The DIPLOMATIC ART project presents and promotes professional visual artists from countries that have General and Honorary Consulates in Timisoara/Romania.
The association also focuses on
multidisciplinary artistic events, with internationally recognized artists, collaborations between foreign
and Romanian artists taking place in traditional art galleries, but also in alternative spaces.
Wednesday 30 December 2015
DIPLOMATIC ART 2015, 2nd event - City Hall Gallery
DIPLOMATIC ART 2015, City Hall
Gallery (Galeria Primariei) Timisoara, opening of the 2nd exhibition - November
12th - with artists from countries that had consular missions opened in
Timisoara during the interwar period but that currently are not represented
here anymore (Belgium, Guatemala, Paraguay, Slovakia and The United Kingdom).
artists (with their works and concept presentations):
MARTIN BAEYENS (Belgium) http://users.telenet.be/martin.baeyens Nature
is at the centre of his art work. He seeks for a balance between technology and
nature and uses therefore electronic circuit print plates.
Martin Baeyens – I do not just exist - freedom of speech,
CGD, 42 x 59,5 cm, 2014
MARTYN HILL (United Kingdom) www.walkerhill.orgArt Favours Nothing in Particular - My
Interest is in reanimating earlier strains of European abstraction.
Specifically paintings relationship between objecthood (the wall) and illusion
(the window), a pictorial, fictive space, which blurs the distinction between
the abstract and the material world. Reworking Greenberg's pejorative term
'homeless representation' into a positive avenue of enquiry my making is characterised
by shifts between flat planes and illusory depth. Here is a recognition that
illusionism is an inescapable consequence of mark making and that depiction and
illusionism are in fact, just as real and elemental to painting as surface,
edge and colour. Questioning whether painting should reject or cultivate its
capacity to create pictorial space and contrary to the expansionism that
currently dominates almost every aspect of contemporary art, I see paintings
basic underlying binary opposition between plane and depth, figure and ground,
puts forward a radical modesty examining a visual fiction and its implications.
Since 1999 I have regularly worked and exhibited in collaboration with Michael
Walker under the name WalkerHill.
Martyn Hill – Frobel 6, drawing, 32 x 23 cm, 2015
EVA HNATOVÁ (Slovakia): http://evahnatova.wix.com/printsThese works are part of a large
drawing-graphic cycle To touch (2010-2015). I see these
works as a personal act of being touched by the suffering of unknown people,
which is daily presented by the media, as a serious effort of symbolic
identification with their suffering and symbolic transfer on myself. To express
these contents I used a special material (carbon paper) as well as the author's
technique of printing on carbon paper. The first phase of work is collecting visual
reports about contemporary disasters, mysteries, troubles, destruction and
loss. These data are the base for my artistic commentaries. I collect them from
newspapers, internet, TV as technical images. I then redraw them as a spiritual
and physical touching of the suffering people. "Re-drawings" (tracing,
calks), which are created, are then printed by thermal process on the paper or
carbon paper as monoprints. The material, techniques and processes (copying,
retracing, clipping, ironing, printing, reproduction...) have in my artistic
message a symbolic value and are an important key to the "reading"
and understanding it.
Eva Hnatová – Lamentation 4, author’s technique, 97 x
42 cm, 2012
DIANA ROSSI (Paraguay) http://www.dianarossi.com.pyThe paintings were inspired by Petroglyphs
Ancestral Myths - It is one of the greatest mysteries of Paraguayan Prehistory.
Nobody knows who engraved then on the rocks, or in which exact age they were
made. It’s supposed that they are related to the religion and hunting
activities of the ancient inhabitants on the territory that now is Paraguay.
Minimalist designs such as small suns, points, lines, abstract figures, try to
express some important messages, either related to hunting or some ritual of
the ancient inhabitants of that zone. When the Spanish arrived 500 years ago,
there were numerous indigenous groups who relocated periodically for hunting
and recollection. The indigenous people developed a culture that we assume were
reflected on the stones as a cultural manifestations. We don’t know their
meaning because there have been no studies on extinct populations - on the
Paraguayan area - until the arrival of the Spaniards in 1528. All of these
should be part of a Paraguayan History related to its Prehistoric origins.
Diana Rossi – Petroglyphs 25, mixed media on canvas, 35
x 23 cm, 2015