You can contact the LindArt team by
email to:
lindart.lendava@gmail.comphone:
+386 (0)40 464 248
or visit us at the castle of the town Lendava
Banffyjev trg 1,
9220 Lendava,
SLOVENIJA, EU
INTRODUCTION
“The time that we live in is subject to technology and its legitimacy. A tendency to all kinds of connection, collaboration, cooperation is
broadened world wide. With Internet, our ubiquitousness become possible. The mobile technology helps us to have our love ones
always and everywhere at hand ... but somewhere down the line in spite of these nation wide mass-connections, we loosed the sense for the
single person. Our relationships are turning to became plastic and distillate, a sort of virtual illusion that does not require direct eye-to-eye confrontation.”
The platform of LindArt (10 days) residency programme for young artists in Lendava, was build upon a critical reflection about the nature and
character of relations, connecting, and all sorts of collaborations within our modern society. Inspired by the modern technology they’re becoming
less and less personal in our opinion.
Our idea is to gather the selected artists (that have never met before) into tandems to
work-create works with reciprocal contribution.
The purpose of the residency is to promote sociability, to aid creativeness, interchange of ideas, opinions and experiences, to contribute new ways to assess oneself production, and after all the confrontation and acceptability
for otherness.
The workshop will close with an exhibition, which is a presentation of working results in the residency, organized at the Gallery-Museum Lendava.
As the main concern of our programme, the meaning of „co-operation” is not only an art enigma and should be broaden to the „ordinary” person and his/her society, we will try to attract him/her into an open debate and active his/her participation. The visitor of the exhibition will possess a possibility to give a vote for the artwork of his/her choice and decide which two artists will receive a stimulating prize: a one-man show
in the gallery space of Lendava castle, during the next 14th LindArt International Artists’ Colony, Lendava 2009.
All works will be documented and archived to the art collection of the LindArt association. A colour catalogue will also be published.
LOCATION
The workshop takes place at the castle of the town Lendava; its gallery space and print making studio, that is adequate for all traditional print
making methods (lino- or woodcut, etching, engraving, lithography and screen-printing)
ELIGIBILITY
The workshop is open to young (under the age of 35) artists from all countries, who are working within "traditional" visual disciplines (painting, fine print, sculpture) and are willing to take a risk and navigate ideas and working processes different from their habitual.
Each year up to 12 artists are invited via an open call
…to find out who is “IN” this year, visit the who section…
LindArtFine Arts Colony is an artist-led initiative which strives to provide a meeting point for young artists & art students working in “traditional” visual disciplines (painting, fine print, sculpture). It brings together up to 12 artists of all nationalities for 10 days to work, exchange dialogue and experiment in a way that is mutually beneficial.
It offers an opportunity of participating in an activity removed geographically and conceptually from usual studio practice; in an environment where experiments can be made and leaps of imagination can occur.The platform of the Colony is based upon the
motto of “co-operation” with its main idea of gathering the selected artists (that have never met before) into tandems to work during the residency period on a
project-theme that is defined beforehand by the organizer.
This way the artists are invited to move away from their habitual practice in terms of materials and style and to show a genuine willingness to place themselves and their practice into question; truly exploring areas of artistic and cultural uncertainty and seeking creative solutions through the collaboration, exchange and cultural/artistic dialogue that is the hallmark of the Colony.
...to learn more about the individual artists click on a chosen name
gert-jan AKERBOOM
thomas BEHLING
olga CORONOVSCHI
morgan CRAIG
alba ESCAYO
hirofumi MATSUZAKI
kate MINNOCK
géza NÉNETH
katja PÁL
magdalena SCHLIFKA SURANYI
richard WARREN
shih yun YEO
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
in writing:
I’ve always been fascinated by ritual behaviour. People
performing a prescribed procedure for a religious or other rite
have been the centre
of my work from the beginning.
I grew up in a reformed Christian community. Although bothered
by the strictness and the many rules to be obeyed there, the rituals connected
to this way of living always interested me.
Later I discovered that ritual (in the sense of being a prescribed
code
for behaviour or a pattern in which certain actions are performed), are
not restricted to religion at all. They belong to
human life and take many different forms.
My drawings are born out of this interest. I always want to know
and
see what happens if... I combine different parts of found rituals, play
with scenery and invent new behaviour patterns for the
imaginary
participants to undertake. The rituals I invent have no purpose than
the ritual itself and I see my drawings as freeze frames (stills) of these
newly invented rituals or as designs of scenery for
them to be
performed in.
sample:
no title
2008, Ink on paper, 21-15cm
. . . . . . . . . .
in writing:
My work relates to the meaning we assign to images. Therefore
I often
use traditional modes of pictures and work with old materials
like
frames or trivial images I detect. I regard my pictures as objects.
I rather refer to types of pictures from within our collective memory
than
of everyday life.
My creations are meant to interact with the imaginations of the
observer.
My interest is directed towards the view on these pictures.
A recurring subject within my art are holy figures, used as symbols,
not to idolise them as saints. A black figure of a man is its antithesis.
In my recent works I have increased the use of narrative moments,
integrated banners and technical extensions.
sample:
»Engel« - »angle«
2006, Silhouette, photo-graphy, glazed frame, 30x20cm
. . . . . . . . . .
in writing:
As an artist I consider myself honoured. It is a sense of happiness
to be involved in the process of creation. Actually, creativity and the
sensibility for the beauty are some of the features that assess man’s similarity to the Creator of all, since the human being was made in
His image and likeness. While painting, as well as every artist,
I manipulate the same artistic principles the universe was created by:
space (the earth and the sky), light (colour), and details
(vegetation, the living creatures etc.)
Therefore it’s a great joy for me to contemplate the wander of the
nature
and to complete through art the world that I perceive. I profess graphics
and my favourite art techniques are watercolour and etching,
as well as
the book illustration, especially for children. I prefer
watercolour for the possibilities of transparency and intensity that it
offers. Etching media
is precious for me in creating the symbolic compositions that are the
most relevant for me.
sample:
Eternal life
2006, mixed tehnique, 45x60cm
. . . . . . . . . .
in writing:
"the past is hidden somewhere outside the realm, beyond the reach
of intellect, in some material object (in that sensation which that
material object will give us) of which we have no inkling. And it
depends on chance whether or not we come upon this object before
we ourselves must die." M. Proust
Like the French author Marcel Proust, I too am in search of lost
time. From the taste of a Madeleine, to the redolence of congealed
air,
trapped within a factory’s walls, the impetus for memory is
everywhere. My distortion/alteration to the interiors of these
portentous monoliths reflect how memory, an amalgam of fact and
fiction, becomes time regained.
It is my belief that the interior of a ruin conveys an even stronger sentiment of mortality, absence, presence, etc., than the exterior.
My anthropomorphic titles seek to establish the degree to which the interiors of these stark monoliths develop a character that is
inherently human. Man’s creation and how time shall invariably
whittle it away, just as fragments of what one has experienced or
lived, are lost in the catacombs of consciousness.
Recently, my research has taken me into the bowels of chemical
factory, an abandoned hotel, dating from the early twentieth century,
and a power plant. Re-gentrification, urban sprawl, vandalism, and
Mother Nature are a constant threat to these paradigms of the
industrial era. One must take into account the forgotten factory,
asylum, or prison. Neglected, ignored, and often instilling rancor in
its neighbours, ex workers, inmates, residents, these buildings paradoxically offer one the most scintillating of subject matter: how beautiful the bitter pill. My work is not merely a method of
documentation, but a visual forum where one may question what it is about these edifices that instils such emotion in people.
In my instances, these factories, asylums, and penitentiaries have defined a city or town if not engulfed it, turning some of these towns
into nothing more than apparitions of a forgotten glory. Do we view
our past as being besmirched by said factories? What is it that
repels the viewer and yet draws him or her in? Why do we claim to restore a building, only to bastardize it? What can ruins tell us
about broader social and cultural processes within the urban milieu? What is this need we have to possess what is merely fiction created
by one’s own wild imagination?
sample:
Every Man Builds His Own Catedral of Sand
2007, oil on linen, 183x122cm
. . . . . . . . . .
in writing:
I studied fine Arts in Madrid and Bologna. Now I work in Madrid in
an atelier with other painters but I always search my subjects
outside the city, in the country.
I send to Lendava my last works about animals and plants. I started
to work on it because of the force of nature. I’m in a period where I
need to use a lot of paint and a lot of colour so I find inspiration in
a bull legs or tree foliage. I use pure colours and resolute lines
because
I think nature is simple and magnificent at the same time.
Overalls I try to tell about its strength.
sample:
Fighting Cocks
2007, oil on canvas, 100x100cm
. . . . . . . . . .
in writing:
matsuzaki is a camuflaged media artist.
As a masked media artist, who concentrates himself just on
paintings, Matsuzaki is reflecting a enormously inportant element of
our information society: the cable or the transmission line or to point
it better out: the metaphorisation from one point to anoher,
transmission
itself.
sample:
In den weissen Raum 2
2007, acrylic on canvas, 200x200cm
. . . . . . . . . .
in writing:
I graduated from the National College of Art & Design in Dublin,
Ireland with a BA in Fine Art Painting in 2003. The main areas I
currently work in are print and installation-based works.
My work incorporates issues relating to the fragility of the natural environment and its inhabitants as a result of external man-made interventions. Concerned with the synthesis of art and science, my
most recent exhibition, “Cellscape”, visualises the possible impact
of radiation on a microscopic level. The main focus of this exhibition consisted of an installation of drawings, etching,
mono-prints & digital prints. These process-led works employed
various printing techniques such as sugar-lift, collograph, deep-steel emboss, spit-biting & shellac on Perspex. The Perspex plates were photographed through a microscope and digitally printed.
Through this experimentation the work aims, in part, to reflect the
working methods within a laboratory environment.
sample:
'Cluster' installation
2008, various printing techniques, (dimensions variable)
. . . . . . . . . .
in writing:
Linocut and woodcut are the two techniques significant for my
artistic thinking. My works reflect my personal attitudes, opinions, feelings,
which are evoked by the life we are notionally getting
acquainted with.
My works present evidence about positive and negative emotions,
which I try to express also with the consciously used colours both
in
my graphics and in tings. Warm colours intend to evoke positive
emotions in observers, and on the contrary, cold colours, especially black, sign negative emotions or experiences. In my pictures
I mainly show
human figures stylised in an individual way.
I reduce shapes to essential signs to express particular thoughts, feelings, psychical conditions, happenings or actions.
sample:
escape
2007, linocut, woodcut, 90x165cm
. . . . . . . . . .
in writing:
My artistic interest is orientated toward that specific intimate field or
relation that appears between the spectator and its object of
observation - a painting. I’m particularly fascinated by that particular
moment that manifests while we must or I rather say are as subjects
able to exceed that threshold of religious observation from
the (safe) distance.
I strive to shape such “paintings” that confront the spectator, who
mediately bears the main role of my artistic researches, with his
priority
of “visual passiveness” or “cursory glance”. The “old” habitual object observation won’t get him far; on the contrary he is provoked
into those spheres of his human existence that he oftentimes omits
or forgets during
his rapid everyday life. Here he has the option
to touch, to shift, to dialogue
or simple to “play with” the exposed
works. Through its (flexible) structure
the individual painting calls for
a direct, active, intimate dialogue.
If our touch is that specific instrument by which we adopt our
surrounding,
the spectator is asked to stop for a while and risk an immediate contact;
he is asked to allow the painting enter his
intimate territory. Whit that
same gesture of a touch the spectator
even holds the possibility to
subject or arrogate the painting.
sample:
composition-3
2008, acrylic on wooden construction, 32x32cm (framed)
. . . . . . . . . .
in writing:
Homeopathic medicine is based upon the theory that a person who
suffers a chronic condition should be administered daily with a small
dosage of that same malady in order to be gradually brought back to
health. Strictly speaking, where the constituents of the cure are
adapted to each and every individual affliction, shaped by the singular
health tendencies of the sufferer.
I’ve come across symptomatic terms describing my work as an
eager
conduit of “socially charged death-imagery” or the instrument
of an “abrasive song of protest”. Labels that include both the linear
and
introspected perversions of composition-making in conflict with
the unpredictable, violent catharsis of creative impulse.
The enforcement of gender, of human rights, of history and its
smudged fingerprints on future societies are my building blocks.
These pieces
shriek for unprecedented changes to be enforced,
demands that are
chained together by a sceptical attention span that rivals that of a
motherless child.
My work reflects that which is in the grip of the grotesque, the
sardonic,
the mortifying, and more likely than not, to the untruths that
fuel these
alleged realities. Subsequently, my motivation comes from
a need to be personally confronted by these, even outraged.
The viewer may ultimately choose or be forced to partake in the same confrontation, but only as a symptom, a secondary effect.
This is a self-imposed purgatory, sculpted
from cyclic preoccupations
and inhibitions inflicted by and spitted out
straight into the society
that generates them. The process is not to
employ the
characteristic gaze fit for the “holistic” object,
but to understand and formulate
an idea through analytical
approaches focused on what lacks,
to spotlight that which is
insufficient and fragmented.
sample:
19th century Invention of Hysteria
2005, paper, charcoal, primer on canvas, 300x600cm
. . . . . . . . . .
in writing:
My work primarily manifests itself in the form of sculpture, yet
I consider drawing as an equally important aspect of my creative
practice and process. I am interested in urban change (physically,
politically and environmentally) and I repeatedly attempt to
hypothesise potential conclusions of such adjustments to our habitat.
I am interested
in architecture or rather, artworks that resemble architectural form and
I find inspiration from the structures and
materials that compose our built environment.
Spaces that are visually concealed or made physically inaccessible
intrigue me and I try to explore these concerns within my work.
My sculptures (structures) attempt to mimic architecture, or intervene
with it, to create buildings that hold space, but do not offer it. In this sense, the work I create is often self-reflecting and self-critical and
may raise questions about arts value. My drawings take the guise of working
engineering drawings, yet are intentionally flawed, rendering
them void
of any ‘real’ function other than aesthetic.
sample:
Buoyes
2008, Sculptural Installation (plastic), 130x50x40cm (aprox)
. . . . . . . . . .
in writing:
Time, as registered in its familiar incerments of seconds, minutes,
hours, days and years, has preoccupied me since I started making
art
full-time in 2001. in a series of works 'log:one03' is a personal
diary
recorded from 2001 to 2003 across cities of San Francisco and Singapore,
I explored the documentation of time through
mark-marking using Chinese
ink on sumi paper scrolls, film and wall. Certain rules govern my work, for example, I will paint a section of
the sumi paper scrolls every day in my studio and record the date
and time.
I enjoy experimenting with different mediums other than paper and
canvas and love to use non-traditional tools. Using the roller-blades to
capture the marks on the paper, the start of the work is when the first
mark is made and the end of the works is when there is no more ink
on
the wheels of the roller-blades. This work thus captures the
'moment in time' and cannot be repeated or duplicated.
In my other work, a watering can is filled with ink, then poured direct
on the paper, mimicking rain, which is ever so unpredictable in terms
of the amount of rainfall and when it will rain.
For me, time is fleeting and every moment is temporal and unique.
I desire to capture all those 'moments' using the most basic, raw,
direct ways. Time is also a medium through which my works attains
the possibility of the infinite, a web links through, memory and history
across generations.
sample:
tension
2001, chinese ink on paper, 8x11cm
10.7.08 at 13.00
. gathering & lot of tandem couples
19.07.08. ..at 19.00
...............exhibition opening
...............of the working results
with the music delicacy of
The GROOVEYARDS duo
Filip Šijanec-guitar
Gregor Ftičar-piano
at the Gallery-Muzeum Lendava, Banffyjev trg 1, Lendava
INVITATION:
Come and make your choice!!
At the exhibition VOTE for the couple whose artwork impressed you the most
The winning couple will receive a simulative price:
a one man exhibition at the Gallery-Museum Lendava
in 2009
