"In 2013 Martin Kippenberger would have celebrated his 60th birthday - that is, had he not died in 1997 due to excessive life. The Riekhallen currently exhibit an artist whose work and life cannot be separated from one another - a painter, an actor, a writer, a musician, a dancer, a drunkard, a traveller, a networker and self-producer - in short, an "exhibitionist" as he called himself and an artist who today is considered one of the most significant of his generation. The permeation of personality and oeuvre, as well as the incredible variety of his artistic production, is presented in its entire spectrum. Martin Kippenberger: Sehr gut / Very Good however does not intend to be a retrospective, but rather an approximation of both the private and public persona of the artist Martin Kippenberger."
"Enrique Martinez Celaya's interdisciplinary practice, which encompasses painting, sculpture, photography and writing, is influenced by a wide array of interests including Nordic poetry, quantum physics, the emotional mechanisms of kitsch, analytic and continental philosophy, Latin American literature, and everyday life. In The Pearl, Martinez Celaya transforms almost 12,000 square feet of SITE's gallery spaces into an immersive environment that includes painting, sculpture, video, photography, waterwork, sound, and writing, as well as the artist's first musical arrangement. This exhibition integrates and expandes many of the elements and ideas that the artist has engaged with over the last several years. In The Pearl , the artist takes the notion of home as both a point of departure and a destination to craft a visual poem of strong emotional, philosophical and psychological resonance. The structure of the exhibition invites a specific movement through the galleries thus unfolding a multi-layered narrative where objects, images, and and references are curiously reconsidered in a similar way that a piece of music , a film, or a novel are revealed in time.
In creating The Pearl, many materials and ideas came together as Martinez Celaya transforms the entire building into a work of art, whose imagery points to the natural world and the everyday seen through the window of sorrow. But far from being a work of despair, the power of The Pearl resides precisely in its ability to reinvent loss as hope and the mundane as the fantastic." Site Santa Fe
Great time in Uzice with
! We had great fun making art in such an inspiring environment during hot summer days! The final results of these guy's projects are amazing and you can check them out at the following websites.There are also images from the exhibition which took place at the Cultural Center Uzice recently.
Good luck with the future ideas and thanks for sharing everything with us for these several days! LOve **
Check the project out/ awesome people/ awesome art :D
Artists who participated in the exhibition: Biljana Ugren Kovacevic, Jelena Guskic Petrovic, Dragan Dimic, Jovan Djurdjevic, Aleksandar Dimitrijevic, Dusan Bunardzic, Vesna Acimovic Panic, Marija Zunic, Nikola Vukasinovic, Sofija Bunardzic, Milovan Dagovic Dago,Ivan Cirovic, Aleksandar Mijailovic, Tatjana Jovanovic, Natasa Tanovic MArkovic, Uros Sljivic, Natasa Prljevic, Snezana Kovacevic
Follow this link for more images.
Show organized by Johannes Rodenacker
Yhuzeng Cheng, Yorgos Stamkopoulos, Tomoko Mori, Stamati Papazoglou, Sebastian Ebenberger, Philip Topolovac, Nicolas Fontaine, Natasa Prljevic, Mira O’Brien, Kottie Paloma, Kirsten Blümke, Johannes Weiß, Johannes Rodenacker, Dennis Meier, Daniel Lergon, Christop Knäbich, Ce Jian
, Ali Fitzgerald
Stvaranje novog oblika u višem nivou kvaliteta je osnovno polazište za umetnički eksperiment, što je očito i princip likovne delatnosti Nataše Prljević. Koristeći štampani – medijski materijal čiji značenjski efekat je izuzetno kratkotrajan, često samo danas, za transformaciju u tkivo arte fakta Nataša Prljević sugeriše moć estetske zamisli čija vrednost je trajna. Isecanjem – formatiranjem hartije u horizontalne – vertikalne trake Nataša dobija mnoštvo nasumično nizanih likovnih elemenata kojima tek treba uspostaviti korelaciju na pikturalnoj masi energične i dinamične slike. Centralna pozicija lepljenih i prelepljenih traka predstavlja trase i putanje u ukrštanju kao akcent u kompozicije koji se sa perifernim delom slike povezuje na energična obojena polja. Metod reciklaže se u autorkinoj slici velikog formata odražava i po jasnom odabiru uzora iz perioda američkog apstraktnog ekspresionizma sa savremenim – unapređenim vizibilitetom i konotacijom. U poimanju grandiozne slike napravio bih diskurs ka slikama i oslikanim objektima Roberta Raušenberga koji nas sa pozicije Rady Made upotrebe odbačenih predmeta vodi prema pojmu transformacije unutar pikturalne materije i percepcije novih vrednosnih zaključaka sa sličnim metodom slikarke Nataše Prljević koja se ne bavi kolažiranjem sa pozicije montaže usmerenog ka atrakciji već uspostavljanju višeslojnog kognitivnog niza unutar vibrantnog prostora slike. Ishodište autorkinog slikarstva je predhodno provereno u opusu crteža, čija podloga je takođe reciklirani karton, gde su uneti zapisi i tragovi kao markeri putanja u prostoru. Sve širem poimanju reciklaže možemo priključiti i osobeni estetski model slikarke Nataše Prljević kao svojevrstan lični i kvalitetan dodatak.
Creating a new form in a higher level of quality is the basic starting point for artistic experiment and it is obvious principle of artistic activity of Natasa Prljevic. Using the print - media material whose semantic effect is very short-lived, often just for today, to transform the fabric of arte facts Natasa Prljevic suggests the power of aesthetic ideas whose value is permanent. Notching - reformatting of paper in horizontal - vertical strips, Natasa gets lots of randomly threaded visual elements that have yet to establish a correlation between the mass of pictorial energetic and dynamic images. The central position of attached and over attached stripes presents paths as accent pieces through which the peripheral part of the picture is linked to energetic colored fields. The method of recycling in the author's large-format image is reflected by the chosen influences from American abstract expressionism with contemporary - enhanced visibility and connotation. In the notion of grandiose painting I would make a discourse to images and objects painted by Robert Rauschenberg that leads us from position of Ready Made use of discarded objects to the notion of transformation in the perception of pictorial materials and new value to similar conclusions by artist Natasa Prljevic that does not deal with collaging from the aspect of attraction positioned montage but towards the establishment of a series of multi-level cognitive elements within the vibrant image. The origin of the author's painting was previously tested in the oeuvre of drawings, whose background is also recycled cardboard, where mark making defines the space. To broader understanding of recycling we can add distinctive aesthetic model of painter Natasa Prljevic as a kind of personal and high quality supplement.
Exhibition of paintings "Borders of Tangible"/ Acaji Djerdji i Natasa Prljevic
Opening was held on 8th August 2010 in the National University Bozidar Adzija gallery "Ostrvo" in Belgrade.
Exhibition was reapeted in the fall same year by the decision of gallery committee.
International Summer Academy in Salzburg 2009.
Course: Collage, assemblage, painting: crossing boundaries
Professors: Gerlind Zeilner and Yi Chen