oleksiy koval

Posts Tagged ‘art’

DER BITTERE TRANK

In COMPOSITIONS on October 12, 2017 at 8:07 am
Der bittere Trank

Oleksiy Koval, ‘Der bittere Trank’, 2017 70 x 60 cm, marker, tape on FPY


Der bittere Trank, Oleksiy Koval, 2017

M

1/9b
1/16b
1/25b
1/36b
1/49b

E

a,b,c,d,e

P

M 1/9b *a{4} + M
M 1/16b *b{4} + M
M 1/25b *c{4} + M
M 1/36b *d{4} + M
M 1/49b *e{4} + M

Signs and symbols:

M meter
A area
U unit
T takt
R rhythmical motive
E element
P procedure
# entry
 
* hits the meter
[] within the same area
#(n) number of entries
number of entries flexible
(n) size of unit
size of the unit is corresponding for all elements
|| order fixed
> n occupy n
-> go to
{ n out of n possible

{ n } is regular polygon with n edges
+ has to touch
not
V vertical
H horizontal
F flexibel
ordinal number

On this page I publish the compositions, which have been written using The Beautiful Formula Language. Please, feel free to send me your comment or any kind of question. 
Oleksiy Koval

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OLEKSIY KOVAL | 1, 2, 1, 3, 1, 5

In EVENTS | VERANSTALTUNGEN on October 9, 2017 at 8:11 am

IMG_0114

ek02


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

Ein herausragendes Element des Malprozesses ist der Rhythmus, in dem sich die Herstellung eines Werkes vollzieht. 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.

An outstanding element of the process of painting is the rhythm in which the fabrication of an art work is accomplished. Rhythmical structures generate the process of painting as a more or less determinated movement in space and time. It gives form to the application of colors on surfaces.

Ausstellung:
27.10. – 24.11.2017

Eröffnung:
Donnerstag, 26.10.2017
19.00 Uhr

www.karinwimmer.com

Karin Wimmer contemporary art
Amalienstrasse 14
Munich 80333
Germany

THE BEAUTIFUL FORMULA WORKSHOP / HUBEI INSTITUTE OF FINE ARTS

In EVENTS | VERANSTALTUNGEN on September 12, 2017 at 2:49 am

01

02

04

03


Photos © Hubei Institute of Fine Arts, Tang Xiao, Veronika Wenger

PORTHLEVEN HARBOUR

In COMPOSITIONS on August 21, 2017 at 1:04 pm

ph

Oleksiy Koval, Porthleven Harbour, 2017
73 x 70 cm, marker on cotton


Porthleven Harbour, Oleksiy Koval, 2017

A

1/144 (L 1-12)

E

a+ ≈

P

L1 A2 [1] A3 [1] A4 [3] A5 [2] A8 [1]
L2 A1 [5] A4 [1] A7 [1] A8 [1]
L3 A6 [2]
L4 A6 [1] A7 [1]
L5 A1 [2] A5 [4] A6 [1] A7 [2]
L6 A1 [1] A5 [1] A6 [1] A8 [3]
L7 A5 [2] A8 [1]
L8 A1 [1] A4 [1] A6 [2]
L9 A5 [1] A6 [1] A8 [1] A10 [1] A11 [1] A12 [5]
L10 A7 [1]
L11
L12 A1 [1,1] A2 [2,1] A3 [1,1] A4 [2,2] A5 [3,2] A6 [2,3] A7 [1,1] A8 [4] A11 [1]

Signs and symbols:

M meter
A area
U unit
T takt
R rhythmical motive
E element
P procedure
# entry
 
* hits the meter
[] within the same area
#(n) number of entries
number of entries flexible
(n) size of unit
size of the unit is corresponding for all elements
|| order fixed
> n occupy n
-> go to
{ n out of n possible
+ has to touch
not
V vertical
H horizontal
F flexibel
ordinal number
L line

On this page I publish the compositions, which have been written using The Beautiful Formula Language. Please, feel free to send me your comment or any kind of question. 
Oleksiy Koval

% TILGALLERY
 LONDON

In EVENTS | VERANSTALTUNGEN on July 20, 2017 at 8:56 am

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%

Kollier Din-Bangura
Lon Godin
Henriëtte Van ‘T Hoog
Oleksiy Koval
Veronika Wenger
Michael Wright

Private View
Saturday, July 22
7 – 9 pm

TILGallery
info@tilgallery.com
16 Dalston Ln, London E8 3AZ, UK


rm1

Oleksiy Koval, RM1, 2017
53 x 50 cm, spray on quilted lining

REDUCTIVE NON OBJECTIVE PRIVATE GALLERY, COLOGNE, JULY 2017

In EVENTS | VERANSTALTUNGEN on July 15, 2017 at 12:05 pm

rm13

Oleksiy Koval, RM13, 2017
60 x 50 cm, marker on polystyrol


REDUCTIVE NON OBJECTIVE PRIVATE GALLERY
2017, Juli
EUROPA
20.07. – 22.07.2017

Eröffnung:
19.07.2017, 16 Uhr

Fr – Sa, 16 – 19 Uhr

Justin Andrews AUS
Lars Breuer DE
Lemke Van Dijk NL
Sebastian Freytag DE
Billy Gruner AUS
Kyle Jenkins AUS
Sarah Keighery AU
Oleksiy Koval DE (UA)
Jan van der Ploeg NL
Ivo Ringe DE
Suzan Shutan USA
Peter Wackernagel DE
Werner Windisch DE
Guido Winkler NL
Bruch & Dallas
www.bruchunddallas.de

Ebertplatzpassage
50668 Köln

Cologne project space Bruch & Dallas is hosting a special event entitled ‘EUROPA’ in July 2017. The initiator of this exhibition is artist and curator Dr. Billy Gruner, who lives and works in the Blue Mountains in Australia for MAP Projects and RNPG. He is the founder of several Australian contemporary art spaces dedicated to reductive art.

In 2017 RNPG is travelling Europe presenting shows focusing on artists who use the social media page Reductive Non Objective Private Gallery. The artist and curator Billy Gruner has friendship and a working relationship with the Konsortium artists dating back to 2003.

RNPG stands for Reductive Non Objective Private Gallery. It is a unique social media site where quality reductive art makers present works and connect with each other. As a result this year RNPG is doing a range of shows looking at circles of activity, and styles of production across Europe.

Billy Gruner is the founder of SNO and of MAP, or Modern Art Projects in Sydney. The style of shows he prefers are simple. Member artists are invited to supply a work and hold an opening together. Some more local makers come attend while others follow on social media. An opening is held, talks are given. Importantly, the area of expertise of the curator has been in the resurgence of reductive art after the 20th century and he, like other artists within a broad coterie of producers have participated in developing what he describes as the arrival of a new genre. As such, Gruner is connected to many developmental spaces. The artist defines this under the a rubric, Post Formalism. At the Cologne group show Gruner will talk about the stupendous rise of the reductive art genre after the 20th century, and why that shift has a special importance for German art making in particular, Concrete Art and the like.

At the openings artists can also speak, and have special ideas outlined. The RNPG EUROPA show will include an array of art makers whose works are photographed and placed on social media. RNPG is designed to be modern, highly fluid and relaxed.

RNPG IS currently presenting shows in Holland, Germany, and Australia in association with IS-Projects, MAP, A9e and the newly established KNO in Kiev.

NATRIUMCHLORID

In COMPOSITIONS on July 6, 2017 at 7:48 am
soja

Oleksiy Koval, Soja, 2016
140 x 130 cm, oil on damask


NATRIUMCHLORID, Oleksiy Koval, 2017

M

1/4
1/4b
1/9
1/25

R

2,3,1
2,2,3,1
1,1,1,2,3
1,2,1,3,1,5

E

a,+ ≈

P

#1 M(1/9) [*2,3,1]
#2 M(1/4b) [*2,2,3,1]
#3 M(1/9) [*2,3,1]
#4 M(1/25) [*1,1,1,2,3]
#5 M(1/9) [*2,3,1]
#6 M(1/4) [*1,2,1,3,1,5]

Signs and symbols:

M meter
A area
U unit
T takt
R rhythmical motive
E element
P procedure
# entry
 
* hits the meter
[] within the same area
#(n) number of entries
number of entries flexible
(n) size of unit
size of the unit is corresponding for all elements
|| order fixed
> n occupy n
-> go to
{ n out of n possible
+ has to touch
not
V vertical
H horizontal
F flexibel
ordinal number

On this page I publish the compositions, which have been written using The Beautiful Formula Language. Please, feel free to send me your comment or any kind of question. 
Oleksiy Koval

STEVE COLEMAN ON OLEKSIY KOVAL’S PAINTING

In ESSAYS on June 26, 2017 at 1:20 pm
Oleksiy Koval, “11123”, 2012, 70 x 67 cm, marker on polyester. Photo © Klaus Mauz

Oleksiy Koval, “11123”, 2012, 70 x 67 cm, marker on polyester. Photo © Klaus Mauz


October 28, 2011 Oleksiy Koval invited me to participate in an exhibition involving music and painting. To be sure, music and painting projects have been presented many times throughout thousands of years. However, this particular collaboration was to focus on rhythm.

But what does this mean? It is clear what rhythm can be in musical terms, but not so clear in the discipline of painting. Through correspondences and meetings, I discussed these concepts with Oleksiy, and we found that we had many ideas in common.

I have always been drawn to creating music based on analogies with the natural world, and although Oleksiy’s ideas may not be this exactly, in my opinion some kind of analogies do exist in his work, or maybe I create them in my mind when viewing his paintings. However, this is not much different from the listener of music, where the sounds also stimulate the imaginations of individual audience members to create different visual fantasies in each person.

So, my own relationship to Oleksiy’s paintings are based on my own internal creations, stimulated by the shapes and colors in the paintings. And for me, there is rhythm in the placement, arrangement and relationship of these visual elements, just as rhythm in music is the same with sonic elements.

Music is a dynamic art, meaning it is always moving. The final result of a painting is not moving except in the mind of the viewer (or more precisely, it is not moving relative to the viewer). But there is also the rhythm in the act of painting, i.e., the rhythm of the gestures and technique that produce the painting, which is in motion. And, similar to music, through these gestures, ideas of meter, tempo, pulse relationships, etc., can be explored.

It’s in these areas that rhythm ideas can be explored through a kind of cross-discipline ensemble of musicians and painters. My most recent recording explores musical analogies of the biological rhythms of the human body. Several of Oleksiy’s paintings remind me of the themes that I have been exploring. Since we are ourselves a manifestation of Nature, any of our activities will in some way be connected to these natural rhythms. However, when a person is aware of their connection to Nature, then the rhythmic gestures of both the sonic and visual artists is in better alignment to the rhythms of Nature.

These are some of the thoughts and impressions that I feel, and that run through my mind while I am viewing Oleksiy’s paintings. From my point of view, these paintings can, similar to music, trigger an initial environment of mind and emotion, which can act as the substrate for the experience of an expanded awareness of the connection of all rhythmic activity.

Steve Coleman
Salvador, Bahia, Brazil, January 15, 2013


08.jpg

Steve Coleman, Oleksiy Koval, Lothringer 13 Halle, Munich 2016. Photo © Jörg Koopmann

MUAF

In COMPOSITIONS on February 25, 2017 at 5:39 pm
muaf_fpy

Oleksiy Koval, ‘MUAF’, 2016, marker on FPY, 70 x 60 cm


MUAF, Oleksiy Koval, 2016

M

1/25

E

a,b,c,d,e ≈

P

a [*1,1,1,1,1][*2,2,2,2,2][*3,3,3,3,3][*5,5,5,5,5][*8,8,8,8,8]
b [*1,1,1,2,3] max x 5
c [*2,2,3,1] max x 5
d [*1,2,3,4,5,6] max x 5
e [*1,5,2,3,8] max x 5

Signs and symbols:

M meter
A area
U unit
T takt
R rhythmical motive
E element
P procedure
# entry
 
* hits the meter
[] within the same area
#(n) number of entries
number of entries flexible
(n) size of unit
size of the unit is corresponding for all elements
|| order fixed
> n occupy n
-> go to
{ n out of n possible
+ has to touch
not
V vertical
H horizontal
F flexibel
ordinal number

On this page I publish the compositions, which have been written using The Beautiful Formula Language. Please, feel free to send me your comment or any kind of question. 
Oleksiy Koval

RHYTHM SECTION IM SCHAFHOF

In EVENTS | VERANSTALTUNGEN on February 9, 2017 at 8:07 am

010203


Eine gemeinsame Ausstellung von Künstlern aus Niederlande, Großbritannien, China, Türkei und Deutschland zum Thema Rhythmus in der Bildenden Kunst im europäischen Künstlerhaus Schafhof in Freising.

Thema der Ausstellung

Die Gruppe Rhythm Section besteht aus zeitgenössischen KünstlerInnen verschiedener Sparten, die sich explizit und bewusst in ihrem Werk mit Rhythmus beschäftigen. Der Austausch und die Dynamik, die aus solcher Zusammenstellung unterschiedlicher Einsätze und Medien entsteht, liefert neue Ansätze für die Kunst heute.

Es handelt sich dabei um das bisher größte Projekt dieser Art zwischen Niederlande, Großbritannien, China, Türkei und Deutschland, das sich mit dem Thema Rhythmus in der bildenden Kunst beschäftigt. Dieses Projekt soll einen intensiven kulturellen Austausch von Künstlern verschiedenster Nationalitäten anregen und helfen ein internationales Netzwerk zwischen diesen Ländern zu bilden.

RHYTHM SECTION IM SCHAFHOF
20. 2. ‒ 17. 4. 2017

Anneke Bosma NL
Karina Bugayova DE
Christoph Dahlhausen DE
Alison Dalwood GB
Mert Diner TR
Daniel Geiger DE
Henriëtte van ‘t Hoog NL
Gonghong Huang CN
Oleksiy Koval DE
Markus Krug DE
Çağrı Saray TR
Esra Sağlık TR
İsfendiyar Söyler TR
Nermin Ülker TR
Veronika Wenger DE
Michael Wright GB

www.rhythmsection.de

Schafhof – Europäisches Künstlerhaus Oberbayern
European House of Art Upper Bavaria
Am Schafhof 1, 85354 Freising
www.schafhof-kuenstlerhaus.de

19. Februar, Sonntag
SYMPOSIUM UND VERNISSAGE

15 Uhr: Symposium
Shuttlebus ab Bhf Freising: 14.30-14.50 Uhr
Vorträge von Mitgliedern und Gästen von Rhythm Section:

RHYTHM OF THE UTOPIAS
Vortrag von Ezgi Bakcay (Kunsthistorikerin, Istanbul)
in englischer Sprache

THE ROLE OF SCANNING AND KINESTHESTIC MODES OF PERCEPTION IN RELATION TO RHYTHM WITHIN THE VISUAL ARTS
Vortrag von Michael Wright (Künstler, London)
in englischer Sprache

HELP ALIVE INSIDE. IM INNERSTEN DER ZEICHNUNG
Vortrag von Veronika Wenger (Künstlerin, München)
in deutscher Sprache

FORSCHUNG ZUM RHYTHMUS IN DER MODERNEN KUNST: INTERNATIONALE KOLLABORATIVE ERFAHRUNG
Vortrag von Dmytro Goncharenko (Kurator, Kiew/Berlin)
in deutscher Sprache

8 Uhr: VERNISSAGE
Shuttlebus ab Bhf Freising: 17.30-17.50 Uhr; zurück; 19.45 Uhr

Grußwort: Eike Berg, Leiter des Europäischen Künstlerhauses
Einführung: Jochen Meister, Kunstvermittler, München

26. März, Sonntag 15 Uhr
DIE SCHÖNE FORMEL
Vortrag von Oleksiy Koval (Künstler, München)
in deutscher Sprache

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