THE BEAUTIFUL FORMULA COLLECTIVE | ALBUM 1

THE
BEAUTIFUL
FORMULA
COLLECTIVE

ALBUM 1

Daniel Geiger
Oleksiy Koval
Serena Semeraro
Mirco Tarsi
Veronika Wenger
Michael Wright

Live Painting Album

As a part of
The Video Art Exhibition
SENKRON
Istanbul
April 15 – 30
2021

Represented by
Karşı Sanat Çalışmaları

I just watched the video twice. It makes me think of the birth and death of language, the geological eras, the processes of formation and destruction, the Apocalypse, the rebirth. Very beautiful. Thanks everyone, guys!
Serena Semeraro

Album 1 by The Beautiful Formula Collective is the first Live Painting Album realized exclusively with digital tools, such as an iPad, Apple Pencil, MacBook, drawing tablet on a digital surface, an online whiteboard. Seven compositions written with The Beautiful Formula Language were painted live online in succession by Daniel Geiger, Oleksiy Koval, Serena Semeraro, Mirco Tarsi, Veronika Wenger and Michael Wright together. Serena and Mirco in Jesi, Michael in London, Veronika, Daniel and Oleksiy in Munich saw the movement of each other in applying colors to a digital surface and reacted to it without leaving their places and studios. The application of colors to a surface by six artists was recorded and edited into an album.

1. Composition h by Oleksiy Koval 0:11
2. Composition Schar by Oleksiy Koval 12:44
3. Composition 1,1,1,2,3 by Oleksiy Koval 14:30
4. Composition Checkmate by Michael Wright 18:23
5. Composition Französischer Wein by Veronika Wenger 21:58
6. Composition Backjump by Daniel Geiger 30:28
7. Composition Stalker by Oleksiy Koval 36:28

The Beautiful Formula Collective is 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.

www.thebeautifulformulacollective.com
www.senkronvideo.art
www.karsi.com

Continue Reading

THE BEAUTIFUL FORMULA COLLECTIVE | PLATFORMS PROJECT NET ATHENS

THE
BEAUTIFUL
FORMULA
COLLECTIVE

DANIEL GEIGER
OLEKSIY KOVAL
SERENA SEMERARO
MIRCO TARSI
VERONIKA WENGER
MICHAEL WRIGHT

Live Painting Video

As a part of

RHYTHM SECTION
AMBIGUOUS UNAMBIGUOUS

Curated by
SOPHIE-CHARLOTTE BOMBECK

Platforms Project NET
Independent Art Fair
Athens 2021

The Beautiful Formula Collective is 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.

www.thebeautifulformulacollective.com

www.platformsproject.com

Continue Reading

THE STAGES OF ETERNITY | EZGI BAKÇAY

Veronika Wenger, "wanted", 2014, spray and watercolor on paper, 60 cm x 50 cm, Photo Daniel Geiger
“wanted”
Veronika Wenger 2014
60 cm x 50 cm, spray and watercolor on paper

You cannot approach the work of Veronika Wenger with your bulky clothes. You cannot walk on her lines in high heels. How do I know it? Because I fell down.

First, I was so confident: It has to be the “surface problem” of the “formalist artist.”

As she used the wall directly; the lines, the tapes, the phosphorus colors, the stains, she had to point out the surface. She was constructing her space on the surface. There was nothing to be afraid of. I was in my comfortable analytic position, until I decided to go after her, Hedda and the multidimensional movement of her work.

At first sight, the work of Veronika Wenger has an elegant equilibrium, a well moderate climate, an open clear sky. Her work doesn’t insist, doesn’t impose itself. But in her serene silence there is hospitality for every first step. You’ll go to her and let yourself in. If you trust her, suddenly you will find yourself in an unimaginable action. This calm work encourages you to move through the lines, bare hands and bare feet. When you jump in the work of Veronika, the action will become a total-free body experience, through the uneven bars, high, horizontal bars, still rings, climbing ropes, pommel horse; tension and extension, ruptures, grips, swinging, flipping. Here you are: upside down. Don’t be afraid. I can’t say that she is prudent for herself, but she definitely is, for the others. When you stumble, hesitate or have doubts she will see it. She takes you by the hand and invites you to continue to play. This is just the beginning. When your body is warm and stretches enough, the bars, the ropes, the rings will turn into your agile dance partners. The pommel horse gallops. You are in a dance training that prepares you for the third step.

Of course they are not paintings. They are the drawings of an imaginary four-dimensional space, seen from a bird’s eye. When you are in, during your artistic gymnastic or your dance improvisation, you should create your own space „from the perspective of the eternal.“ ( Spinoza‘s „eternal“ perspective is reflected in his Ethics (Part V, Prop. XXIII, Scholium), 1677. ) This is the freedom and the plurality of the action which generates new subjectivities.

Veronika’s fashion design background, her movies and her collage books give me the courage to go on this idea: She is a scenographer in the precise meaning of the word. In Greek, skēnographia is not the painting of scenery but is the drawing or the writing of it. That’s why maybe, sometimes her lines look like they are coming from the act of writing or sewing. However, between text, texture and textiles, her work is deeply semiological, by the way of passing through the language, separating the signifier and the signified and opening a beautiful, tin and silent space for the unexpected “unwritten poetic text.” Mallarmé would call it a dance:“the unwritten body writing.”

I thought about all this when I saw the Hedda Gabler sketches on her book. The silhouette of the inconvenient heroine, whom the play of Henrik Ibsen was named after, faces to a microphone stand, a repetitive dark line, a refrain crossing all her work for all these years of artistic creation. Hedda is not only a body standing in between the voice, the silence and the language. She gives a body to this void. What language and the body have in common is the voice, but the voice is part neither of language nor of the body. ( Mladen Dolar, A Voice and Nothing More, p. 73, The MIT Press, 2006. )

Hedda is a void space, an empty dress to become cram-full of all the pluralities. She is a trace on the wall that; you cannot read. She is a corporal distance between sound, voice and silence, past and future. Now, we are in the third stage. We are in an uncanny, yet fascinating space where our dance partner has already been gone. We become one with the emptiness defined by Hedda’s newer heard song. Hedda is the Elif (aleef) of Veronika’s alphabet.

“Elif and Âyet-el”
anonymous Artist

Elif is the first letter, the first line of the Arabic alphabet; one straight line and the “1” of the Arabic numbers. In the tradition of Sufism, Elif is the symbol of “oneness” that expresses the unique- ness of Allah. According to this Elif is the source and the reason of all letters, the ere of all letters. It is the point of view mirrors the others. Thats why knowing Elif is knowing everything. As Mevlana Jalaluddin Rumi says:

“Elif is like love, hidden in the name but it’s not legible. Without Elif the basamala (in the name of the God) don’t arrive to the voice. Elif is inside everything, but you can’t see her anywhere.” ( Jalaluddin Rumi, Sun Of Tabriz: A Lyrical Introduction to Higher, Johnston & Ne- ville, 1964. )

Veronika Wenger takes the action and draws a straight line. This is the action in Hannah Arendt’s sense of the word. It generates plurality, irreversibility, unpredictability, uncontrollability and also the fragility. For this reason, action is dangerous properly like Hedda herself(s). However the action is the unique way to create something new. Thus, action is directly linked to freedom. Freedom, in the Arendtian sense, does not refer to freedom of choice or will; but to the contingency, the inherent spontaneity and the unpredictability of action. Action, in this theatral or performative sense, has also an individuating aspect. Action is the lifelong process of individuation. There is nothing, no essential identity behind the masks. So, there is no backstage for Hedda. Here is no Hedda. In her eternal performative appearance she is everywhere and she in nowhere.

“Hedda?l” 2008
Sketch book

After all, I found the courage to say that art is not all about freedom but it is the realization of the freedom. And the artwork makes you devoid of yourself, reveals from you new potential subjectivities, and puts you in a dynamic intersubjective world, as on the stage. There you are in the bodily drawn scenery by Veronika Wenger, without bulk clothes nor high heels; but “alive inside.”

Published in the catalog:
VERONIKA WENGER | DIE LINIE / THE LINE

Continue Reading

APPUNTI DAI MIEI DIARI / NOTES FROM MY DIARIES: VERONIKA | SERENA SEMERARO

“Black Line”
Veronika Wenger 2017
marker pencil on wall
Art Fair Tüyap, Istanbul

APPUNTI DAI MIEI DIARI: VERONIKA
7 GENNAIO – 25 FEBBRAIO 2020
SERENA SEMERARO

Bianco, ho rotto il silenzio che ci ha separati
Più volte, nella mia bolla piena di spettri.

Ho chiuso gli occhi
Non ero davanti a uno specchio:
Galassie nell’inosservabile universo.

Ero lì
Tra quelle fibre di luce
Tra la vista e il ricordo
Che risplendono di incubi e sogni.

Il ritmo uguale a se stesso
L’alba, la notte, poi l’alba.
Linee rette e grovigli:
Il non-detto che presta la voce.

E in questa ciotola
Piena di parole
Sale un grido.

Chiudo gli occhi, ancora
Senza più guardare, le immagini
Sola, con me stessa, in quelle mappe
Che – non chiedermi – conosco, qui dentro.

She is
Herself:
Undeniable.

Arrow,
Arco,
Archer,
[not the bow or archer]

But as you’ve seen,
I am still here, trying to understand…
How to get out…
Of the unfathomable maze.

 

“zurück”
Veronika Wenger 2017
100 x 135 cm, pencil, marker and spray on MDF

NOTES FROM MY DIARIES: VERONIKA
7 JANUARY – 25 FEBRUARY 2020
SERENA SEMERARO

White, I broke the silence that has separated us
A lot of times, in my bubble full of ghosts.

I closed my eyes
I wasn’t in front of a mirror:
Galaxies in the unobservable universe.

I was in there
Among those fibers of light
Between sight and memory
That shines with nightmares and dreams.

The rhythm equal to itself
Dawn, night, and dawn.
Straight lines and tangles:
The unspoken that lends the voice.

And in this bowl
Full of words
A cry rises.

I closed my eyes again
Without looking at the pictures anymore
Alone, with myself, in those maps
In which – don’t ask me why – I know, inside.

Lei è
Se stessa:
Innegabile.

Freccia,
Arco,
Arciere,
[non l’arco o l’arciere]

Ma come avrai visto,
Sono ancora qui, a cercare di capire…
Come uscirne…
Dall’insondabile labirinto.

 

Published in the catalog:
VERONIKA WENGER | DIE LINIE / THE LINE

Continue Reading

DECONSTRUCTION AS A TRACE | SOPHIE-CHARLOTTE BOMBECK

“Do Not Cross The Border”
Veronika Wenger 2015
155 x 150 cm, marker, tape, spray and pencil on paper

Black, white, lines weaving in and out of each other, centripetal and centrifugal forces, rhythms, dynamically flowing, positive and negative traces; remains. Between found and invented, unconscious and conscious, past and present, between the original and alienated, Veronika Wenger‘s works reveal to us a sensual insight.

Outlines and volumes of a woman‘s body, of a dancer barely recognizable — the plastic appears only as a formal quality. The physical not only determines our perception; the physical is found on the side of the perceived. The abstract drawings make it clear that the body has by no means been abolished, but (only) the modalities of its representation have been transformed.

The drawings by Wenger can be seen, as if listening to them read out in another language that evokes both linear and open spatial surfaces, to put it somewhat paradoxically. Her works oscillate between a free figurativeness that is devoid of any description of the object and a poetizing representationalism of often only vaguely hinted at architectures, figures or language. The possibilities of drawing are carefully explored: linear and coloured movements, rhythmic structures, still and delicate, dynamic and rapid. But the drawings on paper, MDF and cardboard show nothing of the physical reality, they are not even abstract in the sense that they are a shortage of something found, they are simply non-representational. On a monochrome ground, lines, fleeting strokes, are to be found, which draw, cross and circle. Colour is added, but remains locally limited — which makes them all the more expressive.

 

“Besen”
Veronika Wenger 2019
60 x 50 cm, marker, pencil, tape on MDF

They are fragments, signs, forms, traces, letters and lines of a mental, inner world. It is the presence and absence of the trace, its appearance and disappearance, its storage and being remembered, or its loss and lost absence that draws us under the spell of her works.

The proximity of memory to writing, one of her vehicles, is obvious. Writing frees daily facts of life from the vortex of forgetting. At the same time, however, it translates all primary experiences (what we see before one another), what we experience, even the shaking of love and death. Thus the works appear as a meaningful juxtaposition of chaos and straightforwardness that creates a dialogue between memories of traces, choreography, dance or performance. A cosmos of connections and references that can be found again and again in the serial works. A continuous element is the line, which both separates and connects. The emotional-objective lines, whose beautiful autonomy can be addictive, frees the line from the ground or the ground from the line, and yet both are preserved. It connects the visible forms to an endless connection between inside and outside, surface and form. It reinforces a symmetry of depth dimension. Through its rhythmic division, the experience of depth, movement, the conscious and the unconscious is created, whereby the works not least gain in temporality.

Sophie-Charlotte Bombeck
Munich 2020

Text published in the catalog:
VERONIKA WENGER | DIE LINIE / THE LINE

 

Continue Reading
1 2 3 15