Rui Sanches
Born in Lisbon in 1954, Rui Sanches
Nascido em Lisboa em1954, Rui Sanches
originally studied at Ar.Co – Centro de Arte e
estudou no Ar.Co – Centro de Arte e
Comunicação Visual, Lisbon, achieved his BA
Comunicação Visual, Lisboa, no Goldsmiths’
in Fine Art from Goldsmiths’ College, London
College, Londres (BA 1980) e na Yale
in 1980 and his Master’s in Fine Art from Yale
University, New Haven (MFA 1982). Em
University, New Haven in 1982. In 1984, he
1984 expôs pela primeira vez o seu
showed his work for the first time at Galeria
trabalho na Galeria de Arte Moderna da
de Arte Moderna da SNBA and at Galeria
SNBA e na Galeria Diferença, em Lisboa.
Diferença, both in Lisbon. Since then, he has
Desde então realizou mais de quarenta
presented more than forty solo exhibitions,
exposições individuais, de que se destacam
such as his retrospective at Centro de Arte
a exposição retrospectiva no Centro de Arte
Moderna José Azeredo Perdigão, Fundação
Moderna da Fundação Calouste Gulbenkian
Calouste Gulbenkian (2001) and MUSEUM,
(2001) e a exposição MUSEUM, no Museu
at Museu Nacional de Arte Antiga (2008).
Nacional de Arte Antiga (2008). Participou
He has taken part in many group shows, in
em dezenas de exposições colectivas, em
Portugal and abroad, and his work is featured
Portugal e no estrangeiro. O seu trabalho
in all major Portuguese public art collections.
está representado nas principais coleções
públicas portuguesas.
From 1994 to 1998, he was Assistant Director
at Centro de Arte Moderna José Azeredo
Entre 1994 e 1998, foi Diretor Adjunto do
Perdigão. He curated and co-curated
Centro de Arte Moderna da Fundação
several exhibitions, supervised courses
Calouste Gulbenkian. Foi comissário e co-
and workshops, and presented a large
comissário de diversas exposições, orientou
number of conferences in museums and
cursos e workshops, e realizou numerosas
universities. In 2008, he received the AICA/
conferências em instituições museológicas
Ministry of Culture Prize. Presently, he is a
e universitárias. Em 2008 recebeu o
Guest Assistant Professor at Universidade do
Prémio AICA/Ministério da Cultura. Neste
Algarve Portugal.
momento, é Professor Auxiliar Convidado na
Universidade do Algarve.
www.ruisanches.com
www.flad.pt
www.embassyportugal.ie
50
Untitled • Sem tíitulo
Mixed media/50 x 70 (x2) & 70 x 50 (x2)/1999
Ro m a n i a • Ro m â n i a
Bogdan Raţă
Bogdan Raţă is a sculptor from the young
Bogdan Rață este un sculptor din noua
generation of Romanian artists. His new
generație de artiști români. Realismul său
hybrid realism unveils new genetic forms
hibrid dezvăluie noi forme genetice ale
of human anatomy. The materials used
anatomiei umane. Materialele folosite
(synthetic resin, auto chit) are intimately
(rășină sintetică, chit auto) sunt legate
linked to the final created forms, without the
de formele finale obţinute, fără a purta
mark of the creator. The sculptures look as
amprenta creatorului. Lucrările apar ca și
if they are serial produced, in an industrial
cum ar fi produse după un tipar industrial.
process. This approach questions the
Această abordare investighează identitatea
assault on individual identity in a climate of
individului într-un climat de uniformizare
branding uniformity.
comercială a societăţii.
“I reinterpret the human body in order to induce
„Reinterpretez corpul uman pentru a-i
a state of confusion and an emotional impact
induce privitorului o stare de confuzie și
to the viewer. I want him or her to understand
un impact emoțional puternic, pentru a-l
the contemporary human being from a new
invita să înțeleagă diferit structura omului
perspective.” – Bogdan Raţă
contemporan.”- Bogdan Rață
Born in Romania in 1984, Bogdan Raţă
Bogdan Rață (n. 1984, România) a obţinut
received his PhD in 2012. His exhibitions
doctoratul în 2012. Expozițiile sale includ
include Artists of the Month, National
“Artistul lunii”, Muzeul Național de Artă
Museum of Contemporary Art, Bucharest;
Contemporană București; “Hand Gun”,
Hand Gun, public artwork in Piata Presei
Piata Presei Libere, Bucureşti; ”Penitenciary”,
Libere, Bucharest; Penitenciary, Mulhouse
Mulhouse Biennial, Art Basel; “God Bless
Biennial, Art Basel; God Bless Me, Slag Gallery,
Me”, Slag Gallery, NY, “The Essences of Reality”,
NY; The Essences of Reality, Várfok Gallery,
Várfok Gallery, Budapesta; “Colouring the
Budapest; Colouring the Grey – State of
Grey – State of Body”, Independents Liverpool
Body, Independents Liverpool Biennial – St.
Biennial – St. George’s Hall; “Colouring the
George’s Hall; Colouring the Grey - State of
Grey - State of Mind”, Artists’ House, Tel
Mind, Artists’ House, Tel Aviv; Colouring the
Aviv; “Colouring the Grey”, Bienala de Artă
Grey, Moscow Biennale of Contemporary Art.
Contemporană de la Moscova a patra ediție.
The artist is represented by Nasui Collection
Artistul este reprezentat de Galeria Nasui din
& Gallery.
Bucureşti
www.cosminnasui.com.
www.dublin.mae.ro
52
Lonely
Polyester synthetic resin fibre paint/42 x 33 x 25/2011
Slovak Republic • Slovenská republika
Yuri Dojc
Dojc grew up in Humenné in Eastern
Dojč sa narodil v Humennom na východe
Slovakia. In 1968 when the Soviets
Slovenska. Keď Sovieti násilne potlačili
put an end to the reforms process in
reformný proces v Československu v roku
Czechoslovakia, Dojc was in the UK, and
1968, Dojč bol vo Veľkej Británii a rozhodol
decided to resettle in Toronto, where he
sa presťahovať do Toronta, kde vyštudoval
studied photography at Ryerson University.
fotografiu na Ryerson University.
Upon graduation he opened a studio and
Po skončení školy si otvoril grafické štúdio
began developing his inimitably brazen
a začal rozvíjať svoj neopakovateľne drzý,
yet whimsical style. Through the 1990s,
no zároveň rozmarný štýl. V 90. rokoch si
Dojc earned a reputation for elevating the
získal reputáciu povýšením umenia reklamy
art of advertising while producing bold
tvorbou odvážnych a ľahko zapamätateľných
and memorable campaigns for an array of
kampaní pre firmy z Fortune 500 a ikony
Fortune 500 heavyweights and style savvy
štýlu ako Apple, Porsche, Canon, Panasonic,
brands including Apple, Porsche, Canon,
ClubMed.
Panasonic, ClubMed.
V roku 2000 dosiahla Dojčova kariéra nové
In the 2000s Dojc’s career reached new
výšiny. Keď sa taliansky prestížny magazín
heights. When the prestigious Italian imprint
L´espresso rozhodol prezentovať najlepších
L’espresso decided to collect the world’s
fotografov aktov v 17 samostatných
best nude photographers in a series of 17
výpravných publikáciách pod názvom Eros
signature books under the banner Eros e
e Fotografia, Dojč sa zaradil medzi velikánov
Fotografia, Dojc joined the ranks of long
tohto žánru ako Robert Mapplethorpe, Man
established masters by making the shortlist
Ray, David Lachapelle a Bill Brandt.
alongside luminaries Robert Mapplethorpe,
Dojčove diela sú predmetom záujmu
Man Ray, David Lachapelle and Bill Brandt.
prestížnych múzeí a jeho fotografie zdobia
Dojc’s work is coveted by prestigious
stále expozície Národnej galérie Kanady v
museums around the world and his pictures
Ottawe, Slovenského národného múzea,
grace the permanent collections of the
Knižnice Kongresu vo Washingtone a
National Gallery of Canada in Ottawa, Slovak
Rothschildovej nadácie v Londýne.
National Museum, the Library of Congress in
Washington, and the Rothschild Foundation
in the United Kingdom.
www.yuiridojc.com
www.mzv.sk/dublin
54
Love Song to Slovakia
Projection of original project ‘Love song to Slovakia’ & poetry/Dimensions variable/2012
S lov e n i a • S lov e n i ja
Jasmina Cibic
Currently based between London and
Jasmina Cibic, ki živi med Londonom in
Ljubljana, Jasmina Cibic is one of a new
Ljubljano, je predstavnica nove generacije
generation of Slovenian artists whose
slovenskih umetnikov, ki se zavedajo
practice, although acutely conscious of a
specifičnega nacionalnega, političnega,
specific national, political, cultural and artistic
kulturnega in umetniškega izvora, a
lineage creates a very distinctive language
ustvarjajo v zanje značilnem umetniškem
of its own. Whilst she clearly shares and
jeziku. Čeprav obravnava teoretična in
addresses some of the same theoretical and
politična vprašanja, ki se pojavljajo v delih
political concerns present in the work of
ostalih umetnikov post-komunistične
other artists from a post-communist Europe,
Evrope, Jasmina Cibic deluje v globalnem
Cibic operates within a global rather than
in ne le nacionalnem diskurzu. Njeno delo
nationalized discourse. Her work is generally
je prostorsko in vsebinsko specifično,
site and context specific, performative in
performativno in združuje raznovrstne
nature and employs a range of activity,
dejavnosti, medijske in gledališke pristope, s
media and theatrical tactics to redefine or
katerimi na novo določi in presodi obstoječe
reconsider an existant environment or space.
okolje ali prostor. Svoja umetniška dela je
She has specifically conceived works in
postavljala v (ne)prostore kot so letališča,
‘non-places’ such as airports, waiting rooms
čakalnice in letala, ki so anonimni, prehodni
or aircrafts, which are characteristically
in brez vzpostavljene identitete ali določene
annonymous, transitory and without any
nacionalnosti. Rezultat tega je svojevrsten
established identity or fixed nationality. As a
odnos z obiskovalcem ali gledalcem, kar je
result they evoke a very singular relationship
bistvo umetniškega raziskovanja Cibičeve.
with the visitor/spectator - something that is
key to Cibic’s artistic investigations.
Jasmina Cibic bo svoja dela razstavljala
na U3 - 7. trienalu sodobne umetnosti
Jasmina Cibic’s forthcoming exhibitions
v Sloveniji (junij 2013), ki bo potekal v
include U3- 7th Triennial of Contemporary
Muzeju sodobne umetnosti v Ljubljani, ter
Art, (June 2013) curated by Nataša Bachelez-
na 30. mednarodnem grafičnem bienalu v
Petrešin, MSUM, Ljubljana and an artist’s
Ljubljani (september 2013). Cibičeva bo s
project for the 30th Biennial of Graphic Arts
svojim projektom Za naše gospodarstvo in
in Ljubljana, September 2013). Jasmina Cibic
kulturo predstavljala Slovenijo na letošnjem
is representing Slovenia at this year’s Venice
Beneškem bienalu.
Biennial with her project For our Economy
and Culture.
www.jasminacibic.org
www.london.embassy.si
56
Boutique Airports I & II
C-print (Diptych) /30 x 30 (x2)/2006
S pa i n • E s pa ñ a
Ricardo Santonja
The exhibition project titled The Art of
El proyecto de exposición titulado El Arte
Building (in Spain) starts from the obvious
de la Construcción (en España) arranca del
potential of the photographic image as a
obvio potencial de la imagen fotográfica
means for promoting the architecture, but
como instrumento de promoción de la
looking for an identity of its own that makes
arquitectura, pero buscando una identidad
the image a sovereign subject, something
propia que transforma la imagen en sujecto
capable of transcending the specific
soberano; algo capaz de transcender la
architectural work and talk not only about it
obra concreta en cuestión para hacernos
but about Architecture as a whole.
reflexionar sobre la arquitectura en su
conjunto.
One of the premises of this project is to find
a new visual language that would establish
Una de las premisas de este proyecto es
a renewed dialogue between Architecture
encontrar un nuevo lenguaje visual que
and the viewer. Beyond showing the work
establezca un diálogo renovado entre la
objectively, this language is meant to evoke
arquitectura y el espectador. Más allá de
the necessary to understand and appreciate
mostrar el trabajo objetivamente, este
the avant-garde Archtiecture that in recent
lenguaje busca evocar las emociones
years has been made in Spain by the most
necesarias que permitan comprender y
prestigious architects both national and
apreciar la arquitectura de vanguardia que
international.
se ha realizado recientemente en España por
parte de los más prestigiosos arquitectos
In addition to the use of new points of
nacionales e internacionales.
veiw and angles to the discipline, Ricardo
Santonja provides a new poetic imagery,
Además de usar nuevos puntos de vista y
that long ago the President of Cirleof Fine
ángulos a esta diciplina, Ricardo Santonja
Arts, Mr Juan Miguel Hernández de León,
consigue una nueva imagen poética que
called ‘poems of light’. In these works
hace tiempo el Presidente del Círculo de
the essence of the building is interpreted
Bellas Artes D. Juan Miguel Hernández
through suggestive camera movements,
de León, denominó “Poemas de Luz”. En
creating a pseudo pictorial abstraction that
estas obras la escencia de la construcción
leads the viewer into a new interpretation of
es interpretada a través de sugestivos
the architectural work.
movimientos de cámara, creando una
abstracción psuedo-gráfica que lleva al
www.imasdmasart.com
espectador a una nueva interpretación de la
www.maec.es/embajadas/dublin
obra arquitectónica.
58
The Art of Building (in Spain) • El Arte de la Construcción (en España)
Lambdachrome print under acrylic/93 x 70/2011
Arts Centre Emerging Artist Award as well as
Hon studerade vid GMIT i Galway och
a Tyrone Guthrie Residency award from the
tilldelades AIB Paint Student of the Year. Efter
Galway City Council. Other awards include
examen har Cecilia Danell deltagit i flera
a 2010 Arts Council of Ireland Bursary and a
grupputställningar både i Irland och USA
2011 Arts Council of Ireland Project Award
och 2012 hade hon en separatutställning
for the project Build your own: Scandinavian
i Wexford Arts Centre och Talbot Gallery i
Loneliness.
Dublin.
Fracture comes from a body of work which
Hon tilldelades stipendierna Winner of the
is a personal search for meaning, of dealing
Wexford Arts Centre Emerging Artist Award
with contemporary life coloured by Danell’s
och Tyrone Guthrie Residency award av
Cecilia Danell is a Swedish artist based in
Scandinavian heritage and upbringing. It is
Galway City Council 2011. Andra stipendier
Galway, Ireland. She has an interest in the
also a look at the broader human condition.
som hon har fatt ar Arts Council of Ireland
way we interpret the world around us,
Where do we situate ourselves in the world
Bursary 2010 och Arts Council of Ireland
and in that which is staged as opposed to
and how does a particular place impact on
Project Award 2011 för projektet Build your
authentic, where archetypes, metaphors
a person? and what if one is torn between
own: Scandinavian Loneliness.
and the aesthetics of the stage set become
two places, maybe not feeling fully at home
important tools in the telling of a story, using
in either one?
Sw e d e n • Sv e r i g e
Cecilia Danell
the landscape and built environment to
Fraktur ingår i ett projekt om personligt
sökande efter mening och hur man
comment on internal psychological states
kan hantera samtiden, präglat av
and the human condition. For her most
Cecilia Danell är en svensk konstnär som
hennes skandinaviska arv och uppväxt.
recent body of work she studied Jungian
ar bosatt i Galway, Irland. Hon intresserar
Mänsklighetens villkor på ett bredare plan
psychology, with special focus on the theory
sig för hur vi tolkar den värld vi lever i och
utforskas också. Var placerar vi oss själva i
of archetypes and dream interpretation.
särskilt det iscensatta i motsats till det
världen och hur påverkas en människa av
autentiska, där arketyper, metaforer och
en viss plats? Och vad händer om man slits
Danell graduated with a Degree in Fine
estetiken i iscensättningen blir viktiga
mellan två platser och kanske inte känner sig
Art from GMIT, Galway in 2008 and was
verktyg i historieberättandet. Hon använder
hemma någonstans?
awarded the AIB Paint Student of the Year.
sig av landskap och bebyggda miljöer för
Since graduating Danell has participated
att kommentera inre psykologiska tillstånd
in numerous group exhibitions both in
och mänsklighetens villkor. Inför sitt senaste
Ireland and USA, and in 2012 she had solo
projekt studerade hon jungiansk psykologi
exhibitions in the Wexford Arts Centre and
med särskild fokus på teorin om arketyper
the Talbot Gallery, Dublin.
och drömtydning.
Danell was the 2011 Winner of the Wexford
Cecilia Danell tog examen i fine art 2008.
60
www.ceceliadanell.com
Fracture • Fraktur
Oil on canvas/25.5 x 25.5/2012
U n it e d K i n gdom
Idris Khan
Born in Birmingham in 1978, Idris Khan
UK Government Art Collection
gained a first class BA degree in photography
With over 13,500 works of art ranging
from the University of Derby in 2000
from the 16th century to the present day,
followed by a Master’s in Fine Art from
the UK Government Art Collection has a
the Royal College of Art, London in 2004.
unique role in promoting British art while
Khan has exhibited his work extensively
contributing to cultural diplomacy. Placed
including solo exhibitions in Gothenburg,
in offices and official residences, two thirds
Toronto, San Francisco and New York. He has
of the works are on display in nearly 400
received several awards including the Tom
British government buildings, including 10
Gower Award from The British Institute of
Downing Street; Ministers’ Offices in the
Photography in 2002 and The Photographers’
UK; embassies and the official residences
Gallery Prize in 2004. His most recent
of ambassadors, high commissioners and
monograph was Idris Khan, Contrary Motion =
consul-general in capital cities across the
Kontrapunktisk Rörelse (Goteborgs Konsthall,
globe. The is the most dispersed collection
2011). Commissioned works include wall
of British art in the world and is part of the
drawings for Sadler’s Wells, London (2011–
Department for Culture, Media & Sport
12) and the British Museum (2012).
(DCMS).
Idris Khan’s distinctive photographic works
Wherever possible, the UK Government
are composed of digital layers of images
Art Collection acquires works of art for the
appropriated from a range of sources from
Collection that make connections – cultural,
musical notation to paintings. His work
historical or geographical – between the
explores the history of photography and
work and its intended location. For example,
the art historical debates surrounding
a portrait of of Lord Byron by Thomas Phillips
authorship. Referring to his work he has said
is usually is usually on display in the British
‘it’s obviously not about re-photographing
Ambassador’s Residence, Athens where
the photographs to make exact copies, but
Byron is highly regarded for his role in the
to intervene and bring a spectrum of feelings
Greek War of Independence.
– warmth, humour, anxiety – to what might
otherwise be considered a cool aloof image.
You can see the illusion of my hand in the
www.gac.culture.gov.uk
layering. It looks like a drawing.’
www.facebook.com/governmentartcollection
62
Bach... Six Suites for the Solo Cello
Lambda digital C-print mounted on aluminium/242 x 176/2006
Contributors
64
KINGDOM OF BELGIUM
www.diplomatie.belgium.be
65
Index
Country
Artist
Title
Austria
Olaf Osten
Pendeln 064, Museums Quartier Wien
Page
10
Belgium
Nick Ervinck
Ayamonsk
12
Bulgaria
Kamen Startchev
Real Treasure
14
Cyprus
Gloria Marathefti
Silence Dressed in Blue
16
Czech Republic
Jiří Slíva
The Irish Sisypheus
18
Denmark
Pernille With Madsen
Dissolution
20
Estonia
Kristiina Hansen
Little House in the Periphery
22
Finland
Kaisu Sirviö
Heartstrings
24
France
Pierre Soulages
Nut corrosion on Paper 1998 13
26
Germany
Mamadou Gomis
The Sea for Everyone
28
Simone Gilges
German Coast
28
Greece
Stefanos Tsivopoulos
The Land
30
Hungary
Ágota Krnács
Poor Quasimodo
32
Ireland
Abigail O'Brien
Behind The i
34
Italy
Domingo Notaro
Il-Limite
36
Latvia
Kristīne Kursiša
Diagnostics of Karma
38
Lithuania
Deimantas Narkevičius
Too Long on a Pedestal
40
Luxembourg
Marc Scozzai
Untitled
42
Malta
Teresa Sciberras
Little White Lies 05
44
Netherlands
Katrin Korfmann
Cobra
46
Poland
Mirosław Bałka
B
48
Portugal
Rui Sanches
Untited (x 4)
50
Romania
Bogdan Rață
Lonely
52
Slovak Republic
Yuri Dojc
Love Song to Slovakia
54
Slovenia
Jasmina Cibic
Boutique Airports I & II
56
Spain
Ricardo Santonja
The Art of Building (in Spain)
58
Sweden
Cecilia Danell
Fracture
60
United Kingdom
Idris Khan
Bach...Six Suites for the Solo Cello
62
66
67