oleksiy koval

Posts Tagged ‘Oleksiy Koval’

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

MALEREI CONTRA BILD

In ESSAYS on July 26, 2017 at 1:55 pm

jacques-louis_david_007

Bonaparte beim Überschreiten der Alpen am Großen Sankt Bernhard
(Ausgemalt von Jacques-Louis David, 1800)
Quelle Wikipedia

 

Obwohl ein Bild der langweiligste und ermüdendste Gegner der Malerei ist, verwechselt man allezeit die beiden Rivalen miteinander. Oder sind es vielleicht keine Rivalen in einem Wettstreit um den Menschen? Vielleicht gibt es keinen Unterschied zwischen Malerei – einem Gemälde – und einem Bild?

Im Sommer 2005 zeigte mir eine Studentin an der Kunsthochschule in Wuhan ein von ihr gemaltes Selbstporträt: eine kleine aufgespannte Leinwand auf der sie mit Ölfarben ihr Gesicht von einem Foto abgemalt hatte. Die Oberfläche der Leinwand war so perfekt behandelt, dass weder Pinselspuren noch der Farbduktus zu sehen waren. Die Oberfläche der Leinwand wirkte wie ein Bildschirm, der ein Mädchengesicht ausstrahlte. Ich wusste nicht, was ich dazu sagen sollte. Ich habe damals sehr viele solcher Abbildungen gesehen. Es war immer das gleiche, eine Art Masche. Die Abbildungen haben sich von einander nur technisch unterschieden: manche waren besser ab- und ausgemalt, manche schlechter. Ich fragte die Studentin, ob sie sich auch selbst porträtiert hat, ohne vom Foto abzumalen. Das Mädchen wurde rot und scheu, zeigte ein Selbstporträt, das sie vor einem Spiegel gemalt hatte. Die Studentin war sehr unzufrieden mit ihrem Werk. Die Pinselstriche und der Farbduktus waren unregelmässig auf der Fläche verteilt. An manchen Stellen lagen mehrere Farbschichten übereinander, so dass kein klarer Farbton zu erkennen war. Die Farb- und Hell-Dunkel-Kontraste unterstützten weder das Motiv noch das Kolorit des Gemäldes. Die Nase und Augen waren weder symmetrisch noch an den richtigen Stellen im Gesicht platziert. Die Malerei erinnerte stark an den frühen Cézanne. Es war schlechte Malerei, aber es war Malerei. Das erste Selbstporträt war ein Bild. Warum?

Nach jedem Sieg bestellte Napoleon Bonaparte ein Bild. Er diktierte das Thema, die Darstellung der Personen und schrieb sogar das Bildformat vor. Napoleon ahmte die anderen Könige nach und wollte als König nachgeahmt werden. Die Kunststudentin aus Wuhan ahmte mit ihrem perfekt ausgemaltem Selbstporträt die anderen Studenten nach und wollte nachgeahmt werden. Die Eltern, die Abbildungen von Ihren Kindern machen lassen, um diese auf dem Tisch aufzustellen oder im Geldbeutel mit sich zu tragen und bei Gelegenheit vorzuzeigen, ahmen die anderen Eltern nach und wollen nachgeahmt werden.

 

malevitj

KAZIMIR MALEVICH
Hieratic Suprematist Cross (large cross in black over red on white), 1920-1921
Collection Stedelijk Museum Amsterdam
Quelle Wikipedia

 

Ausgangspunkt der mimetischen Theorie von René Girard ist die Feststellung, dass Nachahmung Rivalität, Neid und Eifersucht erzeugt. Sie ist ansteckend und führt zu raschen Gewalteskalationen, in denen das ursprüngliche nachgeahmte Objekt keine Rolle mehr spielt. In einem umfassendem Ausstellungskatalog zum Thema Bilderkriege Iconoclash. Jenseits der Bilderkriege in Wissenschaft, Religion und Kunst von Bruno Latour und Peter Weibel bestätigt sich die Vermutung, dass das Bild, die Bildmacher und die Bildverbreiter für Gewaltausbrüche verantwortlich gemacht werden können. Man kann annehmen, dass Bilderverbote die Eskalation von Gewalt unterdrückt haben und weiterhin unterdrücken.

Ein Vergleich von Piet Mondrian und Kasimir Malewitsch illustriert prägnant den Unterschied zwischen Malerei und einem Bild. Beide Zeitgenossen haben die menschliche Sichtweise verändert: Malewitsch hat neue Bilder geliefert und Mondrian hat neu gemalt. Wenn Kasimir Malewitsch an der Verwirklichung neuer Vorstellungsbilder, Ikonen interessiert war, veränderte Piet Mondrian die Art und Weise zu malen. Der gebürtige Ukrainer hat seine Motive an-, be- oder ausgemalt, aber er hat nie gemalt. Dagegen entstanden beim holländischen Maler die Motive während des Malens.

Piet MondrianVictory boogie woogie 2009S0948

PIET MONDRIAN
Victory Boogie Woogie (1942–44)
Gemeentemuseum Den Haag
Quelle Wikipedia

 

Der Unterschied zwischen Malerei und einem Bild liegt im Ursprung und der Folge der Eigenschaften der Malerei und der Bilder. Um ein Bild zu machen, braucht man ein Motiv, Material und einen Bildermacher. Um Malerei, ein Gemälde zu schaffen, braucht man einen motivierten Maler und das nötige Material. Daraus ist ersichtlich, dass ein Bildermacher ein Interpret eines narrativen Motivs ist, Malen dagegen ist das Motiv des Malers.

In der Buchregalszene des Films Melancholie von Lars von Trier tauscht Justine rabiat die Bilder von Kasimir Malewitsch durch die Bilder von Pieter Bruegel, dem Älteren, aus. Hätte Justine die Bilder von Malewitsch durch Malerei ausgetauscht, wäre sie vermutlich nicht in den depressiven Kreislauf zurückgefallen.

Oleksiy Koval, München, Juli 2017
Besonderen Dank an Prof. Bernhard Lypp, Henri Jacobs und Veronika Wenger für die Unterstützung bei der Realisierung dieses Textes

LARS VON TRIER
Melancholia (2011)
Bookshelf scene

% TILGALLERY
 LONDON

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

til_n

%

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

CORNWALL INTENSIVE WEEK 3-10 JUNE 2017

In EVENTS | VERANSTALTUNGEN on June 15, 2017 at 6:14 pm

Dear Oleksiy Koval,

Artwork as an Event: Symposium June 3-10 2017
I am writing on behalf of the Contemporary Arts Practice Group to invite you to participate in the Artwork as an Event: Symposium here at the University of Hertfordshire from June 3 – 10 2017. The event is hosted by the Contemporary Art Practice Group of the School of Art and Design.

The aim of the symposium is to bring together a group of artists to discuss and develop the concept of the Artwork as an Event. The project includes practice-led research and develops the idea of “field-work” for artist practitioners and research involving collaborations through which the participating artists share insights into their research and methodologies. It is planned that the outcomes are presented at an international exhibition/public symposium in 2017-2018. The symposium provides an opportunity to initiate debate and make site-based artwork around questions of the ‘event’: what constitutes an artwork as event and is the ‘event’ an act or trace or both? By looking at the artwork as subject to time/site/contexts and (re)arrangements this project will consider how work happens as much in action as it does in the way it is shown and presented. We will initially consider a range of new strategies which would allow new methodologies to emerge while acknowledging the complex and temporary nature of artworks as events. Underlying the aims of the symposium is the opportunity to have time working together in order to individually ‘tailor’ the eventual research project so that it is reflects the nature of each participant’s practice.

Yours sincerely,

Alison Dalwood
Senior Lecturer in Fine Art
School of Art and Design
University of Hertfordshire


02

Oleksiy Koval, RM11, 2017, 90 x 60 cm, ink on foil. Cornwall, Porthleven

03

Oleksiy Koval, Porthleven Harbour Composition, 2017, 70 x 90 cm, ink on foil. Cornwall, Porthleven

skizze

Oleksiy Koval, Porthleven Harbour Composition. Cornwall, Porthleven

ht

Oleksiy Koval, high tide, 2017, 70 x 90 cm, ink on foil. Porthleven, Cornwall

ebb

Oleksiy Koval, untitled ebb, 2017, 70 x 90 cm, ink on foil. Porthleven, Cornwall

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