oleksiy koval

BOOGIE WOOGIE RHYTHM SECTION | KARIN WIMMER CONTEMPORARY ART

In EVENTS | VERANSTALTUNGEN on December 8, 2017 at 12:18 pm

BOOGIE WOOGIE RHYTHM SECTION
100 YEARS AFTER DE STIJL
01.12. – 25.01.2018

The most famous representative of this movement, which took its course in 1917 were the artists Piet Mondrian and Theo van Doesburg. With dozens of exhibitions, the Netherlands in 2017 celebrated and reminded of De Stijl’s departure in art.

With this exhibition we want to continue to celebrate 100 years after De Stijl movement. The title of the exhibition Boogie Woogie refers to a famous work by Piet Mondrian Broadway Boogie Woogie from the year 1942/43. In our exhibition we would like to focus on the networking and exchange between contemporary artists who are concerned with the De Stijl movement from 1917.

Anneke Bosma
Karina Bugayova
Christoph Dahlhausen
Iemke van Dijk
Daniel Geiger
Henriëtte van´t Hoog
Oleksiy Koval
Guido Nieuwendijk
Xiao Tang
Marije Vermeulen
Veronika Wenger
Guido Winkler
Michael Wright

This exhibition is supported by
Kastner AG, Wolznach
Landeshauptstadt München
Tijl Fonds voor de beeldende kunst, Amsterdam
Dr. Wies van Moorsel, Amsterdam
Reuten Galerie, Amsterdam

This exhibition takes place in cooperation with the Reuten Galerie in Amsterdam. The Reuten Gallery in Amsterdam is organizing an exhibition on this topic in March 2018.

Karin Wimmer contemporary art
Amalienstrasse 14
Munich 80333
Germany
mail@karinwimmer.com
http://www.karinwimmer.com


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Boogie Woogie Rhythm Section, Gallery Karin Wimmer Contemporary Art, Munich
Photo © Rhythm Section

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Xiao Tang, Oleksiy Koval, Marije Vermeulen, Guido Winkler
Boogie Woogie Rhythm Section, Gallery Karin Wimmer Contemporary Art, Munich
Photo © Rhythm Section

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Oleksiy Koval, Marije Vermeulen, Guido Winkler
Boogie Woogie Rhythm Section, Gallery Karin Wimmer Contemporary Art, Munich
Photo © Rhythm Section

Oleksiy Koval, “11123”, 2013, 130 x 140 cm, marker, tape on MDF. Photo © Klaus Mauz

Oleksiy Koval, 11123, 2013
130 x 140 cm, marker, tape on MDF
Photo © Klaus Mauz

THE RHYTHM SECTION AND DE STIJL

In ESSAYS on November 24, 2017 at 10:37 am

The general in spite of the particular was how the mathematician and theosopher Dr MHJ Schoenmaekers (1875-1944) defended the concept of the group De Stijl. The necessity at the beginning of the 20th century to emphasize The general, was characterized by no longer relevant figure principles of traditional use of forms. The general is defined as a matter by the group De Stijl to develop a new form of formal language, which was based on the variation of the few basic principle of artistic creation (De Nieuwe Beelding).

After 100 years of De Stijl, in the age of the total relativism it is unconvincing to let The general triumph over The particular. Not to be confined by the greatest, yet to be contained within the smallest is a definition, which declared the enterprise of the artists group Rhythm Section. The substantive trait, which linked the artists of the group Rhythm Section in their works is the commitment to a hyper reflexivity in dealing with the rhythm, not as a compulsion, but as an original constant. The clear handling of the rhythm allows an endless variety of individual variations.

The striking link between De Stijl and Rhythm Section I see in the original handling of their understanding and construction of visual rhythm. If De Stijl laid the general foundation for the form of the rhythm in fine arts, then Rhythm Section relates this form to the smallest.

The search for the true painting is that which I absorbed from the study of Piet Mondrian and De Stijl. The core of the true painting lies not in the image but in the origin of painting. A 100 years ago a central issue of Mondrian’s painting was to accomplish the emancipation of the rhythm and this is a central issue of my painting today. For Piet Mondrian the origin of painting was lying 100 years ago in the design of the surface, similarly for me the origin, truth and purpose of painting today lies in the application of colors on surfaces. 100 years ago for Piet Mondrian the rhythm in painting was a design element of the surface, today the rhythm in painting is for me a design element of the movement.

The purest rhythm must be the purest expression of life … all expressions of rhythm are true, says Piet Mondrian.

Oleksiy Koval, Munich, May 2016

Thanks for help realizing this text to Prof. Bernhard Lypp, Veronika Wenger and Michael Wright


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OLEKSIY KOVAL | 1, 2, 1, 3, 1, 5 | GALLERY KARIN WIMMER

In EVENTS | VERANSTALTUNGEN on November 22, 2017 at 6:27 pm

ek_k


OLEKSIY KOVAL
1,2,1,3,1,5

In der Ausstellung mit dem Titel 1,2,1,3,1,5 zeigen wir aktuelle Arbeiten des Künstlers Oleksiy Koval, der sich in seiner Malerei mit dem Element des Rhythmus beschäftigt. Rhythmische Strukturen generieren den Malprozess als eine mehr oder minder geregelte Bewegung in Raum und Zeit. Sie geben dem Anbringen von Farben auf Flächen eine Form. Die Frage, was ist Rhythmus in der Malerei, hat Oleksiy Koval nie losgelassen. Während seines Studiums an der Akademie der Bildenden Künste München suchte Koval nach einer Polarität in der Malerei: „Ich wollte räumliche Darstellungen vermeiden und stattdessen eine Differenz wiedergeben, in der die Farbe auf der Fläche bleibt und dennoch eine visuelle Weite gewinnt.”

Karin Wimmer contemporary art
Amalienstrasse 14
Munich 80333
Germany
http://www.karinwimmer.com


IMG_7674

Oleksiy Koval 1,2,1,3,1,5
Karin Wimmer contemporary art, Munich 2017
Photo © Sophie-Charlotte Bombeck

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Oleksiy Koval 1,2,1,3,1,5
Karin Wimmer contemporary art, Munich 2017
Photo © Sophie-Charlotte Bombeck

IMG_7678

Oleksiy Koval 1,2,1,3,1,5
Karin Wimmer contemporary art, Munich 2017
Photo © Sophie-Charlotte Bombeck

IMG_7729

Oleksiy Koval 1,2,1,3,1,5
Karin Wimmer contemporary art, Munich 2017
Photo © Sophie-Charlotte Bombeck

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Oleksiy Koval 1,2,1,3,1,5
Karin Wimmer contemporary art, Munich 2017
Photo © Sophie-Charlotte Bombeck

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