oleksiy koval

Posts Tagged ‘painting’

OLEKSIY KOVAL | 1, 2, 1, 3, 1, 5

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



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.

27.10. – 24.11.2017

Donnerstag, 26.10.2017
19.00 Uhr


Karin Wimmer contemporary art
Amalienstrasse 14
Munich 80333



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


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

2017, Juli
20.07. – 22.07.2017

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

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.


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

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

NATRIUMCHLORID, Oleksiy Koval, 2017






a,+ ≈


#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
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


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


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


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


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


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


Oleksiy Koval, Porthleven Harbour Composition. Cornwall, Porthleven


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


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


In COMPOSITIONS on May 20, 2017 at 7:49 am

Oleksiy Koval, fake sugar, 2017
130 x 140 cm, tape, adhesive foil on MDF

Fake Sugar, Oleksiy Koval, 2017






a,b,c,d,e ≈


a(A1/4) [1,5,2,3,8] ∞
b(A1/9) [5,1,5,2,5,3] ∞
c(A1/16) [1,2,3,4,5,6] ∞
d(A1/25) [2,2,3,1] ∞
e(A1/36) [1,1,1,1,1] ∞ or [2,2,2,2,2] ∞ or [3,3,3,3,3] ∞
or [5,5,5,5,5] ∞ or [8,8,8,8,8] ∞

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
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


In EVENTS | VERANSTALTUNGEN on May 17, 2017 at 2:03 pm


Oleksiy Koval, Untitled Solo, 2016
64 x 60 cm, paper, tape, marker on MDF
Courtesy of the artist and gallery Karin Wimmer contemporary art

We’re delighted to tell you that Oleksiy Koval was picked by Culture Trip as one of our Munich Local Favorites 2017.

If Sam Taylor-Johnson’s A Little Death is your thing or you can’t get enough of Takashi Murakami’s installations, then a trip to Munich is in order. As well as 80 museums and a plethora of contemporary art galleries, there are some brilliant contemporary artists marking their mark on the art world that you need to know about. Here are seven names to keep an eye out for.

Oleksiy Koval

Making the move from Ukraine to Munich, Koval brings a variety of cultural influences and artistic styles to his work both as a practising artist and guest speaker at philosophy lectures at the Munich Academy of Fine Arts. His work often revolves around grids, where neat rows are disturbed by overlapping lines fighting for space or erratic paint dabs. The wide variety of materials Koval uses as a base is a striking element of his work – anything from cotton to MDF is his canvas.

by Roanna Mottershead

Read the article: These 7 Contemporary Artists from Munich Should Be on Your Radar



In EVENTS | VERANSTALTUNGEN on April 9, 2017 at 7:40 pm


Oleksiy Koval, Stalker, 2016
75 x 70 cm, marker on FPY



Oleksiy Koval, Funktor, 2016
140 x 130 cm, marker, tape on MDF



Oleksiy Koval, Isfendiyar Söyler, Alison Dalwood. Photo © Rhythm Section



Christoph Dahlhausen, Oleksiy Koval, Isfendiyar Söyler, Alison Dalwood. Photo © Rhythm Section




In INTERVIEWS on March 5, 2017 at 2:40 pm


Oleksiy Koval, Klitschko vs Chisora, 2012
80 x 70 cm, adhesive foil, marker on FPY
Private collection, Starnberg
Photo © Klaus Mauz

Any surface, any material can become a challenge for Oleksiy Koval. Armed with his favorite tools, paint and creativity, Oleksiy Koval struggles with surfaces that attract his attention because of their form, texture, structure, or color. His battle, painting, develops in a series of deliberate instinctive movements, drawing rhythmic forms, almost musical brush-strokes, on his adversary, the canvas.

Laura Sánchez Serrano: Do you remember when you started painting?

Oleksiy Koval: I was about three years old. My father is a designer of children’s books; he worked at home so he always had material and paint I could use.

LSS: That means you grew up in a family of artists?

OK: Not exactly. My father is a graphic designer and my mother an architect. I also have an uncle who sings at the opera, but no family members involved in visual arts.

LSS: You had your first art education in Kyiv. However, you came to Munich when you were only 19 and have been living here since then. Why did you come to Munich in the first place?

OK: I was curious about how art is taught in Germany. Art education in Kyiv was pretty conservative and I wanted to learn more about contemporary art. At that point in time, teachers in Munich were quite famous in the contemporary art scene. That’s why I decided to come here. Additionally, the Academy of Arts in Munich was the only one renowned in Kyiv.

LSS: And then you stayed?

OK: First I thought I would only stay a couple of years and then return to Kyiv. But when I went back to Kyiv I realized that it wasn’t anymore the place I had left; It was better to stay in Munich to continue my artistic career. Munich is a city with a lot of opportunities; and is well connected. From Munich it is easy to travel anywhere. Besides, I already had friends, connections, and my family here; so I had no reason to go back to Ukraine.

LSS: Which artists influenced your work?

OK: Garry Kasparov, Valeriy Lobanovskiy, Segiy Paradzhanov, Andrey Tarkovskiy, Blinky Palermo, Robert Ryman, Steve Coleman, Medardo Rosso, Paul Cezanne, Piet Mondrian, Tizian…

LSS: An odd group of people. Interestingly, the first two aren’t artists, but a chess player and a football trainer. How did they influence your work?

OK: I think there are a lot of similarities between chess, football and painting. All of them need a surface (a chessboard, a football field, a canvas), elements moving in a rhythmical way (chess pieces, football players and brush-strokes), and a strategy. All of them have the same goal: winning. Whether this means winning against a chess player, a team, or, in the case of painting, winning against the surface.

LSS: Is painting a game for you?

OK: Mostly, painting is my biggest passion. But yes, it’s like a game: The surface is my adversary and my aim is to defeat it and win the battle.

LSS: Are there rules in this battle? What is your painting process?

OK: I first choose a surface that attracts my attention. The process starts with the act of observing. I carefully observe the colors and the surface for hours. First I decide on a strategy based on color, material, rhythm, movement, or structure. Then I attack. The goal is to find the balance between control and improvisation, freedom and knowledge, understanding and intuition. The final result depends on all these factors. If I win, there will be a part of myself on the beaten surface.

LSS: Most of your works are created following a premeditated schema. Actually, you have developed a sort of visual score dividing the surface in areas, determining rhythm and tempo of your brush-strokes. Isn’t it too restrictive as a method?

OK: My method is not static. I combine structure with improvisation. The structure allows me to have more freedom. It is an equation that contains variables. Painting, just like living, needs structure. We have agendas, watches; we arrange meetings like the one today. But what we do during those meetings can be spontaneous and creative. The same is true for my method. I have a framework that allows me to freely react while painting. In the end it is the spontaneous reactions that will determine if I win or lose against the surface.

LSS: Why is rhythm so important in your work?

OK: Rhythm allows me to control space and time. Sometimes you start painting and after some hours you find that you have lost yourself in the painting. I realized I needed some structure to prevent this from happening. The rhythmic framework that I set up before painting allows me to paint the surface without losing myself in the process. Rhythm gives structure to my painting. It helps me out not to get lost in the surface.

LSS: You work with a lot of different materials. How do you choose them? What are your criteria?

OK: I use the materials that I find attractive. Those who look interesting and nice. The way to find them is fairly random. It can be the carton of a package I receive, the wood I find in the shop of a carpenter… I have worked a lot with classic materials; but I really like to work and experiment with new ones. For example, lately I have worked with polyester fabric I found at the atelier of a fashion designer. I love trying new materials. It’s fun and I think fun should be an essential part of painting.

LSS: What role has color in your work?

OK: It’s one of the basic elements in my work; together with material and rhythm. Color is the essence of painting. Painting means to apply colors on a surface. And that’s what I find fascinating about painting: to apply colors, to combine them, mix them and see how they react; the effect they have on the surface. But also how we perceive them. When I paint, I consciously apply the fundamental three parameters, material, color, and rhythm, to the surface.

LSS: In 2010 you founded the group Rhythm Section together with Stefan Schessl and Kuros Nekouian. What is the idea behind that project?

OK: In 2005 I met Stefan Schessl in China at an exhibition we both participated in. We became friends and regularly discuss about rhythm in our works. Kuros Nekouian joined our discussions a bit later on. We decided to research the concept of rhythm in contemporary art. We created a group which supports artists in exploring the subject. Artists in the group exchange ideas with each other, learn from each other’s experiences, and organize exhibitions together.

LSS: How many artists are members of the group?

OK: By now the group consists of more than 25 artists. Not only painters, but all kind of artists. We constantly receive requests from artists to join the group. In almost every exhibition we invite new artists. We choose the artists based on the project, the country the exhibition will take place, etc. All artists interested in working with rhythm are welcome to join us, as long as their work fits in the concept of Rhythm Section.

LSS: In 2011 you created another group The Beautiful Formula Collective. What is the nature of this group?

OK: The Beautiful Formula Collective is an open group that collaborates on single paintings following an initial formula: a rhythmical structure that gives form to the application of colors on surfaces. In contrast with Rhythm Section, The Beautiful Formula Collective is about only painting, and about creating collective works. We use an initial pattern or structure, where areas of action, rhythm, and tempo are determined. Each of us paints following the rules; but at the same time also reacts to what the others do. The final result is as interesting as the process. That is why we often do it in front of a public, as a performance; or together with other artists or students, as a workshop.

LSS: In a sense it is a group version of the rules you set up for your personal work. Thanks to The Beautiful Formula Collective you are no longer alone in your battle against the surface?

OK: Sure, it is teamwork. The most interesting part is to see how artists from different countries and backgrounds (e.g., traditional painting, street art, graphic design) paint together following deliberate rules to achieve amazing results. Painting together with other artists is really interesting and fun. We learn a lot from each other.

LSS: Since you created these two groups, you have showed your works in many group exhibitions all over the world (Zurich, Singapore, Kyiv, etc). Where will the next project take place?

OK: We have many projects this year. On the 9th and 10th of February I will be in Kiev organizing a workshop at the School of Visual Communication. In April we have three exhibitions: one in China, one in Greece, and one in The Netherlands. It will be a year full of nice projects.

LSS: It sounds exciting. Good luck with all your projects and thank you very much for sharing with us some thoughts about your work. I hope you keep on defeating the surface!

For the catalogue Beating The Surface. Munich, January 2013


In EVENTS | VERANSTALTUNGEN on January 18, 2017 at 1:17 pm
Oleksiy Koval, ‘Phlegmatiker’, 2015, 70 x 60 cm, marker on FPY. Photo © Klaus Mauz

Oleksiy Koval, ‘Phlegmatiker’, 2015, 70 x 60 cm, marker on FPY. Photo © Klaus Mauz


Oleksiy Koval, '3122433315555', 2015 80 x 70 cm, marker on cotton Photo © Klaus Mauz

Oleksiy Koval, ‘3122433315555’, 2015 80 x 70 cm, marker on cotton Photo © Klaus Mauz


Oleksiy Koval, 'H', 2016 65 x 60 cm, adhesive foil, tape, marker on FPY. Photo © Rhythm Section

Oleksiy Koval, ‘H’, 2016 65 x 60 cm, adhesive foil, tape, marker on FPY. Photo © Rhythm Section


Oleksiy Koval, 'Untitled M3', 2015 65 x 60 cm, tape on FPY Photo © Klaus Mauz

Oleksiy Koval, ‘Untitled M3’, 2015 65 x 60 cm, tape on FPY Photo © Klaus Mauz


Reutengalerie Amsterdam, 2017. Photo © Rhythm Section

Reutengalerie Amsterdam, 2017. Photo © Rhythm Section

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