©2013: DIVAN.



Ognyan Chitakov at DIVAN



04.05.2013 - 01.06.2013: 12 Glavi (Heads) by the Bulgarian sculptor, Ognyan Chitakov.



©2013: DIVAN.



Felix Lies at DIVANCHÉ



04.05.2013: We're showing some beautiful drawings by the very talented Felix Lies in our Divanché gallery in the garden house.



©2012: Michael Owen.



OMG, I'm beautiful!



28.05.2012: Duncan, in father-to-be mode...



©2012: Evelina Toneva Boué.



EASTER EGGS!



08.04.2012: Happy Easter...



©2002: Conni Brintzinger. The Flood.



BLACK SWAN.



Conni Brintzinger's work is coming to DIVAN at the end of March.


The exhibition, titled "Sleeping Eastwards", opens on March 31 and will run until April 15.

Conni Brintzinger studied at the Academy of Fine Art in Karlsruhe from 1989-1995. She lives and works in Berlin.

Happy Birthday, Jon



Evelina Toneva Boué.



THE CAPTAIN.



22.02.2012: Happy Birthday!


Jon Morgan is captain of the good ship TLC.

We met him in Siem Reap, Cambodia in 2006, since when he has turned the Lake Clinic Cambodia into a success story, providing free (and desperately needed) primary medical care to thousands of people on the Tonle Sap lake in northern Cambodia.

Toxic



©2005: Peter Boué. L.A.III, from the series: "Toxic Landscapes".



TOXIC.



Poison and Antidote.


The landscapes of the artist Peter Boué, born 1957 in Hamburg, lead the viewer in the truest sense into the 'heart of darkness'.

His drawings, carried out with chalk in overlapping layers, all appear to follow the dictum: 'paint it black'. Offering the viewer polyvalent readings, Boué's works may be seen as a reaction to the current art situation suspended between tremendous abundance and an arbitrary flood of images; at the same time, Boué is consciously drawing upon the aesthetics of the artistic Bohemia of the 19th century. Redon, Seurat and Whistler, for example, specifically chose to employ the 'non-color' black shunned in academic art circles for shaping their visions. Boué deliberately relates to the competition with photography that already existed at that time, integrating and expanding the aesthetics of photography, however, by including elements of simulated information in his works in the form of collage. In this manner, he creates drawings which have the 'appearance of photographs without actually being such'. Thus, 'Modernism is viewed from its closing point'.

As 'pseudo-ready-mades' of surrealist origin, his combination of drawings and found pieces of imagery (newspaper documents and documentary photography) establish an awareness that in reverting to nature as a metaphor for healing is reminiscent of Romantic prerequisites. Thus, nature and landscape once more become a political issue - both the poison and the antidote for today's instrumental, technoid sense of consciousness, banal materialism and arbitrariness of values. The images refracted by the media no longer convey a definable reality. Where everything is levelled out and thus becomes interchangeable, the site of war no longer is distinguishable from a seeming idyll. Global interconnection through the media is a trap for both perception and consciousness.

The elegance of the color black, as well as the revolutionary connotations attached to it, covers the emptiness of the underlying image with an aesthetic varnish. As a consistently monotonous landscape the desert becomes a metaphor for a sense of yearning, for escape and for violence; the individual fight in the industrial and digital jungle of today is made tangible in the representations contained in Boué's works. With his realistic narrative form, Boué puts to use the possibility of a residual avant-garde game, playing out art historical contexts, while criticizing various tendencies within the confusion of art, advertisement and pseudo-information that has become devoid of all categorizing principles. In his 'toxic landscapes', which have been emerging in series since 1998, Boué juggles with picture structures derived from photography and TV images; in regard to measurement and composition they appear in a classical sense beautiful, yet they still reveal the chasms of present-day consciousness and its dangers: the 'poisonous fruits of a civilisation that has come to its conclusion' - artistic reflection as an antidote.

© Gunnar F. Gerlach
is a freelance curator and art critic, who lectures on art theory.

Nolde at Barlach



Emil Nolde.



THE COLLECTOR.



Dolls, Masks and Idols.


Emil Nolde (1867-1956) was a leading expressionist and one of the most important watercolourists of the 20th century. He was also a passionate collector and made about 100 paintings of his collection of dolls, masks and figures. We saw them at the Ernst Barlach Haus in Hamburg.



Emil Nolde, Striped Goat with Bronze Figure, 1920.

Finally, we can't visit Barlach without showing one of his sculptures...




Ernst Barlach, The Lonesome Man, 1911.

Happy New Year, Hamburg...



Sandro Botticelli, Portrait of a young woman in profile, around 1475.



BOTTICELLI!



Invention of the Picture.


We bumped into our old friend, Sandro Botticelli, at the Bucerius Kunst Forum last Sunday in Hamburg.



Michael Owen, Portrait of a young woman in shadow, around 2012.

The closing years of the thirteenth century saw the beginning of a gentle revolution in Italian art - the depiction of real life in paintings - that, two hundred years later, would usher in the Renaissance.

We caught this wonderful exhibition just as it was finishing. The almost 40 paintings all came from a single collection, built by one man: Bernhard August von Lindenau (1779–1854). Lindenau's collection is still housed in the museum that he built for it, the Lindenau-Museum Altenburg.

Spring in Copenhagen



Max Ernst's Big Frog.



LOUISIANA.



Peace and Freedom.


Picasso as political activist at the Louisiana Spring Exhibition. “Picasso as an artist and Picasso as a campaigner for freedom is one and the same person” Pablo Picasso (1881-1973). We weren't allowed to take pictures in the exhibition, so you'll have to click on the link above for a glimpse or come and visit us (we bought the book).



Henry Moore looking out over the Øresund.


The Louisiana is pretty incomparable: in addition to the Picasso exhibition, we saw (in order of appearance) Henry Moore, Jean Arp, Giacometti, Max Ernst, Calder and Hockney. Sadly, we only had half a day there - could really have done with a bit more time...



Alberto Giacometti.



©2012: Ognyan Chitakov.



ОГНЯН ЧИТАКОВ.



Ognyan Chitakov lives and works in Assenovgrad.

Born 1976 in Assenovgrad, Bulgaria. Studied 1998-2004 at the Academy of Fine Arts, Sofia, Bulgaria.

In his own words: "I am a sculptor, not only because this was my major at the National Arts Academy. Sculpture is for me a way of thinking, a way of communication, a way of living and an outlook on life.

"Sculpture gives me the freedom to create and make my ideas visible. I love sculpture because it is at the same time a form, space, function, architecture, design, engineering, technology and most of all it is arts – both fine and plastic arts. Among all materials used to shape sculptures my passion lies in stone. Stone is ancient and sacred, and it is part of my nature."


Einzel Ausstellungen:

2013:
"Огнян Читаков", Paris-Moskva Gallery, Sofia

2012:
"Characters", Resonance Gallery, Plovdiv
"Space Options", Museum of the Panagyurishte Golden Treasure, Panagyurishte.

2010:
"Directions", The Mission Gallery, Institute for Culture under the Ministry of Foreign Affairs of the Republic of Bulgaria

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