Andrew M. Mezvinsky "A Movable Feast"
Donnerstag, 17. November 2011 - 19:00 Uhr
Pratersauna
Die Bildserie “The Movable Feast” bestehend aus Gemälden, die die Grenzen zwischen Realität und Traumwelt verwischen, wird vom Künstler Andrew Mezvinsky (USA) dazu benutzt, das Publikum zur Interaktion mit den Kunstwerken, ihm selbst und dem Raum zu verführen. Durch diese Interaktion entstehen wiederum neue Räume wobei sich dem Publikum individuelle Interpretationsmöglichkeiten eröffnen.
http://www.lostartist.org/
Vernissage 17.11.2011, 19h
Ausstellungsdauer: 18.11. - 17.12.2011
Sonntag, 20.11.2011, 13h
Frühshoppen mit Mezvinsky: Eine Performance mit Wein.
Finissage 17.12.2011, 19h
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Andrew M Mezvinsky has been involved with different projects in the past years but constructing scenes, inventing peculiar characters and telling stories has always been part of his work. Mezvinsky managed to bring his work onto a theatre stage just recently and it shouldn’t be difficult to imagine his drawings in interaction with dancers, actors and audience. But on the other hand his drawings themselves may act as stages based on some classical compositions. Sometimes they recall paintings of renaissance and baroque masters. Of course this is not a simple re-staging of old schemes but the drawings are authentic compositions that, historically speaking, can only belong to the present era of contemporary art and post modernist theoretic ground. The classical ambience and architectural structures in Mezvinsky’s drawings are always populated with fantastic characters, creatures from artist’s own stories and mythology although not too distanced from recognisable models in their conceptual structure and visual expression keeps the artworks not being hermetically incomprehensive.
There are two kinds of characters on the drawings. Beside those that fit well with the perspective of the surrounding architecture another specie of smaller dimensions are often encountered. Perhaps they are in some regard more common and regular people but in a way resembling the medieval depictions of everyday-life scenes or side stories inside the composition of the main historic or religious subject. The two worlds were merged together without any worries about the rules of optical perspective and simply following the rules of hierarchy, which not necessarily means rules of importance. It is easy to agree that the king is more important than a hunter but the knowledge of hunting is hardly more important that show-up of being a king. Mezvinsky doesn’t make any difference in importance of the two worlds, the two realities and manages to perform co-existence of two independent layers that manage to live in a common space. The world of giants (it always takes to chose the side in relations) is somehow determined by architecture and other stage props while the liliputs (taking the side again) seem quite indefinite in mostly unlimited inner space. It is more common to perceive space to be infinite in its outward expansion and take the fact that after one comes zero as granted. Physics teaches us that the universe is expanding but mathematics is very clear that there is an infinite space between one and zero just like between one and the infinite. But when we place some limits just like Mezvinky designs the architecture in his drawings then the indefinite space becomes an infinite inner world. In a way this reminds on Albert Einstein’s statement that there exist two infinite things; the universe and human stupidity but about the universe he wasn’t sure. - Vasja Nagy
Vasja Nagy (SLO) ist Kurator und Kunstkritiker
http://www.vasjanagy.org/