8 Nadcházející události

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Slovenská národná galéria v rámci projektu Made in Czechoslovakia venovanému 100. výročiu vzniku Československej republiky pripravuje výstavu o tvorbe dvoch klasikov českého a slovenského moderného umenia: Emila Fillu (1882 – 1953) a Ľudovíta Fullu (1902 – 1980). Aj keď v prípade týchto dvoch umelcov nešlo priamo o rovesníkov – Filla bol o dvadsať rokov starší od Fullu – ich zástoj v etablovaní moderného umenia v Čechách a na Slovensku považujeme za kľúčový a svojím spôsobom aj porovnateľný. Obaja patria k najvýznamnejším postavám českého a slovenského umenia 20. storočia, každý z nich otváral svojím dielom výtvarnému umeniu nové a radikálne vývojové cesty, uvádzal do nášho umenia avantgardné prúdy a podnety z Európy. Prvý konzekventným a programovým spôsobom, druhý na spôsob „barbarskej” syntézy. Obaja začali ako „revolucionári”, „vierozvestci” nového umenia, obaja však postupne opustili tieto pozície, boli neskôr (každý však v inom období) „oficializovaní”. Gro ich života a tvorby sa odohral v rokoch existencie Československej republiky (s krátkou prestávkou protektorátu a slovenského štátu v rokoch 1939 – 1945), ako československí občania reprezentovali úspechy a vzostupy českého a slovenského umenia v širšom medzinárodnom kontexte, angažovali sa v spoločenskom živote i umeleckom školstve, v päťdesiatych rokoch boli obvinení z formalizmu, postihnutí dogmatizmom a museli sa vyrovnať s oficiálne proklamovanou metódou socialistického realizmu. Výstava sa po prvýkrát pokúsi o porovnanie a paralely, ale i odlišnosti a špecifiká (aj protiklady), umeleckých i životných osudov dvoch výrazných individualít s dôrazom na ich jedinečné tvorivé typy, vnútorné vlastnosti […]

Monografický výstavný a edičný projekt premiérovo predstaví na pôde Slovenskej národnej galérie tvorbu akad. mal. Jána Bergera (*1944). Na domácej scéne zastupuje autor zdanlivo tradicionalistickú polohu klasického maliarskeho média. Jeho umelecký program je postavený na vizuálnej interpretácii banálnej reality, vlastných skúseností, životných pocitov, situácií a vnemov. Tieto zažité a odpozorované fragmenty skutočnosti autor v zdĺhavom maliarskom procese vzájomne prepája. Prostredníctvom farebných plôch, škvŕn a nesúvisiacich detailov vytvára samostatný obrazový jazyk, s novou, autentickou vizuálnou kvalitou. Výstavný projekt si kladie za cieľ reinterpretovať Bergerovu tvorbu a ponúknuť iný pohľad na dielo dlhoročného profesora bratislavskej VŠVU. Predstaviť ho v širšom kontexte a zároveň potvrdiť špecifickú pozíciu maliarskeho média v práve prebiehajúcom storočí. Táto „nová optika” navráti do pozornosti diváka niektoré kategórie, ktoré sa z diskurzu súčasného umenia v nedávnej minulosti vytratili. Namiesto redukcie bude v centre záujmu komplexnosť; oproti odosobneniu zas postavená individuálna výpoveď a autenticita. Kurátorský výber predstavuje kľúčové maliarske diela autora od 70. rokov po súčasnosť, inštalované v intuitívnom súzvuku farieb, tvarov a motívov naprieč umelcovou tvorbou.

At HIT Gallery, George Bolster’s solo exhibition Towards A Universal Sublime features work produced during a two-year residency at the Search for Extra-Terrestrial Intelligence Institute (SETI), and research completed at NASA Ames. With artworks in multiple mediums including drawing, textile, and film, the exhibition is centered around The Moon, McMoon’s, and the Moon Museum, 2016, a film in which Bolster conflates the past, present, and the future, and the necessity for space exploration. The film begins with The Moon Museum, which was the first art object – a small ceramic wafer containing artworks by six prominent artists – to be unofficially sent to the Moon aboard the Apollo XII in 1969. Instigated by American artist Forrest Myers, it featured his own work along with contributions from Andy Warhol, John Chamberlain, Claes Oldenberg, David Novros, and Robert Rauschenberg. Multiple narratives run simultaneously through the piece, from the multicultural narrative of human fascination with the Moon, and the Apollo Missions, to the Moon as the answer to the question of how to preserve our collective human cultural legacy. Bolster’s film features interviews with artist Forrest Myers, and scientists Laurance Doyle, who worked on NASA’s Kepler Mission, Jill Tarter, Cosmologist and former SETI […]

“I live my life on the border that separates dream and reality.” And it is this dream aspect of Dušan Kállay’s concepts which we admire in his illustrations and paintings. His dreams, no matter how connected with reality, exist outside this reality and cannot escape it. What seems to us to be a faithful depiction slips away into a mysterious world of unconventional relations and circumstances. This allows the artist to discover the diversity of the world in various forms: through the bizarre world of people, animals and things. Dušan Kállay is an excellent illustrator and colorist whose illustrations and paintings are closely linked by the phenomenon of color. More than technological anticipations, they share the ability to transform a motif with magical suggestiveness and the belief that magic really exists. He sees the stories he brings to us through a lens of detachment, humor and gentle irony. Perhaps he drew some inspiration from Dadaists or Surrealists; in any case, he discovers hidden humanized legacies in dramatic situations and banter. He bases his work on the conviction that “the world is much wider than the world that we can see.” Thus, every book that he has illustrated (and which he […]

Theme of the solo exhibition of Patrícia Koyšová is expressed by a simple and apt title ZOOM referring us to the view through lenses of camera, for example, which enables smoothly change the focal point for imaging objects in various distances with permanent focus. Artist consistently works with the process of depiction and vision, she studies it especially in abstract painting the morphological structure of which is flexible, floating, forcing to look for focal points, but the gaze of spectator is taken away on waves, streams and swirls. Artist’s processual abstraction is experiential painting which through primary range of colors and forms created by applying experimental technique – air painting by compressor and blowing pistol delivers dynamic experiencing of painting as a spontaneous creative process. Her paintings are designed off the central axis, focal point, lacking any form points or lines which would anchor them, to which we could focus firmly. Patrícia composes them in such a way that she puts in contrast an exact shape, a circle for example, and loose trace of air pistol which follows proximate line and then she crosses/scribbles over that line. Thus, she reaches certain stability. According to György Kepes (Language of Vision), the […]

CARL-HENNING PEDERSEN Carl-Henning Pedersen was of essential significance for Danish art of the second half of the 20th century. The experimental nature of his work established the link of contemporary Danish art to the European avant-garde streams from the late 1930s. His work soon found recognition due to its original artistic language in which he successfully transformed the impulses of Cubism and Picasso, and particularly inspirations from the paintings of Klee, Kandinsky, Chagall and other masters. The exceptional nature of his work was projected in the international context especially through his cooperation with the CoBrA international artistic movement (1948-1951). Being older by a generation in the period of its activities, Pedersen had already established his characteristic style, which was very close to the aesthetic intents of the CoBrA group. They admired his art and for some (P. Alechinsky) it became an inspiration. Pedersen’s work can be classified as spontaneous abstraction, but the artist drew themes from the objective, figurative world, because the character of his work is determined by the manner of its artistic adaptation. And this is a domain where Pedersen formulated his specific artistic style and vision of the world. His visionary ability allowed him to create an […]

Markus Huemer works both in the media of painting and drawing, as well as produces interactive installations and environments, and computer animations. In doing so, he investigates the suitability of the digital media for art on the basis of his experience in the classical ones, bearing in mind art and media history, and questioning at the same time the assumed brilliance of artists by making a sarcastic parody of himself. Huemer develops his series of works using various formats in order to explore problems of reality, the construction of various realities and their perception. Interested in the questions of presentation and representation, he creates parallel words and observes how they communicate using extremely pared-down projections, installations and products, which seem to be as flat as cut-outs, with colours that appear reduced to a minimum in order to spread what appears to be something recognisable, but at the same time they call attention to the deception of visual perception. Simulating the depth of focus in black, grey and white we are whisked away to a silent landscape of ideas, which destroys our fake perception, coldly and without narrative. The fundamental principle of his work is the investigation of language as a […]

Výstavný projekt je netradične navrhnutý do átria Esterházyho paláca ako séria malých výstav k osmičkovým výročiam: februáru 1948, augustu 1968 a októbru 1918.

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