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2010
2009
2. Russian avant-garde. Non-conformists from the Bar-Gera collections
14. November 2008 - 22. February 2009
Eva Kmentová
8. January 2009
OSEMDESIATE
Postmoderna slovenskom výtvarnom umení
Retrospektíva 1985 – 1992
8. April 2009 - 30. August 2009
Modernice!
20. May 2009 - 21. June 2009
Carte Futuriste / Futuristic Drawings
100 Years of Futurism
17. June 2009 - 26. July 2009
Mudroch & Mudroch
The Dialogue That Never Took Place
18. September 2009 - 15. November 2009
The Brussels Dream
Czechoslovak Participation at the EXPO 58 World Exhibition in Brussels and the Lifestyle of the First Half of the 1960s
24. September 2009 - 15. November 2009
Juraj Bartoš
8. October 2009 - 29. November 2009
Renaissance
The History of Slovak Fine Art
18. December 2009 - 28. Marec 2010
2008
2007
2006
2005
2004
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Laureat Grand Prix Insita 2010 - Philippe Azéma INSITA 2010 9th International Triennial of Self-Taught Art He was born in 1956 in Cauderan, France. Philippe Azéma leads two parallel lives: during the day he is an agricultural worker and the rest of the time he is an artist. It is an inner urge that leads him to drawing and painting in his studio in Tarn. He works on paper or old sheets glued on to the floor.Fortenye¬ars, the formats of his works have been 4×2 metres, sometimes even more. When looking at his production, it seems as if we were returning several dozens of thousands of years back; so remarkable is their similarity with the themes and techniques of prehistoric cave paintings (or stone painting in general). There are people, animals and various monkeys. He uses own technique: his paintings lack perspective or horizon, silhouet¬tes are depicted in profile,elementsarearrangednexttoeachother regardless of the scale, the colour scheme is limited (he uses yellow, black, and red). The prehistory of Philippe Azéma is, however, completely thought up. While our distant ancestors drew real animals, tho¬se of Azéma are completely black, fantastic, they come from our nightmares, from spooky fairy-tales or legends, such as the one about the Beast of Gévaudan. Abandoning the simplici¬ty of stone paintings, the space on the yellow background is filledwithsilhouettesofpeople,whicharealsoblack,placedin twisting rows, in layers bordered by lines, or arranged in a seemingly incidental way. The picture is decorated by nume¬rous signs, as if it was a kind of puzzle. Some details can be reminiscent of dreamy Africa. Philippe Azéma uses acrylic, felt-tip pen, ink, oil, modern ma¬terials and in his (false) archaic aesthetics he mainly works with very contemporary messages. They are blurred contours, like ink blots sprinkled on the canvas, or graffiti,whichshouldrepresent houses or figures,whichdonotlackaflashofhu¬mour. There is, for example, a silhouette of a woman holding the hand of a child, which holds a weird animal and a cartoon sticker. up | |
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