dessin contemporain, desenho contemporaneo, contemporary drawing

Elementor #4489

Transit zones, waiting areas

Plumba Contemporary Art, Porto, Portugal  curated by Nuno Perreira

23rd September – 26th November 2006

dessin contemporain, desenho contemporaneo, contemporary drawing
Maess, Transit Zones, pencil on paper, 35 x 25 cm, 2006
zeitgenössische Zeichnung, dessin contemporain, maess anand, transit zones
Partida, pencil on paper, 25 x 15 cm, 2006

These are registration drawings which intend to represent the elusive moment when we see without being seen. It is an instant before being exposed as observers.  An airport is a place where one feels like a stranger, as if the place were a metaphor for the Flight of Icarus, where the big adventures begin. It is a point of arrival and departure, where the most intimate emotions are thrown onto a non-place without identity, in another reality. The language system of airports can be interpreted in a deeper way. Descrip­tions such as “choose your destination”, “departures”, “waiting areas” and “terminals” indicate a zone of transgression between safety and danger, freedom and dependence, the known  and the unknown, the familiar and the strange. 

dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Waiting areas, pencil on paper, 35 x 25 cm, 2006
contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo
Waiting areas 3, pencil on paper, 35 x 25 cm, 2006

During the ritual of arriving and departing, crossing the gates we leave our previous life behind and give it to the airport services, into the hands of destiny. There is a point of no return, where “see you soon” no longer exists and instead one says “goodbye”. Life in a new place begins. Life, with all the luggage from previous travels, is a set of waits and passages, where we anxiously await the next stage. Being in transit becomes a daily sensation. Maybe all places are places of waiting and of passage. What comes next, what are we going to see, who is going to see us, how will they see us? Maybe everything is only a long voyage made of short pauses between the long waits.

Review by Ann Zawadzka “Maess’ travel sketchbooks” (in Polish) Artmix, Obieg

dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo,art and airports
Transit Zones, pencil on paper, 35 x 25 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Flights, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Arrivals, pencil on paper, 35 x 25 cm, 2006
desenho contemporaneo porto, arte no aeroporto, dessin contemporain, art at the aiport
Departures, pencil on paper, 42 x 29 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Flight, pencil on paper, 35 x 25 cm, 2006
desenho contemporaneo,dessin contemporain, porto
Departures, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, desenho contemporaneo dibujo contemporaneo sodobna risba,art at an airport, airport drawings, emigration in art
Baggage claim, pencil on paper, 42 x 29 cm, 2006
Maess anand, travel in art,dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art,
Jetlag, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, airport art, zeitgenossische zeichnung, desenho contemporaneo,dibujo contemporaneo
Transit Zones, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Transit Zones, pencil on paper,35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Jetlag, pencil on paper, 35 x 25 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Waiting, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, desenho contemporaneo dibujo contemporaneo sodobna risba,art at an airport, airport drawings, emigration in art
Aeroporto, Porto, pencil on paper, 35 x 25 cm, 2006

Das Blatt, Düsseldorf

artists: Maess AnandArno BeckPaula DoepfnerSławomir ElsnerCaroline KryzeckiIgnacio Uriarte

curated by Angelika J. Trojnarski and Kasia Lorenc

exhibition opening: 26th June 2020, 6 pm CET, interactive online programming to be found here
exhibition opened through 27 June – 31 July 2020

   DAS BLATT by Curated Affairs centers on the medium of drawing focusing exemplarily on the current art scene between Rhineland (Maess Anand, Arno Beck) and Berlin (Paula Doepfner, Sławomir Elsner, Caroline Kryzecki, Ignacio Uriarte). The exhibition is accompanied by a series of lectures by the author and philosopher Alexander Konrad.

Until the Renaissance, drawing played a secondary role and was merely classified as a basis and aid for subsequent disciplines of painting, sculpture and architecture. It was only from the 15th century onwards that it emancipated itself from a preceding activity for other media to become an autonomous art form and to present itself in contemporary art with self-confidence, individuality and an independent focus. Media-oriented exhibitions such as Drawing Now (Albertina, 2015), Walk The Line (Kunstmuseum Wolfsburg, 2015) or three shows on The Future of Drawing (Museum Abteiberg, 2017, 2018, 2019), as well as art fairs such as Art on Paper (New York) and paper positions (Berlin, Basel, Munich) postulate their position on drawing in the present and strengthen the recognition and status of the medium.

The exhibition DAS BLATT presents the fascinating variety of the genre, which comprises of abstract, investigative and conceptual approaches; includes processual and installation-based works; combines and contrasts delicate, quietly with powerfully gestural and technically executed hand drawings. Furthermore the show features works that leave the typical “underlay” (Ger: Das Blatt)  – the sheet, which is the title of the exhibition – and make use of cross-disciplinary techniques.

Due to the current situation, the project will not take place in Düsseldorf as initially planned, but as part of an online exhibition. In addition to a presentation of thematically curated works of art, the focus is on complementary intimate and personal contributions by the artists themselves, as well as comments and involvement by some of their companions, some of which were produced especially for DAS BLATT. Viewers can expect live broadcasts, time-lapse videos, installation views and podcasts. Last but not least, DAS BLATT presents the selected works and the artists individually and simultaneously in a mutual dialogue.

Funded by the cultural office of the state capital Düsseldorf.

MMC KIBLA, Maribor

Drawing as an organism
Tina Konec, Maess Anand
KiBela / MMC KIBLA
10th of May – 8th of June 2019

opening on Friday, 10 May 2019, at 7 p. m.

contemporary drawing, art and illness, dessin contemporain, desenho contemporaneo,dibujo contemporaneo, rysunek wspolczesny,sodobna risba,razstava sodobne risbe
Invasive ductal carcinoma, 100 x 70 cm, marker and pen on paper, 2018

The exhibition is conceived as a conversation between two drawing artists who perceive the drawing as a living organism and the subject of scientific and emotional exploration, which they develop to the point of visual culmination. On display is an oeuvre of drawings created in a traditional, analog way, while still retaining singularity of execution. Both artists work in the same medium, and both engage in the depiction of the microcosm of cells, or crystals. Maess Anand portrays the micro-realm of man fighting death, while the works of Tina Konec represent the contrast of various micro-lives within the natural world. Maess’s drawings of malignant tumors are highly expressive, she uses full-toned hues of red, which warn about the potential reality of danger already from a distance. Tina Konec’s drawings, on the other hand, are monochromatic, and thereby softer; in terms of execution they create the impression of floating in space. The exhibiton Drawing as an Organism features the works of two young award-winning drawing artists, who have knowingly chosen a path of “stubborn” persistence in developing and upgrading the traditional drawing. Maess Anand employs modern technology to add to the spatial effect of her works and enable visual access to otherwise invisible microfibers, whereas Tina Konec uses a photographic template to create a minimalist work of art in the traditional line drawing technique.

 

Maess’s work calls attention to the markedly segregational view on life, which is essentially different for sick and healthy people. In the case of cancer patients, this relationship is even more complex, mostly due to the still vague terminology of treatment and consequently the survial rate. The artist’s goal is a Cartesian one: it is an attempt at approaching the understanding of an otherwise scary reality by means of applying the power of artistic representation, an attempt at transgressing the earthly by means of an interdisciplinary adaptation of reality. The works of Tina Konec are marked, on one side, by her enthusiasm over cosmic creation and her sublime realization of the fragmented nature, and thus of the endless possibilities of the shapes of universe. Her creative starting point is represented by forms which may well be versatile (they are reminiscent of tree trunks or widespread treetops), however, it is only beyond their formal delineation (which is achieved by means of the abstract white, or dark drawing base, without frames, freed from any significance) that they truly come alive. Form becomes tangible, so to speak; enhanced with meditative intuition, it altogether establishes an additional social, in most cases intimate, dimention. 

Nina Jeza, Artists & Poor’s. 

Further reading : 

Review in The Lancet Oncology

Contemporary drawing art and cancer, pictures

https://en.wikipedia.org/wiki/Kibla

https://www.vecer.com/kultura/o-rakastih-celicah-krosnjah-in-razmerjih-10005909

The Drawers, Warsaw

The Drawers, Warsaw

The Drawers 3.09- 17.09 2015, Kasia Michalski Gallery, Poznanska 16 Warsaw

contemporary drawing artist maess anand,kasia michalski gallery, Kasia Barbotin-Larrieu, dessin contemporain, artiste

Contemporary drawing artist Maess Anand at Kasia Michalski Gallery, Warsaw photo: Helena Majewska

 

The Kasia Michalski Gallery is presenting the first of a series of group exhibitions featuring works by nine Polish artists, illustrators and designers. The selected drawings, prints, collages and other experimental formats were created as unique pieces or limited editions and will be available exclusively at the gallery. The title of the presentation, THE DRAWERS, refers both to the place as well as to the subjects of the show. The majority of works were made on paper, although drawing is not the only medium the artists use. The works showcased at the exhibition aptly represent the artists’ individual styles and their various interests and activities. Artists : Rafał Dominik, Ewa Doroszenko, Michał Gayer, Ewa Iwaniuk, Maria Jeglińska, Piotr Krzymowski, Magdalena Estera Łapińska, Maess, Szymon Szewczyk

Archived interview, Blagers.pl   

Other drawings from Abnormal results’ cycle

The Drawers

The Drawing Center, New York

The Intuitionists, Drawing Center, New York

11.07.2014-24.08.2014 

dessin contemporain, dibujo contemporaneo, contemporary drawing

Maess, The perfect elevator waits, 152 x 120 cm, marker and pen on paper, 2014

curated by Heather Hart, Steffani Jemison, and Jina Valentine.

The Intuitionists  is a collaborative artist project inspired by Colson Whitehead’s 1999 novel of the same name—a work of speculative fiction that explores the relationships between progress, technology, and difference. The exhibition considers how the collection, the database, and the aggregate serve as complementary models for the organization of information and objects in flux.

artists: Shaun Acton, Valerio Berruti, A.J. Bocchino, Dana Boussard, Hannah Burr, Maria Bussman, Enrique Chagoya, Joyce Chan, Catalina Chervin, Hannah Cole, Kenny Cole, Vincent Colvin, Hollis Cooper, Cui Fei, Gabriel Delgado, Wendy DesChene, Asya Dodina and Slava Polishchuk, Debra Drexler, Derek Dunlop, Elisabeth Eberle, Lisa Endriss, Rodney Ewing, Tory Fair, Douglas Florian, Nicholas Fraser, Carl Fudge, Brett Goodroad, Barry Gray, Stephen Grossman, Nathan Haenlein, Patrick Earl Hammie, Skowmon Hastanan, HENSE, Elizabeth Hoak-Doering, Cynthia Ona Innis, Tatiana Istomina, Hedwige Jacobs, Chiaki Kamikawa, Manfred Kirschner, Kimia Kline, Nicholas Knight, Kang Joo Lee, Kate Tessa Lee, Cynthia Lin, Hung Liu, Maess, Mario Marzan, Linn Meyers, Nyeema Morgan, Paul Morrison, Seamus Liam O’Brien, Alison Owen, Jenny Perlin, Mel Prest, Jo Ann Rothschild, Anna Schachte, Fausto Sevila, Jill Shoffiet, Thomas Slaughter, Chris Spinelli, Karen Tam, Caroline Tavelli-Abar, Scott Teplin, Jen Urso, Kris Van Dessel, Kara Walker, and Margaret Withers

 

Supported by Adam Mickiewicz Institute

 

Excessive

Able Gallery, Berlin, Germany, 2009, Foundation for promoting Contemporary Art / Gallery program, Warsaw, Poland 2011, Wroclaw Contemporary Museum 2013

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29 x 43 cm, pen on paper, 2009

Every square inch of these drawings captures pure violence. Dance macabre of red and black. It is a clash of two forces conflicting in every aspect. Pinturas negras demonstrate the ” fear of influence” , through violence closing like a circle of sterile, mechanical, fetishistic repetition. Feverish scarlet, the explosion of creative energy, both euphoric and forewarning is, on the other hand, harder to grasp. The red part, it is a cut ,a tiny change, perhaps purely to spite repetition, academic structures and patriarchal subjection. It could be, however to illustrate the moment when the limit of endurance is reached and no other manoeuvre is possible. This particular move allows to search for new life forms. A mischievous error interpreted as the explosion of re-creation, in the Agambenic sense of the word. Nobody waits for revolution or epiphany anymore; what they do wait for is an unexpected break that will reduce the unbearable, oppressive dialogue to silence.

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l art, maess
Excessive, 29x 43 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009

 Decompression that disturbs the cycle of violence and system of terror. What is the fundamental stake in this game” Artistic immortality” It is not true what Beckett says, that ” to be an artist is to fail as no other fail.” Of course, all that strategy is not free from narcissism, and Maess knows how to use it in her own way. It brings to mind ivy, or a spider’ s web; content-wise, the drawings are very dense, concentric, coherent and strong. They absorb everything around them. They feed on any metaphors that brush against them. They are like a sequence of battle plans, sectional views of shapes created by a dynamic shift in pressure. The created work is the result of a perpetual power friction, a breach of the domination. An ever-changing front line of a battle.Gentileschi also searched for the bloody floating shape in the streams of the vital fluid gushing from the neck of her victim-executioner.

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pencil on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009

It is not easy to grasp, because fragments of it are deliberately used as part of a broader narrative, of affinity and rivalry. This way the feverish scarlet of the drawings is justified also by the blood of the dead lover/phantasm.The figure which, cringing like a prawn on a fork, is present in some of the drawings has its origins also in a rather modern myth. It is taken from the final sequence of The Last Tango in Paris by Bertolucci. Iti s one of the inspirations, references, but also precursors of the series. The relation between the work of Bertolucci and Maess drawings is somewhat troublesome. Shooting the lover/abuser in his desperate try to escape leaves a scarlet spatter of blood and letter fragments. That convulsively twitching larva/beast obsessively repeats ” I Want You, I want you, I want you. J’ai très envie de toi. JTEDT “. Not even the remains of a language but of a typography.

Utterances, like a seal on the lips of the obscene desire. It is worth remembering that Bertolucci ‘ s film, apart from the story of a man and a woman, tells the story of tyranny of the film itself, and the topics mirror each other. The strategy of analyzing the line between film and drawing without the medium of animation or comic strip craze, seems to be a source of great pleasure for Maess, as she has been successfully using it for a long time now. It is also just one of the riddles/traps set by the artist. Just like the slightly provocative technical virtuosity and Maess-specific asceticism. As a result, her drawings surprise with their force and intensity. The surface is covered with the explosion of red, pulsating energy set free, eliminating any obstacles between the idea and the artist, between the idea and the receiver. Looking at those explosions I can’ t get this statement by Paul Valéry. out of my mind: “First of all, and above all, the painter takes his body with him “. 

txt: Michał Fopp  trad. Karolina Moens

contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29 x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l' art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l art,
Artemisia, sketchbook, pen on paper,2009
violences-conjugales-dans-lart-contemporain,contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Sketchbook, Lisbon 2009
Aux Genoux, sketchbook, 2009