ASOT HAAS | 6.2. - 26.3. 2020

Artist solo exhibition

The universality of mathematics is a myth, and that what the strict rationalists accept as the constant way of measuring and proving the world is basically just a philosophical construct. Fibonacci’s sequence, golden ratio or the number π (Pi) are nothing more than just a method, like any other philosophical direction, for the human explanation of what we as our living space and everything that makes it up, or influences or can influence it. In his fascination for mathematical phenomena, Asot Haas shows precisely these from their aesthetic side. In his optical light installations and glass objects, he impressively illustrates the premise of the beauty of mathematics and the number as an artistic instrument. 

Dorota Sadovska | Reading about liquidity | 7.11.2019 - 30.1.2020

Artist solo exhibition
Bellart Gallery is delighted to present the solo exhibition “Reading about Liquidity” by Dorota Sadovska (*1973) which includes figurative oil, acrylic and cut out paintings, as well as  space and light objects. This unique art project marks a significant milestone in Dorota’s artistic work and its evolution of her explorative approach to the installation and presentation of art in a truly unique style with intertwined individual concepts that is built upon a dynamic visual construction based on a combination of different media. These constructions are readable by allowing the observers to be included in the staging. The installation motivates to emulate the gestures in the pictures and to participate in the whole  artistic program. The fluid in the art of Dorota Sadovska is thus the transience of participation in viewing her own images.

Lydia Luisa Patafta | Portion | 28.9. - 26.10. 2019

Artist solo exhibition
The images of Lydia Luisa Patafta (* 1974) oscillate on the threshold between extravagant provocation and intimate confession. She presents her world in a multifaceted way that consists of a conflict between the fantastic and the naturalistic. As if childhood memories contaminated with obscure dreams were staged under a flash of neon lighting. The controversy of these representations is based less on their expressive language than on the content levels in which bizarre encounters take place. Here, no surreal objects collide in incomprehensible places, but disturbingly concrete personifications of the social decadence of the 21st century. The picture narration by Lydia Patafta places a plain bourgeois scene programmatically in a questionable context. Comparable would be a midnight concert of a string quartet in the red light district. But what such subjects can do well is to question their own hypocritical self-assessment and think about the lived missteps.

Bellart Gallery | COLLECTION | 22.8. - 26.9.2019

Artist group exhibition
For the first time and following an intensive gallery program this exhibition offers a retrospective overview of the Bellart Gallery collection of artworks with a focus on contemporary painting, glass art and sculpture and artists who have exhibited individually and collectively at Bellart Gallery from 2017 until mid-2019. Contemporary painting is represented by Robert Bielik, Miroslav Cipár, Žofia Dubová, Dominik Hlinka, Ján Hrčka, Marek Ormandík, Dorota Sadovská, Jozef Srna, Jakub Špaňhel, Ján Vasilko and Christian Zillner. Object and video installation includes artworks of Marek Kvetan and Jaro Varga. Glass artists of this show include Oliver Leššo, Ilja Bílek, Ašot Haas and Lothar Böttcher and bronze sculpture is represented by artworks of Marek Ormandík, and Igor Faško.


Artist group exhibition

Presented artists:

András Cséfalvay / Žofia Dubová / Dominik Hlinka / Marek Kvetan / Jaroslav Kyša / Štefan Papčo / Dorota Sadovská / Jaroslav Varga

Concept: Ivan Gerát and Marian Zervan

The exhibition External and Operative Memory in Art is the second presentation of the winners of the NOVUM Foundation. It also follows up on the event last year when the topic of algorithms in art was dealt with on the threshold between the analog and the digital. The authors of the concept (Prof. Ivan Gerát and Prof. Marian Zervan) want to systematically research current problems in visual communication, both on the interdisciplinary and on the transmedia level. For this reason, the title of this exhibition can be explained literally but also metaphorically. Various technologies of evolving storage media and the philosophy of human memory, causalities between remembering and forgetting, polarities between the exact and the manipulated, the short-term and the long-term, are described in the works of András Cséfalvay, Žofia Dubová, Dominik Hlinka, Marek Kvetan, Jaroslav Kyša, Štefan Papčo, Dorota Sadovská and Jaro Varga worked up in an imaginative and inspiring way. For the first time, the program of this series of events by the NOVUM Foundation will also be shown in Vienna in order to present the works of these exceptional artists from the Slovak art scene to the Austrian public as part of a special themed exhibition.

Jakub Špaňhel | AESTHETICS OF REPETITION | 26.1. - 30.4.2019

Artist solo exhibition
Jakub Špaňhel’s works are characterized by two characteristics: first, a painterly gesture in the expressive interior views of his churches (one of which is in the collection of the Czech National Gallery in Prague), baroque chandeliers and female nudes. Secondly, through a technique in which he creates a grid of minimalist patterns with a painting roller. In both cases, Špaňhel is very disciplined and systematically pursues his artistic program. The exhibition "Aesthetics of Repetition" focuses on the visual qualities of the, at first glance, extremely limited expression of a mechanically repeating motif. In contrast to a pop-like multiplication of the template, Špaňhelb records the process of a painting act in which the repetition of the motif is carried out until the paper painter's roll is physically destroyed. The process of wear evokes an almost cinematic dynamic on the surface of the picture, but only with one sequence. The viewer's gaze follows a static close-up of a strongly reduced object contour until he realizes that it is not an abstract composition, but rather familiar forms and motifs from art history that are repeated over and over again - ciphers in Špaňhel's expressive grids. 



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