16 times ART - 16 mal KUNST
Belgium, Germany, Estonia, France, Greece, Israel, Italy, Japan, Luxembourg, Austria, Mexico, Netherlands, Norway, Singapore, South Africa, United States Alexander Gurevitch: spiced with delicate humor; Amaryllis Siniossoglou: in the flow; April Ng Kiow Ngor: bizarre landscapes; Asuna Yamauchi: eery bones; Eleanora Hofer: beyond words; Elvira Clément: surrounded by the glow of light; Gerhard Rasser: the passion of loneliness; Hee Sook Kim: dream of an earthly paradise; Ida-Marie Hellenes: white nights; Josée Wuyts & Frans de Groot: enigmatic geometric symbols; Juttamarie Fricke: weavings of dualism; Liliana Rizo: images in dynamic motion; Maria Rita Onofri: relief-like collages; Maud du Jeu: physical expression and tenderness; Monica Romero: pure wax painting; Reti Saks: drawn stories; Serge Koch: reflections; Wouter Tacq: in search of an answer The printed book is available in the book trade and in internet bookshops. Hardcover: ISBN 978-3-96103-504-5, Publisher: Re Di Roma-Verlag, Language: English, German, Size: 21 x 21 cm Belgien, Deutschland, Estland, Frankreich, Griechenland, Israel, Italien, Japan, Luxemburg, Österreich, Mexiko, Niederlande, Norwegen, Singapur, Südafrika, USA Alexander Gurevitch: Mit feinem Humor gewürzt; Amaryllis Siniossoglou: Im Fließen; April Ng Kiow Ngor: Bizarre Landschaften; Asuna Yamauchi: Unheimliche Knochen; Eleanora Hofer: Jenseits des Sagbaren; Elvira Clément: Umfangen von Lichtschein; Gerhard Rasser: Passion Einsamkeit; Hee Sook Kim: Traum vom irdischen Paradies; Ida-Marie Hellenes: Weiße Nächte; Josée Wuyts & Frans de Groot: Rätselhafte geometrische Zeichen; Juttamarie Fricke: Verwobener Dualismus; Liliana Rizo: Dynamische Bildbewegung; Maria Rita Onofri: Reliefartige Collagen; Maud du Jeu: Körperlicher Ausdruck und Zartheit; Monica Romero: Reine Malerei in Wachs; Reti Saks: Gezeichnete Geschichten; Serge Koch: Reflexionen; Wouter Tacq: Auf der Suche nach einer Antwort
Belgium, Germany, Estonia, France, Greece, Israel, Italy, Japan, Luxembourg, Austria, Mexico, Netherlands, Norway, Singapore, South Africa, United States
Alexander Gurevitch: spiced with delicate humor; Amaryllis Siniossoglou: in the flow; April Ng Kiow Ngor: bizarre landscapes; Asuna Yamauchi: eery bones; Eleanora Hofer: beyond words; Elvira Clément: surrounded by the glow of light; Gerhard Rasser: the passion of loneliness; Hee Sook Kim: dream of an earthly paradise; Ida-Marie Hellenes: white nights; Josée Wuyts & Frans de Groot: enigmatic geometric symbols; Juttamarie Fricke: weavings of dualism; Liliana Rizo: images in dynamic motion; Maria Rita Onofri: relief-like collages; Maud du Jeu: physical expression and tenderness; Monica Romero: pure wax painting; Reti Saks: drawn stories; Serge Koch: reflections; Wouter Tacq: in search of an answer
The printed book is available in the book trade and in internet bookshops. Hardcover: ISBN 978-3-96103-504-5, Publisher: Re Di Roma-Verlag, Language: English, German, Size: 21 x 21 cm
Belgien, Deutschland, Estland, Frankreich, Griechenland, Israel, Italien, Japan, Luxemburg, Österreich, Mexiko, Niederlande, Norwegen, Singapur, Südafrika, USA
Alexander Gurevitch: Mit feinem Humor gewürzt; Amaryllis Siniossoglou: Im Fließen; April Ng Kiow Ngor: Bizarre Landschaften; Asuna Yamauchi: Unheimliche Knochen; Eleanora Hofer: Jenseits des Sagbaren; Elvira Clément: Umfangen von Lichtschein; Gerhard Rasser: Passion Einsamkeit; Hee Sook Kim: Traum vom irdischen Paradies; Ida-Marie Hellenes: Weiße Nächte; Josée Wuyts & Frans de Groot: Rätselhafte geometrische Zeichen; Juttamarie Fricke: Verwobener Dualismus; Liliana Rizo: Dynamische Bildbewegung; Maria Rita Onofri: Reliefartige Collagen; Maud du Jeu: Körperlicher Ausdruck und Zartheit; Monica Romero: Reine Malerei in Wachs; Reti Saks: Gezeichnete Geschichten; Serge Koch: Reflexionen; Wouter Tacq: Auf der Suche nach einer Antwort
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Foreword<br />
The art and gift book „<strong>16</strong> <strong>times</strong> art“ introduces<br />
eighteen artists from sixteen countries by<br />
presenting four s<strong>mal</strong>l works per artist. The group<br />
exhibition under the same title was held from 25<br />
June-21 August 2018 in the light-flooded foyer of<br />
Weißenthurm’s townhall on the left bank of the<br />
Rhine. In addition to the visual artworks shown at<br />
the exhibition the book also features several haiku<br />
poems from Germany and the Netherlands. As two<br />
of the poets are also visual artists, their work is presented<br />
under the heading: “art and poetry”. During<br />
the exhibition, three artists received an “honorable<br />
mention” and are featured more prominently on the<br />
cover, title page, and back of the book.<br />
In Alexander Gurevich’s series of etchings,<br />
the theme of the muse plays a central role.<br />
Through the visual power of the key moments<br />
chosen by the artist, the events depicted appeal<br />
to viewers on a personal level, while the subtly<br />
sarcastic mode of narration evokes a heightened<br />
readiness to take them in. In Gurevich’s drawings,<br />
the line serves as an expressive gesture: Varying<br />
degrees of thickness and shading lead to a sense of<br />
three-dimensionality and movement. This makes<br />
his works unfold like plays and turns viewers into<br />
spectators. The motifs confidently drawn with an<br />
etching needle are remindful of historical and mythological<br />
themes, and spiced with a delicate sense<br />
of humor that evokes specific emotional responses.<br />
Besides including autobiographical self-portraits,<br />
the ambiguous nature of the motifs allows for a<br />
broad spectrum of individual interpretations, which<br />
makes these works so effective. p. 12 - 13<br />
(www.gurevich-art.com)<br />
On a subjective level, artist Amaryllis<br />
Siniossoglou gives a lot of room to the imagination.<br />
Impressions of nature are visualized in a misty,<br />
blurred style, to which the medium of watercolor<br />
seems perfectly suited. Creatively transformed<br />
landscapes conjure up mental images that reveal<br />
beauty inside a melancholy world. The subject turns<br />
into a motif as different scenes are depicted against<br />
the same background. Amaryllis Siniossoglou uses<br />
suggestive color temperatures based on the functions<br />
of sound and space, to visualize the forces of<br />
nature. Tones of violet seemingly cover everything<br />
with a misty veil muffling all contrast, and finally<br />
making the world dissolve into immateriality.<br />
p. 10 - 11 (www.amaryllissiniossoglou.com)<br />
Spontaneity, playfulness, and a strong sense of<br />
harmony mark art professor April Ng Kiow<br />
Ngor’s intaglio etchings. For her series “new<br />
tracks”, she perforated her printing plates to produce<br />
striking white dots running across the pictures.<br />
Her compositions use irregular shapes and organic<br />
lines. The luminous tracks of dots shine from the<br />
dark background like stars or bubbles, magically<br />
catching the viewer’s eye. In the broadest sense,<br />
one may feel inclined to perceive elements of landscape<br />
but in the end, the high degree of abstraction<br />
makes it impossible. Flower branches, valleys, and<br />
rocks seem to appear, as one imagines an old door<br />
panel from a quaint mountain village serving as a<br />
printing plate. p. <strong>16</strong> - 17<br />
(www.aprilkiowngor.weebly.com)<br />
Asuna Yamauchi’s realistic landscape<br />
compositions featuring mysterious oversized bones<br />
resist the temptation of color, and, in this sense,<br />
could be seen as representatives of a kind of “antipainting”.<br />
Pleasant scenery is not her subject. In the<br />
foreground, ghastly bones are positioned close to<br />
the viewer. These appear either in front of seascapes<br />
with a high horizontal line (worm’s eye view) or like<br />
rock formations in the woods. The sculpture-like<br />
bone structures are darkly remindful of cenotaphs.<br />
Intentionally displaced, they become surreal elements<br />
of landscape staffage, palely lit, and void<br />
of people. A primordeal ocean, coldly and wildly<br />
foaming, threatens to overwhelm and swallow up<br />
the viewer. The woods exude an equally fateful magnetism.<br />
p. 18 - 19 (www001.upp.so-net.<br />
ne.jp/asuna-yamauchi/index.html)<br />
Eleanora Hofer’s collages mesmerize<br />
viewers with their aesthetic appeal. Shreds of old<br />
letters are arranged in squares. Indecipherable<br />
handwriting serves as a backdrop to enigmatic<br />
compositions. The pictures in this series appear like<br />
s<strong>mal</strong>l sections of a chaotic whole, like the individual<br />
verses of a poem. They resemble sonnets containing<br />
melodious words, and radiating intellectual and<br />
poetic spirit. In her rectangular works, the artist<br />
prominently positions plant parts against haptic<br />
background textures. Her abstract images are charged<br />
with the realistic presence of found objects put<br />
together in calm, traditional compositions. The harmonious<br />
golden-brown sandstone colors add a dynastic,<br />
fossil-like touch of magic to Hofer’s collages.<br />
p. 20 - 21<br />
Elvira Clément’s artworks and short<br />
poems call for an intuitive mode of reception. The<br />
objective is to express the essence of an interesting<br />
moment of nature with a minimum of words<br />
and abstract shapes. Weaving lyrical abstraction<br />
into her art, aesthetic composition congeals with<br />
random shapes as the artist’s style is marked by<br />
subconscious stimulation and associative impulse.<br />
Resembling prisms from which human shapes appear<br />
in surprising ways, the artist uses motifs with<br />
organic shapes surrounded by the sheen of a joyful<br />
natural paradise. Reminded of shimmering water<br />
reflections or dew drops on fragrant calyxes, the<br />
viewer steps into the beauty of a biotope. Nothing<br />
could be suited to this mode of expression more<br />
perfectly than monotype on glass. p. 22 - 23<br />
Almost void of human presence, Gerhard<br />
Rasser’s tryptichs tap into an otherworldly, spiritual<br />
realm. Characterized by an expansive serenity,<br />
they invite viewers to “immerse themselves” in their<br />
beachscapes and experience moments of meditation<br />
in the stillness of their fascinating silence. Material<br />
elements of nature are set against the purity of<br />
large colored expanses. Denying the human signature<br />
of his brush work, the artist appeals to distant<br />
horizons to offer an answer to the longings of our<br />
time, illuminated by the radiant beauty of the sun<br />
or the moon. Rasser’s artistic work combines beauty,<br />
balance, harmony of shapes, and the gentleness<br />
of velvety colors to communicate a joyous affinity<br />
for a life of hermitage that could be experienced<br />
alone or as a couple in an atmosphere of calm, mutual<br />
trust. p. 24 - 25<br />
(www.blickfang-gerhardrasser.com)<br />
As a rule, Hee Sook Kim’s paintings can<br />
be viewed from two sides. Her ten miniatures are<br />
exemplary for her masterful use of patterns, sequences,<br />
and variations. The transition between<br />
meaningful signifiers and abstract ornaments is fluid.<br />
The poetic magic of her artwork lies in her individual<br />
artistic style. Plant shapes are reduced to floral<br />
ornaments. Approaching the area of abstract painting,<br />
the artist’s need to express herself is reflected<br />
in her use of shapes and colors. Colors change disregarding<br />
solid outlines. Kim’s style is marked by the<br />
Asian influence of orchestrated symphonics, as well<br />
as her otherworldly feel for art and harmonious color<br />
composition that is solely concerned with beauty.<br />
p. 26 - 27 (www.heesookkim.com)<br />
The atmosphere in Ida-Marie Hellene’s<br />
art is a clear reference to her Scandinavian origins.<br />
One need only look at the colors – indigo, yellow,<br />
and falu red – to identify their geographical background,<br />
even though the colors are relatively muted,<br />
reflecting the monotonous light of white nights.<br />
The lone huts, houses, and buildings appear silent<br />
and void of humans. The artist’s abstract mode of<br />
expression embodies the loneliness and expansiveness<br />
of Scandinavian landscapes. At first sight,<br />
the viewer may feel disillusioned. As a long term<br />
resident of her homeland, however, the artist probably<br />
gleans these impressions from her own daily<br />
observations, and after a while, they begin to exude<br />
a certain appeal verging on intimacy. p. 28 - 29<br />
Josée Wuyts & Frans de Groot, two<br />
artists with very different personalities, symbiotically<br />
collaborate to create an enigmatic collage<br />
showing two inexplicable signs printed on top of<br />
each other. Their improvisational momentum produces<br />
hieroglyphic structures that remain void of<br />
recognizable shapes in spite of their geometric elements.<br />
The duo’s works seem to be dictated by the<br />
subconscious, spontaneously unleashed under the<br />
influence of expressive gestures or even scribbles.<br />
This leads to grotesque constructions or strongly<br />
distorted images. Through horizontal and vertical<br />
lines, the images’ seemingly chaotic nature gains<br />
stability. Upon longer observation, they turn into<br />
the corners of rudimentary buildings lacking right<br />
angles. p. 32 - 33 (www.wuyts-degroot.nl)<br />
The appeal of Juttamarie Fricke’s visual<br />
art and short poems lies in their multi-layered<br />
composition. While containing elements of surrealism,<br />
her etchings weave together objects and<br />
materials producing an overall result that seems<br />
loosely based on Picasso’s drawings. Bulls seem to<br />
merge with humans. The artist’s portraits, on the<br />
other hand, are vaguely remindful of antique, possibly<br />
Egyptian deities. The fe<strong>mal</strong>e idol appears both<br />
classical and modern. Fricke’s etchings are characterized<br />
by the dualism of interwoven shapes and<br />
figures. Caught in the loose mesh of large fishing<br />
nets, the figures express dance-like dynamics. Her<br />
ani<strong>mal</strong>ization or bullization of fe<strong>mal</strong>e nudes is a<br />
stroke of genius: Almost unnoticeably, two figures<br />
emerge from the texture of the painting. p. 38 - 39<br />
(www.juttamarie.eu)<br />
Radiance of color and shape marks the unique<br />
floating magic of Liliana Rizo’s paintings. The<br />
wonderful connection of shapes and colors freed of<br />
their association with specific objects leads to abstract,<br />
Orphic motifs. Random impulses and reflexes<br />
create dynamic, even rapid movements inside the<br />
images that resemble random sections of space<br />
and time, while containing an involuntary element<br />
of representationialsm. Three-dimensionality and<br />
light are suggested using nothing but color. Overlay<br />
and transparency consolidate the luminous play of<br />
colors culminating in lyrical bliss as spontaneous<br />
brush strokes evoke dance and butterflies. p. 34 - 35<br />
Maria Rita Onofri applies the sophisticated<br />
mastery of her craft to an idiosyncratic collage<br />
technique. Her works feature schematically<br />
reduced representations of nature that speak their<br />
own unique language. The metallic materials incorporated<br />
in the pictures play with intensity and<br />
multitude of color and reveal an affinity with the<br />
artisanal side of art. Giving no heed to their “correct”<br />
everyday associations, the artist’s colors radiate a<br />
sensual power. Individual parts of shapes and figures<br />
physically protrude from otherwise planar<br />
works, underpinning their object-like character.<br />
Maria Rita Onofri also works as a sculptor and as a<br />
goldsmith. Her collages are intent on guiding observers<br />
toward beauty and being radiant gems illuminating<br />
human living spaces. p. 36 - 37<br />
(www.mariaritaonofri.it)<br />
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