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

Nietota exhibition at Wroclaw Contemporary Museum and BWA Bydgoszcz

maess anand

Nietota exhibition view, photo: W. Woźniak

 
 
 Friday, June 29, 2018 – 6:15pm to Monday, September 24, 2018 – 12:15pm

Artists: Paweł Baśnik, Olaf Brzeski, Łukasz Huculak, Robert Kuśmirowski, Marcin Łuczkowski, Maess, Kamil Moskowczenko, Łukasz Patelczyk, Laura Pawela, Hubert Pokrandt, Alex Urban, Małgorzata Wielek-M

Curator: Łukasz Huculak

The tradition of the visual has often overlapped with the inexpressible, and the confrontation was sealed by the “anarrative” modernist art.The title of the exhibition, which in Polish triggers association with dumbness or infant babble, refers to Tadeusz Miciński’s esoteric work from 1910s Nietota. The Mystic Book of the Tatra Mountains. The author used a word which commonly described lepidodendrons, an extinct genus of tree-likeplants from 300 million years ago. As folk superstition had it, especially in the Carpathian Mountains, they possessed magical powers.However, it is difficult to explain Miciński’s motivations when using the tradition of witchcraft in his visionary novel. Given the author’s personality, whose literary rendition can be found in one of the novels by Stanisław Ignacy Witkiewicz, he was not driven solely by ethnographic fascinations. The useof the neologism in the title of the book referred to a state of “non-sense” and infirmity, and to the habit of not using proper names, which is reflected in the strong belief in sympathetic magic, and indirectly  in the supernatural power of representation. As the French philosopher and sociologist Edgar Morin claimed, in the old days there was no distinction between technology, magic, religion and art. While drawing on the relationship between art and the inexpressible, and the connections between artistic and magical practices, the exhibitionsimultaneously raises the problem of the persecution of antisocial individuals, and indirectly the aestheticisation of violence, which is present in the theatre-like setting of witch trials.The belief in the existence of secret knowledge and invisible powers is still widespread, irrespective of the technological advancement of civilisation. By modelling and representing reality, transmuting matter, the mystic aspect of the abstract, the performative character of gesture and the intertwining of mimesis and hermetic symbolism, the artistic practice penetrates many spheres of human spirituality.The exhibition will feature paintings, videos, objects and installations referring to the visual aspect of hermetic and mystical practices.

http://muzeumwspolczesne.pl/mww/wystawy/nietota/?lang=en

francisco de goya,El sueno de la razón produce monstruos,rysunek wspolczesny, dibujo contemporaneo, dessin contemporain
Maess Anand, hommage à Francisco Goya, El sueño de la razón produce monstruos. 175x 152 cm, marker and pen on paper,2017

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