Difference between revisions of "Depot:European Triennial of Small Sculpture"

Revision as of 20:47, 26 December 2009

European Triennal of Small Sculpture Murska Sobota, organized by Murska Sobota Gallery, is beside the Triennial of Small Sculptures Fellbach, close to Stuttgart, the only regular European event featuring the phenomenon of small plastic arts. The very first Biennial of Small Sculpture in Murska Sobota was organized in 1973, initially as a Yugoslav exhibition in the exhibition pavilion of Franc Novak, forerunner to the Murska Sobota Gallery.

History

The 14th Biennial of Small Sculpture of 1999 in Murska Sobota Gallery was cancelled and in 2001 the 1st European Triennial of Small Sculpture took place instead.

Editions of the Triennial

1st Triennial, 2001

The Biennial Committee (comprising Franc Obal, Aleksander Bassin, Franc Mesarič, Dr. Laszlo Beke and Dr. Cristoph Brockhaus, a director of Wilhelm Lehmbruck Museum and Duisburg Center for European Modern Sculpture) conceived the new event in line with the theme of architectural sculpture, or rather as a dialogue between big and small, between architecture and sculpture. The 1st Triennial in 2001 presented 30 works by authors from nine countries: Slovenia (Slavko Tihec, Jože Plečnik), Austria, Germany, Switzerland, Belgium, France, the Czech Republic, Denmark, Norway, Sweden, Croatia, Hungary, the Netherlands, the United Kingdom and Romania.

2nd Triennial, 2004: The Renaissance of the Human Statue

In the 2nd Triennial of 2004, organised under the theme The Renaissance of the Human Statue, artistic director and curator Christoph Brockhaus with help of colleagues Cosme de Barananov, Lóránd Hegyi, dr. Raminta Jurénaité, Bo Nilson, Franc Obal, Sabine Maria Schmidt presented art positions from 24 countries - Denmark , Bosnia and Herzegovina¸ Sweden, Romania, Norway, Serbia, Montenegro, Great Britain, Hungary, Bohemia, Austria, Island, Slovakia, Spain, France, Netherlands, Lithuania, Switzerland, Finland, Germany, Italy, Croatia, Macedonia, Belgium and Slovenia. Among 29 selectid artists were: Paloma Varga Weisz, Per-Inga Björl, Marka Mandersa, Bruno Gironcoli in Finec Vesa-Pekka Rannikko, Hubertus Spörri, Bianca Maria Barmen, Thomas Stimm, Petar Ujević, Yves Netzhammer, Thomasa Schütte, Vana Urošević, Erwin Heerich, etc.

3rd Triennial, 2007: Joke, satire, irony and serious meaning

The third one was selected by curator Thomas Deecke, art historian and former director of the New Weserburg Museum in Bremen with curatorial help of seven colleagues Tatjana Antošina (Moscow), Katia Baudin-Reneau (Strassbourg), Bruno Corá (Firence/La Spezia, Andreas Hapkemeyer (Bolzano), Ulrich Loock/Ricardo Nicolau (Porto), Franc Obal (Murska Sobota), David Thorp (London) and Margit Zuckriegl (Salzburg). Under the title Joke, satire, irony and serious meaning there were exhibited 57 art works of 31 artists from 8 countries: Germany, Great Britain, Russia, France, Portugal, Italy, Austria and Slovenia.

“I have decided to follow my predecessor down new paths, inviting the artists to deal with a very current theme, one that has occasionally been discernible in earlier triennials. My chosen title, Humor, Irony, Satire and Serious Meaning, was originally the title of a sociocritical comedy by the German Romantic author, Christian Dietrich Grabbe (1801–1836), written in 1823, but seldom played these days," wrote Deecke in the triennial catalogue and continued that "Grabbe was a contemporary during a very tumultuous epoch, in which political and social circumstances were rapidly changing, which meant that new, individual ways of thinking were feuding with the insistence on tradition; a new way of thinking was already on the horizon and was later recognized as the beginning of the modern age. This unknown new force had to forge its way through unexpected resistance and fight to question or possibly even overcome outdated rules. During such times protagonists have always used irony and satire and, of course, simple humor to resist the forces of insistence or to drive old rules to ad absurdum. Today, from an artistic point of view (and perhaps not only artistic – given that the development of the post-modern age is unforeseeable – when viewed in hindsight), artists once again favor the use of ironical aloofness und satirical pointedness. The abundance of sculptural materials – the proneness to satire – demanded an exhibition of these works pars pro toto to incite public discussion.

Such thoughts of Deecke culminated in following thinking: "ensuring that humor, satire or irony hits its mark demands that the target (object of ridicule) is thoroughly familiar to a wide audience. Irony or satire can by no means be an end in itself and although most potential power may possibly be limited to current issues and hence not of duration, it draws vivacity and acuteness by confronting the so-called Zeitgeist. Humor, satire and irony can only find nourishment to enflame and labor its tongue in the works and deeds of predecessors, whether they are of creative, historical, social or even political nature. So in truth, they reap from second-hand, but are far from being second-class. But are not all forms of art dependent upon what has come before? In truth, all art evolves from other art, in that we study it, are drawn to or repelled from it. The satirists and ironists, too, stand on the shoulders of their subjects, of those they hope to distance themselves from, but who simultaneously may offer a chance to open up new horizons," ended Deecke.

Artists of third triennial: Saădane Afif, Tatjana Antošina, Mirko Bratuša, Doug Fishbone, Lutz Fritsch, Dieter Froelich, Neil Hamon , Dirk Dietrich Hennig, James Ireland, Juneau Projects, Ian Kiaer, Hubert Kostner, Marko A. Kovačič, Volker März, Eva Marisaldi, Isa Melsheimer, Mathieu Mercier, Jonathan Monk, Peter Niemann, Boštjan Novak, Rodrigo Oliveira, Renato Ranaldi, Giovanni Rizzoli, Franck Scurti, Julie Six, Andreas Slominski, Rostan Tavasiev, Christian Tinkhauser-Thurner, Baltazar Torres, Gerold Tusch and Veronika Veit.

Awards

At each Triennial a jury bestows honourable mentions and purchases award-winning works. In this way the permanent collection of small sculpture has been developing at the Murska Sobota Gallery.

External Links

@@ Line 20: / Line 20: @@
 |town = SI-9000 Murska Sobota
 }}
 {{Teaser|
+European Triennal of Small Sculpture Murska Sobota, organized by [[Murska Sobota Gallery]], is beside the Triennial of Small Sculptures Fellbach, close to Stuttgart, the only regular European event featuring the phenomenon of small plastic arts. The very first Biennial of Small Sculpture in Murska Sobota was organized in [[Established::1973]], initially as a Yugoslav exhibition in the exhibition pavilion of Franc Novak, forerunner to the Murska Sobota Gallery.
+}}
-}}
+==History==
+The 14th Biennial of Small Sculpture of 1999 in Murska Sobota Gallery was cancelled and in 2001 the 1st European Triennial of Small Sculpture took place instead.
+==Editions of the Triennial==
+====1st Triennial, 2001====
+The Biennial Committee (comprising Franc Obal, Aleksander Bassin, Franc Mesarič, Dr. Laszlo Beke and Dr. Cristoph Brockhaus, a director of Wilhelm Lehmbruck Museum and Duisburg Center for European Modern Sculpture) conceived the new event in line with the theme of architectural sculpture, or rather as a dialogue between big and small, between architecture and sculpture. The 1st Triennial in 2001 presented 30 works by authors from nine countries: Slovenia (Slavko Tihec, Jože Plečnik), Austria, Germany, Switzerland, Belgium, France, the Czech Republic, Denmark, Norway, Sweden, Croatia, Hungary, the Netherlands, the United Kingdom and Romania.
+====2nd Triennial, 2004: ''The Renaissance of the Human Statue''====
+In the 2nd Triennial of 2004, organised under the theme ''The Renaissance of the Human Statue'', artistic director and curator '''Christoph Brockhaus''' with help of colleagues Cosme de Barananov, Lóránd Hegyi, dr. Raminta Jurénaité, Bo Nilson, Franc Obal, Sabine Maria Schmidt presented art positions from 24 countries  - Denmark , Bosnia and Herzegovina¸ Sweden, Romania, Norway, Serbia, Montenegro, Great Britain, Hungary, Bohemia, Austria, Island, Slovakia, Spain, France, Netherlands, Lithuania, Switzerland, Finland, Germany, Italy, Croatia, Macedonia, Belgium and Slovenia. Among 29 selectid artists were: Paloma Varga Weisz, Per-Inga Björl, Marka Mandersa, Bruno Gironcoli in Finec Vesa-Pekka Rannikko, Hubertus Spörri, Bianca Maria Barmen, Thomas Stimm, Petar Ujević, Yves Netzhammer, Thomasa Schütte, Vana Urošević, Erwin Heerich, etc.
+====3rd Triennial, 2007: ''Joke, satire, irony and serious meaning''====
+The third one was selected by curator '''Thomas Deecke''', art historian and former director of the New Weserburg Museum in Bremen with curatorial help of seven colleagues Tatjana Antošina (Moscow), Katia Baudin-Reneau (Strassbourg), Bruno Corá (Firence/La Spezia, Andreas Hapkemeyer (Bolzano), Ulrich Loock/Ricardo Nicolau (Porto), Franc Obal (Murska Sobota), David Thorp (London) and Margit Zuckriegl (Salzburg). Under the title ''Joke, satire, irony and serious meaning'' there were exhibited 57 art works of 31 artists from 8 countries: Germany, Great Britain, Russia, France, Portugal, Italy, Austria and Slovenia.
-The exhibition pavilion of Franc Novak, forerunner to the Murska Sobota Gallery, organised the first Biennial of Small Sculpture in [[Established::1973]], initially as a Yugoslav exhibition. During the 1990s it grew into an international event similar to the biennials in Padova, Budapest and Stuttgart, all of which presented sculpture of small and intimate dimensions.
+“I have decided to follow my predecessor down new paths, inviting the artists to deal with a very current theme, one that has occasionally been discernible in earlier triennials. My chosen title, Humor, Irony, Satire
+and Serious Meaning, was originally the title of a sociocritical comedy by the German Romantic author, Christian Dietrich Grabbe (1801–1836), written in 1823, but seldom played these days," wrote Deecke in the triennial catalogue and continued that "Grabbe was a contemporary during a very tumultuous epoch, in which political and social circumstances were rapidly changing, which meant that new, individual ways of thinking were feuding with the insistence on tradition; a new way of thinking was already on the horizon and was later recognized as the beginning of the modern age. This unknown new force had to forge its way through unexpected resistance and fight to question or possibly even overcome outdated rules. During such times protagonists have always used irony and satire and, of course, simple humor to resist the forces of insistence or to drive old rules to ad absurdum. Today, from an artistic point of view (and perhaps not only artistic – given that the development of the post-modern age is unforeseeable – when viewed in hindsight), artists once again favor the use of ironical aloofness und satirical pointedness. The abundance of sculptural materials – the proneness to satire – demanded an exhibition of these works pars pro toto to incite public discussion.
-The 14th Biennial of 1999 in Murska Sobota was cancelled and in 2001 the 1st European Triennial of Small Sculpture took place instead. The Biennial Committee (comprising Franc Obal, Aleksander Bassin, Franc Mesarič, Dr. Laszlo Beke and Dr. Cristoph Brockhaus, a director of Wilhelm Lehmbruck Museum and Duisburg Center for European Modern Sculpture) conceived the new event in line with the theme of architectural sculpture, or rather as a dialogue between big and small, between architecture and sculpture.
+Such thoughts of Deecke culminated in following thinking: "ensuring that humor, satire or irony hits its mark demands that the target (object of ridicule) is thoroughly familiar to a wide audience. Irony or satire can by no means be an end in itself and although most potential power may possibly be limited to current issues and hence not of duration, it draws vivacity and acuteness by confronting the so-called Zeitgeist. Humor, satire and irony can only find nourishment to enflame and labor its tongue in the works and deeds of predecessors, whether they are of creative, historical, social or even political nature. So in truth, they reap from second-hand, but are far from being second-class. But are not all forms of art dependent upon what has come before? In truth, all art evolves from other art, in that we study it, are drawn to or repelled from it. The satirists and ironists, too, stand on the shoulders of their subjects, of those they hope to distance themselves from, but who simultaneously may offer a chance to open up new horizons," ended Deecke.
-The 1st Triennial presented 30 works by authors from nine countries: Slovenia (Slavko Tihec, Jože Plečnik), Austria, Germany, Switzerland, Belgium, France, the Czech Republic, Denmark, Norway, Sweden, Croatia, Hungary, the Netherlands, the United Kingdom and Romania. In the 2nd Triennial of 2004, organised under the theme ''The Renaissance of the Human Statue'', artistic director and curator Christoph Brockhaus presented 29 artists from 24 countries, including Boštjan Drinovec from Slovenia. The third one was selected by prof. Thomas Deecke, art historian and former director of the New Weserburg Museum in Bremen under the title ''Joke, satire, irony and serious meaning''.
+Artists of third triennial: Saădane Afif, Tatjana Antošina, Mirko Bratuša, Doug Fishbone, Lutz Fritsch, Dieter Froelich, Neil Hamon , Dirk Dietrich Hennig, James Ireland, Juneau Projects, Ian Kiaer, Hubert Kostner, Marko A. Kovačič, Volker März, Eva Marisaldi, Isa Melsheimer, Mathieu Mercier, Jonathan Monk, Peter Niemann, Boštjan Novak, Rodrigo Oliveira, Renato Ranaldi, Giovanni Rizzoli, Franck Scurti, Julie Six, Andreas Slominski, Rostan Tavasiev, Christian Tinkhauser-Thurner, Baltazar Torres, Gerold Tusch and Veronika Veit.
+==Awards==
 At each Triennial a jury bestows honourable mentions and purchases award-winning works. In this way the permanent collection of small sculpture has been developing at the [[Murska Sobota Gallery]].
+==See also==
+[[Murska Sobota Gallery]]
+==External Links==
 [[Category:Festivals]]

Difference between revisions of "Depot:European Triennial of Small Sculpture"

Revision as of 20:47, 26 December 2009

Contents