Natasa Kokic’s recent works are inspired by nature and its symbolism in contemporary culture. Her drawings show fictional landscapes, devoid of any visible impact left by people, with indeterminate seasons or times of day. She focuses on the notion of inner landscape, the place we all carry inside of us. It is a place where everything starts and ends and its shape depends on our social circumstances, the places where we grew up and people around us. Her latest series of charcoal drawings use images from the history and science. Here Kokic is trying to tell a slightly different story where man-made landscapes, asteroids and computers have their own separate lives and meanings, but connect with one another through the same background, coming from the same place.
Natasa Kokic (born 1979, Belgrade, Serbia) is currently completing her PhD studies in Belgrade. Recent shows include 47th October salon: Life, art and confusion, Belgrade; Ny Serbisk Kunst, Copenhagen, Denmark; Restoration, Cultural Center of Belgrade; Strength in us, European Centre for Culture and Debate GRAD, Belgrade; Supermarket, Stockholm Art Fair, Kulturhuset, Stokholm, Sweden; NordArt 2012, Kunstwerk Carlshutte, Germany; Nothing comes from isolation, Tegnerforbundet Oslo, Norway; Edge of the Map, Cultural Centre of Belgrade and I’m so full of rocks, I can hardly move, Remont Gallery, Belgrade.
Events & Exhibitions
Residents from Serbia
Jugoslav Mitevski’s process undergoes constant modification. His colors, lines and shapes partially comply with mathematical methods, which seem to refer to impartial systems, but intuitive decisions serve an equally important role. He does not establish rules he obeys dogmatically, rather Mitevski formulates tendencies. For Mitevski, the actual painting takes place beside the studio in everyday life, out of experience and observation, the theory, the imbalance of one’s own mentality and the external context: painting as document rather than image.
Jugoslav Mitevski (born 1978) received his BFA from Braunschweig University of Art in 2008. His selected exhibitions include High Wire, Petra Rinck Gallery, Dusseldorf, 2014; Editions, Bonner Kunstverein, 2013; 15:21, Polistar, Istanbul, 2012; Retrograd, Zero Fold, Cologne, 2012; and Editions, Koelnischer Kunstverein, 2012. Mitevski has received awards including the Kunstfonds Scholarship, 2013; Public Art Award, Siegburg, 2012; and the Raimund Lehmkul Award, 2010.
Residents from Germany
“Copygraphs” is the name Andrea Esswein calls the works of art she has been producing with the help of photocopiers since 1998. With the photocopier serving to capture the images she first copies each item with her subjects ranging from objects to animals. Esswein then creates a new work by making a large collage out of the separately photocopied pieces along a rectangular line. The interfaces and overlaps between the individual pieces remain visible after the ensuing process. Esswien is interested in the construction of a new reality far from people’s usual viewing habits. The stark contrasts produced by the copying process and the following manufacturing techniques cause Esswein’s objects to emerge from beneath a layer of gloss paint and synthetic resin. They appear three-dimensional darkness and hold a kind of sanctity.
Andrea Esswein (born 1969 in southern Germany) graduated from the Institute of Arts and Science of Art, University Landau, Germany and studied at the University of Applied Arts Vienna, Austria. Shows include Reflexion – Ästhetische Referenzen, Darmstädter Tage der Fotografie, Germany; Nassauischer Kunstverein, Wiesbaden; Museum Pfalzgalerie Kaiserslautern; Wilhelm Hack Museum, Ludwigshafen; Angehaltene Zeit. Bilder vom Tanz, touring exhibition of Goethe-Institut; C/O Galerie Berlin; Deutsches Tanzmuseum Cologne; Museo Nacional de Bellas Artes, Chile. Her work is represented in numerous public collections including Staatsgalerie Stuttgart and SK Stiftung Cologne. In 2006 she was artist in residence at Performing Arts Forum (PAF), France.