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Loves me/Loves me not

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17.04. - 12.05.2015

"Fragments of Time"

Andrea Čović

Curator: Eugen Borkowsky


 

 


   
   

   

 

Andrea Čović

Fragments of time

FRAGMENTING URBAN SPACES

URBAN FRAGMENTS

 

The idea of change and flow is open to many possible interpretations. Change as a form of the flow in time and space does not necessarily imply movement. We sometimes initiate the change, but sometimes the change requires a lot of effort. One moment we live in the safety of a cell, the next we live the world’s adventure. Some interactions we desire, but some we do not. To some we agree, others we manage to avoid. In her latest work Andrea Čović treats the change and the flow as visual impressions. She renders them in her paintings, creating a series, a succession, moment by moment. Those moments offer personal impressions, which are deliberately not burdened by the definition of shape. The insinuation of possibility is materialised in two-dimensional format of the paintings. Narration has been omitted by placing emphasis on impressions.

What we have before us is a series of abstract paintings, of strong, geometrical rhythm and subdued colours. Occasionally there is a contrasted detail and/or a point of focus. The artist often applies several layers of paint – by aquarelle layers of acrylic paint she builds up the surfaces. Through a new layer we can detect the details of the primary layer. Plans, lines, stripes, toned or rasterized surfaces, as well as relation and tension of elements do not need extended framework. The moment, which is given to us to observe, has a firm and stable composition. Geometrical elements have been introduced,or sometimes barely recognizable shapes which serve as counter-poise. The paintings can be seen as symbolic openings in the whiteness of the gallery’s walls. Going through the exhibition, we ascribe the works to the author’s interpretations of the echoes of experienced reality. The paintings carry many associations and make us think, since art is a game both for artists and recipients.

This exhibition has urban character. Andrea Čović immaculately captures the hollow sounds of humming and vibrations, the flashes of light, and the images that we do not zoom in while watching, but register with our peripheral vision. We understand very quickly that it is about the passing of things around us; about everything that our senses involuntarily memorise within the urban environment. In her paintings she registers the reflections in glass, as well as the shapes which can be discerned behind the glass. It seems that the changing of the environment, the movement around us, is actually perceived as a monotonous act. As much as we are aware that there are people here, we still get the feeling of loneliness. Each impression transferred onto the canvas can be interpreted as a diary entry, as registering repeated experiences of the flow. We see before us an interpretation of urban bustle. It might not be negative bustle, but it is bombarding us with lights and other information. We are not sure whether it is about the interior, the exterior, or if we are somewhere behind the scenes. Somewhere calculated, yet somewhere hallucinatory combinations of possible scaffolds, facades and passageways result in the recipient’s sense of uncertainty. There are evocations of columns, reflections in shop windows, view through windows of hypermarkets, escalators, view from an urban cafe. It evokes transparency of the walls into which we try to hide. The imbalance between the feeling of security given by our personal space and the energy of accumulation of multiple spaces becomes obvious. Misconceptions of our civilisation about independence within historical time disappear by introducing awareness of interconnection of all things in the universe and its constant change. Our world is not objectively real. Reality is subjectively determined, and the quest for comprehension is inevitably limited to constant interpretation and reinterpretation. However, being engrossed in materialistic everyday life hinders our recognition of the flow. The time of “necessity” influences our condition and awareness. And what is awareness? Memory augmented by experience. In the anarchy of materialism, experience is forcefully deprived of convention. The result is disquietude. Should we consent to what we are given, or break through the barriers of conventions?

The artist oneirically comments on time by subduing the scenes. As if she is remaking the posters or art manifests by Kazimir Malevich in certain phases of suprematism. She transfers situations into reality by genuine expressions of “personal temperature”. Abstract world takes real shapes which stay blurred in layers. A segment becomes a symbol and is no longer a quote. By doing this, the artist speaks about contemporary time in which we have increasingly more information and less meaning. The recent postmodern time takes us onto a field of deconstruction of the conceptions of reality. The meaning of a work of art is decoded by the world of art and culture, which are mechanisms of initiating the meaning and sense. That closes the conceptual circle of awareness and the author’s feeling/experienceof changes. Visualisation of experience is rendered by a series of fragile evocations of different states. We see before us the conflict of reasons and results, the meaning and the awareness that easy changes are not possible.

In the past we did not believe that the Earth was round. Today we are reluctant to accept the notion that matter is energy which vibrates on slow frequency. Very fast vibrations cause matter to leave the frequency range which can be detected by five human senses – sight, hearing, taste, touch and smell. People from western civilisations rely on them in order to create their perception of the environment and of themselves. Other dimensions are spheres which vibrate too fast for us to see them. The dimension of time transfers physical movement into existence. In our, human, dimension memory is seen as a solution to naming the condition of things. Memory can be collective or personal, long-term or short-term. We have a tendency to rearrange our memory, and also to build into it the things which happened in the past or the things that we only heard of, but never experienced. In experiments with subatomic particles it has been determined that the consciousness of the observer influences the result of the experiment under identical conditions. The conclusion is – thoughts and feelings are also dimensions.

These Andrea’s paintings actually escape any concrete stylistic definition. In an attempt to understand the process of their creation, it seems as if shaping by smears, strokes and traces of trickling paint sometimes stops the author’s intention. However, sometimes it is exactly that accumulation that initiates further exploration. Overlapping drawing and her painting technique, the author does not lack combinations nor energy. Painting after painting she explores the potential of materials, the ambivalence of shapes, the repertoire of personal impressions. Looking at the paintings in succession we discover differently treated elements which sometimes repeat. We notice that the author experiments with them, and we can perceive the offered character of the surface of the painting. The shapes no longer reflect reality, but the inner world of the author who communicates her impressions. Through a range of possible shapes, reasonableness of existence has been given to a materialised experience.

Eugen Borkovsky, IV 2015.

 

Academic artist Andrea Čović born in Croatia, studied painting in Belgrade has the opportunity to present her selfe in Berlin for the first time.

In her latest work she is exploring the correlation between the light and the shadow. Combining organized and chaotic lines or shapes she is reminding us on abandoned memories of places and emotions we all experience.