ARTWORK AS AN EVENT: SYMPOSIUM

Dear Veronica,

 

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

Alison Dalwood
Senior Lecturer in Fine Art
School of Creative Arts
University of Hertfordshire

01

Veronika Wenger, no shoes, 2017, 60 x 90 cm, pencil, marker, tape on paper. Artwork as an Event: Symposium. Porthleven, Cornwall

02

Veronika Wenger, Again, 2017, 60 x 90 cm, pencil, marker, acrylic on paper. Cornwall intensive week, University of Hertfordshire

03

Veronika Wenger, Seawitch 2017, 60 x 70 cm, pencil, marker, acrylic, foil on paper. Cornwall intensive week, University of Hertfordshire

a

Veronika Wenger, a, 2017, 180 x 150 cm, marker, pencil, acrylic on paper. Cornwall intensive week, University of Hertfordshire

seasporting

Veronika Wenger, seaspotting, 2017, 170 x 150 cm, marker, pencil, acrylic on paper. Cornwall intensive week, University of Hertfordshire

Continue Reading

PAINTING PERFORMANCE / THE BEAUTIFUL FORMULA COLLECTIVE / UNIVERSITY OF HERTFORDSHIRE

view01

Photo © The Beautiful Formula Collective

view02

Photo © The Beautiful Formula Collective

view03

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

 

Continue Reading

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

Continue Reading