“Art belongs to the basic supply” claims Marcus Woeller, a freelancer in the feature section of the newspaper “Die Welt”, and reaps contradiction in a series of retweets, ranging from the lapidary “Äh. NEIN!” to the objection “Sport too!” to the apodictically presented demand “Only the bratwurst belongs to the basic supply”.
Be that as it may, the supply of original art is a matter of concern to us, which we can offer again with the relaxation of the corona measures. After all, museums and exhibitions will be allowed to open again from 4 May. The number of visitors is limited to one person per 15 square metres of accessible exhibition space. Calculated on the size of our facilities in the gallery and art library, this is a maximum of 5 people.
Unfortunately, we will still have to refrain from guided tours for groups and exhibition openings. However, we do offer individually guided visits, which can be arranged outside of regular opening hours (Mon-Fri 15-18 h) by telephone (04351 712500), by e-mail (firstname.lastname@example.org) or by filling out the form on our homepage (https://nordcult.de).
The exhibition “many handed” with monotypes by René J Goffin and Michael Jäger, which was closed in the past weeks, will continue until the beginning of June.
In addition, all loans in the art library will be extended by 12 months without fees. Those who prefer an exchange should also make an appointment here so that the necessary precautions for distancing and hygiene can be taken beforehand.
Works of art can only be discovered when dealing with originals.
Two painter friends, René J Goffin (Kiel) and Michael Jäger (Cologne), worked on monotypes in Norbert Weber’s print shop during a week-long phase last summer. The workshop became a laboratory in which the close collaboration of three people involved in the “monotype experiment” on one and the same work led to unexpected results.
The process of working on a painting surface on which
paint does not adhere, in order to subsequently print the painting on paper, throws questions. Why does the artist not paint directly on a receptive material? What is the point of printing if only one print
can be made? Is it not the purpose of printing to duplicate templates?
The best information is provided by the work itself. The effect of monotypes is intense, their aesthetics incomparable.
Amanda Ziemele (1990) lives and works in Riga. She regards her artistic practice as an open field. The focus of her interest is the formal quality of painting. It is the source for further ideas and associations.
In 2018, the artist completed her diploma studies at Hochschule für Bildende Künste Dresden in the class of interdisciplinary and experimental painting under Chistian Sery.
Her diploma project Gaining Ground was awarded the Diploma Prize 2018 by the Friends of the HfBK. She was then nominated for the Startpoint Prize 2018. The prize, which is aimed at graduates of art academies, has developed in the sixteen years of its existence from a national exhibition of diploma theses to a prestigious international project in which the most outstanding talents of up-and-coming generations of artists from various European countries are presented every year.
In the exhibition titled Lamprey, Amanda Ziemele explores the process of monotype for the first time.
On 23 November 2019, the NEMO Gallery will offer a video screening with a selection of productions from Latvia between 6 p.m. and 8 p.m. as part of the city’s “4 Long Nights” series of events.
Media art from the Baltic state owes its international esteem to the excellent education at the Visual Communication Department of the Riga Art Academy. The collection ranges from cartoons to experimental strips to poetic video loops.
Videos by Nils Jakrins, Katrīna Neiburga, Dace Džeriņa, Ģirts Korps and Evelīna Deičmane will be shown under the motto “Bank Attack and Other Dramas”.
Mica Cabildo, born 1986 in Metro Manila/Philippines, works with installations, photography, video and graphic works. During her stay at the Schleswig-Holsteinisches Künstlerhaus, she created a series of monotypes in collaboration with the printmaker Norbert Weber.
These became part of the presentation at the end of her fellowship, an expansive work entitled “Tropical Gothic: Doublegoer”. The installation reflects themes such as rising sea levels, storm surges, doublegoers and mirroring reflections.
The monotype entitled “Pag-Hampas Ng Alon” (“Big Storm Wave”) went into the collection of the Schleswig-Holstein Association of Art Libraries.
An iron column stands clamped between the floor and ceiling, from which two arms point horizontally about one metre cross-shaped outwards at eye level. At the ends hang two bells cast using the traditional clay moulding process. In the “base” there is an electric drive that uses a control module to rotate the column about its own axis. At the beginning of the rotation, the two bells are made to ring when the clappers pass through a vertical bar. With increasing speed, the bells are lifted by the centrifugal force, so that the clappers no longer strike. The clappers do not hit again until deceleration.
Carsten Höller’s construction of 1997 is characterized by the fact that it questions the postulate of the autonomy of the art object and presents it in its dependence on the people who deal with it. The aesthetic appearance is not independent and permanently fixed; it is variable and subject to the interdependencies triggered by the participation of the visitors. Nicolas Bourriaud examined the significance of this relational aesthetic. “Form exists only in the encounter and in the dynamic relationship.
“Wall pieces from the Adapters series are influenced by my time spent in the city with render quality – Rotterdam. Here visually synthetic qualities are placed all above everything else, which often results in tasteless experiences. As beautifully shaped strawberries which, slides down the throat leaving an only sour taste. These visual representations mixed with my own experiences of nature and it caused light-emitting bears to emerge. These bears came from my childhood memory of pre-sleep allies, which every evening was plugged into a socket in my room. I tried to reconstruct a memory of how this object was made; it was round and had an image on it depicting bears playing ball, or something else in a landscape. How many were there? Was it day or night? What kind of ball were they playing with? Was it in meadow or forest? I couldn’t and can’t recall.” (Jānis Dzirnieks)
Jānis Dzirnieks (born 1992 in Riga) is the youngest artist to date in the series of exhibitions of Latvian art. From 2013-2017 he attended the Latvian Art Academy. An Erasmus scholarship took him to the Berlin Academy of the Arts in 2015-2016. In 2019, he completed a master’s degree at the Piet Zwart Institute in Rotterdam. He is a member of the artist collective 3/8.
The exhibition will open on Saturday 13 April at 5 p.m. and will last until 10 May 2019.
The 2nd exhibition of the Latvia series shows the installation “The Gardener / Dārznieks” by the group “Famous Five”.
The group “Famous Five” or “F5” was founded in 1998 during the media art symposium “Polar Circuit” in Tornio, Finland. “F5” is made up of five members who work in different formations on different projects.
In 2002 “F5” participated in the 25th São Paulo Biennale with the work “Have a Nice Night” and in 2005 represented the Republic of Latvia at the 51st International Biennale for Contemporary Art in Venice with the exhibition “Dark Bulb”.
The installation “The Gardener” was created in collaboration with Līga Marcinkeviča, Ieva Rubeze and Mārtiņš Ratniks and was shown for the first time at the Centre for Contemporary Art “KIM?” in Riga.
Līga Marcinkeviča, Ieva Rubeze and Mārtiņš Ratniks come to the opening. Norbert Weber gives an introduction.
The exhibition runs until 29 March. It is open Mon-Fri from 15-18 or by telephone agreement.
“Long Pickled Cucumbers is a two-channel, HD video projection of Katrina Neiburga. It premiered this year at the International Biennale for Contemporary Art “RIBOCA” in Riga.
A woman (the artist), a man and a child move in the seclusion of a wilderness, in a marshland with swaying ground. In this nature, the rituals of modern contemporaries give the appearance of absurd attempts to survive in the wasteland. A mood emerges that makes appear the events between prehistoric times and the post-apocalypse. The electronic sounds of Richie Hawtin aka Plastikman accompany the video like a background noise of modern life.
Katrina Neiburga graduated from the Latvian Academy of Fine Arts and got a master’s degree at the Royal Academy of Fine Arts in Stockholm. She participated in the biennials in Sydney and Moscow. In 2009 she was awarded the Purvitis Prize, the most prestigious art prize in Latvia, for her video “Solitude”. In 2015 she represented Latvia at the Venice Biennale. She has created numerous scenographies for ballet and theatre, including the National Opera of Latvia and the Théâtre de la Bastille in Paris.
The exhibition pays tribute to the multifaceted collaboration between Peter Nagel and Norbert Weber in the years 1978 – 2018. Peter Nagel had persuaded the intaglio printer Norbert Weber to settle in Schleswig-Holstein.
The exhibition documents Peter Nagel’s many years of work in the printing studio in the Eckernförder Bootshaus. A larger selection of prints can be seen from 1978 to the present day, beginning with the 1978 etching “Kind mit Windmühle” (“Child with Windmill”), through the graphic “Kunststück 1” (“Artwork 1”), with which Peter Nagel participated in the prize-winning portfolio “Position Nord” (“Position North”) published by NEMO in 1985, to the mezzotint etching “Frau mit Zebrafisch” (“Woman with Zebrafish”), which this year was published as a special edition for visitors to the city tours.
A large number of Peter Nagel’s prints are also available in the Artothek, which has been lending original works of art to citizens of the city of Eckernförde since 1981.
The NEMO Gallery has repeatedly exhibited works by Peter Nagel and also published catalogues on this occasion. In the 40th anniversary exhibition of the “Kunstzentrum” in the Bootshaus, the painting “Artist”, measuring 2 by 2 metres, occupies a prominent place.