Tremolo` մակեդոնացի արվեստագետների նախագծի ցուցադրության բացում

Հուլիսի 20 -ին, ժամը 17։00-ին Երևանի Ժամանակակից արվեստի թանգարանը հրավիրում է մակեդոնացի արվեստագետների՝ Յովան Բալովի, Միլան Անդովի եւ Աթանաս Բոտևի “Tremolo” խորագրով նախագծի ցուցադրության բացմանը։
Tremolo- ն երաժշտության մեջ տերմին է, որը նշանակում է միևնույն տոնի դողացող կամ արագ կրկնություն։ Այս անունից ելնելով՝ երեք նկարիչներ Միլան Անդովը,Աթանաս Տ. Բոտևսը,Յովան Բալովը
Ջոլան Բալովը, Միլան Անդովը և Աթանաս Բուրևը ստեղծել են դիմանկարներ ցուցահանդեսի համար, բայց յուրաքանչյուրն իր սեփական զգացողությամբ, այսինքն դողացող մոտեցումով ։ Վերաբերմունքի, գործունեության և ձեռքբերումների անհատական մոտեցումը, ինչպես նաև թեմայի փորձառության և առարկայական աշխարհի սեփական հետազոտության ձևը իրենց նկարչական պատմության մեջ շարունակական տարրեր են այս արվեստագետների համար։
Ցուցահանդեսը ներկայացնում է անհատական առարկաներով ընկերակցվող դիմանկարների ընտրանի… Յուրաքանչյուր նկար կուղեկցվի արվեստագետի կողմից քաղաքում գտնված անհատական առարկայով ։ Առարկա, որը նրբորեն կապ կունենա դիմանկարի հետ և կտանի ուրիշ չափի հարթության վրա։ Սա ստեղծում է արվեստի գործերն ընկալելու հոգեբանական մոտեցում՝ ընդարձակելով դիմանկարի սահմանները և ընդարձակելով արվեստագետի գաղափարը։
Ցուցահանդեսը կտևի մինչև հուլիսի 30-ը։
Մուտքն ազատ է։
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On 20 of July at 5 pm, Yerevan Modern Art Museum invites you to the exhibition opening, which will present Macedonian artists Jovan Balov, Milan Andov and Atanas Botev project “Tremolo”.
Tremolo in the music terminology means trembling or quick repetition of the same tone. Proceeding from this title, the three artists: Jovan Balov, Milan Andov and Atanas Botev made portraits for the exhibition, but each one with his own sensibility, i. e. trembling of the idiom. The personal attitude of behavior, activity and achievements, as well as the modality of the topic experience and self-exploration of the subjective world in their artistic translation of the art narrative is the proceeding element for these artists.
The spectrum of values and intimate experiences of the artistic expressions at this exhibition do not hide the signs of their own artistic intelligence and the scope of comprehension. The ideological artistic meditations are micro-entities of personal structural experiences of each of the artists individually. The exhibition as the basic axis deals with the selected subjective-painting and etymological signals of the personal visual features. The exhibition is a testimony of the creative element of each artist in particular, that is, anthropological location and detection of the personal memory and archive. The effects of the individual idioms lead us to the sequences of the personal, and hence into the magic dimensions of the artistic esthetics, dedication, memory, i. e. their own artistic archive.
Milan Andov makes his enhanced figures in a classical manner with some additional interventions or wide strokes that summarize the form.
Under the tension of inner feelings the figures acquire deformed features where the precise front-view turns into a particular semi-side-view or semi-front-view.
The point is on the gray tones, with accents of white paint.
Special role in the expression of the figures bear the eyes that acquire enhanced forms and unreal glow that at some points lead to the illustrative aspect of the whole.
Along with the steady technique, the works of Milan Andov are typical for the personal experience in articulating the psychological idiom of the figures that transform from realistic to idealized image or into figures with more pronounced distortions. The figure positioned in the middle of the canvas has symmetrical features and seemingly calm, yet obsessively devoted expression. In some other works the figure acquires a "side-view" suggestive look of certain fear and human feeling of threat. In the process of transformation the figure melts into abstract of associative forms and white-gray tonality suggesting disappearance and loneliness. He finds closer the examples of Giacometti and Bacon, yet he introduces personal features of anxiety. Milan Andov thinks and paints with a precision that is not cold, but reveals hallucinating states and expression of particularities.
The meaning is an abstraction that is always rendered with a priority status in all of the types of cognitive researches. The referential systems light the space from within, producing a discourse of conceptualization and aspects of manifestation as implementation of the recognition of the developing countries, manifested through the intellectual-creative attitude towards the presentation. Atanas Botev (in his latest works) makes his own esthetic strategy. It is mostly a multimedia experiment, offering a detail description of seemingly disjunctive narratives - History and Art History. In that context, Atanas Botev leads us into a hypnotic world where the great narratives - history of politics on the history of esthetics - became imminent. The hallucination is a blow upon the academic structural building and acquires revolutionary functions within the expert doctrine, but in the domain of the poetic it shows perceptive surprises and psychedelic shock - a game where the interested and active viewers find an escape towards the domains of free associations... Atanas Botev's setting of the scientific power as an operative network for his poetic-intellectual practice introduces a dialogue on the potential (assuming that the accidental recipient is capable of decoding the gnostic codes set at certain virtual position in the work). Here the dialogue is a true spiritual entity. The artwork is the epicenter of our enlightening escapism, it is an evidence of the reality and the effects of enchantment...
Jovan Balov makes a new contribution in spreading the tradition and in defining the portrait painting. His works are usually larger than the real dimensions and are highly focused. His works can be seen as a demonstration of the way how the photography became assimilated into the world of art through the photo-realism where the painting is seen only as a realistic object.
The exhibition presents a current selection of portraits meant to be accompanied by individual objects... That is, alongside each painting there would be a console/shelf meant to show an object that the artist has found in the city... An object that will subtly relate to the portrait and take it to a different view dimension. This produces the psychological aspect of perceiving the artworks by broadening the boundaries of the portrait and broadening the artistic concept.
The exhibition is open until July 30.
Entrance free.