28 Aralık 2015 Pazartesi

TÜRKİYE DELEGASYONU SANATÇILARININ BÜYÜK BAŞARISI: PARİS'TEN ALTIN, GÜMÜŞ ve BRONZ MADALYA İLE DÖNÜLDÜ


Salon 2015 Açılış; Sayın Hakkı Akil, İhsan Emre Kadıoğlu, Gülsin Onay, Ekrem Eşkinat, Hüseyin Avni Botsalı, İnci Botsalı.
Paris'te her yıl düzenlenen Société Nationale des Beaux-Arts (SNBA) kurumunun organize ettiği ve 17-20 Aralık tarihleri arasında gerçekleşen “SALON 2015” sergisine “SYNERGIE-Sinerji” başlığı ile 24 sanatçıyla katılan SNBA Türkiye Delegasyonu sanatçıları, özgün sergileme ve aldıkları ödüllerle büyük başarı elde etti. “SALON 2015” etkinliğinde Türkiye Delegasyonuna takdim edilen ödüller;

1-Salon des Beaux Arts 2015 Carrousel du Louvre
Le Jury de la Société Nationale des Beaux Arts décerne la MEDAILLE D’OR
Delegation de Turquie
SNBA Ulusal Güzel Sanatlar Kurumu Jürisi Türkiye Delegasyonu ALTIN MADALYA Ödülü



2-Salon des Beaux Arts 2015 Carroussel du Louvre
Le Jury Invité de la Société Nationale des Beaux Arts décerne la MEDAILLE D’ARGENT
-Installation- Delagation de Turquie
SNBA Ulusal Güzel Sanatlar Kurumu Konuk Jürisi -Enstalasyon- Türkiye Delegasyonu GÜMÜŞ MADALYA Ödülü



3-Salon des Beaux Arts 2015 Carroussel du Louvre
Le Jury invité de la Société Nationale des Beaux Arts décerne la MEDAILLE DE BRONZE
-Sculpture- YILMAZ Selçuk
SNBA Ulusal Güzel Sanatlar Kurumu Konuk Jürisi -Heykeltraş- Selçuk YILMAZ’a BRONZ MADALYA Ödülü




Société Nationale des Beaux-Arts (SNBA) “SALON 2015” SNBA Türkiye Delegasyonu sanatçıları “SYNERGIE-Sinerji” sergisi.
Ödül töreninde SNBA Türkiye Delegasyonu Başkanı adına ödülleri alan ressam Serdar Leblebici, yaptığı teşekkür konuşmasında sanatın ve barışın birleştirici gücüne vurgu yaptı. Yirmidört sanatçıdan oluşan delegasyonda yer alan isimler; Nurhilal Harsa (T.D. Başkanı), Ahmet Yeşil, Akın Yıldırım, Ayhan Çetin, Baki Bodur, Berk Arıkan, Betül Demir Karakaya, Ceyhun Yaman, Duygu Aydoğan, Derya Ülker, Emre Lüle, Ercan Ayçiçek, Erhan Lampir, Filiz Pelit, Hakan Esmer, Mehmet Yıldırım, Metin Kalkızoğlu, Mevlüt Akar, Özgür Eryılmaz, Raşit Altun, Samed Arda Selim, Selçuk Yılmaz, Serdar Leblebici ve Turgut Akarsu.


Société Nationale des Beaux-Arts (SNBA) “SALON 2015” SNBA Türkiye Delegasyonu sanatçıları “SYNERGIE-Sinerji” sergisi.
Serginin açılışına, Türkiye Paris Büyükelçisi Sayın Hakkı Akil, Türkiye’nin UNESCO nezdindeki daimi temsilci Büyükelçi Hüseyin Avni Botsalı ve eşi Sefire İnci Botsalı, Türkiye'nin Paris Başkonsolosu İhsan Emre Kadıoğlu, Tekirdağ Süleymanpaşa Belediye Başkanı Ekrem Eşkinat, Başkan Yardımcısı Gülferah Güral, Meclis Üyesi Ergün Güleryüz ile Paris’te 19 Aralık akşamı Théatre ADYAR'da, 2014 yılında yitirdiğimiz değerli piyanistimiz Sayın Verda Erman'ı anma konserinde çalan ve UNESCO’nun 70. Yılı nedeniyle 21 Aralık akşamı nefis bir konser veren piyano sanatçımız Gülsin Onay ve Paris'li sanatseverler katıldı.


Société Nationale des Beaux-Arts (SNBA)
“SALON 2015”
SNBA Türkiye Delegasyonu sanatçıları
“SYNERGIE-Sinerji” sergisi.
Serginin açılışında eserleri sergilenen ülkelerin büyükelçileri ile konsolosları da yer aldı. Açılışta konuşan Türkiye'nin Paris Büyükelçisi Sayın Hakkı Akil; “İnsanların Paris'te geçen ay meydana gelen terör saldırıları nedeniyle mutsuz olduğunu ve bu nedenle terör saldırıları korkusuyla yabancı turistlerin bile gelmeye çekindiği bugünlerde düzenlenen sergiye katılan tüm sanatçıları kutladı. Paris’te açılışı yapılan bir serginin benzerinin kısa bir süre evvel İstanbul'da da açıldığını ve büyük ilgi gördüğünü ifade eden Akil, Türkiye'den bu sergiye on bir yıldır aralıksız Çağdaş Türk Plastik Sanatçıları delegasyon halinde katıldığını ve bu yıl değişik bir konsept çerçevesinde 24 Türk sanatçının eserlerinin sergilendiğini” söyledi.

Türkiye Delegasyonu Başkanı ressam Nurhilal Harsa; “Gururlu ve mutluyuz. Alınan ödüller 11 yıldır ülkemizi en iyi şekilde temsil etme sorumluluğuyla, istikrarlı, özenli, özgün ve yaratıcı sanat diliyle yaptığımız sergilemelerin sonucudur. Ressam Hakan Esmer'in,10x10 cm. resim sergileme fikrinden hareketle oluşturduğu etkili projesini ressam Serdar Leblebici Paris'li sanatseverlerle buluşturmuştur. Türkiye'yi sanat alanında en güzel şekilde temsil etmeye çalışıyoruz. Bu sene 21 ressam 2 heykeltıraş ve 1seramik sanatçısı ile katıldık. Bu yılki sergimize, kendi aramızdaki enerjiden ve işbirliğinden doğan güce karşılık gelen “Sinerji” adını verdik. Duvarda toplamda 210 resim olduğunu belirten Harsa, önemli olanın bütündeki etkisi olduğunu ifade etti. Katalogların her yıl Fransızca basılıp sergide dağıtıldığını sözlerine ekleyen Harsa, Paris Büyükelçimiz Hakkı Akil beyefendinin, delegasyon sanatçılarını makamında ağırlayıp, her yıl standımızı onurlandırarak yanımızda olması, açılış töreninde konuşma yapması bize güç veriyor, kendisine şükranlarımızı sunuyoruz. Sergilenen eserlerimiz, T.C. Dışişleri Bakanlığı ve Türk Hava Yolları işbirliği ile, diplomatik kargo statüsünde geliyor. Tekirdağ Süleymanpaşa Belediye Başkanı Sayın Ekrem Eşkinat'ın sanata ve sanatçıya duyarlı yaklaşımı, SNBA Türkiye Delegasyonuna sponsor olması ve açılış resepsiyonunda birlikte olmamız bize güç vermiştir. Kendilerine teşekkürlerimizi sunuyoruz.

SALON 2015, Paris Büyükelçisi Hakkı Akil'in açılış törenindeki konuşması.
Geleneksel “Salon” sergilerinde, geçmiş yıllarda elde edilen başarıları hatırladığımızda;
2006 yılında Ressam Serdar Leblebici (Médaille de Bronze en Catégorie
Peinture) RESİM DALINDA BRONZ MADALYA ile ödüllendirildi. 2007 yılında delegasyon sanatçıları tek tek Delegasyon ÖZEL ÖDÜLÜ ile ödüllendirildi.
2008 yılında delegasyon tekrar ÖZEL ÖDÜL aldı. Heykeltıraş Akın Yıldırım (PRİX
SPECİAL DU JURY 2008) Jüri Özel Ödülü, Ressam Nurhilal Harsa (PRİX
D'HONNEUR DU SALON 2008) Onur Ödülü alarak Türk sanatı adına büyük bir başarı kazandık. Delegasyon, 2009'da Fransa'da kutlanmış olan olan "Türkiye Mevsimi" bünyesinde, "Salon 2009"da kapsamlı bir sergi gerçekleştirdi. İstanbul Sanat Vakfının (İKSEV) sponsorluğu bize güç verdi. 2009 yılında gurubumuz tek tek Delegasyon ÖZEL ÖDÜLÜ ile ödüllendirilmiştir. Ressam Hakan Esmer( PRIX SPECİAL DU JURY 2009) Jüri Özel Ödülü, Semih Kaplan (PRIX SPECIAL DU JURY 2009) Jüri Özel Ödülü ve Selçuk Yılmaz (MEDAILLE DE ARGENT EN CATOGORIE SCULPTURE 2009) Heykel dalında Gümüş Madalya alarak Fransa'da kutlanan "Türkiye Mevsimi"nde büyük bir başarıya imza

attılar. 2011’de ise "20x20" konseptli sergimizle, katılan her sanatçı gümüş madalya (MADAILLE DE ARGENT) ile ödüllendirilmiştir. 2014 yılında Ercan Ayçiçek, resim dalında jüri özel ödülü (PRIX SPECIAL DU JURY 2014) almıştır. Bu başarı her yıl sürekliliğimizi koruyarak, sorumluluğumuzun bilincinde çalışmamızın sonucudur ve bu ödüller bizim maneviyatımızı yükseltiyor” açıklamasını yaptı.


Paris Büyükelçisi Hakkı Akil'i makamında ziyaret.


Salon 2015 Açılışı, Sayın Gülsin Onay, Ekrem Eşkinat, Hüseyin Avni Botsalı, İnci Botsalı.

25 Aralık 2015 Cuma

AHMET YEŞİL’DEN ERTUĞRUL FIRKATEYNİ ve TÜRK-JAPON DOSTLUĞU ANISINA TABLO

Ahmet Yeşil, "Ertuğrul", 2008, tuval üzerine yağlıboya, 175x300 cm., (Japonya / Kushimoto Müzesi Koleksiyonu).

Ressam AHMET YEŞİL’in uzun yıllar öncesine dayanan Türk – Japon dostluğu ve “ERTUĞRUL FIRKATEYNİ ŞEHİTLERİ” anısına yaptığı tablosu 2008 yılından bu yana Japonya KUSHIMOTO MÜZESİ’nde sergileniyor. 175x300 cm ölçülerinde, tuval üzerine yağlıboya çalışmada, Japon Kaligrafi sanatının yazı karakterinde “SEVGİ – DOSTLUK – KARDEŞLİK”i ifade eden kelimeler, güneş ışıltısı şeklinde resmedilmiş. Böylece hem Japon Güneşi’ne hem de Ertuğrul Şehitleri’nin Işığı’na gönderme yapılıyor.

“Ertuğrul 1890” filminin gösterime girmesiyle, Ertuğrul Fırkateyni’nin Kushimoto kenti açıklarında kayalıklara çarparak batması ve Ertuğrul Fırkateyni’nde şehit olan Türk denizcileri bir kez daha gündeme gelmiş oldu. ŞEHİTLERİMİZİ RAHMETLE ANIYORUZ.

BİLGİ İÇİN: ummuhankazanc@gmail.com

PAINTING BY AHMET YEŞIL IN THE MEMORY OF ERTUGRUL FRIGATE and TURK-JAPAN FRIENDSHIP
Painter AHMET YESIL’s painting based on the Turk-Japan friendship and to the memory of "ERTUGRUL FRIGATE MARTYRS" has been exhibited at the MUSEUM of KUSHIMOTO since 2008. The dimensions of 175x300 cm and oil on canvas painting expresses words "LOVE-FRIENDSHIP-BROTHERHOOD" in the form of Japanese Calligraphy Art. Characters painted in the form of Sun glow. Thus, the artist is sending message to the Japanese Sun and Ertuğrul Martyrs.

With the release of “Ertuğrul 1890” film, Ertugrul frigate’s sink by slammimg on the rocks off the coast of the town of Kushimoto and Ertugrul frigate Turkish Marines had been raised once again. WE COMMEMORATE OUR MATYRS.

FOR FURHER INFO: ummuhankazanc@gmail.com



9 Aralık 2015 Çarşamba

KADIR AKYOL: “NEW PORTRAITS / NEW FACES” EXHIBITION AT GALERİ/MİZ

Kadir Akyol, Barbara Palvin, 2015, oil on canvas, 130x160 cm.

Gallery/Miz is hosting the exhibition of Kadir Akyol who is the most prominent name of the younger generation in the field of portrait in Turkey. The exhibition titled as
“New Portraits / New Faces” runs from 19 December 2015 to 17 January 2016.

Akyol is using the heritage of portrait as a source of extraordinary richness in the art history. What brings the young artist to fore is that he brings together images which he elected from different historical periods and different cultural connections with an extremely original dialect. In his canvases elements of popular culture, traditional life, popular and modern painting, lyricism and irony comes side by side in a dynamic harmony.

The first period portraits of the artist carries traces from 80’s as the popular culture became widespread with neo-liberal economy in Turkey, began to affect daily life. In the said series the portraits Akyol painted on the color opening screen of the state television with one channel and the textile designs he applied on the portraits are remarkable. As the figures in the traditional costumes lose their holiness in a world that have lost their context, Turkey becomes a simulacrum which erupts out of the memory of figurative painting art. Akyol succeeded to turn the impossible desire like bringing together Neşet Günal’s painting with Andy Warhol’s to a surrealist experience.

Kadir Akyol loads his portraits with present time energy, unavoidability of change and transduction power of humans. His works are in dialogue with viewers which establishes a cordial and courteous mutual effect.

By Akyol’s first period, the uniqueness feeling that proceedes from the loyalty to objectivity of picture seems like about to be lost in the ordinariness of the world of serial production and speedy consumption. The uniqueness of impressions in his portraits, the profundity of the lace weave be threatened by anonymous light of geometrical, brilliant and colored reality. The fragileness of the lace that covers faces like a second skin is nothing but a nostalgic mask. These veils, covers and curtains are trying to protect the subjectivity.

In Akyol’s new series of portraits the lace weave abandoned its place to live and vibrant color strokes. With this strokes the curtain is torn and the sorcery is dispelled. The uniqueness of subject has left its place to anonymous objectivity of ideal young women faces. The subject that wears the glance is now replaced by the beauty that is the object of the glance. Beauty has no ground, no background, no history and no age. These portraits carries enjoyment, delight, desire and in line with the portraits of Andy Warhol and Richard Philips. Akyol’s works invite their viewers to celebrate the invulnerable and ageless nudity of a world that lost its mystery.

Akyol as a mobile artist between Sevilla, Istanbul and Mersin in a global world produces work that doesn’t give up the local tastes but also the current makings in the world. Hereby he takes part as a name that is attractive für young generations in the field of portrait.

Kadir Akyol who was elected as a young painter of the year in 2013 was born in 1984, Mardin. He graduated in the year 2008 from The University of Mersin, Faculty of Fine Arts Department of Painting. In the year 2011 he completed his master degree at Ankara Gazi University, Faculty of Fine Arts Painting branch. In the same year he commenced his second master study at Universidad De Sevilla Faculttad De Bellas Artes in Spain. Akyol is continuing presently on his thesis “Hacker Art” there.

Kadir Akyol has opened ten individual exhibitions and taken part in national and international activities (Group exhibition, bienal, trienal, fair and symposium). Although his main practice course is painting, Akyol continues his Art production in different courses like video, installation art and performance.


FOR FURTHER INFO: Galeri/Miz
Address: Hüsrev Gerede Caddesi, Deniz Apt., No: 64 Teşvikiye, 34365 İstanbul - Turkey



Kadir Akyol, Barbara Palvin, 2015, oil on canvas, 125x210 cm.

KADİR AKYOL “YENİ PORTRELER / YENİ YÜZLER” SERGİSİYLE 19 ARALIK’TA GALERİ/MİZ’DE
Galeri/Miz, portre alanında genç kuşak sanatçılar arasında en dikkat çeken isimlerden biri olan Kadir Akyol’un resim sergisine ev sahipliği yapıyor. Akyol’un “Yeni Portreler/Yeni Yüzler” isimli sergisi, yapıtlarında Pop Art’ın temel konularından biri olan kadın imgesini işleyen ressamın, bu imgenin alışıldık pop art sunumunda ezber bozan, kendine özgü renk oyunları ve fırça darbeleriyle yeniden hayat verdiği son portre çalışmalarından oluşuyor.
19 Aralık 2015 – 17 Ocak 2016 tarihleri arasında gerçekleşecek sergi, Galeri/Miz’de görülebilir.

Kadir Akyol
2013 yılında “Yılın Genç Ressamı” seçilen Kadir Akyol, 1984 yılında Mardin’de doğdu. 2008 yılında Mersin Üniversitesi Güzel Sanatlar Fakültesi Resim Bölümün’den mezun oldu. 2011 yılında Ankara Gazi Üniversitesi Güzel Sanatlar Fakültesi Resim Ana Sanat Dalı’nda yüksek lisans eğitimini tamamladı. Aynı yıl İspanya’da Universidad De Sevilla Faculttad De Bellas Artes’de ikinci master eğitimine başladı. Akyol halen burada “Hacker Sanatı” isimli tezine devam etmektedir.
Kadir Akyol bugüne kadar, on kişisel sergi açtı ve yüzden fazla ulusal ve uluslararası (grup sergisi, bienal, trienal, sempozyum, fuar) etkinliğe katıldı. Ana uygulama mecrası resim olmakla birlikte, Akyol; video, enstalasyon ve performans gibi farklı mecralarda da üretimini sürdürmektedir. 


“Yeni Portreler/Yeni Yüzler”
SEVİL DOLMACI, Kadir Akyol’un “Yeni Portreler/Yeni Yüzler” sergisinin katalog metninde şunları yazıyor: Akyol, sanat tarihinde portre geleneğinin mirasını, olağanüstü zenginlikte bir kaynak olarak kullanıyor. Genç sanatçıyı öne çıkaran, farklı tarihsel dönemlerden ve kültürel bağlamlardan seçtiği imgeleri, son derece özgün bir dille bir araya getiriyor olmasıdır. Tuvallerinde popüler kültürün ve geleneksel yaşantının, popüler olanın ve modern resmin, lirizmin ve ironinin unsurları dinamik bir uyum içinde yan yana geliyor.

Sanatçının, ilk dönem portreleri Türkiye’de neo- liberal ekonomiyle birlikte yaygınlaşan popüler kültürün gündelik yaşamı etkilemeye başladığı 80’li yıllardan izler taşıyor. Söz konusu seride Akyol’un tek kanallı devlet televizyonunun renkli açılış ekranı üzerine yaptığı portreler ve portrelerin üzerine uyguladığı tekstil desenleri dikkati çekiyor. Türkiye figüratif resim sanatının belleğinden çıkagelmiş, geleneksel kostümler içindeki figürler giderek kutsallığını yitiren bir dünyada bağlamlarını kaybetmiş imgelere dönüşüyor. Akyol, Neşet Günal resminin Andy Warhol’la buluşması gibi imkansız bir arzuyu, gerçeküstücü bir deneyime dönüştürmeyi başarıyor.


Kadir Akyol, Satisfaction1, 2015, oil on canvas, 160x190 cm.
Kadir Akyol portrelerine, değişimin kaçınılmazlığını, insanın uyum sağlama gücünü, şimdiki zamanın enerjisini yükler. Eserleri izleyici ile diyalog halindedir. İzleyeni ile içten ve nezaketli bir etkileşim kurar.

Akyol’un ilk dönem çalışmalarında fotoğrafın nesnesine sadakatinden kaynaklanan biriciklik duygusu, seri üretim ve hızlı tüketim dünyasının sıradanlığı içinde yitip gitmek üzere gibi görünür. Portrelerinde ifadelerin biricikliği, bakışlardaki derinlik ve dantel örtülerin loşluğu, fondaki geometrik, parlak ve renkli gerçekliğin anonim ışığı tarafından tehdit edilmektedir. Yüzleri ikinci bir deri gibi örten dantelin kırılganlığı, nostaljik bir maskeden başka bir şey değildir. Bu peçeler, örtüler, perdeler öznelliği korumaya çalışmaktadırlar.

Akyol’un yeni seri portrelerinde, yüzlerdeki dantel doku yerini canlı, parlak renk vuruşlarına bırakır. Bu vuruşlarla perde yırtılmış, büyü bozulmuştur. Öznenin biricikliği yerini ideal genç kadın yüzlerinin anonim nesnelliğine bırakmıştır. Bakış taşıyıcısı özne yerine, bakışın nesnesi olan güzellik geçmiştir. Güzelliğin zemini, fonu, derinliği, tarihi, yaşı yoktur. Andy Warhol, Richard Phillips’in çizgisine yerleşen bu portreler zevk, haz, arzu gibi isimler taşırlar. Bu isimler, resmilerin cazibesini ve izleyene sunduğu mutluluk vaadini arttırır. Sonuçta zafer arzunun olur. Akyol’un eserleri izleyicisini gizemini yitirmiş bir dünyanın yaralanmaz ve yaşlanmaz çıplaklığını kutlamaya davet eder.


Kadir Akyol, Charlize Theron, 2015, oil on canvas, 160x190 cm.
Akyol, global bir dünyada Sevilla, İstanbul ve Mersin arasında mobil bir sanatçı olarak lokal tadlardan vazgeçmeyen ancak düyadaki güncel üretimleri de alımlayan işler üretir. Bu sayede yeni portre alanında genç kuşak içinde ilgi çeken bir isim olarak yerini alır.”


Kadir Akyol.
Galeri/Miz
Çağdaş sanat için bir platform olma hedefiyle açılan Galeri/Miz, 19 Ekim 2011 tarihinde İstanbul Teşvikiye’de açıldı. Çağdaş Türk sanatının yanı sıra uluslararası sanatı da sergilemeyi mekân politikası olarak belirleyen Galeri/Miz, yerleşik sanatçılar için olduğu kadar genç sanatçılar için de bir mekân olma özelliği taşıyor.
Çağdaş ve modern sanatı sergilemenin dışında alanlarında seçkin konukların katıldığı söyleşi programları ve güncel sanat konularında hazırladığı seminer programlarıyla İstanbul kültür ortamında yerini alıyor. Galeri/Miz, tüm kültür kurumlarıyla işbirliğine açık olarak sosyal sorumluluk projeleri yapıyor.

BİLGİ İÇİN:
Hüsrev Gerede Caddesi Deniz Apt. 64 Teşvikiye, 34365 İstanbul-Turkey
info@galerimiz.com
www.galerimiz.com
https://www.facebook.com/mizgaleri


24 Kasım 2015 Salı

OLAFUR ELIASSON: BAROK BAROK

Olafur Eliasson, New Berlin Sphere, 2009, Colored glass (cyan, magenta, yellow), aluminum, paint (black, white), Installation view: “Innen Stadt Außen,” Martin Gropius Bau, Berlin, 2009 Photo: Jens Ziehe, Courtesy of Studio Olafur Eliasson, 2009.
Belvedere, Vienna, TBA21, Viyana ve The Juan & Patricia Vergez Collection, Buenos Aires işbirliği ile düzenlenen Olafur Eliasson’ın “BAROQUE BAROQUE” isimli sergisi, Savoy Prensi Eugene’nin Kış Sarayı’nda 6 Mart 2016 tarihine kadar izlenebilir.
Danimarka-İzlandalı kökenli sanatçı Olafur Eliasson, yaklaşık 20 yıldır sanatsal çalışmalarındaki fiziksel ve malzeme tecrübelerini sergilemeye devam ediyor. Bu bağlamda, o bizim algılama alışkanlıklarımızı sorguluyor. Eliasson, bilim, psikoloji ve mimariden yararlanarak, gerçek, algılama, su-hava, sis veya buzun yarattığı görünür temsil gibi çevreler yaratarak, izleyicilerin eş zamanlı olarak sanatının aktif katılımcısı olmasını sağlıyor.

Installation view, New Berlin Sphere, 2009,
Colored glass (cyan, magenta, yellow),
aluminum paint (black, white),
Courtesy Studio Olafur Eliasson.
OLAFUR ELIASSON: BAROQUE BAROQUE
BAROQUE BAROQUE brings together a significant selection of artworks by Danish-Icelandic artist Olafur Eliasson from the private collections of Thyssen- Bornemisza Art Contemporary (TBA21) and Juan and Patricia Vergez and presents them within the grand baroque setting of the Belvedere’s Winter Palace. The former city residence of Prince Eugene of Savoy (1663–1736), was an important site of artistic and scientific patronage in baroque Vienna. BAROQUE BAROQUE is an encounter between artworks, aesthetics, and worldviews from two vastly different epochs. The exhibition challenges viewers’ habits of perception and proposes that reality can be understood as unstable and evolving, as a process of constant negotiation. Surprising affinities between Eliasson’s works and their temporary settings become evident as the juxtapositions explore the relationships between object and viewer, representation and experience, actual and virtual, giving rise to a concept of the baroque superimposed on itself — the BAROQUE BAROQUE.

While emphasizing the way spaces are constructed by history and tradition, Eliasson’s works address the viewer in her embodied experience. Through the use of projections, shadows, and reflections, the artworks foreground the relationship between body, perception, and image. They anchor agency in the body and mind in motion as they invite the viewer’s active engagement by mirroring, fragmenting, and inverting her position within space.


Olafur Eliasson, Die organische und kristalline Beschreibung, 1996, Light projector, wave-effect machine, colour filter, convex mirror, Installation view: remote connections, Neue Galerie am Landesmuseum Joanneum, Graz, 1996 Photo: Courtesy of the artist / Studio Olafur Eliasson, Berlin.
Eliasson says, “I find it inspiring that the baroque exhibited such confidence in the fluidity of the boundaries between models of reality and, simply, reality. The presentation of my works at the Winter Palace is based on trust in the possibility of constructing reality according to our shared dreams and desires and on faith in the idea that constructions and models are as real as anything.”

TBA21 Founder, Francesca von Habsburg says: “This exhibition brings together several elements that I think support the vision of collectors and their responsibility as well as their ability to create art projects that defy traditional categorization. Both Patricia and Juan Vergez and I have been collecting and supporting Olafur Eliasson for many years with great enthusiasm, as he is indeed a renaissance man of many talents! In this presentation we wanted to introduce a parallel, that Olafur himself has mirrored in the exhibition rooms, that juxtaposes the precious Baroque cultural heritage of Vienna with the work of an artist that I feel very close to.”


Olafur Eliasson, Power tower, 2006, Stainless steel,
light, wood, cable, 410 x 110 ø cm,
Photo: Courtesy Studio Olafur Eliasson.
In the entrance Vestibule, the light installation Die organische und kristalline Beschreibung (1996) floods the walls, floor, and ceiling with swelling washes of blue and yellow light, an ocean of color that loosens the viewer’s sense of the stability of her environment. In Yellow corridor (1997), monofrequency light is used to heighten the precariousness of our relationship to visible space. Eliasson’s optical machines and installations — such as Kaleidoscope (2001), New Berlin Sphere (2009), Your welcome reflected (2003), and Seu planeta compartilhado (Your shared planet, 2011) — reflect the artist’s ongoing investigations of color, perception, transformation, and deconstruction, an inquiry that is particularly interesting in relation to the baroque context. A site-specific intervention in the form of a continuous mirror traversing the enfilade of grand rooms further disorients the viewer by folding and re-folding the complex spaces it produces. Wishes versus wonders (2015), a steel half-ring mounted to the mirror wall in the Hall of Battle Paintings, stages an encounter between reality, illusion, and the elaborate artifice of the surroundings, simultaneously multiplying lines of potentiality.

Within this terrain of doubling and paradox, Eliasson calls into question our received habits of seeing and experiencing space. His artworks make us wonder and reconsider, giving meaning to the enigmatic doubling inherent in BAROQUE BAROQUE.



Olafur Eliasson, Kaleidoscope, 2001, Metal, foamcore aluminium mirror, 180 x 180 x 728 cm, Installation view: Surroundings surrounded, ZKM Karlsruhe The Juan and Patricia Vergez Collection Photo: Franz Wahmhof, 2001.

Olafur Eliasson Seu planeta compartilhado, 2011, Stainless steel, aluminum, color-effect filter glass, mirrors, 195 x 325 x 200 cm, Thyssen-Bornemisza Art Contemporary, Vienna, Photo: Jens Ziehe, Berlin.

22 Kasım 2015 Pazar

MAURICIO PAZ VIOLA: URUGUAY’DAN MİSAFİRİMİZ VAR…

Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
Uruguay’da yaşayan Mauricio Paz Viola, facebook sayfam üzerinden bana ulaşarak, sanatı hakkında küçük bir habere yer verip veremeyeceğimi rica ettiğinde, ‘niye olmasın’ dedim. Dünyanın farklı bölgelerinden dönem dönem bu ricaları alıyorum. Paz Viola’nın sanat hikayesini ve “Kış Ağaçları” serisini çok sevdim ve kendisini hakkında bu küçük yazıyı yazmaya karar verdim. Güney Amerika’dan, Uruguay’dan sayfama misafir olan Viola’nın çalışmalarını umarım siz de seversiniz.

Mauricio Paz Viola.
1985 yılında, Uruguay, Colonia’da, deniz kıyısındaki Carmelo şehrinde doğan Mauricio Paz Viola, 7 yaşından bu yana plastik sanatlarla ilgilidir ancak, gençlik yıllarına kadar resmi sanat eğitimi alamamış. Museum and Archives of Carmen’de Profesör Juan Jose Gonzalez’in stüdyosunda çalışmaya başladığı ilk yıllarda, çocuk resimlerindeki gibi portreler ve natürmortlar çizer ama kısa zamanda kendi stilini oluşturmayı başarır. Kurallara bağlı kalmayı sevmez ve içinden geldiği gibi boyar.
14 yaşından bu yana sergiler açan Maurice Paz Viola, Colonia Arjantin Konsolosluğu, Uruguay’da kişisel sergiler açmış, birçok karma sergide yer almış. Viola, yurtdışında ve memleketi Uruguay’da çeşitli sanat yarışmalarına katılmış. Matta, Miro ve diğer öncül sanatçılardan esinlenen Viola’nın eserlerinde, temsil ile ilgili sürekli bir arayış vardır. Nesne ve şekillerin kendi yaşamını bulduğu kişisel ve iç dünyaları yeniden yaratır ve onlara yeni anlamlar vermek ve kendi, iç gerçeklerini yansıtmak üzere seyirciyi davet eder.

FOR FURTHER INFO

Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
INTERVIEW WITH MAURICIO PAZ VIOLA

How did you become an artist, and did you know early on that you would be in the arts, or did you begin as something else? Were there other artists in your family?
I was born in 1985 in Colonia, Uruguay – specifically in the city of Carmelo, which is situated on the shore of La Plata River. I was born prematurely, hardly breathing… in a way I was like a phoenix rising out of ashes to give the world the images of my fantasies, to bring beauty to the eyes of women and men who know how to see with their heart.
Artistic expression has always interested me since I come from a family of writers: my father wrote folk songs, my mother poems, and my two sisters have both published books. In terms of plastic art, however, I am the only painter in the family. I remember that since an early age I would get a ball of mud and make replicas of whatever object there was in our yard… I painted and I made castles out of books – and I enjoyed myself very much. Fortunately, I always had the support of my family. Motivation and enthusiasm are the most important things for children, while for adults it is the need for expression and communication of one’s true self that become the most important objectives in art, and have been the life force behind my artistic creations every single day. 
Art has always been present in my life. As a child I drew and painted. I remember when I was 7, I saw from a linguistics textbook an image that left a permanent mark on my life: it was a painting by Roberto Matta. I still vividly recall how I felt that day sitting at my desk, drowned in shock by those colors and shapes…


Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
However, it was not until my teenage years that I began my artistic training. I studied in the studio of Museum and Archives of Carmen with professor Juan Jose Gonzalez. In the beginning I painted portraits and still life just like all art pupils, but it didn’t take long before I created a style of my own, breaking all the rules (I never followed any to start with) and painting my inner worlds and who I was. Later I joined an art troupe “De La Vuelta” led by Maximiliano Garcia (Salvador Biko) and Alvaro Acuña. Together we organized all kinds of art events: theater, juggling, circus shows, rock concerts, painting and sculpture exhibits and a variety of social events… there were many memorable moments that played a part in forging my artistic identity in my teen years.

Each artist is so different when it comes to approaching their work. How do you approach your creation- can you elaborate on your working process?
I have never gone to art school – I am mostly self-taught, which is why I have a free-spirited approach in my work. When creating a new painting, I focus on freedom, fluidity, and movements… I do a dance before I paint – I usually do some kind of rituals before I create, and I usually paint after 2pm; my other ritual is listening to music to develop an approach to a new work – it can be ambient music (such as Kitaro), and lately I’ve also been listening to electronic music, sci-fi movie and video game soundtracks to get myself in the mood of creating fantastical pieces – if music be the food of imagination! Recently I’ve also been creating series of painting, and also mini series within series to manage my creative anxiety, and results of these have formed “Mundos acuáticos” (underwater worlds), “Essentia” (essence) within the series of “La Nada en el Vacio” (Nothing in the Void). My style can be characterized as “action paint”, but I also experiment with other styles such as deformism and surrealism, using pastel, charcoal, ink, oil painting techniques – such as can seen in the series “Retratos Deformistas” (Portraits, deformed), of human faces in 2004, and “Dark and Black” created last year.


Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
What are the primary themes of your work?
My works focus on the spiritual, the essential, on the cosmic union, the future… I aim to create paintings that can help the viewer in their spiritual growth, and I believe that to be the direction of art in this millennium – spiritual growth more than social or political critique, as art is an manifestation of the spirit, which is the truth and the future of art.
There are lots of recurring elements in my works, such as transparencies, overlapping images or colors, repetitions of lines, elements and objects… Additionally, there are the weightless objects and elements, floating shapes, circles, spheres and cubes. Saturated colors and different color schemes can also be found in one painting, such as in the ones of “La Nada en el Vacio”, which I started in 2011 and continues to work on until this day.
One of the recurring themes in my work are images of a erotic, sensual character. In the majority of my works, elements alluding to feminine and masculine sexuality can be seen, resembling curves, ovaries, phallic symbols, and other visual narratives having to do with the concepts of fertility, reproduction and creation. I believe that sexual energy is one of the most important creative forces of the universe (a point also shared by Hindu teachings), and I represent this vital force in a physical way to capture and express the creative part of being and the divine spark in one’s self. I am most fascinated by sex– not only the carnal act between the animals that we are, but as a sacred act present in all creations. The word sex comes from Latin “sexus”, or “sectus”, meaning separation. Hence, it is an act that repeats itself perpetually to create and re-create, in the realms of math, physics, chemistry and even in the field of cosmology. If one looks close enough, there are sexual acts everywhere – not just in human beings, and it is beautiful, unique and good. Perhaps my point of view is inspired by Gurdjeff, who holds that all manifestations of self is sexual as sex is the most important prototype of the human machinery.


Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
I am also inspired by ancient civilizations, especially the ones buried underneath history – Incan, Egyptian, and Sumerian Civilizations. It seems that the true story of us humans is stranger than science fiction. I devour information on these forgotten histories insatiably, exploring mysteries, hidden worlds, aliens, parallel universes – topics of importance in life and yet no one seems to be interested in discussing or knowing, perhaps to escape from the constant prodding of the age-old question of where we came from, where we are going and who created life itself.

In a nutshell, a constant theme of my work is life itself as it is manifested in nature, the universe (or universes) and the infinite worlds and dimensions of which we know nothing, towards which biology, science, art try to grapple… in a word, LIFE.

Who are your favorite artists and why?
One of my favorite artists is Van Gogh. I admire him for his brilliance, his life story and his powerful work. I also like Picasso who revolutionized the art world… Goya, Rembrandt, Kandinsky, Miro, Max Ernst with his wondrous landscape paintings… My favorite perhaps remains the surrealist Roberto Matta, whose art I saw for the first time at 7 years of age, but I never tried to imitate his work nor is there a noticeable influence of Matta in my work. There is also Javier Gil, friend of mine and a painter I admire; he does a lot of futuristic landscape paintings and taught me a lot about art.


Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
Why do you think art is important for the world, and why is it important for you as an individual artist?
Art is of utmost importance for the world: it is an instrument and an important form of human dialogue.  Art is the cornerstone upon which culture is built, and throughout the history of art we see the most significant manifestations of being. Art has transformed, from political and social critique and voice of advocacy to a more universal, spiritual and cosmic expression.  If we pay attention, we can see that art has gone back to focusing on its prehistoric roots, on abstract forms, on collective intuition more than reasoning.  The artist who is best at revealing this development is Gerhard Richter, who has gone from a rational and academic approach to a more abstract, intuitive one that is at the same time more primitive and emotional. Picasso has also said that he painted like Goya when a child and then had spent most of his life learning to paint like a child again – to me, this is what new art is about – art of the new millennium, and it is my quest and what I hope to give. As a fully committed artist, I hope to help people learn about themselves and to grow spiritually through my art.


Mauricio Paz Viola, "Winter Trees Series", 2015, contemporary watercolor.
What you hope to communicate to the viewer and how does this specifically affect the final result?
I hope the viewer can enter my dreamy world of ethereal, weightless landscapes and leave behind their everyday existence even for just a while; I want to convey positive vibes through the colors and shapes I use and the love and kindness embedded in every stroke but above all, to show a world a endless possibilities and give a glimpse of the divine spark, inspiring the viewer to create, to make something out of the most beautiful and sacred part of human existence.

I would define my work as a manifestation of self, an extension of my spirit or sub consciousness, which is still beyond my grasp and lies at the deepest sphere of pure self. In particular, I try to minimize intellectual inclinations when I create to prevent the ego, the fictitious self from intervening, and hence my works are the most loyal reflections of who I am (dreamer, fantasy-prone, sensitive, sexual and a bit dark and gloomy sometimes), and my work is who I am.


Mauricio Paz Viola, "Nature dancing", oil on canvas, 120x100 cm.
My works feature images of imaginary landscapes, empty or inhabited by unknown beings – landscapes that externalize a constant inner struggle of being human, that visualizes conflict between good and evil, between light and darkness… hence, the best way to describe my work is – landscapes inhabited by my own self, where a step forward is eternal light and a step backwards is total darkness.

In reality, my work refrains from saying too much: it was never my idea to talk about politics or social matters in my work. More than anything, my paintings are an invitation to enter the world of dreams, where the viewer can escape from the mundane for a few moments – like some kind of hallucinogen – being in there and being as oneself, and see things in a different way. This is why I have chosen an abstract approach which provides such resources. I am convinced that these images exist somewhere in the universe, and that I have seen them in the many previous lives I have lived as a particle of cosmic dust and am now only re-creating these worlds, never before seen by others, with luxurious details and narratives. 

Which of your artwork pieces is your favorite, or have been most significant to you as an artist?
For me there are many significant pieces. “Mujeres destrozadas por el tiempo” (Women, shattered in time) is an art piece I started in 2003 in Uruguay in charcoal. In 2005, I added collage to the original artwork and in 2012 in Chile, I decided on the title. It was a very significant piece being the first creation after a hiatus of two years (fortunately I still have it with me).

Another significant one is “Gato” (Cat) in 2004 from the “Retratos deformistas” series depicting deformed animal and human figures. It was at that time my favorite piece and the one most loved by the public.


Mauricio Paz Viola, "Le papillon (butterfly)", 2015,
oil on canvas, 100 x 90 cm.
I have another piece, “El Beso” (The Kiss), a pastel work created in 2004; “Mujer con escalera” (Women with stairs) of pastel on paper created in 2005, “Tercera Guerra neurologica” (Third Neurological War) of mixed media on paper created in the same year and dedicated to a friend who had committed suicide, and my first large-scale creation; “Dragon de agua” (Water dragon) of 2005, oil on canvas, and “Cascada boreal” (Aurora falls) of 2012, “11 seres” (11 beings) of 2012, “Flor de caverna” (Cave blossoms) of 2013, “Garganta roja” (Red gorge) of 2013, “Graine du ciel” (Seed of Heaven) of 2013, “Fecundidad de las Hadas” (Fairies: be fruitful and multiply) of 2015, “Le papillon” (Butterfly) of 2015, as well as a series of illustrations called Dark and Black which I did in 2013.

I can’t pick out one most significant work because every piece reflects a specific and unique moment in my life, some simple, some complex, all distinct.

What is the biggest frustration for you being an artist?
The biggest frustration for me being an artist is that I feel lost vis-à-vis today’s contemporary art scene. Most galleries in Latin America focus on installations, brushing aside plastic artists – painters, sculptors who hardly get a chance to showcase their work. Installations are not always easily understandable and can sometimes be elitist. On another hand, being an artist today requires one to have formal training, sometimes even a Masters degree – in curating, cultural management, et cetera, and the focus on a genuine art is lost, which is hard for a self-taught artist like me.

How do you feel when people interpret your artwork differently, or is there one primary thing you hope to have the viewer experience?
I enjoy it when viewers interpret my art according to their own prototypes, dreams, fantasies, fears and limitations – the power of modern art lies not only in the freedom to choose themes and but also in the liberty of interpretation. We are all multi-faceted beings that it is ironic to ask of a painting to be viewed only a certain way.


Mauricio Paz Viola, "The truth everlasting", 2015,
oil on canvas, 80 x 90 cm.
For example, some people see phallic symbols in my paintings and others see horses, water plants, mushrooms, just to name a few, which is why I have stopped labeling a lot of my art pieces to give the public free reign and be more inclusive – women and men, young and old, heterosexual and queer, public of different socioeconomic standing have all seen my work and generated lots of dialogue – and it is precisely this dialogue of freedom, of expression, and of interpretation that I hold dear to my heart.

What advice do you have for aspiring artists?
First of all I would advise parents of artistically inclined children to motivate and encourage them, take them to art studios, buy them art supplies… and secondly, I’d tell teenagers that if they like art and believe that there is a path in art for them to participate in seminars, lectures, visit other artists and go to museums and galleries. But more than anything, I’d tell them to get formal training, and to refrain from the temptation of drugs and alcohol – there will be plenty of time to dabble in that later in life, just saying. (laughs)

To aspiring artists, especially ones whose families are against their career choice and the self-taught ones, I’d say to trust in their own capacities, their intuition, their higher self. Absorb everything museums and galleries have to offer, see other artists’ work, share their own work without feeling ashamed, because only time and talent will tell. Van Gogh could finish 3 paintings in a day and yet sold none in his life – so just go ahead and paint. One must be loyal to their heart and recognition will follow.


Mauricio Paz Viola, "Essentia series", 2015, contemporary watercolor, 30 x 42 cm.
MAURICIO PAZ VIOLA EXHIBITIONS
2015    exhibition alongside Guillermo Grebe Larraín and Soledad Omeñaca in Atelier4 Gallery
2015    Group show in Mundo Sur Gallery, “Alec iacta est”
2015    Solo show in Cultural Center of Ñuñoa
2015    Group show in Bussi Gallery in celebration of its 40th anniversary
2014    Group show "GLI DEI ANTICHI” in Chilean-US Cultural institute of Valapraiso, Chile 
2014    Group show in Equinox Festival in Matta House,
2014    Solo show in Cultural Center of Recoleta during “Uruguay week”
2014    Group show – “Essence of bread” in Arte Trece Gallery
2014    Group show –“Encounters” in Siglo XX Yolanda Hurtado Gallery
2013    Group show in Espacio 10 Gallery (Buenos Aires, Argentina)
2013    Group show “Imagen Joven”, Museum of Fine Arts in Paraná, Argentina
2013    Solo show in Oops! Gallery
2013    Group show in “Arte Joven MAJO 2013” at Romulo Raggio Foundation, Buenos Aires, Argentina
2013    feature and tour with Latin American Annual Art Review No. 17 (Argentina & Uruguay)
2012    Group show in Fifth Visual Art Fair, Fobeju Foundation
2011- 2012     tour “country” with national prize winner Guillermo Núñez, Mexican painter Uriel Parker and Chilean painter Martín Astorga Camus throughout Chile, receiving over 7,000 visitors
2010-2011      creation of project “Artivism for Peace” (affiliated with UNA Art Miles project in the US), including community art/intervention workshops for children and mural painting in southern Chile
1999-2008  Annual solo show of paintings, drawings and sculptures as part of “De la Vuelta Group” in Uruguay, along with concert tours and community events
2005 Group show in A.P.E.U en A.F.E. Colonia (art festival held in Colonia Department), with works making into the permanent exhibition throughout the year
2005 Solo show in Torres Garcia Hall of Consulate of Argentina in Colonia
2005 Solo show in Four Seasons Resort, Colonia
1999-2005 Annual group show with studio art students of professor Anselmo Cabrebra, Cultural Center of Carmelo
2004 Book cover design for “Miseria” by Uruguayan poet Maximiliano Garcia.
2004 Group show “Homage to Torres Garcia” in Plaza Artigas with professor Anselmo Cabrera
2004 personal show in Cultural Center of Carmelo


Mauricio Paz Viola, "Essentia series", 2015, contemporary watercolor, 30 x 42 cm.