swiss art space | place suisse des arts | schweizer kunstraum Contemporary Art Review International Exhibition of Contemporary Drawing S w i t z e r l a n d swiss art space place suisse des arts schweizer kunstraum Contemporary Art Review s w i t z e r l a n d swiss art space | place suisse des arts | schweizer kunstraum | Drawing ‘12 International Exhibition of Contemporary Drawing This autumn, in Switzerland… Swiss Art Space hosts Drawing 2012, international exhibition of contemporary art of drawings in November 2012 in Lausanne, Switzerland The aim of the Exhibition is to present contemporary art of drawing from artists all around the world in their different forms and variations to Swiss public Drawing is first the most direct, intimate, contact between the artist and his art in material media Through drawing we can see all of the artists sensibility, energy and search for expression in a quick and not hidden view of his mind and soul Unfortunately a great number of contemporary artists drawings is not seen by a great number of public With the concept of Drawing 2012, we would like to make a difference! The month of November is in the middle of the autumn art season, known for lot of public interest in art after lazy summer holidays, and that was a reason for choosing November Bringing a major art exhibition of contemporary drawing art is a great present to art life of Switzerland and at the same time a big challenge for Swiss Art Space Yours sincerely Laurence Bettens-Girod Swiss Art Space-Drawing 2012 © SAS 2012 / Image P Dupont, Digital transformation D.S Stefanovich Drawing ‘12 | Lausanne, Switzerland International Exhibition of Contemporary Drawing November - 30, 2012 Exhibition | November - Exhibition | November - 20 Exhibition | November 22 - 30 swiss art space | place suisse des arts | schweizer kunstraum International Exhibition of Contemporary Drawing Argentina Australia Belgium Brazil Bulgaria Canada Colombia Denmark Egypt France Germany Greece Italy Japan Mexico Montenegro Netherlands Russia Serbia Spain Sweden Switzerland Turkey United Kingdom United States of America | Drawing ‘12 Artists Countries Achille Belgium Marmet Véronique Switzerland 37 Agni Switzerland Meek Carl United Kingdom 38 Arnedo Mercedes Argentina 10 Mermoud Sylvie Switzerland 39 Bastien Alexandra Canada 11 Middelmann Naomi Switzerland 40 Berger Jean-Luc Switzerland 12 Newman-White David Australia 41 Bjelica Jelena Serbia 13 Opstelten Karen Netherlands 42 Böttger Frank Switzerland 14 Pajak Jacques France 43 Breidenthal Derrick United States of America 15 Paldam Jens Denmark 44 Claux Tatiana Russia/France 16 Pantillon Anne Switzerland 45 Csaki Istvan Turkey 17 Pedrosa Valentin Spain 46 Davies Robert Miles United Kingdom 18 Pina Yara Brazil 47 Demière Christine Switzerland 19 Plein Nadja Gabriela Germany 48 Doyle Avalyn Australia 20 Popova Milena Bulgaria 49 Fabrizzi Karenina Italy 21 Rage Peter Switzerland 50 Flint Sato Christine United Kingdom/Japan 22 Rodriguez Oscar Colombia 51 Gutierrez Nelson United States of America 23 Roos Pris Netherlands 52 Hardiment Tilney United Kingdom 24 Salaški Milica Serbia 53 Hathout Miriam Egypt 25 Senoj Mit United Kingdom 54 Howe Stacy United States of America 26 Stanojević Jovanka Serbia 55 Jungo-Mondoux Catherine Switzerland 27 Tank Douglas Christian Switzerland 56 Kavvatha Antigoni Greece 28 Ten Wolde Nel Australia 57 Kojić Tijana Serbia 29 Tingård Emma Sweden 58 Kok Nico Netherlands 30 Tretyakova Tatyana Russia 59 Kolff Inger Netherlands 31 Tucović Jovana Serbia 60 Kosić Nikola Montenegro 32 Tucović Milan Serbia 61 Kruimer Gerda Netherlands 33 Turney Wieland Barbara Australia 62 Lear Jill United States of America 34 Voigt Wolf-Gunter Germany 63 Lloyd Nick United Kingdom 35 Walker Ernesto Mexico 64 Marjanović Saša Serbia 36 Wolfskämpf Andrea Dora Germany 65 Drawing ‘12 | Achille Belgium Do you give a title to your artwork ? Yes, mostly for organisatory reasons Do you have a visual image of your work before its creation ? At the start with a vague idée, then a response with the progress of the work When you know a work is completed ? When there is no more to add How long can you work on your drawing ? Depending on the technique I am using, for oil on canvas for example sometimes two weeks till two months Do you listen to music ? Where and how long ? Yes, in my studio, when I am working; keeps the noise outside and helps me concentrate Are you alone when you are working ? Yes, otherwise I would be distracted | Drawing ‘12 What helps and what bothers you when you work ? Classical music helps, modern commercial beat bothers How you feel when people look at your work ? When the viewer stays a wile longer before a picture, I think there is a visual communication What would you change in today’s art world, if you could ? That the artist’s knowledge and technique is approved When did you start to think of you as a future artist ? As a painter, approximately at the age of twelve | Les Baux / detail | Toscane / detail | Les Baux / detail Bamboo pen and ink | 50 x 36 cm | 1999 Graphite | 50 x 36 cm | 2002 Bamboo pen and ink | 50 x 36 cm | 1999 Tank Douglas Christian Switzerland Visualisez-vous votre oeuvre avant sa création ? Oui, elle est une réalité, un lieu vu sur place, mais détaché de sa liaison terrestre L’usage du noir/blanc me permet de renforcer sa transposition graphique… (ma période de coopérant au sud Maroc et mes errances dans les Krebs et Ergs) Ecoutez-vous de la musique ? Laquelle et combien de temps ? Oui, des enregistrements personnels réalisés sur place avec des musiciens isolés et, entre les phrases musicales, le bruit du vent et aussi quelques fois des voix éloignées Cela me donne le vrai sentiment de l’espace infini J’écoute cela durant la mise en volumes et des musiques plus festives durant la mise au net 56 | Drawing ‘12 Quand vous vient-il l’inspiration, le désir de faire ce que vous faites ? Au retour de mes séjours sur place, mais aussi après une soirée avec des amies marocaines lorsque l’on a visionné des diapositives et que parfois je m’éloigne de la réalité lorsque l’on est dans cette ambiance chaleureuse… (le souvenir d’une femme qui ma guidé dans dans les premiers sites après avoir vu des croquis d’intention réalisés dans ma pension au sud du Maroc) 1| Voûtes de silice Dessin la plume, encre | 50 x 70 cm | 1981 | Parois érodées Dessin la plume, encre | 35 x 50 cm | 1981 | Formes de vie Dessin la plume, encre | 70 x 50 cm | 1981 Australia Ten Wolde Nel | Alhambra Photo collage, drawing on paper | 56 x 76 cm | 2012 | Soldados III | La Tierra Photo collage, drawing on paper | 56 x 76 cm | 2012 Photo collage, drawing on paper | 56 x 76 cm | 2012 Do you listen to music ? Where and how long ? The process of making my collages starts when I’m walking in the countryside and taking pictures At this stage I don’t have music with me, I love to hear the sounds of nature When I get back to my studio I put music on, mainly jazz, in order not to get disturbed by sounds at home, so that I can imagine myself in the same space as where I took the photos Who is your favorite artist ? My favorite artists are Salvador Dali, Pablo Picasso, Elsworth Kelly, and David Hockney Kelly because of the unusual abstract shapes he puts in the landscape, Dali and Picasso because of their very creative ideas and drawings techniques, and Hockney especially because of the last series of landscapes he made that really inspired me When are you inspired to make your arworks ? I am very observant when I am walking or driving through landsacape My collages have all been inspired by very long walks I did in Spain I like to share with people the things I see, the very detail of beauty I became fascinated by drawing and painting when I studied art at the Rietveld Academy in Amsterdam Drawing ‘12 | 57 Tingård Emma Sweden How long can you work on your artwork and are you alone when you are working ? I always work alone I need the silence to keep focused When working - time flies by and I can work for hours and hours I often finish a day’s work when it suddenly is too dark to continue The paintings take about 1-2 weeks to complete | Marcelo Oil pastel on velour paper | 50 x 70 cm | 2012 | Pablo Oil pastel on velour paper | 50 x 70 cm | 2012 | Balloons Oil pastel on velour paper | 50 x 70 cm | 2012 58 | Drawing ‘12 Russia Tretyakova Tatyana | Le vernissage, série du week-end agité / detail Encre de Chine, collage | 70 x 100 cm | 2010 | Incomprise Encre de Chine, collage | 50 x 70 cm | 2008 | L’amour perdu Quand avez-vous commencé penser vous comme une future artiste ? Depuis, que je suis toute petite je voulais peindre/dessiner, j’ai participé des concours, des expositions pour enfant Chaque fois que mes parents me proposaient un métier, je répondais, têtue, que je voulais devenir artiste pour peindre et dessiner dans le monde entier Quelle est votre technique préférée ? Ma technique de dessin favorite est un mélange d’encre de Chine et de collage de papier J’apprécie beaucoup l’encre de Chine car l’on peut facilement passer d’un trait fin un trait gras et ainsi faire de belles et gracieuse courbes Je chiffonne le papier, le trempe dans la peinture, puis le repasse au fer, lui donne une forme ce qui permet de rajouter du relief et de la couleur dans mes oeuvres Visualisez-vous votre œuvre avant sa création ? Quasiment chaque fois avant de commencer une nouvelle œuvre, je visualise mentalement une maquette, parfois détaillé parfois non Encre de Chine, collage | 46 x 62 cm | 2011 Drawing ‘12 | 59 Tucović Jovana Serbia Do you visualize your work before creation ? I visualize it, but the idea is never clear It is enough to show me in which direction I have to go, what ”atmosphere“ I have to create, but it never shows me what the work will look like exactly I often have problems reaching that primal idea, there is always a missing part But when I find it, that ”atmosphere“ I wanted to create, then the piece is completed 60 | Drawing ‘12 Do you dream about your work ? In a specific way, yes People I use as models are often people close to me, sometimes when I dream about them, they are not my friends, but my sculptures, characters from my work And conceptual and technical problems of one piece are like his or her own personal problems, so we discuss them Sometimes when I start working on something new, I dream about a piece finishing itself, showing me what I have to | Fading Charcoal on aluminum | 60 x 60 cm | 2012 | Fading / detail | Fading / detail Serbia Tucović Milan 1 | Overhaul Charcoal, paper, pastel | 76 x 56 cm | 2012 | Overhaul / detail | Overhaul / detail Do you dream about your work ? In a specific way, yes People I use as models are often people close to me, sometimes when I dream about them, they are not my friends, but my sculptures, characters from my work And conceptual and technical problems of one piece are like his or her own personal problems, so we discuss them Sometimes when I start working on something new, I dream about a piece finishing itself, showing me what I have to Do you visualize your work before its creation ? It is necessary to assume the situation or to create the conditions to create a situation in which I can make a sketch I lay the foundations for future work, that had been already planned I also allow material with which I work to partially change the idea The work is created in collaboration among ideas, materials, working processes and sometimes wonders that make the art For this the music is indeispensible Muses have not visited me for some time, nor I wait for them What would you change in today’s art world, if you could ? We live in a time that has no new major and unifying social ideas We have been able to relativize everything and bring also everything into question It may be considered that this state of relativism is that freedom for which the artists and other curious spirits had sought for centuries If we didn’t have this we wouldn’t have an overall crisis Economic crisis, moral crisis, identity crisis, environmental crisis, and energy crisis… Globalism is in crisis, national ideas, too Our art is just a disturbing reflection of the condition in which we are An art in which is impossible to establish the system of values - “all is permitted, but not all is useful”, said Apostle Paul So it is necessary to change the society A giant task for an artist, even when his imagination flies Drawing ‘12 | 61 Turney Wieland Barbara Australia How you give a title to your artwork ? When I am finish a piece I spend some time looking at it I wait for a name (or names) to come into my head and then choose what fits the piece best Do you visualise your work before its creation ? No, unless I am working from a photo, which is rare I try to just let go, find a starting point and just follow that lead to see where it takes me This way I am always surprised by what I create Are you alone when you are working ? Yes, always I enter the studio, play some music and put myself in the “zone” It is like a meditation with movement I have to be centered 62 | Drawing ‘12 | Sister Mine | Meadow dancing Pencil | 29.7 x 21 cm | 2012 Pencil | 29.7 x 21 cm | 2012 | S’envoler Pencil | 29.7 x 41 cm | 2010 Germany Voigt Wolf-Gunter 3 | Poetry in Lines No 211-1122-05 | Poetry in Lines No 211-1122-01 | Gesture in Lines No 212-0903-01 Pen and ink on paper | 13 x 18 cm | 2011 Pen and ink on paper | 13 x 18 cm | 2011 Brush, black & brown ink on paper | 56,5 x 75,5 cm | 2012 Warum haben meine Bilder keinen Titel ? In meinen Arbeiten setze ich Empfindungen und Visionen um in Gesten, die als Linie, Liniengeflecht, gerichtete Fläche und / oder Farbwert Gestalt annehmen Ich erzeuge ein vielschichtiges optisches Erlebnis Titel können dem Betrachter eine Brücke bauen, aber ich fürchte, sie lenken ihn vom Eigentlichen - dem emotionalen Nachspüren des Gesehenen - ab Haben Sie eine Muse ? Die Natur ist meine Muse Sanfte, unendliche Atmosphäre; die Kraft des Lichtes; zeitlose erhabene Schwere der Berge und die Wucht des Wassers Mein Allem widerstehender Baum, die leuchtendlockende Blume und die feuchte Sanftheit der Gräser - hier hole ich mir die Energie, die ich für meine Linien, Formen und Farben brauche Drawing ‘12 | 63 Walker Ernesto Mexico What is a key concept in your art ? I think that chance becomes the constitutive element of life, considering everything that happens gives shape to us is dictated by fortune and, most of the time, escapes our capability to control it From the place and time in which we were born, to the people we meet and the context in which we develop, we are always exposed to an endless number of accidents which finally are the main source of our individuality and the supplier of an unquantifiable amount of information at many levels The mystery becomes more complex when all this data gets interiorized and systematized in our mind, having as a result a unique profile 64 | Drawing ‘12 In my art, I always try to promote a perspective that gives priority to contemplation and to respect the hermeticism of chance as the fundamental source of meanings Regarding this, I look for codes and reinterpretations as a way to take this debate to a terrain separate from everyday life and to translate all the information that surrounds us into structures that play with the arbitrary way in which every individual works in the hands of chance | Untitled Ink over paper with two copies | 7.5 x 2100 cm | 2010 | Study of destruction and its collateral effect of transcendence original ink drawings shreded and in bottles | 13 x cm | x cm | 2010 | Page 25 Ink over digital camera manual | 172 x 90 cm (polyptych) | 2011 Germany Wolfskämpf Andrea Dora | Sans titre | Sans titre / detail | Sans titre Crayon, feutre, pastel, oilstick sur papier | 80 x 150 cm | 2012 Crayon, feutre, pastel, oilstick sur papier | 80 x 150 cm | 2012 Crayon, feutre, pastel, gouache sur papier | 110 x 150 cm | 2012 Do you listen to music ? Where and how long ? Yes, I often listen to music in my atelier while I am working, the music creates a world around me and my work Most of the time I hear only one CD on my old Sony CD player - I don’t even notice when it stops… My favorite musician is Keith Jarrett… Sometimes music is also the singing of the birds, the rain, the silence in the room… Are you alone when you are working ? Yes, I am always alone when I am working Do you dream of your works ? I don’t dream of my work that is already reality but I dream of future projects The last one was an order for a painting on a huge wall of a new theatre building… Drawing ‘12 | 65 swiss art space place suisse des arts schweizer kunstraum thanks A big thank you to all those who have made this event success ! Olivier Bettens, Alexander Elmer, Ivan Ivanović, Fabrice Wagner, Roanne Martin, Abraham Georges and all artists of Drawing 2012… And also… Beba and Sreten Stefanović and the family Bettens for their support and patience Our gratitude to Régis Colombo and Peca Popović Laurence & Dragan swiss art space place suisse des arts schweizer kunstraum S W I T Z E R L A N D L a u s a n n e Concept, organisation, creation of three exhibitions and publishing and production of the Review Drawing 2012 Swiss Art Space / SAS Association Swiss Art Space / ASAS Laurence Bettens-Girod | edition & organisation Dragan S Stefanovich | art direction & design Régis Colombo | photography / drawings, sculptures Patrick Dupont | photography / paintings Ellen Fransdonk | photography / portraits Fabrice Wagner | photography / openings Ivan Ivanović | video / interviews Lj Sedlar | video / production Alexander Elmer | internet / social networks Olivier Bettens | architecture / exhibitions Roanne Martin | review / english proofreading International contact Swiss Art Space | Gallery & Publishing Laurence Bettens-Girod +4121 320 3977 | gallery@swissartspace.com Rue du Valentin 32 | CH-1004 Lausanne | Switzerland Copyright © Swiss Art Space, Drawing 2012, Lausanne, Switzerland All rights, especially copying, distribution and translation reserved Without written permission of the publisher it is prohibited to reproduce any material contained in this book-review, even partially, to make copies or retransmit by any means whatsoever, electronic or mechanical (including photocopying, microfilm, sound recording or visual database system or any other reproduction or transmission) Errors and omissions excepted, no liability shall be borne by Swiss Art Space for any changes following the date of print of this publication www.swissartspace.blogspot.com International Exhibition of Contemporary Drawing | Drawing 2012 | [...]... be encountered on the path of accomplishing and expressing of our own nature Have you ever thought that one day this kind of art could end ? I believe not, because, for an artist, drawing is usually the first outsourcing of an idea Plus, drawings, and works of art in general exist to provide more than just a mere quotation of the reality True art should be an expression of a spirit that does not detest... triangles 3 Rubbing on folded paper with graphite | 60 x 90 cm | 2012 Rubbing with graphite | 60 x 90 cm | 2001 Rubbing with graphite | 60 x 90 cm | 2001 Netherlands Kolff Inger 1 3 2 1 | Untitled Wash ink drawing | 65 x 50 cm | 2012 2 | Untitled Wash ink drawing | 65 x 50 cm | 2012 3 | Untitled Wash ink drawing | 65 x 50 cm | 2012 Your drawings don’t have titles Why ? Since a few years I present my... the reaction of the viewers, especially of people knowledgeable about art Do you dream of your art ? Sometimes my dreams refer to my works and often I find solutions to problems concerning the progress of the work What would you change in today’s art world, if you could ? I would change the connection between the spiritual value of art and its market value When did you start to think of yourself as... 70 x 100 cm | 2012 Pen, ink, stamping, acrylic and watercolor on paper | 70 x 100 cm | 2012 Pen, ink, stamping, acrylic and watercolor on paper | 140 x 80 cm | 2012 When did you start to think of yourself as a future artist ? I believe that I started to think of myself as a future artist since early years of my life But, on the other hand, “to become a artist” isn’t so much a question of making the... hours to finalize all the details of my drawings I need solitude and peace to create works that I have in mind Do you dream of your works ? Yes, very often I also have ideas that can come to me suddenly in the day, no matter what I do At night, my dreams are very creative and often give me great ideas for my work I have a lot of creativity at night and early morning Drawing ‘12 | 11 Berger Jean-Luc... paper | 42 x 59 4 cm | 2012 2 | Drying Garlic 3 | Garlic Twist Pencil on paper | 42 x 59 4 cm | 2012 Pencil on paper | 42 x 59 4 cm | 2012 Switzerland Demière Christine 1 3 2 1 | Push-Pull 210 92012 / detail 2 | Push-Pull 110 52012 3 | Push-Pull 040 42012 Marker | 70 x 100 cm | 2012 Marker | 70 x 100 cm | 2012 Comment donnez-vous un titre à votre œuvre ? Une œuvre quelle qu’elle soit a une individualité... expression 32 | Drawing ‘12 What does your artwork symbolize? My artwork symbolizes voices of various motifs with persuasive unities, where the colors of the painting need the drawing and where the drawing of figure bodies need coloring That is way the world in the painting and sculpture thoroughly corresponds with its fantasy-like composition as a whole where surreal organization of birds, people,... Along etc Drawing ‘12 | 33 Lear Jill United States of America 1 2 3 How do you give a title to your work ? The work is about being in a particular place and my attempt to transcribe that experience, and since most of my drawings involve trees I always begin by determining the latitude and longitude of the chosen tree which then becomes the title of the painting Any person knowing the title of the painting... also a release of energy whether positive or negative so I consider my work done by the complete release of the energy I usually make a drawing at a time which takes from 2-3 hours but never get back to it once its done How do you feel when people look at your work ? Receptors impression is what determines my drawings impact and gives me satisfaction so I care to watch the impression of my exhibition visitors... vie, du mouvement de l’être qui jaillit Drawing ‘12 | 27 Kavvatha Antigoni Greece 1 3 2 How do you give a title to your artwork ? The title of a work results in many different ways One of them is based on the feeling that the work conveys Do you visualize your work before its creation ? I visualize my work of art completely before I start Of course in the process of working new elements may appear, which