AZIZ ART František Kupka
Seo, Young-Deok
Guy Laramée
Dia Azzawi
October 2018
1-František Kupka 6-Guy Laramée 10-Felice Varini 13-Seo, Young-Deok 15-Dia Azzawi
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz_anzabi.com
František Kupka 23 September philosophy dates from this period. 1871 – 24 June 1957 also known By spring 1894, Kupka had settled as Frank Kupka or François in Paris; there he attended the Kupka,was a Czech painter and Académie Julian briefly and then graphic artist. He was a pioneer studied with Jean-Pierre Laurens at and co-founder the École des Beaux-Arts. of the early phases of the abstract art movement and Orphic Cubism World War I (Orphism).Kupka's abstract works Kupka served as a volunteer in the arose from a base of realism, but First World War, and is mentioned later evolved into pure abstract art. in La Main coupée by Blaise Cendrars. Cendrars describes him Biography as a "proud soldier, calm, placid, strong"... but really too old to be a Education soldier, being at least 25 years older František Kupka was born in than the rest. When the regiment Opočno (eastern Bohemia) in set out from Paris for the front in Austria-Hungary in 1871. From Picardy (they marched all the way 1889 to 1892, he studied at the on foot) Mme Kupka met the Academy of Fine Arts in Prague. column as they arrived at the La At this time, he painted historical Défense roundabout, near where and patriotic themes. Kupka they lived. She marched with them, enrolled at the Academy of Fine carrying her husband's bag and his Arts in Vienna, where he rifle. She would have marched all concentrated on symbolic and the way to the front, but at the end allegorical subjects. He was of the first day the colonel had her influenced by the painter and arrested and sent back to Paris. She social reformer Karl Wilhelm later made her way to the front Diefenbach (1851–1913) and his lines to spend time with her naturistic life-style. Kupka husband. Kupka himself left the exhibited at the Kunstverein, front due to frostbite in the foot, Vienna, in 1894. His involvement caused by nights in the trenches 1 with theosophy and Eastern waist-deep in freezing water.
Career In 1936, his work was included in Kupka worked as an illustrator of the exhibition Cubism and Abstract books and posters and, during his Art at the Museum of Modern Art early years in Paris, became known in New York City, and in an for his satirical drawings for important show with another Czech newspapers and magazines. In painter, Alphonse Mucha, at the 1906, he settled in Puteaux, a Jeu de Paume in Paris. A suburb of Paris, and that same year retrospective of his work took place exhibited for the first time at the at the Galerie Mánes in Prague in Salon d'Automne. Kupka was 1946. The same year, Kupka deeply impressed by the first participated in the Salon des Futurist Manifesto, published in Réalités Nouvelles, where he 1909 in Le Figaro. Kupka's 1909 continued to exhibit regularly until painting Piano Keyboard/Lake his death. During the early 1950s, marked a break in his he gained general recognition and representational style. His work had several solo shows in New York. became increasingly abstract Between 1919 and 1938 Kupka was around 1910–11, reflecting his financially supported by his good theories of motion, color, and the friend, art collector and industrialist relationship between music and Jindřich Waldes who accumulated a painting (orphism). In 1911, he substantial collection of his art. attended meetings of the Puteaux Kupka died in 1957 in Puteaux, Group (Section d'Or). In 1912, he France. exhibited his Amorpha. Fugue à deux couleurs, at the Salon des Work Indépendants in the Cubist room, Kupka had a strong interest in color although he did not wish to be theory and freeing colors from identified with any movement. descriptive associations (which is Creation in the Plastic Arts, a book thought to have possibly influenced Kupka completed in 1913, was other artists like Robert Delaunay) published in Prague in 1923. In 1931, he was a founding member of Abstraction-Création.
Margit Rowell described his painting The Yellow Scale (c. 1907) as "Kupka's first attempt to come to terms with color theory in which the result is both personal and successful".Although a self-portrait, the subject of the painting was the color yellow. Around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911–12). Planes by Colors The Colored One Reminiscence of a Cathedral Blue Space
Works in Peggy Guggenheim Collection, Venice, Italy: Study for Woman Picking Flowers (Femme cueillant des fleurs), ca 1910 Study for Amorpha, Warm Chromatics, Chromatique chaude and for Fugue in Two Colors (Fugue a deux couleurs), ca 1911-1912 Vertical Planes (Plans verticaux), 1911–1912 Study for Organization of Graphic Motifs I (Localisations de mobiles graphiques I), ca 1911-12 Around a point (Autour d'un point), ca 1920-1925 Other works include The Cathedral (Katedrála).
Guy Laramée BIBLIOGRAPHY In the course of his 30 years of practice, interdisciplinary artist Guy Laramée has created in such varied and numerous disciplines as theater writing and directing, contemporary music composition, musical instrument design and building, singing, video, scenography, sculpture, installation, painting, and literature. He has received more than 30 arts grants and was awarded the Canada Council’s Joseph S. Stauffer award for musical composition. His work has been presented in United States, Belgium, France, Germany, Switzerland, Japan, and Latin America.
Gignac and La Nef, 1995-2004; Rachel Rosenthal, USA, 1999-2000. His research in non-tempered tunings and multiple layer polyrhythms led him to found TUYO in 1987, an ensemble performing microtonal and gestural music on invented instruments. He directed this ensemble until 1991.
Since 1986, he has authored several interdisciplinary works: Les Éléphants sont venus mourir ici, 1986; Théorie du Désert 1991; Marche de Nuit 1994-96, BIBLIOS 2005-6 and co-authored several multidisciplinary works (URNOS, 2004 ; Ici et là, 2004). He has written the scripts and directed the following short films: Marche de Nuit, with Henri-Louis Chalem, 1996; CrystalKey Bee, 1997). He From 1984 to 1988 he composed was the artistic director of music for contemporary dance: PluraMuses, a company devoted to Daniel Soulière and Danse Cité, producing multi-disciplinary works Carol Ip, Suzanne Lavoie, Andrew and was also involved in the Harwood). After 1988 he composed Meduse cooperative in Quebec and designed sound scenography City. He initiated and coordinated « for theater: (Larry Tremblay, 1987- L’espace traversé », a pan-Canadian 88; Robert Lepage, 1992-93; Jean- conference on interdisciplinary art Frédérique Messier, 1993-95; practices (See the bilingual book Volker Hesse, Switzerland, 1993); published by Le Sabord: L’Espace 6 Lou Simard, Germany, 1994; Claire traversé).
Parallel to his artistic practice, he has pursued investigation in the field of anthropology. His fieldwork includes ethno-musicography of the Fetish ritual in Togo (1986), oracular imagination among healers in the Peruvian Amazon (1993-95), and concepts of creativity and imagination among contemporary artists (M.A. thesis, 2002). Ethnographic imagination is an important characteristic in his artistic work. Although his work has been
presented in museums and galleries (Marche de Nuit hosted by the Montreal Contemporary Art Museum, 94; « Quelle belle journée pour mourir ! », Méduse 1997), its appearance in the context of gallery exhibition is relatively new (2004). Nevertheless, at the end of 2011 his work will have been included in 15 solo and more than 20 collective shows. Half of these have been in international exhibits.
Felice Varini born in Locarno in 1952 is a Paris-based, Swiss artist who was nominated for the 2000/2001 Marcel Duchamp Prize. Mostly known for his geometric perspective-localized paintings in rooms and other spaces, using projector-stencil techniques, according to mathematics professor and art critic Joël Koskas,
"IN SITU, Heritage and contemporary art" event in May 2018 to celebrate the 20th
anniversary of the inscription on the World Heritage List of UNESCO In May 2018, Varini's project "Concentric, eccentric" saw large yellow concentric circles mounted on the monument at Carcassonne "A work of Varini is an anti-Mona as part of the 7th edition of "IN Lisa." Felice paints on SITU, Heritage and contemporary architectural and urban spaces, art", a summer event in the such as buildings, walls and streets. Occitanie / PyreneesThe paintings are characterized by one vantage point from which the Mediterranean region focusing on viewer can see the complete the relationship between modern painting (usually a simple art and architectural heritage. This geometric shape such as circle, monumental work is to celebrate square, line), while from other view the 20th anniversary of points the viewer will see ‘broken’ Carcassonne's inscription on the fragmented shapes. Varini argues World Heritage List of UNESCO. that the work exists as a whole Exceptional in its size and its with its complete shape as well as visibility and use of architectural the fragments. “My concern,” he space, the exhibit extends on the says “is what happens outside the western front of the fortifications vantage point of view.” of the City. The work can only be Carcassonne fully perceived in front of the Porte Felice Varini, project "Concentric, d'Aude at the pedestrian route eccentric" with concentric yellow from the Bastide. 10 circles, at Carcassonne for the 7th
The circles of yellow colour consist of thin, painted aluminium sheets, spread like waves of time and space, fragmenting and recomposing the geometry of the circles on the towers and curtain walls of the fortifications. The work will be visible from May to
Seo, Young-Deok born1983, Korea Academic Career 2009 Graduated from the department of Environmental Sculpture, University of Seoul 2011 Entered the department of Environmental Sculpture, the Graduate School of the University of Seoul Awards 2008 Received the Grand Prize, “The 9th National Undergraduate and Graduate Students Sculpture Competition” Solo Exhibition 2018 ‘Human Connection’, Opera galley, London 2018 ‘Meditation’, Liquid art system, Italy 2017 ‘Meditation’, SeongNam art center, Cube Museum, SeongNam, Korea 2016 ‘The Gray Man’, Opera Gallery, Paris, France 2015 ‘Mordern Life’, White Room Gallery, Capri, Italy 2014 ‘Link’, Gallery SODA Istanbul, Istanbul, Turkey 2012 ‘Modern Times Infection’, Gallery SODA Istanbul, Istanbul, Turkey 2011 ‘Dystopia’, Insa Art Center, Seoul, Korea 2009 ‘Modern Times’, Gallery of University of Seoul, Seoul, Korea
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Dia Azzawi born 1939 is an Iraqi born patiner and sculptor, now living and working in London and one of the pioneers of modern Arab art. He is noted for incorporating Arabic script into his paintings. Active in the arts community, he founded the Iraqi art group known as New Vision and has been an inspiration to a generation of young, calligraffiti artists. Life and career Dia Azzawi was born in al-Fadhil, the oldest traditional neighbourhood of Baghdad, in 1939.His father was a grocer in the city centre and Dia was the third of ten children in the family. Azzawi studied archaeology at the College of Arts in Baghdad, graduating in 1962 and later studied at the Institute of Fine Arts, under the guidance of the eminent Iraqi artist, Hafidh alDroubi, and graduating in 1964. By day, he studied the ancient world, and by night he studied he studied European painting. Azzawi #explains, "This contrast meant that I was working with European principles but at the same time
using my heritage as part of my work." His exposure to archaeology would influence him greatly as an artist, and he drew inspiration from the ancient myths of Gilgamesh and Imam Hussein, a Muslim hero. Azzawi then continued to study art at the Institute of Fine Art, graduating in 1964. In the 1950s, he began working with Iraqi artist, Faeq Hassan, who was involved with an arts group called the Pioneers. This group aimed to locate a continuity between traditional and contemporary Iraqi art. During this period, he began to develop his own aesthetic, and was inspired by dramatic moments in Iraq's history.
While enrolled at art school, he joined the local art group, known as the Impressionists, founded by his professor, Hafidh al-Droubi in 1953. While Azzawi was not particularly drawn to impressionism as a style, the group encouraged artists to experiment with different styles, and also to pursue local themes as subject matter. 15
Through his involvement in this group, he began to explore Arab cultural history and mythology, which became recurring themes in his work.He continued his active involvement in Iraq's arts community by joining the group known as the Baghdad Modern Art Group, founded by the artist and intellectual, Shakir Hassan Al Said, in 1951, and later the New Vision Group, for which he wrote the manifesto, which was published in a Baghdad newspaper in 1968.
exhibitions. He was the
inaugural editor of the magazine, Ur (1978-1984) - a provactive new journal published by the Iraqi Cultural Centre in London.He was also the editor of Funoon Arabiyyah (1981-1982) and a member of the editorial board of the scholarly journal, Mawakif.
He was still living in Iraq when he witnessed the demise of the avantgarde art groups. At this time, he became more actively involved During a turbulent political period in the arts community. In 1968, he in Iraq, Azzawi served as a reservist founded the pivotal Iraqi art group, in the Iraq army between 1966 Al-Ru’yah al-Jadida (New Vision) and 1973, where he witnessed and wrote its manifesto, Towards a many atrocities. Through this New Vision, which is co-signed by experience, he learned that he Ismail Fatah Al Turk. Al-Ru’yah alneeded to speak for those who Jadida represented a freer art style have no voice. A number of his which encouraged artists to remain works are expressly designed to true to their own era., but also to give a voice to those who have look to heritage and tradition for been silenced through war and inspiration. In this respect, it sought conflict. to maintain the broad trends of the He held the positions of Director prior art groups, such as the of the Iraqi Antiquities Baghdad Modern Group, but at the Department in Baghdad (1968-76) same time acknowledging that and Artistic Director of the Iraqi artists were already developed a Cultural Centre in London, where more free style. he arranged a number of
This group promoted the idea of terrified, crying and screaming freedom of creativity within a faces, haunting images of despair." framework of heritage. He was also a member of the group One He is one of the pioneers of the Dimension founded by Shakir modern Arab art world, with a Hassan Al Said, which rejected the special interest in the combination earlier modern Arab art movement of Arabic traditions, including as being too concerned with calligraphy, into modern art European techniques and compositions aesthetics. Works Azzawi was part of the generation In the late 1970s, after Iraq came of people that saw their countries under the control of Saddam and homelands fall to bloody Hussein, Azzawi left his native land dictatorships and wars, and so and settled in London where he much of his work is a commentary met his first wife, the Swedish on the destruction and devastation born, Shashten Finstrom, who of Iraq due to war and invasion. His worked at the Patrick Seale Gallery, piece, My Broken Dream , a where Azzawi had his first solo colossal monochromatic work, four British exhibition, in 1978. meters in height and ten in length, is an assemblage of shapes, limps Azzawi now spends his time living and swords, and it is an attempt to and working in both London and document a peoples pain, and in Doha. In 1991, he was plunged the written statement of the into despair when his saw the artwork, he writes, “Iraq is my inner destruction to his homeland soul." In addition, Azzawi doesn’t associated with the Gulf War. He only give voice to his own plight, shut himself away in his home for but to those who are silenced as several months, concentrating on well, including that of Palestine and his art and producing a series of Iraqi Kurdistan. One example, works, including the Balad Al Sawad [Country of Blackness] series of "violently drawn images of
The Land of Sad Oranges, is a set of black and white drawings consisting of faceless heads and limp bodies, based on the short story of the same name by Palestinian writer, Ghassan Kanafani. Azzawi was inspired to draw this set after Kanafani, a close friend of his, was murdered in 1972 by the Mossadand in these drawings, he tries to explore the condition of statelessness and particularly the effect it has on the individual. In an interview with Saphora Smith for the Telegraph in 2016, Azzawi said, “I feel I am a witness. If I can give a voice to somebody who has no voice, that is what I should do,� and with this work he tries to document the inner struggle of refugees and explore themes of exile and displacement.
style termed calligraphic combinations, which means that he combines abstract, freeform and classical styles His works are held in prestigious art galleries, art museums and public collections including in both the West and the Middle East: Vienna Public Collection; British Museum, London; Victoria and Albert Museum, London; Gulbenkian Collection, Barcelona; The World Bank, Washington D.C.; Library of Congress, Washington D.C.; Institut du Monde Arabe, Paris; Museum of Modern Art, Paris; Bibilotheque Nationale, Paris; Pier Gardin Collection, Paris; Museum of Modern Art, Baghdad; Museum of Modern Art, Damascus; Museum of Modern Art, Tunis; Arab Museum of Modern Art, Doha; Adel Mandil Collection, Riyadh; The Saudi Bank, London; Jeddah International Airport, Saudi Arabia; Riyadh International Airport, Saudi Arabia; The United Bank of Kuwait, The art historian, Nada Shabout, London; Development Fund, has classified Dia Azzawi's work as Kuwait, Una Foundation, Morocco; belonging to the School of Jordan National Gallery of Fine Calligraphic Art (also known as Arts, Amman; and the British the Hurufiyya movement) using a Airways Collection, London.
A number of his works, formerly held in the Iraq National Museum of Modern Art, were subject to the looting that occurred in 2003 following the US invasion of Iraq. At least one of these, The Lost City, rated as one of the top 100 missing works, has since been repatriated. The stolen artworks have been involved in controversy within art circles. A private Iraqi seller, offered The Lost City, for sale with a $50,000 price tag, to a gallery in 2011, in spite of the fact that it was listed by Interpol as a stolen artwork. With
the assistance of the gallery, US Embassy in Baghdad, Interpol and the FBI, the work was eventually recovered and returned to the rightful owner, the Iraq National Museum of Modern Art. He has promoted Arabic art and culture through both his writing and his art. He has published some fourteen books, numerous articles and has edited art magazines. He was the Art Director of the International Magazine of Arab Culture, between 1978 and 1984.
http://www.aziz_anzabi.com