Exposition Art Blog: May 2019

Vasil Dokev - Abstract and Symbolic Painting


Vasil Dokev ( 22 May 1938 - 23 June 2017) was a Bulgarian artist. He worked in the field of abstract painting, Bulgarian folklore stage and costume design, theater stage and costume design and graphic design.Vasil Dokev was born in Sofia and graduated the National Academy of Arts, Sofia, Bulgaria in 1971.
At the beginning of his career he worked mainly in the field of poster design, logo design and calligraphy.  In 1973 he was invited to create his first folklore stage design for the Bulgarian performance group Pirin Folk Ensemble. That marked the beginning of his interest in ethno-art and folklore which influenced his work for the rest of his life.
For the last decades of his life Dokev worked mostly in the field of painting. Dokev’s paintings are abstract and symbolic. They are also based on artistic principles present in Bulgarian and contemporary ethno-art.He participated group and solo exhibitions in many countries. His paintings are now part of the collection of Sofia City Art Gallery and in private collections in Bulgaria, Italy, France, Switzerland, Belgium, Denmark, the United States, and other countries. Wikipedia















Lygia Pape - Neo-Concrete Movement


Lygia Pape (7 April 1927 – 3 May 2004) was a prominent Brazilian visual artist, sculptor, engraver, and filmmaker, who was a key figure in the Concrete movement and a later co-founder of the Neo-Concrete Movement in Brazil during the 1950s and 1960s.Along with Hélio Oiticica and Lygia Clark, she was a formative artist in the expansion of contemporary art in Brazil and pushed geometric art to include aspects of interaction and to engage with ethical and political themes.
By the age of 20, Lygia Pape had joined the concrete art movement. The term "concrete art" was coined by the Dutch artist Theo van Doesburg in 1930.Concrete art intended to defend the objectivity of art though paintings that "have no other significance than [themselves]." It forbade the use of natural forms, lyricism, and sentiment.
After her involvement with the Grupo Frente Concrete artists, Lygia Pape transitioned into the short wave of Neo-Concrete art. In 1959 Pape was a signatory of the Neo-Concrete Manifesto, along with Lygia Clark and Helio Oiticica.The Neo-Concretists believed that art represented more than the materials used to create, but that it also transcended these "mechanical relationships".The manifesto claimed that art does not just occupy mechanical space, but it "transcends it to become something new."Neo-Concrete artists aimed to create a new expressive space in which an artwork is a living being to have a relationship with and to experience through the senses. Thus, Neo-Concrete artworks usually required the viewer's active participation. It is through the presence and participation of the viewer that the artwork becomes complete.The Neo-concrete artists did not totally reject Concrete art. Concrete art remained the basis of Neo-concrete art, but it was reformulated. Neo-Concrete artists adapted concrete art's geometric shapes and transformed them into organic three-dimensional objects to be manipulated by participants and to be experienced sensorially. The works intended to counteract the urban alienation created by a modern society and integrate both the intellect and the physical body for meditative experiences.
In explaining her approach, Lygia Pape said:
 "My concern is always invention. I always want to invent a new language that's different for me and for others, too... I want to discover new things. Because, to me, art is a way of knowing the world... to see how the world is... of getting to know the world."
Pape specifically during her Neo-Concrete period was interested in the “proposal to ‘live the body.’”This phrase indicates Pape’s interest in how the physical body acts as our mediator for all sensual experiences. Pape sought to explore this idea of the body’s relation in space by creating multi-sensorial experiences in her artwork.Wikipedia














Frans Krajcberg - Environmental activist, Sculptor and Brazilian Painter


Frans Krajcberg ( 1921 – 2017) was a Polish Brazilian painter, sculptor, engraver and photographer. Known for his environmental activism, Krajcberg denounced the destruction of the Brazilian forests, using materials such as burnt wood from illegal forest fires in his artworks
"Krajcberg's oeuvre continues to express anxiety and concern about the future of natural environment in Brazil and worldwide. ‘His work carries an ethical dimension, it transcends the art framework,’ the art critic Agnaldo Farias says about him. In the 1980s, Krajcberg began working on the series Africana, in which he used roots, grape and palm tree vines in combination with mineral pigments. His sculptures are made mainly out of tree trunks and roots washed up on shores. He has made many trips to the Amazonia and Mato Grosso state – the two most environmentally rich regions in Brazil. He began taking photographs of the Amazon Rainforest, which is gradually eradicated as a result of deforestation. From that time on, he also started using charred tree parts, their roots, trunks, and branches.
Our planet is in a grave situation. Nature is revengeful, and we harm it too much. We mustn't remain passive. – the artist claims."(Author: Aleksandra Pluta; translated by AM, June 2016; updated by AZ, Nov 2017  culture.pl )