oleksiy koval



In INTERVIEWS on February 3, 2018 at 10:32 am


I win my way
Oleksiy Koval
370 x 290 cm, tape on wall
Arti et Amicitae, Amsterdam 2016
photo © Rhythm Section


“When I was nineteen, I was fascinated by Miles Davis’s Bitches Brew and Live Evil. During that time someone showed me artworks of this great musician, and I was really disappointed. I thought: „this guy has absolutely no clue about painting“. On the other hand, Piet Mondrian was trying to implement ‘De Stijl’ ideas in music; he gave up this idea after he was listening to Boogie Woogie. I myself do not want to relate my work to music, but of course I learned from music for my painting and I am still learning. In painting and in music, you find the elements of movement, time, space, and matter; and I am always curious about how musicians are dealing with this. If there is something that I can implement from music in my painting, then I do it.”

Ine Dammers: This year 2017, it is hundred years ago that ‘De Stijl’ was founded. Holland is honoring the centennial of this movement in art with a lot of manifestations. De Stijl characterized itself by clear universal forms and primary colours. The mathematician and theosopher Dr M.H.J.Schoenmaekers, who was a friend of Mondrian, defended the concept of De Stijl with the phrase: “The general in spite of the particular”. The ‘general’ is defined by De Stijl as a matter to develop a new formal language, based on the variation of the few basic principles of artistic creation. ’Rhythm Section’ organised several exhibitions in the context of this centennial. Is there a relation between Rhythm Section and De Stijl?

Oleksiy Koval: One hundred years after De Stijl, at the end of the age of total relativism, it is in my opinion 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 statement which is characteristic for our group Rhythm Section: The artists of Rhythm Section are linked in their 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 rhythm in fine arts, then Rhythm Section relates this form to ‘the smallest’.

I.D.: In October 2016 in Arti (Arti et Amicitiae, Amsterdam), at the exhibition ‘Boogie Woogie Rhythm Section’, you showed the work ‘I win my way’. The connection with Mondrian is obviously made in the title of the exhibition. Why do you refer to Mondrian?

O.K.: Actually the title ‘Boogie Woogie Rhythm Section’ is connected not only to Piet Mondrian, but also to De Stijl and boogie-woogie as well. In my work ‘I win my way’ I didn’t refer to Mondrian directly, but I learned a lot from the how Mondrian created his last painting, and I used his experience for the work in Arti. First Mondrian was very clear about the motive of the composition. A photo from 1942 shows the painter in his studio with ‘Victory Boogie-Woogie’: the canvas lies on the table, and Mondrian fills color fields and lines with paint. So this kind of procedure was far away from the ‘true-painting-procedure’, it was more like the ‘implement-the-motive-procedure’. However, already in the autumn of 1943 in an interview with Johnson Sweeney, Mondrian explains the relationship between boogie-woogie and his paintings: “True boogie-woogie I conceive as homogeneous in intention with mine in painting: destruction of melody which is the equivalent of destruction of natural appearance; and construction through the continuous opposition of pure means – dynamic rhythm.” In that time Mondrian changed completely the procedure of ‘Victory Boogie-Woogie’. He destructed the original motive of the composition and focused on the applying of colors on the surface, on the dynamic rhythm. The canvas was on the painting’s easel. Usually I do not like to have a sketch with clear motive on it, but for the show at Arti the participants were asked to make a sketch in advance. That means I had to apply the implement-the-motive-procedure. But I did not want to do it. So I decided to create a composition that allows me to keep the motive and to allow dynamism and spontaneity during applying of colors. Curves, sharp and wide corners, equilibrium of colors – all this resulting from the procedure of entries, fixed positions of meters and spontaneous decisions while painting.

I.D.: “Not to be confined by the greatest, yet to be contained within the smallest” is characteristic for Rhythm Section, as you said. What do you mean by ‘the smallest’? My favorite quote about the smallest is that of Winnie the Pooh: “The smallest things take up the most room in your heart”. In Pooh’s case this ‘smallest’ is a jar of honey, but in your case it is rhythm.

O.K.: Well, ”Not to be confined by the greatest, yet to be contained within the smallest” is written on the tomb of Ignatius of Loyola in Rome. It is about a vital law, and it is what I am trying to achieve in my life and in my painting. I like your Pooh parallel with a jar of honey alot. ‘The smallest’ in painting is everything, absolutely everything which moves us to paint: surface, paint, shape of marks, tools, mental disposition, intelligence, intuition, imagination and rhythm, of course. But all of these ‘jars of honey’ are enjoyable only if they are part of ‘the greatest’. So it is always about balance between ‘the greatest’ and ‘the smallest’, and you have to keep both of them while painting. You will always lose against the surface if you neglect the ‘jars of honey’ or the law.

I.D.: Mondrian was very strict in his formal language. How is that in your work?

O.K.: I would like to start with the essence of painting in order to describe my formal language. Painting is applying colour on a surface by use of hand or any kinds of tools. So we have colour, surface and the movement while applying colour on a surface. In my work I focus very strictly on colour, matter and rhythm to design the movement while painting, but I retain infinite freedom and latitude for spontaneous decisions about the tools, materials and surfaces.

I.D.: You have studied at the academies of Kiev and Munich. How would you describe your process to become a painter?

O.K.: I have learned and I am still learning from people from a wide range of disciplines. While painting you deal with color, surface, movement, time, space, light, matter, health and conceptual ability to name a few. And every occupation deals with these same elements and categories as well. So I learned to paint not only from painters, but also from taxi drivers, cooks, football managers and chess masters.

I.D.: Why did you choose to become a painter?

O.K.: Well, I didn’t really choose it. I started to paint when I was 3 years old and I can’t stop yet.

I.D.: What is your goal while painting?

O.K.: To win over the surface.!

I.D.: If the surface is your opponent, can the surface win from you?

O.K.: Yes, the surface can win the painting from me. After I applied the colors on it, it is not a pure, idle surface any more.

I.D.: Could you describe your painting process?

O.K.: In fact, there is no universal tactic or strategy in my painting process. Lobanovskiy, the famous coach of Dynamo Kyiv, said once: “The team has to have a quantity of different tactics and use the necessary one, once having recognized the opponents way of playing.” I keep this in mind while painting.

I.D.: Lobanovskiy’s strategy was to disturb the rhythm of the opponent, and to impose his rhythm in the game, to be able to beat the opponent. Rhythm is an important part in your strategy to beat the surface. How does rhythm manifests itself in your work?

O.K.: Rhythm doesn’t manifest itself in my work. I have worked on and I am still working hard on rhythm. For me the movement while painting is indirect. I design the movement with the logic of rhythm.

I.D.: What kind of materials do you use?

O.K.: Everything, absolutely everything which catches my eye. It can be polyester fabric, a nice printed textile, a piece of carton, materials from home improvement stores, or canvas, oil, acrylic, ink, watercolor, spray, tape, foil – everything. I was recently in the post office in Munich and spotted an electric cable which was in disorder. Workers put two different tapes on it, and it was a really tasty combination of colors. So I had to go to the store immediately and do something with this material.

I.D.: What is your relationship to the outside world full of media images?

O.K.: I am part of this ‘world full of media images’ and I like it. I like images and I use them daily as well. But I am not satisfied in everyday life with the proportion of images and pictures to paintings. I think most people do not even know the difference between image, picture and painting. It is my job to open their eyes for this, and make people understand what true painting actually is.

I.D.: What is true painting?

O.K.: The painting, that allows the possibility of spontaneity, is true.  The search for the true painting is that which I absorbed from my study of Mondrian and “De Stijl”. The core of the true painting lies not in the image or motive, but in the origin of painting: in the application of colors on surfaces.

I.D.: Are there artists (besides Mondrian), let’s say in the last fifty years, you feel close to because of affinity in work and attitude?

O.K.: Artists I feel close to are Robert Ryman, Valeriy Lobanovskiy and Steve Coleman.

I.D.: You are the initiator of two groups: in 2010 Rhythm Section and in 2011 the Beautiful Formula Collective. Why did you start them?

O.K.: I was interested on rhythm in visual arts in general and on rhythm in the painting specifically. I desperately needed the exchange with other artists on this topic.

I.D.: What is the difference between Rhythm Section and the Beautiful Formula Collective?

O.K.: Well, Rhythm Section is a platform for artists, who are interested in an exchange on the subject ‘rhythm’ in the visual arts. Rhythm Section consists not only of visual artists representing installation, drawing, video, sculpture, painting, digital images to name a few, but also of art critics and theorists, philosophers, teachers for rhythm and movement. Parallel to the group shows, Rhythm Section organizes artist talks, lectures and symposiums on the subject ‘rhythm’ in visual arts. In contrast to Rhythm Section, the Beautiful Formula Collective is only about painting and creating collective works based on the Beautiful Formula Language. We use the combination of spontaneity, improvisation and logic of rhythm, which gives us structures and rules while painting. The Beautiful Formula Collective produces and stages group works not only in the studio, but also as a live painting performance in front of the public. We are not thinking about performance, it is just painting in front of people to bring the people in contact with true painting.

Haarlem, January 13, 2017


In BOOKS on January 14, 2018 at 7:09 pm


by Folkert van der Hoek,
together with Studio van Es
Amsterdam, October 2017

ISBN: 978-3-945 296 -21-9

dedicated to the exhibition:

01.12. – 25.01.2018
Karin Wimmer Contemporary Art, Munich

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


Special thanks to:

Kastner AG
City of Munich Department of Arts and Culture
Dr. Wies van Moorsel
Antoinette Reuten
Dr. Karin Wimmer
Dmytro Goncharenko
Ine Dammers
Kathryn Rudy



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



In EVENTS | VERANSTALTUNGEN on October 21, 2017 at 3:07 pm


Istanbul Art Fair Tüyap
November 4 – 12 2017

Anneke Bosma
Karina Bugayova
Christoph Dahlhausen
Iemke van Dijk
Daniel Geiger
Lon Godin
Dmytro Goncharenko
Michael Graeve
Henriëtte van ‘t Hoog
Oleksiy Koval
Markus Krug
Xiao Tang
Veronika Wenger
Michael Wright

curated by Ezgi Bakçay


Tüyap Fair Convention and Congress Center
Cumhuriyet Mahallesi Eski Hadımköy
Yolu Caddesi 9/1, 34500 Büyükçekmece – ISTANBUL
+90 (212) 867 11 00
Fax+90 (212) 886 66 98

Invitation to ARTIST 2017 Realist UTOPIAS

The world has seen worse.

It has been through centuries of terror.

But even in the twilight of history, there was always hope that things would become better.

Yet today, we live in an age that is defined by historical amnesia, where both the past and an imagined future are oppressed more severely than ever before.

The unique dynamic of the 21st century seems to be the devaluation of the utopian.

As the face of the age darkens, one question becomes imperative:

Is it not possible to defend a style of utopian thinking that will liberate the desire to rebuild everyday life from ideological and instrumental persecution?

Can utopia not be defended again in the sense of discussing alternative social lives?

Politics and art aside, we cannot let go of a utopian motive that protects the productive distance between life and dream to keep the “hope principle” alive.

Utopian literature, as a rich resource that heralds a yet-unbuilt future without sacrificing or falling captive to the present, awaits to be rediscovered.

ARTIST 2017 / 27th

Istanbul Art Fair deals with utopias under three categories: historical, conceptual and actual.

We embark upon an expedition to utopias with exhibitions, concerts, performances, discussions, workshops, screenings and publications.

We reach from 13th century Anatolian dervishes and Şeyh Bedreddin to the Soviet Avant-garde, from cyborgs and science fiction to alternative economies, ecological movements, and pedagogic experiences.

We discuss the political aspects of the different concepts of temporality borne by utopia.

We try to comprehend the perception of history today that makes utopias impossible.

We call for discussions of utopia as a concept across relationships of nostalgia and freedom, politics and esthetics, art and design.

“Realist Utopias” have room for production and consumption cooperatives that have become more important amidst waves of financial crises, queer and feminist lifestyles, and utopias that breathe in the body and nature.

Once again, Tüyap prepares to become a sensory public sphere that is free of leadership, where imagination and conflict thrive.

It builds a team play that is not after economic or symbolic profit.

It seeks to utilize the physical advantages of the venue to expand the boundaries of discussion.

Between November 4th and 12th, we invite everyone to collectively produce a trans-boundary experience space, where utopias are liberated from nostalgia, moral high grounds, populist propaganda, and hopelessness.



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 February 9, 2017 at 8:07 am


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.

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


Schafhof – Europäisches Künstlerhaus Oberbayern
European House of Art Upper Bavaria
Am Schafhof 1, 85354 Freising

19. Februar, Sonntag

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

Vortrag von Ezgi Bakcay (Kunsthistorikerin, Istanbul)
in englischer Sprache

Vortrag von Michael Wright (Künstler, London)
in englischer Sprache

Vortrag von Veronika Wenger (Künstlerin, München)
in deutscher Sprache

Vortrag von Dmytro Goncharenko (Kurator, Kiew/Berlin)
in deutscher Sprache

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
Vortrag von Oleksiy Koval (Künstler, München)
in deutscher Sprache


In EVENTS | VERANSTALTUNGEN on November 5, 2016 at 11:03 pm


Oleksiy Koval, Muaf, 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf, 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf (Detail), 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf (Detail), 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf (Detail), 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf (Detail), 2016
Tape and ink on wall
Photo © Rhythm Section


Oleksiy Koval, Muaf (Detail), 2016
Tape and ink on wall
Photo © Rhythm Section




NOVEMBER 3-19 2016

Christoph Dahlhausen (DE)
Mert Diner (TR)
Ekmel Ertan (TR)
Daniel Geiger (DE)
Oleksiy Koval (DE)
Markus Krug (DE)
Çağrı Saray (TR)
İsfendiyar Söyler (TR)
Nermin Ülker (TR)
Veronika Wenger (DE)
Michael Wright (GB)

Curated by Dmytro Goncharenko

Since the beginning of European modernism, the concept of rhythm has of recurrent significance to art practice. The concept of Rhythm is not only a sequence of signs but a sequence of actions. It is a structuring category that controls the conscious perceptions and reception of art as a whole.
The group Rhythm Section is about the centrality of rhythm in contemporary art practice now, to explore as a collective a process of exchange about the issue of rhythm. The exchange and the dynamic that arise from research and the gathering of different approaches and media provide new starting points for the practice of art. Through presentations of different types of works in various sectors of the contemporary art scene, Rhythm Section seeks to stimulate an exchange of artists of different nationalities and help to form a network.
The current list of artists who are part of the project is characterized by a variety of media and disciplines, including painting, drawing, printmaking, installation, digital, film, video, performance and music.


This project is funded by
City of Munich
Department of Arts and Culture

Opening on Thursday, November 3rd at 7:00 pm

Gazeteci Erol Dernek Sokak
No 11/4 Hanif Han
34420 Beyoğlu/Istanbul Turkey
Phone : +90 (212) 245 71 53 – 54
E-Mail : info@karsi.com
Open between 11:00 – 19:00 except Sunday


In EVENTS | VERANSTALTUNGEN on September 17, 2016 at 9:40 am


L-4+4 W

Exhibition at Arti et Amicitiae
as a prelude to the centennial of De Stijl

From 7–23 October 2016 works by the art collective Rhythm Section will be exhibited in the great room of Arti et Amicitae in Amsterdam. The exhibition ‘Boogie Woogie Rhythm Section’ is a prelude to the centennial of De Stijl.

Rhythm Section is a group of artists who focus on rhythm in the visual arts. The group exhibits in ever-changing composition throughout the world, not only in Europe but also in China, Iran and Georgia. The group connects with local artists on site who sometimes travel for a while with the group or become members.

In Arti et Amicitiae the artists of Rhythm Section will present both autonomous work and large murals, which relate to the forthcoming centennial of the De Stijl movement, founded in 1917. The artists of Rhythm Section, who feel closely related to De Stijl, use abstract, rhythm-based imagery too.

The artists participating in the exhibition are Anneke Bosma (NL), Karina Bugayova (DE), Christoph Dahlhausen (DE), Iemke van Dijk (NL), Daniel Geiger (DE), Henriëtte van ’t Hoog (NL), Oleksiy Koval (DE), Guido Nieuwendijk (NL), Marije Vermeulen (NL), Veronika Wenger (DE), Guido Winkler (NL) and Michael Wright (GB).

De Stijl artist Piet Mondrian was inspired by the new music, jazz. Rhythm Section members have an affinity with Mondrian’s search toward an abstract language of expression. Shortly before 1917, Mondrian wrote, “The rhythm of the relationships between colours and lines enables the universal to reveal itself within the relativity of time and space.” Oleksiy Koval, the founder of Rhythm Section, has based his work on this idea.

Art historian Wies van Moorsel, a cousin of Nelly van Doesburg, will open the exhibition on Friday, October 7th at 8:00 pm. The Beautiful Formula Collective will perform during the opening. Four of the members of the group will construct an abstract mural, in which they interact with each other.

The exhibition moves to Reuten Gallery in Amsterdam in January 2017, and then to Galerie Karin Wimmer in Munich in November 2017, where the catalogue will be presented.

Curated by Henriëtte van ’t Hoog, Oleksy Koval and Dmytro Goncharenko

Arti et Amicitiae
Rokin 112, 1012 LB Amsterdam
Opening hours of exhibitions: Tue–Sun, 12–6 pm


In EVENTS | VERANSTALTUNGEN on September 15, 2015 at 2:49 pm


Oleksiy Koval,

Oleksiy Koval, “Tlo”, 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art

Oleksiy Koval,

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art

Oleksiy Koval,

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art

Oleksiy Koval,

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, Daniel Geiger. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, Daniel Geiger. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

Oleksiy Koval, “Tlo”(Detail), 2015, 180 x 300 cm, tape, marker on wall. Museum of Odessa Modern Art. Photo © Daniel Geiger

%d bloggers like this: