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Translation Volumen: 1 days Completado el: Jul 2019 Languages: inglés al francés
Finance. 6 pages Terms of contract.
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inglés al francés: Présentation des artistes General field: Arte/Literatura Detailed field: Arte, artes manuales, pintura
Texto de origen - inglés JENNIFER
BFA from the University of Michigan School of Art 1984, Magna Cum Laude
Ann Arbor, Michigan USA
Studio and Forum of Stage Design 1985-1987
New York, NY USA
My main motivation is to create modern landscape paintings. This is a grand tradition that I want to be apart of and to bring something new to. I am often inspired by the vistas I see while driving, and am intrigued by the geometry and compositions that I see which are quite different from those seen from a still perspective. The sense of motion, and the obvious signs of the manmade world make these landscapes feel contemporary to me, and in fact I think represents how many of us experience the world these days in a fast paced way, a step removed from nature. I am interested in the environment and the way we utilize the earth, and enjoy presenting the intersection of the natural with the man made world. I don't seek for the pristine or dramatic landscape but more of the simple beauty that can be seen in an ordinary place. In my work composition is of utmost importance, I am extremely interested in the formal properties of the paintings and I think this is another characteristic which sets my work apart from others in the landscape tradition.
This painting is of a Colza field in France. I am drawn to the incredible yellow color of the flowers, and the composition that is created by the stripe of color. This is one of a number of paintings I have done of Colza fields, which I have never seen in the United States. I have found them captivating visually and conceptually as they are a major source for biodiesel fuel as well as many other industrial uses. You can also see sorts of towers and fences, parts of our modern world. The sense of motion is subtle in this piece.
JEPPE
Gerrit Rietveld Akademie.
BA Fine arts (2008 -2011)
Amsterdam
The Netherlands.
Jeppe lauge (born 1980 in east Jutland) is a Danish artist, living and working in Amsterdam, The Netherlands. He studied at Århus kunsthøjskole and Ærø kunsthøjskole in Denmark before moving to Amsterdam in 2008 where he did The Gerrit Rietveld Academy (fine arts).
The paintings of Jeppe Lauge are built up through various layers of oil paint on canvas, sometimes overlaid and infiltrated with charcoal drawing. The works are done in a technique in which he assembles multiple nature images and geometric forms and patterns. Together this creates a space (landscape) that then consists of a dualism between different elements and forms of painterly expressions. They become pictures into a psychological, interpretively or imagined space, rather than depicting an actual scenery. But at the same time the paintings draw links to the architectural, cultural and social conditions of the present time. They reflect the way we shape our environment and get shaped by it. The paintings are not only about the romantic or aesthetic cultivation of nature’s grandeur, but of an intermediated nature where realism and geometrical abstractions infiltrated to form a new composition.
My working process starts when I’m pulling on my hiking boots, grab the camera and walk out into the landscape, the woods; the nature. Out there I gather the images for my archive. Back in the studio I’ll start creating a new landscape, In Photoshop, from the gathered image-material. In this stage of my artistic process I’m interested in making a space where the realism of the photos and geometric abstraction will intertwine and form something different together. In the end I’ll have a sketch that I can use for the painting process. This mediated way of creating the sketch is for me interesting and meaningful, it gives a different dimension of time and reality to my otherwise very classical way of painting.
This is actually a very simple painting. You see one type of landscape emerging into another more unknown abstracted space. So the painting is basically about being somewhere and then going somewhere else, maybe a bit fairy tale like. But it could also be seen the other way around, that it is the abstract-geometric landscape that is coming towards you, slowly twisting in on where you stand. No matter how you choose to view it, the mutual factor is that it is reflecting a change of environment, one way or the other.
SEVERIJA
Severija Inčirauskaitė-Kriaunevičienė (DoB 1977) is one of the most famous Lithuanian textile artists and well-known in the international artistic arena. After graduating from Textile studies (2003) in Vilnius Academy of Arts (VAA) and acquiring the degree of Art Licentiate, she has been teaching in the Textile Department of VAA since 2005 (since 2016 Associate Professor). She has won many awards and her works were acquired by significant art and design museums (Design Museum Rohsska (Gothenburg, Sweden), Leicester Art Museum (United Kingdom), Museum of Civilisation/Les Musees de la civilisation (Quebec, Canada), Contemporary Art Center/Musdienu Makslas Centras (Riga Latvia) and private art collectors. The author’s works were displayed in exhibitions along such famous artists as Andy Warhol, Joseph Boys, Jeff Koons, Erwin Wurm, Marina Abramovich, Damien Hirst, Jenny Holzer, Daniel Firman, Banksy... etc.
Education
2004–2007 Postgraduate studies at Vilnius Academy of Arts (Lithuania). Received the qualificational degree of art licentiate. Art project and thesis title: The Relationship Of Modernity And Ethnic Tradition In Contemporary Lithuanian Textiles.
2001–2003 MA (Textiles) at VAA, Lithuania.
1997–2001 Studied Textiles at Vilnius Academy of Art (VAA), Lithuania.
An object as a witness of daily life
Daily life is my main source of inspiration and therefore, I usually use everyday utilitarian objects in my creation. They, being the witnesses of daily life, reveal a lot of non-verbal information and helps me to tell their stories. In my work, I use universal meanings and connotations of particular objects as signs of a narrative and communication with people. I create the meaning of my works by using the existing ready-made objects, which are important to me because of their innate eloquence. Particular objects and their visual form, i.e., design, colour, signs of ageing, are references to the idea of the work (e.g., the design of an object may be a reference to a particular historical epoch). Most often, my works incorporate the objects of rather meagre Soviet reality, which for many people of my generation are references to childhood and adolescence, when even the simplest household items were relatively difficult to get, which resulted in the flourishing of the DIY principle: women used to sew, children used to play with the toys they had made themselves. I am interested in the issues of art elitism and manifestations of everyday creativity of ordinary people who are not artists. I reflect on the everyday creativity principle by using other ready-made objects in my work, e.g., uniform embroidery patterns from women's handicraft magazines. The use of these patterns is purposeful: the existing and massively used embroidery pattern is important to me as quotations of popular, mass, kitschy culture, as references to manifestations of everyday creativity of an ordinary person. Embroidery of uniform patterns and sharing them is even more charming as it is not a recent invention. Sharing embroidery and especially cross-stitch patterns has quite a long tradition. Being aware of this historical context, which is expressed in similar form to the present day, I play the same game and adapt to its rules. I copy the existing templates and give them to others to copy. However, speaking of ideas of works, the same embroidered patterns on different objects speak about different things and tell different stories.
DONALD Bubble Gum
“Peace, friendship, festival, bubble gum”
Late Soviet street folklore
The gradual crackling of the Iron Wall which began in the 1980s brought refreshing gusts of the westerly wind not only to adults. The growing thirst for superior ideals and freedom of speech was accompanied by an inexorable hunger for material novelties and commodities. It was not consumerism in today’s sense, when we are spoiled by both the excessive supply and the possibility to buy almost anything our eyes and heart desire. Back then we, the Soviet Generation X, were hungry indeed. It was a time when we would take turns chewing the same piece of bubble gum with our classmate, biting into the red wrap of basically the only available option, the Lithuanian-made Paršiukas Čiukas (Chook the Piggy) gum, to tint it red, while the Estonian Kalev gum was extremely hard to come by. Then the corroded Iron Wall began to erode rapidly, and real Western wonders entered the world of deficit. Among the first arrivals were the Donald Bubble Gum, valued for not only their main, pre-coloured chewable content but also the inlays with adventure comic strips. We were ready to sacrifice for these wonders as much as the Native Americans or the Aborigines had been willing to exchange the last pelt for European glass beads and add a bonus gold nugget to that. In other words, giving away all the money our parents gave us for the summer holidays for a carton of Donald Bubble Gum was seen as a fair deal. Just as the dollar assumed a very important role among the adults, bubble gum inlays did the same in the parallel children’s world. It was not a vain childish whim, as these pieces of paper were not less valuable than the adults’ paper bills. It was the children’s hard currency which could be traded, exchanged for other commodities, gambled away, and, most importantly, used to buy status, peers’ respect, friendship and popularity.
The other Donald, who seems set to surpass Donald Duck and his fellows in popularity and influence, brings out these real childhood memories, which may look like cartoons to those who were born in the post-Soviet years or have never lived this side of the Iron Wall. The two Donalds have some traits in common. Both of them attract the masses, generate huge income, and are excellent at blowing bubbles. Yet there is also a fundamental difference – while Donald Duck has made walls fall, the other Donald is busy building them.
MUHAMMAD
I am an Urban Artist specialized in Arabic calligraphy.
Over the years I have developed a personal style that incorporates three different languages that make up my identity: English since I live in the USA, the Bangla, language of my fatherland, and Arabic which is the language of the religion I belong to. My aim is to inspire people to share the same place and learn from each other in harmony and mutual understanding.
Although my works contain words in three different languages, there is always at least one recognizable word. This makes the audience curious to ask and decode the message, and this led them to a deep connection with my art.
Even if I use ancient techniques and universal messages of peace, I keep going trying new shapes and colors to present my art to the world with a modern look.
I was influenced by the artist El seed and his idea to create unity for people from different background, ethnicity and religion. My aim is to inspire people to share the same place and learn from each other in harmony and mutual understanding.
This painting's title is "United we stand, divided we fall", and is the antithesis of the Latin saying "Divide and Conquer" and is also the title of this series of paintings that embody the state of my art and the state of the social condition of humanity.
We are witnessing a global return of nationalism in response to the negative effects of globalization such as modus operandi of capitalism. What is actually global, even in non-Western countries, is the idea of "free market", which in effect really has nothing to do with freedom but rather is able to relegate in slavery people in those countries where the work is paid a pittance in inhuman conditions. But this has long-term serious effects even in countries that started, and that first benefited from it. The dramatic effect of the enrichment of the 1% of the population and the insurmountable gap between them and the 99% of poor in the world will continue to increase during this century.
Only capitalism has no borders. Unfortunately men, women and children fleeing war or famine can not get through the boundaries that economic interests straddle every minute.
Only the union of all the people will be able to reverse the situation. Nationalism is exactly what can stop the improvement, as it continues to divide, to justify the definition of "other" as an enemy, as a cause of the problems.
This painting represent our hope, our necessity our only escape: "United we stand, divided we fall".
This concept represents the state of my art and the state of humanity as social individuals.
Art academy, 1990-1992, Hogeschool v/d Kunsten, Arnhem, the Netherlands
Assistant Anselm Kiefer, 1995, Barjac, France
To the list of artists that inspire me I would like to add David Lynch.
I would also like to mention that in 2010 I won first prize for best artist at the UK’s National Open Art Competition, juried by Gavin Turk. And in 2012 I was shortlisted for the John Moores prize, exhibiting at the Liverpool Biennial.
I am not currently represented by any gallery and I work as a waiter to fund my artistic career.
CHAOS AND UNCERTAINTY
In my work over the years I have been fascinated with ideas concerning transience, ontology, religion and history.
Many of these works involve architecture in some form: motel rooms, waiting rooms and dilapidated buildings; usually devoid of human presence, often provoking feelings of nostalgia and contemplation, with perhaps a hint of the miraculous or super-natural.
In my latest work that was made specifically with the Luxembourg competition in mind, and which I intend to expand further, I am focussing on what I perceive to be the leading tragic development in our present time.
As with all paradigm shifts, the groundwork has been laid decades ago and we are now witnessing everything spiralling more and more into a state of disarray.
Socio-economic pressure, immigration, the refugee crisis, international terrorism and climate issues are causing anxiety on a global scale. Underlying the feeling of dread and lack of control that these issues provoke has been the emergence of our post-truth society, which the current U.S president embodies like no other.
I have taken modernism, or more specifically, modernist architecture, as a departing point for the idea that it used to embody an -often utopian- spirit; harbouring ideal visions of human life and society and a belief in progress. Modernism was very much concerned with the coming together of a new architectural form and social reform, creating a more open and transparent society that believes in human perfectibility in a godless world.
After the rise of Joseph Stalin, the Soviet government rejected modernism on the grounds of alleged elitism. The Nazi government of Germany deemed modernism narcissistic and nonsensical, as well as "Jewish" and "Negro". The Nazis exhibited Modernist paintings alongside works by the mentally ill in an exhibition entitled "Degenerate Art". Accusations of "formalism" could lead to the end of a career, or worse. For this reason many Modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "canary in the coal mine".
The three paintings that I am entering into this year’s competition touch upon the aforementioned ideas.
The aim is to convey a sense of pending doom, with fire playing an important role in them. Fire is the ancient symbol of transformation, a metaphysical constant of the world.
These buildings and villas whose significance has been expanded, from mere functionality into an iconic and symbolic status, I portray as sublime, transcendental structures, both coveted and threatened by inscrutable and ominous forces.
The sense of threat is palpable; inscrutable and ominous forces invade this symbol of modernity and enlightenment.
Oil, acrylic, tar, plaster and gold leaf on board
This is a painting of the interior of Donald Trump’s penthouse situated at the top of the Trump Tower in New York. The skyscraper is the archetypal modernist building and Trump has turned that into a faux-Versailles, illustrating not only his appalling sense of taste but also his lack of historical knowledge and the irony that will accompany his inevitable demise. Perhaps his reckless, arrogant and dangerously philistine attitude will be the downfall of us all.
The apartment is abandoned with obvious traces of dilapidation, suggesting that this downfall has already started.
Traducción - francés JENNIFER
BFA (Bac es Lettres) de l’Ecole d’Art de l’Université du Michigan.
1984, Magna Cum Laude
A,, Arbor,
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Master's degree - Ecole d'Interprètes Internationaux (FTI), Mons University, Belgium
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