15 December, 2022 – 05 February, 2023
Patrícia Koyšová is one of the few woman artists in Slovakia whose artistic program is fully devoted to abstract painting. The drive behind Koyšová’s art is a tireless probing of technological possibilities and diverse painting techniques, processes, and alternatives. She found her greatest liberation from direct canvas contact in air compressor guns.
The painter describes her style as “working with colour much like in a painting laboratory.”
Believing in the power of monochromatic and reduced colouring, she seldom uses more than three shades in one picture.
Patrícia’s painting style wants to capture the viewer’s attention, to activate his/her senses, open up the “eye” for perception of shapes from one’s inner and outer space, to be a “throwback to one’s imagination.”
Images of nature and landscapes are emerging from a dream-like, spontaneous and seemingly coincidental coloured scrimmage. Like a vision, they resemble Chinese brush paintings and landscapes, waterfalls and other natural structures like snow, sand and clouds. It’s the game of poetry.
The concept of the zoom is about perception, it’s about the ability to uncover what’s hidden from us, what’s unclear and invisible. It is the search for the perfect shape – with the help from nature.
Roland Pangrati is one of the most visionary artists from Romania, recognized for the way he combines abstract minimalist expressionism with old traditional japanese Nihonga techniques of painting – which have more than 1000 years of tradition.
He creates his artworks by using natural mineral pigments, which are obtained by finely grinding the rocks into diffrent grain types, Gofun (powdered calcium carbonate made from oyster sea- shells). All pigments are combined with a special glue that is made by boiling the animal proteine. The colours obtained that way are suspended on a japanese paper named washi , which can withstand the passage of time more than a 1000 years. This paper cannot be broken even if its wet, and when it matures, after 300 years, it becomes even more white then before, thus becoming one of the main objectives of Japan’s UNESCO Heritage, it being recognized as one of the Intangible Value of Humanity.
The paintings of Roland Pangrati are not only visual art, they are capable to stimulate all five senses, and they can relate to psihological and mental conscience, their message being adressed to that interior part which is the same in every person, no matter the nationality or cultural enviroment. “The Humanity” is the same in everyone.
His creations are born from an interior personal vision, they are not just simple repesentations of nature or an existent landscape, they are conceptual forms of reality. They intend to represent the nature „as you can feel it” not only „as you can see it „.
Multidisciplinary artist, nomadic and visionary. His artistic approach is the result of a profound investigation into exotic worlds far from his native culture, where the beauty of the surrounding nature and the richness of an indigenous culture mark the journey of his painting.
Since his first trip to the island of Gambia in Senegal, Africa in 1992, he has begun a long journey where he absorbs shapes and colors that give him the starting point to represent the connection that exists between man and nature, in this case the female figure, the goddess, the ancestral Venus that becomes a dance of exotic beauty.
Cerny is both an artist who almost alchemically blends music and painting into his everyday lifestyle. His compositions are symphonies of color and ritualistic sounds that speak of an enigmatic universe.
With more than 50 international exhibitions, including the Venezia Biennial in 1988 in the Czechoslovak pavilion, Art Basel, Switzerland in 1990 and the Rufino Tamayo Biennial 2016 in the Museum of Contemporary Art in Mexico City. His work is part of numerous public and private collections. He currently resides in Mexico and Slovakia.
Sara Masüger’s sculpting revolvees around the representation of bodies and body-fragments in tin, aluminium or acrystal- a composite material that results in a plaster-like appearance. Her sculptures are never preceded by drawings or preparatory sketches, for the simple reason that the source of her artwork of her artwork is her own body, and the casted body-parts – hands, face, ears, fingers, etc. – from the molds out of which the works are created.. The legacies and filiations are quite obvious, and the artist has overtly expressed her admiration for the work of Alina Szapocznikow, Louise Bourgeois and Mendardo Rosso. Beyond the conspicuous formal analogies between these artists and Sara Masüger’s practice, it is undeniable that her sculptures also pursue other routes – or to put it more aptly and consistent with the French homonyms voie/voix, “other voices”, seeing as language is pivotal in her works. The corporeal representations set up echo chambers inside of which words reverberate, and the body is merely an emanation. The omnipresence of language is significant, and comes across in the choice of titles, such as I talk to you later, Dictation, or Longterm Translation which achieve the reunification of body and mind via an ongoing oeuvre that projects countless organs into space. These organs are repetead and ricocheted within a flow that has much to do with stammering and babbling as with brouhaha, interference, discord and dissonance. And although the body is sometimes represented in its totality, this is merely as a transition from stillness to motion, as indicated by the ambivalence of the titles used to designate the works where the body is seemingly motionless: Gehende (“walking”), Stehende (“standing”), Liegende (“lying down” in both the active and passive sense). The body, as expresses in Sara Masüger’s sculptures, is a body of language, a body in flux, a body in repetition, with its own rhythm.Sara Masüger’s works underscore the rift between body and mind that occurs in the history of philosophy as well as in how, more prosaically, our intuition recognizes the challenge of delineating what defines the very essence of our own body, or our corps proper (“object body”). The expression corps proper appears late in the history of philosophy. It was coined in the early 19th century by the little-known French philosopher Pierre Maine de Biran, who paved the way to the phenomenology of Husserl and Merleau-Ponty. Maine de Biran affirms, contrary to Renè Descartes’ cogito ergo sum, the primacy of the body as an essential site where the self is aware of existing.Masüger’s sculptures are always spatial projections of sculpted organs and lay emphasis on the body’s sensorial dimension. The sensorial dimension is simultaneously conveyed by the sculptures themselves, by the organs they embody, and by the centrality of language as indicated by the titles: Longterm Translatation, I Talk to You Later, Dictation convey this sense of wavering between duration, memory, memorization and reminiscence, which are the basis of the sensorial world. It thus becomes clear that Sara Masüger is by no means seeking to focus her practice on any sort of pathos, but rather to tackle her own body, to delimit its resiliency, to experience it as pure sense-perception, like the embodiment of a set of potentials, like the site for an action mingled with intellect and language. Consequently, when viewing her sculptures, one must take into account the processes by which they were made. For instance, the tin ear, or the aluminium hands arranged in a cluster, or the agglomeration of black acrystal arms, should not be regarded as strictly arising from the sculpture work, but as outcomes of a series of performative acts. The body is in action, as a preliminary to all of the sculptures. The body twists, knots, grisps, clutches in order to take its own imprint. The face is coated into a viscuous substance so as to be molded and reproduced, cast in rubbery material, in tin, in acrystal, and during the duplication process loses the features correlating it to the original model. However, the performative aspect is not rendered visible, but remains confined to the intimatesphere of the studio. Sara Masüger has never sought to publically enact this practice. The performance which comprises the set of gestures required for the casting process and by the phisycal constraints she applies, can only be grasped a posteriori, when her sculptures actually go on display and are exhibited to viewers. The performance is thus relegated to its repetition, like theather rehearsals which take place away from the public eye. The hidden performative aspect inevitably elicits a notion that, beyond the boundaries of intimacy, connects to ceremony and ritual.My body is not another0s body and if, paradoxically, Ican perceive another’s body with relative clarity, I can never fully grasp my own body; it remains an enigma, both joined and foreign to myself , even if I have no troble perceiving myself as a thinking subject. Sara Masüger’s sculptures highlight the inevitable gap, the irreducible distance that overrides any attempt to understand and delimit one’s body. Our own body is always the starting point towards understanding it, and this observation stumbles across the opaqueness of how what constitutes us remains irremediably distant from us. It is both from and with my own body that I attempt to grapple with it, and this operation requires setting up a distance that undermines the entire venture. The endeavor to understand my body is always accompanied by an outwards motion: I view my body as if it were another’s body, and this distance – a sort of mirror duplication – inevitably leads to an impasse: my body is not quite my body if it is envisaged as being analogous to another’s body. In line with Jean-Paul Sartre, instead of “I exist in my body” one should say “I exist my body”. This implies that although Sara Masüger’s artwork consists exclusively of body-parts molded from her own body, her oeuvre is not an enterprise based on self-portraiture nor an inner exproration with psychoanalytic intentions, and even less so a realm of pathos. Rather, it entails a contortion act that seeks to bypass the paradox of grasping one’s bodily self, and to find the linkage between corporeality and thinking subject. The challenge ampounts to reducing, as far as possible, the zone of alienness and indiscernibility separating the artist from the very body that belongs to her, “so enmeshed and intermingled” as Renè Descartes puts it in Book VI of his Metaphysical Meditations.Sara Masüger attemps to straddle this incongruity about the body – neither utter inwardness nor a simple interface with the world – while avoinding representation of bodies other than her own.
Frantic energy predicated on a desire for energy exchange between painter and viewer, as well as liberal use of color and crowded space, are signatures of Orlando Marosini`s mixed media works. Inspired by modern artists such Jean-Michal Basquiat, George Condo and Basquiat`s own inspiration, Willem de Kooning, symbolism and abstraction are ever present components of Marosini`s art.
The almost tangibly familiar aspects of the unknown are of particular interest to the artist, whose excitement at the possibility of illustrating these parallels directly impacts his inclination to use characters as vehicles for emotions.
The artist, whose work in the arts is a continuation of a family legacy, uses spray paint, oils, pastels, and colored pencils to create vivid imagery on surfaces ranging from wood to traditional canvas. Family was more than an influence on practice, but also in conceptualization. A prompt from Marosini`s father to “seek a person`s reactions by seeing their world”, resulted in the notion of using facial emotions as a way to gain insights about the inner worlds of others while also reflecting the self.
I live at the service of these impetuous guardians of the eternal snows. Watching their light, vibrating to the rhythm of their beauty has become second nature. I like to live these moments of contemplation of panoramas both frozen and changing, which feed me with their greatness.
In these moments, I taste peace and melt into the landscape. When the clouds are absent, when my gaze goes on forever and I can let my inspiration flow freely. Without any particular goal. Just to live. To let myself be carried.
At other times, I become a truth hunter. I look for the ephemeral moments. The coming storm. The elements colliding. The wind, the air, the rock, creating a chaos that engulfs me in intense and intoxicating sensations. These minutes where I hold my breath so much they are nimbered of a perfection which exceeds me and carries me in a different space. A space that my eye and its accomplice, my camera, know how to capture. Suddenly, everything calms down. Just after the ﬁn of the world, the revelation of another world arrives. Before my amazed gaze, my senses on the alert, the clouds are torn apart like the curtain rises on a new show. The highest summits are adorned with another light, a new contrast.
Nature creates before my eyes. Trembling with an inner joy, I try to capture impermanence. It is like a miracle always renewed. Just after the storm, when the first rays of sunlight illuminate the peaks with their royal light.
My daily life is punctuated by the study of weather forecasts. Detecting the approach of the forces of nature. A subtle alliance between intuition and the rational study of the elements. I am at one with nature, who is the chief creative artist...and I the humble craftsman.
Mixture of experience and naivety, dancing alchemy of summits and elements, fusion between nature and the human being that I am. Who am I in front of all this? A stardust, present, vibrating, panting in the heart of the mystery of life. I aspire to the mastery of the moment which however escapes...
In the end, should we really try to control the moment? When I have everything in place with rigor and yet failure is waiting for me, I let my heart speak. And then, sometimes, the miracle happens. This miracle that floods me with joy. I am happy to share with you some of the nuggets I brought back from these journeys to the end of my dreams...
My quest for perfection always renewed, nature offered it to me so that I can offer it to you in my turn. I hope you will have as much pleasure in dreaming in front of these photos as I had in looking for the perfect moment, the right moment.