exhibition modern art gallery Sopot Kandinsky
exhibition modern art gallery Sopot Kandinsky <|startoftext|>In the first room of this gallery, under the title Transmigration, one found, in the midst of the empty room, a collection of old photographs, and a video monitor, which showed a group of people walking in groups through the streets of Vienna. They were not tourists; they were representatives of the German-speaking population in Vienna. The exhibition took its title from an old work by Franz Schlegel, also titled Transmigration, in which he depicted himself as a German walking in a group through the streets of Vienna. The work has an ancient history, and it is not only because it was made in the city of Vienna, the city that, through the years, has become the most important for Schlegel. He is known for his use of everyday objects, including the things that can be found in the street: bags, pieces of string, clothes, toilet brushes, coins, paper, and paper bags. He also uses video to record his activities in a city that is rapidly becoming one of the most important cultural centers of Europe.In the video, Schlegel describes his experiences as a German in Vienna. He describes the city, the people, and the streets, and describes the citys changing character, which he finds even more interesting than the streets themselves. The video is accompanied by a lengthy text describing the citys history and its current conditions. It is a history of a city that was once important for the unification of Germany and still is. In the video, Schlegel uses the same vocabulary of everyday objects, which were once commonplace in Vienna, as in his earlier photographs and his video. The latter are shown in an attempt to show the citys development, but it is a very old-fashioned view of the city, which is why the video is almost too abstract. The video and photographs are only visible as traces, and the citys current condition is not apparent.
exhibition modern art gallery Sopot Kandinsky <|startoftext|>At first glance, the works in Lars Nilssons recent show looked like the result of an obsessive, self-referential, obsessive activity. But on closer examination, the paintings revealed themselves to be, in fact, very much the opposite. Nilsson works in oil on canvas, often in large-scale formats. In the past, his paintings have been described as gigantic and over six feet in height. In the present show, the works were about three and a half feet tall, and they were made with a brush that looked as if it were made for a painter who might be used for a kind of aerial photography.In the paintings shown here, Nilsson uses a brush that looks like a primitive one, but one that is both blunt and smooth. In a few works, he uses a brush that is wide enough to allow him to paint on a small canvas without the use of a brush, and he uses a brush that is too wide to be used for anything else. In one painting, for example, he uses a brush that is too big to be used for anything else. But these brushes are not the only brushes in the show. They are also wood and metal. But they are the only brushes of this kind that are not made of painted wood and metal. They are painted on the canvas, and they are also painted on the wood that they are mounted on, thus giving the paintings a feeling of being both natural and made of wood. Nilsson has been painting these woods for a long time, and he has made paintings that use them. He has always been concerned with the relationship between the painting brush and the wood that is on top of it, and he also used the brush to brush the paint and to brush the brush onto the wood. There are paintings that have been made of wood, but Nilsson paints them on canvas, on which he has painted a number of the wood panels.
exhibition modern art gallery Sopot Kandinsky <|startoftext|>In the midst of a worldwide glut of art, a group of German painters has developed a new and unexpected pictorial language that could be called the Art Nouveau. In this case, they have worked with the tradition of geometric abstraction to create compositions that are not only the result of a regular and naturalistic drawing, but also of a conscious, intuitive painting. It is this fact that underlines the significance of this art. As Carl Hausman has shown, art is not simply a matter of discovery, but also of invention and invention can be the basis for a new pictorial language.The works in this exhibition were done over the past few years. All of them are based on the geometry of the square, but also on the symmetrical order of the diagonals. The squares are divided into groups of two or three, and these groups are arranged in a manner that is very logical and precise. The asymmetry of the groups and their order of construction are the most obvious elements in the work. The symmetries and order of construction are also emphasized by the spacing of the groups. In some works the symmetries are extremely close to the eye. In others, the spacing is somewhat wider, and the symmetries seem to move closer to the eye. The asymmetry of the groups is emphasized by the diagonal line that runs across the top of the squares. The line is so close that it almost disappears from the eye, and one has to look closely to be able to see the line. The lines direction and its relationship to the other lines of the group, as well as the symmetries of the group, are the most obvious elements in the work. The other elements are also very much like those that the symmetries emphasize: the diagonal line, the overlapping diagonals, and the lines of the group of the same size.
exhibition modern art gallery Sopot Kandinsky <|startoftext|>The work of the young Italian artist Marco Polo has been shown in Paris, New York, and other cities, but only in those cities has it been able to reach a broad public. Polo, who was born in 1937 in Naples and studied in Paris, has been living and working in Italy for the past decade, and the first solo exhibition in this country of his work was organized by the Italian Cultural Centre. Polo has been using photography to document everyday life in Italy, and in his images he has been able to show his appreciation for the country and its people. The photographs, taken in the cities of Naples, Rome, and Turin, show a variety of people and objects in a variety of situations, and in these images the human figure is not present, but rather a form of transportation. The artist uses photographs to document his own life and his environment. In one photograph, Polo shows a young girl with a ponytail, while in another he stands with his hands behind his back, wearing a scarf. The difference between the two images is only one of the many contradictions that Polo finds himself in. In the photographs he is seen from behind, and the girl is shown from the waist up, while the artist is standing. The photographs are taken with a flash that creates an illusion of depth. The reality of the subject is, however, always limited by the plane of the camera, and thus the subject of the work is always a reflection of the camera. This is evident in the photographs of young women that Polo took in the streets of Rome and of the city of Bologna. In one photograph, Polo points the camera at a young woman who is wearing a scarf and hat and is seen from the back. In another photograph, Polo stands with his hands behind his back, with his right hand reaching toward the camera. The scarf and hat are visible on his head, but not on his face, which is hidden behind a curtain of flowers.
exhibition modern art gallery Sopot Kandinsky <|startoftext|>The recent first solo show of the artist Jane Wilson was an interesting one, since the main point of the work was the presentation of new, rarely seen, paintings. The paintings were hung on the wall in a row, and the paintings were not separated from the wall by metal bars. The paintings were displayed at about waist height and were hung in a row along the walls. The paintings were not clearly marked by color, nor were they numbered. They were hung in a row and hung on the wall, and in the context of the current art world, they seemed to be very much part of the same body of work as Robert Ryman and possibly even as part of the same body of work as Joe Uelsman.There was nothing new about these paintings. They are largely variations on the same motif. A red line, a horizontal line, a horizontal line, a line with a vertical line, a line with a horizontal line, and a line with a vertical line. The paintings are all the same size, and they are all rectangular, with a few exceptions. The paintings are all large and dark, and there are no indications of the figure in the paintings. The figures are absent, except for a few scraps of paper which are pinned to the wall in a large rectangle. These scraps, which are the only evidence of the figures, are very vague, and they seem to be the traces of something that wasnt there. The figures are the only indications of the figures, and they are all gone. There is no explanation of what happened to them. They are gone. The paintings are not paintings, they are paintings. The paintings are paintings, but they are not the paintings. These paintings are not about paintings, they are about the characters and situations in which they exist. The paintings are about the characters and situations in which we live and which are important to us.