ART LINK 2/4

2014. Novi Sad, Serbia 

Austrian-Serbian artists exchange, part 4

 

Producer: Cultural center of Novi Sad, Serbia

Place: “Mali likovni salon”, Novi Sad, Serbia

Exhibition title: “At sixes and sevens”

Curated by Andreas Dworak and Kurt Spitaler

Solo exhibition of Austrian artists: Andreas Dworak, Rosa Roedelius and Kurt Spitaler.

 

 

At sixes and sevens

‘At sixes and sevens’ is a British idiom which is used to describe a state of confusion or disorganisation, and is taken for the title of the exhibition in order to point to the pseudo-mathematical concept of the installation. Both authors found the starting point for the development of their works in basic geometrical shapes, only to add to them layers, each in his medium, in two or three dimensions. The installation ‘At Sixes and Sevens’ refers to the order and disorder, interior and exterior, wall and space, space and limits. This unpretentious title, by which the authors attempt to invite the viewer to take part in the seemingly creative play with simple shapes, can actually be hiding their perplexity at numerous rules which define our existence.

From a square and a circle Andreas Dworak generates a pattern for a drawing, which, modelled after ancient ornaments, he puts on the gallery walls in the form of a frieze. These two basic geometrical shapes grow associatively into the symbols of almost all existing religions. Their interlacing and endless repetition generates a composition that seeks to ‘step down’ from the paper format, as well as out of the boundaries of the gallery, spreading horizontally along all of its walls. The black regular machine-printed lines are contrasted by lighter lines made by artist’s free hand, as well as the very surface of the frieze painted in translucent pastel colours, as an essential order our being is trying to comprehend while creating a disorder in it at the same time.

The attempt to understand and depict metaphysical rules is also reflected in the levitating objects set in the gallery space by Kurt Spitaler. Believing that everything is connected with everything else, he focuses on stitching as a work method. Starting from a square made of transparent plastic, which he stitches together with a red thread, giving them a dimension and the shape of a cube. He uses the same thread to link the objects on display with the entire space of the gallery, thus endlessly expanding, as well as reducing the dimensions of his work. The transparent cubes of small dimension, in this kind of balance with the space, create an impression in the viewer that he, too, is in a cube that is connected with other cubes, of larger dimensions which continue outside the gallery, but also that they can be observing from the outside universes that are endlessly shrinking within the objects displayed.

The strict geometrical order of this installation is relativised by the impressionistic colours of Dworak’s pseudo-mural and Spitaler’s freely floating red ribbons, but by another detail as well. The exhibition guest Rosa Roedilius has incorporated into Dworak’s frieze a small format drawing, which depicts two animal figures. The image of this concrete pair, which together form a full circle, stands in contrast to the abstract forms and the assumed order, inducing them with a sparkle of disorder and a retreat from rules. Or perhaps such a pair is actually a result of numerous rules.

Maja Erdeljanin


At sixes and sevens

„At sixes and sevens” je britanski idiom koji se koristi da opiše stanje zbunjenosti ili nereda, a uzet je za naslov izložbe kako bi ukazao na pseudo-matematički koncept instalacije.  Oba autora su polazište za nastanak svojih radova pronašli u osnovnim geometrijskim oblicima, da bi ih zatim uslojavali svako u svojm mediju, u dve, odnosno u tri dimenzije. Instalacija  „At sixes and sevens”  se odnosi na red i nered, unutrašnjost i spolјašnjost, zid i prostor, prostor i granice. Iza ovog neprentecioznog naziva kojim autori žele posmatrača da upute u naizgled kreativnu igru jednostavnim oblicima, može se zapravo kriti njihova zapitanost nad mnogim pravilima koja određuju naše postojanje.

Andreas Dvorak generiše iz kvadrata i kruga obrazac za crtež, koji po ugledu na drevne ornamente, u formi friza postavlјa na zidove galerije. Iz samo dva osnovna geometrijska oblika narastaju asocijacije na simbole skoro svih postojećih religija. Nјihovim preplitanjem i beskrajnim ponavlјanjem nastaje kompozicija koja teži da „izađe“ sa formata papira, ali i iz okvira galerije, pružajući se horizontalno duž svih njenih zidova. Crnim pravilnim linijama koje je štampala mašina, suprotstavlјaju se linije svetlijih tonova nanete umetnikovom slobodnom rukom, kao i sama podloga friza lazurno bojena pastelnim bojama, poput suštinskog reda u koje naše biće pokušava da pronikne dok istovremeno u njemu pravi nered.

Pokušaj da se spoznaju i prikažu metafizička pravila, ogleda se i u lebdećim objektima koje Kurt Spitaler postavlјa u prostor galerije. Smatrajući da je sve povezano sa svime, on se fokusira na ušivanje kao metod rada. Polazi od kvadrata od providne plastike, koje zatim međusobno ušiva crvenim nitima, dajući im treću dimenziju i oblik kocke. Istim tim nitima povezuje izložene objekte sa celokupnim prostorom galerije čime ujedno i beskrajno uvećava, ali i umanjuje dimenzije svog rada.  Providne kocke malih dimenzija, u ovakvoj ravnoteži sa prostorom, u posmatraču stvaraju utisak da se i sam nalazi u kocki povezanoj sa drugim, sve većim dimenzijama koje se nastavlјaju izvan galerijskih, ali isto tako i da spolјa mogu da posmatraju univerzume koji se u beskraj umanjuju unutar izloženih objekata.

Strog geometrijski poredak ove instalacije relativizuje se impresionističkom obojenošću Dvorakovog pseudo-murala i Spitalerovim slobodnim plutajućim crvenim vrpcama, ali i još jednim detalјem. Gost izložbe, Rosa Redelius (Rosa Roedelius) ukorporirala je u Dvorakov friz crtež malog formata, koji prikazuje dve životinjske figure. Prikaz ovog konkretnog para koji zajedno čini zatvoren krug, suprotstavlјa se apstraktnim formama i pretpostavlјenom redu, unoseći među njih iskru nereda i odstupnicu od pravila. Ili možda takav par upravo i jeste proizvod mnogih pravila.

Maja Erdeljanin

 

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