PENNA SAN GIOVANNI 2011-2016

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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Veronika Wenger, Balla, 2011-16, spray, charcoal on wall

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PAINTING PERFORMANCE / THE BEAUTIFUL FORMULA COLLECTIVE / UNIVERSITY OF HERTFORDSHIRE

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Photo © The Beautiful Formula Collective

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Photo © The Beautiful Formula Collective

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Photo © The Beautiful Formula Collective

dirigent

Dirigent, marker on melamine, 100 x 90 cm, University of Hertfordshire, 2016
Daniel Geiger, Oleksiy Koval, Veronika Wenger.
Photo © The Beautiful Formula Collective

sanguiniker

Sanguiniker, ink on melamine, 60 x 50 cm, University of Hertfordshire, 2016
Daniel Geiger, Oleksiy Koval, Veronika Wenger.
Photo © The Beautiful Formula Collective

v

V, marker on melamine, 80 x 75 cm, University of Hertfordshire, 2016
Daniel Geiger, Oleksiy Koval, Veronika Wenger
Photo © The Beautiful Formula Collective

gnade

Gnade, marker on cotton, 50 x 50 cm, University of Hertfordshire, 2016
Daniel Geiger, Oleksiy Koval, Veronika Wenger
Photo © The Beautiful Formula Collective
Private collection, London

melancholiker

Melancholiker, ink, tape on foil, 125 x 120 cm, University of Hertfordshire, 2016
Daniel Geiger, Oleksiy Koval, Veronika Wenger
Photo © The Beautiful Formula Collective

 

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THE BEAUTIFUL FORMULA COLLECTIVE / University of Hertfordshire

Ohne Titel

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 colours on surfaces. The rules of such a shaping, its sequence and number can be set and handled as rhythmical motives like, for example, 2,3,1 or 1,1,2. Here the 1 is to be conceived as a basal unity of movement that can be freely chosen. Surface: To gain certainty in dealing with different tempos while applying colours, the surface is divided in parts through numeric impulses that we call meter (1/4, 1/9, 1/16…).

How can such structures and motives of the process of art be performed and presented in a live environment, in front of the audience? The works to be generated are produced in a set point in time on empty image carriers already at hand. Working on them can be executed both alone as well as in a group. Hereby different rhythmical motives, meters, colours and materials as well as the entry of the persons involved are joined, so as to generate a constant composition, however implemented in a variable way.

thebeautifulformula.blogspot.com

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86

86, Koktebel, Crimea, Ukraine 2013
Oleksiy Koval, Veronika Wenger

Music: Koktebel Soundscapes, Dmytro Goncharenko
Video: VJ Yarkus

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86, Oleksiy Koval, Veronika Wenger, Koktebel, Crimea, Ukraine 2013. Photo © Sergei Kazmiruk

86, Veronika Wenger, 2013

1. M  1/4,  [*–,–,–] (5-7)
2. M  1/25b,  [1,1,1,2]
3. M  1/9,  [*1,2,1,3,1,5]

E  a,b,c,d,e,f

U unit
# entry
M meter
R rhythmical motive
E element

* hits the meter
[] within the same area
(n) size of unit

This composition have been written using The Beautiful Formula Language.

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