Rico Lascano's upcoming exhibition in the Ronewa Online Viewing Room opens on September 3rd. We talked to him about his meditative art practice, nature and spirituality, and making art during lockdown.
Lascano's abstract practice draws from the breathtaking nature in the Philippines, the spiritual traditions of his home country, and his own quest for serenity and peace in a busy world. Within his floating compositions and delicately textured expanses, Lascano creates boundless spaces of stillness and timelessness. He invites viewers to occupy the transcendantal space of his inner journey.
With one week to go before Mireille Gros' online exhibition opens, I had the pleasure of chatting to the Swiss artist about her ongoing botanical drawing project. Gros shared insights on her relationship with nature, her artistic process, and her new series created for the Ronewa Online Viewing Room.
Opening to the public on June 19th, 2020, is Ronewa Art Projects’ first online exhibition—the beginning of a new era of online art. Swiss artist Tashi Brauen presents a new series of works born out of the COVID-19 pandemic lockdown. We talk to Brauen about his new works and the online art world.
Over the last few months, we have seen how adaptable the art market can be. New online innovations continue to promote artists despite the challenges presented by the COVID-19 shutdowns. At Ronewa, we want to be at the forefront of these changes. Our new mission and new platform respond to the needs of a future online art market that values innovation and accessibility. We take a closer look at the forces at work in the new global online art arena.
26 October 2019 - 12 December 2019
Tashi Brauen’s objects and pictures aren’t meant for all eternity. Back in the studio from an exhibition, cardboard might get a second coat of paint. Then the previous shade might announce itself on the surface in soft shadows, or mix itself with the temperature of the new layer of acrylic. Tashi Brauen delights in materials and enjoys a nearly intimate relationship with paper. He tests its narrative potential by treating it with paint or damaging it just slightly. A crease, split or tear draws light, irregular veins into the red or blue ground. Cardboard jumps off the wall three times, forms half drums and, with cracked edges, evokes a notion of columns, lanterns, lampshades. And that’s where it happens: painting flirting with design and delivering a commentary on the environment and architecture. A piece of paper glued to the surface becomes a threshold, its micro-edge casts a dark, narrow shadow onto a monochrome surface. Doesn’t a landscape have its beginnings in such a minimal gradation?
The works of Swiss artist Tashi Brauen are created amid genres.
Between image and sculpture, surface and volume, as well as between different media of artistic expression, Brauen creates expansive installations, picturesque-looking photographs and relief-like wall objects that playfully trace the phenomenon of the surface.
Through his material manipulation, Tashi Brauen opens up a new and unusual view of traditional materials and focuses on their physical properties.
The works of Berlin based Spanish artist Patricia Sandonis possess a strong political character.
The partly participatory installations, objects, and drawings translate social phenomena into artistic processes. For example, Sandonis deals with the creation and consolidation of collective memory. For this, she has dealt with the conservation of European monuments, and has developed her own artistic language of remembrance.
The Berlin-based artist Elisabeth Sonneck uses painterly means to create exciting color spaces. However, these do not constitute a self-contained illusionistic image, but are directly related to their environment.
In temporary site-specific installations as well as in autonomous pictorial objects, Elisabeth Sonneck's painting emanates from surface and wall, becomes vivid and conquers real space. With minimalist lightness, her works expand artistic boundaries.
An Interview with Mireille Gros by Marie-Laure Bernadac - 2001
Marie-Laure Bernadac: this color book carries the name of the exhibition “émergence“. It contains many different drawings that were compiled and pasted in its pages.
Mireille Gros: I use them to prepare the exhibition, to develop my vocabulary of forms.
MLB: some of the motifs are quite different from the plant and vegetable motifs so characteristic of your work. The compositions, too, are different. There are fewer single subjects, the pages are fuller, some even entirely covered with tiny cells.
MG: A reduction took place. When you look through a microscope or a telescope you often see a similar picture. I don’t differentiate between abstract and figurative drawing. By changing my position and thereby my perspective, I’m freer. Near meets far.
Rania Schoretsaniti is a Greek artist who draws on a rich cultural and artisanal heritage of craftsmanship, spirituality and family values. From a young age, she was taught the importance of self-sustainability, and her grandmother offered her valuable instruction on how to make things by hand. The core lesson being that in times of hardship you can draw on your strength and ‘use your hands and your head’ to make something of value and integrity in your life.
As a child, Rania grew up playing in the workshop of her family’s furniture-making business, where she observed the mechanics of sofas being built from raw cuts of wood knocked together into frames before being clad by beautiful upholstered fabrics.
Nostalgia for the purity of this time is deeply imbued in processes behind her works, which range from energetic, abstract oil on canvases, such as “Big Smile” or “Pink Sky”, to her finely rendered lines in ink and oil on canvas (like “Jacob’s Ladder” and “Synanteseis”).
But it is in her reliefs that the physicality of “using her hands” really comes into fruition. Every part of the soaring forms behind her works such as “Silk 1”, “Sea” or her “Trikke” series are constructed by hand, starting with the wooden frames, which are covered in bright fabrics, many of which she hand-dyed using traditional techniques.
Rania describes her works as her “words” which she uses to interpret and express a conscious and subconscious experience of the world, and which form a bridge to the divide between the known and the unknown (Heaven and Earth). Her symbolic use of lines and ladders are conversations that express the choice we have as humans to take steps “and build” so that we evolve from a position of suffering to one of empowerment or enlightenment.
Tashi Brauen is a Swiss-Tibetan photographer, painter, and sculptor based in Zurich, Switzerland. His work combines the fragility of paper, spontaneous folding and manipulating surfaces with bold color and texture to reveal the artist's affection for geometric forms, shifting perspectives on dimension and exploring the interplay of scale, impact and details.
Meeting Tashi for the first time at his exhibition in Bern at the Museum of Fine Arts, our easy conversation led the way to a recent visit at his studio in central Zurich. There, we discussed his upcoming exhibition in Berlin at Ronewa Art Projects, his work and process as well as sharing a personal glimpse of his life as an artist.
German artist Veit Schmidleitner's paintings from his "Coupure" Series of abstractions fuse a sense of the industrial with inherent elegance that create new surfaces that defy tradition. These sometimes dramatically contrasting notions are brought together in compositions that evoke both a new visual topography and a sense of grace that nod to industrial roots, but that in some ways deflect traditional artistic methods.
The works range in scale from moderate to those that anchor an entire gallery wall, and as the spacious galleries include natural light at certain times of the day, many nuances and visual textures are revealed to the delight of the viewer.
At first glance, compositions appear to feature a traditional paint application of washes that harbor the subtlety of watercolor work, but there is more. A variety of color tones and greys that shift and evolve of their own accord take over the compositions. In some areas, there are bursts of intense color that grab the eye and interrupt initial readings. Simultaneously, curiosity is piqued as these works have what appear to be a mix of traditional and industrial pigments, and high-gloss varnish that gives the work an extreme polish or sheen that is intriguing. The treatment of surface is reflective and as the viewer approaches the work they may see their reflection and elements in their space. This is not a classic painting approach, it is something very new indeed.
Schmidleitner creates with cut panels that are often times irregular, but that are joined to make finished stable rectangular or near-square compositions. Orientations may be primarily vertical or horizontal depending on the piece.
I had the opportunity recently to speak with Schmidleitner by Skype and also in person in Berlin, before the vernissage.