Nio
Ο Νίο είναι πολυεπιστημονικός καλλιτέχνης (ζωγραφική, φωτογραφία, σχέδιο) και γελοιογράφος. Τα κυρίως αφηρημένα έργα του εκπλήσσουν με το βάθος και τη λεπτότητά τους.
Ιδιαίτερα αναφερόμενος στα θέματα του κολάζ, της αφηρημένης γλυπτικής, των σιλουετών, το έργο του διακρίνεται από ένα νέο φως. Οι σιλουέτες που δημιουργεί στις φωτογραφίες του θυμίζουν παράξενα καρικατούρες.
Ο Nio είναι ένας Ρουμάνος καλλιτέχνης που ζει και εργάζεται στο Clichy-sous-bois στη Γαλλία. Ξεκίνησε την καρικατούρα το 1983. Αποφοίτησε από το Instituth Kamprath, το τμήμα καρικατούρας και γελοιογραφίας τύπου στο Darmstadt της Γερμανίας το 1995 και από το Ινστιτούτο Phoenix, τμήμα διαφημιστικού σχεδιασμού, στο Cluj Napoca της Ρουμανίας το 2001. Συμμετείχε σε πολλές εκθέσεις όπως η Hypergallery, σε συνεργασία με την Hewlett Packard στο Palais de Tokyo στο Παρίσι το 2004. Είναι ιδρυτικό μέλος της Ένωσης Ρουμάνων Επαγγελματιών Καρικατουριστών, στη Macea της Ρουμανίας.
Ανακαλύψτε σύγχρονα έργα τέχνης από το Nio, περιηγηθείτε σε πρόσφατα έργα τέχνης και αγοράστε online. Κατηγορίες: σύγχρονοι γάλλοι καλλιτέχνες. καλλιτεχνική τομείς: Γλυπτική, Σχέδιο. Τύπος λογαριασμού: Καλλιτέχνης , μέλος από 2007 (Χώρα προέλευσης Ρουμανία). Αγοράστε τα τελευταία έργα του Nio στο Artmajeur: Nio: Ανακαλύψτε την εκπληκτική έργα του σύγχρονου καλλιτέχνη. Περιηγηθείτε έργα τέχνης, να αγοράσετε πρωτότυπα έργα ή upscale εντυπώσεις.
Αξιολόγηση καλλιτέχνη, Βιογραφικό, Στούντιο καλλιτέχνη:
OSMOSE • 8 έργα τέχνης
Δείτε όλαNIOTYPES • 16 έργα τέχνης
Δείτε όλαminiatures (serie 18 pieces) • 19 έργα τέχνης
Δείτε όλαalchimie • 20 έργα τέχνης
Δείτε όλαfragments de temps • 39 έργα τέχνης
Δείτε όλαoeuvres rondes • 13 έργα τέχνης
Δείτε όλαcollages sur papier • 27 έργα τέχνης
Δείτε όλαportraits des objets • 4 έργα τέχνης
Δείτε όλαprofile casting • 20 έργα τέχνης
Δείτε όλαΑναγνώριση
Η καριέρα του καλλιτέχνη είναι πολλά υποσχόμενη
Ο καλλιτέχνης σπούδασε τις τέχνες μέσα από τις ακαδημαϊκές του σπουδές
Τα έργα του καλλιτέχνη έχουν γίνει αντιληπτά από το συντακτικό επιτελείο
Ο καλλιτέχνης πωλείται σε γκαλερί
Ασκεί το επάγγελμα του καλλιτέχνη ως κύρια δραστηριότητα
Βιογραφικό
Ο Νίο είναι πολυεπιστημονικός καλλιτέχνης (ζωγραφική, φωτογραφία, σχέδιο) και γελοιογράφος. Τα κυρίως αφηρημένα έργα του εκπλήσσουν με το βάθος και τη λεπτότητά τους.
Ιδιαίτερα αναφερόμενος στα θέματα του κολάζ, της αφηρημένης γλυπτικής, των σιλουετών, το έργο του διακρίνεται από ένα νέο φως. Οι σιλουέτες που δημιουργεί στις φωτογραφίες του θυμίζουν παράξενα καρικατούρες.
Ο Nio είναι ένας Ρουμάνος καλλιτέχνης που ζει και εργάζεται στο Clichy-sous-bois στη Γαλλία. Ξεκίνησε την καρικατούρα το 1983. Αποφοίτησε από το Instituth Kamprath, το τμήμα καρικατούρας και γελοιογραφίας τύπου στο Darmstadt της Γερμανίας το 1995 και από το Ινστιτούτο Phoenix, τμήμα διαφημιστικού σχεδιασμού, στο Cluj Napoca της Ρουμανίας το 2001. Συμμετείχε σε πολλές εκθέσεις όπως η Hypergallery, σε συνεργασία με την Hewlett Packard στο Palais de Tokyo στο Παρίσι το 2004. Είναι ιδρυτικό μέλος της Ένωσης Ρουμάνων Επαγγελματιών Καρικατουριστών, στη Macea της Ρουμανίας.
- Ιθαγένεια: ΡΟΥΜΑΝΊΑ
- Ημερομηνία γεννήσεως : 1970
- καλλιτεχνική τομείς: Έργα επαγγελματιών καλλιτεχνών,
- Ομάδες: Επαγγελματίας Καλλιτέχνης Σύγχρονοι Καλλιτέχνες Της Ρουμανίας
Επιρροές
εκπαίδευση
Η καλλιτεχνική αξία έχει πιστοποιηθεί
Επιτεύγματα
Δραστηριότητα στο Artmajeur
Τελευταία Νέα
Όλα τα τελευταία νέα από τον σύγχρονο καλλιτέχνη Nio
participation exposition a Lecce / Italie
Palmieri Foundation Lecce
IMMEDIATE RELEASE
FONDAZIONE PALMIERI, Lecce, Italy
From 25 February to 08 March 2023
Primo Piano LivinGallery is pleased to present the contemporary art exhibition Venus Effect: Otherness of the Reflected Gaze conceived and curated by art critic and director Dores Sacquegna. The event under auspices by the Municipality and set up at the Palmieri Foundation in Lecce, will be inaugurated on Saturday 25 February at 7.00 pm in the presence of the mayor Carlo Salvemini, of the artists and the audience. During the opening day, is scheduled the Live performance AcustiKelettronix by the multi-instrumentalist musician and Italian composer Alberto "Nick" Bolettieri.
The theoretical debate on the representation of a subject or an artist's reasons for making a portrait is a phenomenon present both in art and in psychoanalysis and is linked to the profound nature of the individual, to his/her psyche, to the methods of perception of other than itself, to the relationship that is established between the subject/work and the painter/observer. In psychology this phenomenon is called the “Venus Effect”. We find an example in some famous paintings of the past such as that of Venus and Cupid by Velazquez, where the face of Venus reflected in the mirror turns its gaze to the painter or the viewer. This illusionistic method also used in photography and cinema is based on the idea that if the observer can see the portrait of the subject portrayed in the mirror, it means that the camera is not behind the actor. From this reflection comes the investigation of the exhibition entitled "Venus Effect: Otherness of the reflected gaze", which is not an exhibition of mirrors, but could be the story of the deception of the reflection, the symbiotic relationship that exists between the physical, visible, and real presence of the user and the imaginary, invisible, illusionistic presence of the object placed in front of. The work-body closes its circuit the moment it finds a gaze that questions it. The event is completed with the video art review titled "With Your Eyes" which is divided into short films, animations and interactive experiments that elevate the user from a simple spectator to a protagonist and an integral part of the story/work. On display the art catalogue with critical texts by Dores Sacquegna.
On display visual artists, video artists and musicians from the national and international scene, of different generations and backgrounds. The event is designed to create a constructive and multidisciplinary dialogue between the ancient Renaissance space of the Palmieri Foundation and the present of the contemporary art works exhibited according to a theme that plays on the otherness of the reflected gaze. With a selection of six animations and interactive experiments (four with music by Stuart Smith, and two by musicians Robert Ehle, Toby Rush), on display the American artist Anna Ursyn, whose works have been exhibited in important museums such as the Louvre, the Center Pompidou in Paris, the Tate in London, the MOMA Museum in New York City. Between idealized beauty and social messages emerge the female portraits by German Urban Artist Patrizia Casagranda, whose works, made on recycled materials, are collected and exhibited internationally. Between physical and digital identity, two light boxes from the Primo Piano collection by Gönül Nuhoğlu, an award-winning Turkish artist, known worldwide for her permanent public art in over twenty countries.
Painting has no limits or surface in the works by Pierluca Cetera, considered one of the most innovative Apulian artists also known abroad and on display with the series Suspensions and Purgatory, a labyrinthine installation on Dante's imagery. The theme of the double and of the specularity is present in the works of the Zero series by Apulian artist Fernando Spano who is also very active abroad and whose works play on the identity of icons and simulacra of ancient and contemporary art. The myth and ecstasy of the fragile Narcissus is renewed and investigates the sphere of subjectivity with the works by Apulian artist Luigi Caiffa, present on the Berlin scene and beyond. Questioning what the reality it is, in the invitation addressed to the user to reassemble the puzzle of an identity X by Apulian artist Monica Lisi with active exhibitions in Italy and some shows abroad. The identity of Self, archetypal and fragmented, is revealed in the works by Italian artist Maria Luisa Imperiali, known for the references to the self-portrait present in all her works. Beauty, death, transformation and change in the digital works by Lize Krüger, award-winning artist born in South Africa and based in the United Kingdom.
The mirror as a place to recognize or even disavow oneself is the story told in the video animation made by artistic duo with Nancy and Philip Barwell (she is from Algerian origins and Philip from England, both of them lives and works in France), they pay homage to the Allegory of bad government by Ambrogio Lorenzetti and by projecting the medieval painting at the time of the conflict between Russia and Ukraine. The control of reality and the nature of nothingness is present in the video by Iolanda Jansen, an internationally known young performer. The research of the Romanian cartoonist (French by adoption) Ioan "Nio"
Herteg is on the duality and symbology of archetypal and niotipi© images. Rebuilding the connection with oneself and re-recognizing where the mirror captures and shatters individual identities is the present research in the video The Garden of
Reflections: only one God/Self? taken from the project “Discomposed Portrait” by the Venetian artist Ivana Galli, known for her environmental installations and performances.
Perception and deception of forms in the work Three Mysterious Faces by Greek visionary artist George Pantelis Syrakis and redemption and damnation with the work by German artist and screenwriter Alexandra Kordas. A face-to-face between roles and faults, the research present in the work Crime Sisters by French artist Laurence Scheer, life and death, truth and fiction with the wok by the young American artist Chai Skyler Malin, known for her evocative images between what we are and what we will be. On the delicate balance that exists in the relationship between the Self and the Other, drama and fears, the hyper-realistic work by Hélène Planquelle, a young French artist and very active on a national level. Fears of the imminent also, in the work by young Russian artist Irina Vytyaganets, resident in Spain.
Alberto “Nick” Bolettieri, is an Italian multi-instrumentalist musician, composer and conductor, born in Milan. He has numerous concert and recording collaborations with great names of the international music scene in the field of jazz and pop music, including Nina Zilli, Marco Mengoni, Giuliano Sangiorgi, La Crus, Ennio Morricone, Armando Trovajoli, Paolo Fresu to name a few. Between 2010 and 2014, he held the role of principal trumpet in the orchestra accompanying the major Broadway musical shows, including Grease, Hairspray, Beauty and the Beast, Shrek, playing in Paris theatres and more. In addition to the concert field, he is engaged in the didactic field with the teaching of theory and music. On display with AcustiKelettronix, a new form of live solo performance that integrates improvisation and instantaneous composition of the trumpet with sampled and electronic sounds, played and driven live, obtaining each time a different and original performance connection with the exhibit space in which he performs.
Artists on display: Nancy & Philip Barwell (Algeria and UK), Alberto Nick Bolettieri (Italy), Luigi Caiffa (Italy), Patrizia Casagranda (Germany), Pierluca Cetera (Italy), Ivana Galli (Italy), Alexandra Kordas (Germany), Lize Krüger (South Africa), Ioan Herteg -Nio (Romania), Maria Luisa Imperiali (Italy), Iolanda Jansen ( The Netherland), Monica Lisi (Italy), Chai Skyler Malin (US), Gönül Nuhoğlu (Turkey), Hélène Planquelle (France), Laurence Scheer (France), Fernando Spano (Italy), George Syrakis (Greece), Anna Ursyn & Stuart Smith (US), Irina Vytyaganets (Russia).
Info: Renaissance venue of Palmieri Foundation (Ex Church of San Sebastian)
Vico dei Sotterranei, Lecce
Timetable: From Monday to Saturday from 16:30pm to 20:30pm
Morning and Sunday by appointment Phone art director: +39 349 37 20 659 primopianospecialprojects.com | primopianogallery@gmail.com
Free admission
Exposition a Bruxelles https://youtu.be/El6ldhVniPs
Rue de Laeken 83, Bruxelles, Belgique
la dernière série: niotype visible dans EXPOSITION - ART SHOPPING
Carrousel Du Louvre, Rue de Rivoli, Paris, France
exposition Lecce , Italie
Primo Piano LivinGallery Viale Guglielmo Marconi 4 Lecce 73100 - Italy
NOI SIAMO LA STORIA PERCHE` CI RACCONTIAMO
from 8/1/2011 to 16/2/2011
In today's society is difficult and almost impossible to think, always, the cohabitation and contact, the comparison of different cultures. The hybridization of cultures is as contemporary as an event, and resonates as a paradigm actually transparent, but requires precise depth.
The term "contemporary" is to indicate not only the 'now', the horizon of today's world. We know how fast the time and current world, as this is always in real time as a television, a space where images in a surprising speed often confusing. Internet becomes a virtual space in which the whole world joins you in a snapshot size. The contemporary consumer culture, changing fashions, new economy subject to abuse and inequality, the status symbol is not, does not coincide with the world of today, the horizon of our most basic everyday now, but it is also something that references , wanting to adopt a phenomenological perspective, all that is reasonably believed at the same time of life, the knowledge that exists, exists, consists of an event at the same time when everyone is acting, there is, he thinks, that, without be able to see or touch, is significant in the same line of practice, thoughts, concepts, values, norms: is the idea that others share the same thoughts and practices when each individual thinks and acts. The contemporary world, as the path to images, messages, in which events are reflected in a simultaneous instant, imposes the need to adopt a fundamentally new look, freed from the conception of "culture" as a separate closed, isolated, identified with a territory. An American anthropologist now in his latest book turns its attention to an interpretive paradigm of "ethnic landscape: the views of people who are so great multi-ethnic civilization in which we live. Tourists, immigrants, refugees, political exiles and non-seasonal workers and other groups and classes of people and "people" in motion and face the reality with the fantasy of having to move, to play a part, a role on the world stage, the life ... So the concept of culture as we have always understood why these keys is less interpretive hermeneutic reading of the territories of the human ethnic landscape is a mess, a mess, a plot in which we are entangled, entangled in a limited role, because one hand we believe we can qualify the entities, to which cultures are subsisting and separate identity as defined, delimited, circumscribed to the specific boundaries, subject to laws and rules of their transformation, implicit, intrinsic, on the other we are embarrassed when we have to define these cultures in contact, in the substrate, in comparison, and multi-cultural encounter: where to start, where it ends, what elements constitute it and really determine, define it? The trilogy identity-culture-land is now obsolete sense, almost obsolete, but at this time of approval and the globalization of civilization there is a growing need for a return to a sense of identity, community, recovery through a "red line" of memory, but tied to particular historical events which its territory, the signs typical humans, the settlement time in the territories of the theater stories, history and experiences, of the infinitesimal moments of everyday life which it is woven. As you can retrieve the size of the contemporary memory of the past?
Communiqué de presse
Ici, c'est ma propre alchimie.
Prenez votre temps et n'oubliez pas de me laisser vos recettes sur le livre d'or.
Merci de votre visite et à bientôt !
Ioan Herteg
Communiqué de presse
bienvenue!
[içi, c'est ma propre alchimie]
prenez votre temps et n'oubliez pas de me laisser vos recette sur le livre d'or. merçi
Merci de votre visite et à bientôt
Communiqué de presse
bienvenue!
[içi, c'est ma propre alchimie]
prenez votre temps et n'oubliez pas de me laisser vos recette sur le livre d'or.
Merci de votre visite et à bientôt
Ez is kampány?
Ez is kampány?
(2. old.)
Szabályos kiállításmegnyitó ropival, mûanyag poharakkal és a sokat ígérô, az áttetszô üvegen keresztül a déli napsütésben fölöttébb ígéretesen megcsillanó nedûvel. A kellékek tehát a lehetô legszokványosabban adottak. Ami szabálytalan, az a helyszín. Legalábbis nálunk. Hiszen kevésbé szoktunk-szoktattak hozzá az „útszéli" mûvészethez. A Fôtér 2-es számú háza elôtt a járdán, a választási pannók, a világba mosolygó elnökjelöltek tôszomszédságában állította ki Ioan Herteg a hely szelleméhez és az alkalomhoz igazodó karikatúráit. Ötletes rajzok, ötletes, szójátékokon alapuló, s ilyenformán lefordíthatatlan szövegekkel. A fôszereplôk a pártok, pártvezérek, elnökjelöltek, elsô pillantásra — s ugye, az ember az utcán nem ácsorog órák hosszat — majdhogynem egyenlô arányban. Ott van az udemeré is vizesen (ud) és menôfélben (mere), és ott Markó Béla egy Bella Marca nevezetû ragyogó reklámhölgy társaságában. A vicc kedvéért persze.
A járókelôk megállnak, mosolyognak vagy kajánul vigyorognak. Ioan Herteg, akit, többek között, a felesége „szponzorált", nem dolgozott hiába. Ez is kampány?
exposition a la librairie "lettre slaves" paris
Αρθρο
Αρθρο
Ioan Herteg - Parcours artistique
2006-2007 - Reliure, ADAC - Paris Sud, sous la direction du professeur Ajal-Antonio Leal (www.artmajeur/ligatore)
1998-2001 - Diplômé, Institut Phoenix, section design publicitaire, Cluj Napoca, Roumanie
1996 - Membre fondateur de l'Association des caricaturistes professionnels roumains, Macea, Roumanie
1994-1995 - Diplomé, Instituth Kamprath, section caricature et dessin de presse, Darmstadt, Allemagne
1998 - Bacalauréat électromécanicien, Baia Mare, Roumanie
1983 - Début en caricature
Expositions personnelles
1996 - Caricature, galerie Artis, Baia Mare, Roumanie
2000 - Caricature, performance art, Cluj Napoca, Roumanie
2004 - Mixed media, Institut Culturel Roumain, Paris
2005 - Mixed media, Centre d'animation Mairie 17°, Paris
2010 - Mixed media, porte ouvertes, Bagnolet
2011 - Peinture, Bagnolet
Expositions collectives
1996 - Caricature, Macea, Gura Humorului, Roumanie
1997 - Caricature, Targu Mures, Roumanie
2000 - Caricature, Baia Mare, Roumanie
2004 - Mixed media-photo, Hypergallery,en collaboration avec Hewlett Packard, Palais de Tokyo, Paris
2005 - Mixed media, collage sur papier, Sellam Gallery, Paris
2008 - Collage sur papier, Galerie Artwist, Paris
Ioan Herteg - Artiste contemporain - Récompenses
1992 - Caricature, Bucarest, Roumanie
1996 - Caricature, Gura Humorului, Roumanie
2000 - Caricature, Baia Mare, Roumanie
2007 - artmajeur silver award
Αρθρο
"... de la pierre au bois, de la matière figurative à l'abstraction, de l'objet récupéré une renaissance sous d'autre forme; transformateur de la surconsommation en poésie, Ioan nous amène dans son monde qui nous transporte avec légèreté et force.
Son œuvre est un éveil écolophilosophique." Cecile Prot
" ... ce qu'il cherche, Ioan Herteg, en sachant ce qu'il cherche, c'est la naissance de la forme. Et il trouve des solution subtiles. Mais il ne s'agit pas uniquement d'un problème formel, mais d'une identité. Son œuvre est une investigation de sa propre personnalité artistique..."
Gavril Zmicala
participation expo collective "primopianogallery" Lecce, Italie, 8.01.2001 - 16.02.2011
NOI SIAMO LA STORIA PERCHE` CI RACCONTIAMO
from 8/1/2011 to 16/2/2011
In today's society is difficult and almost impossible to think, always, the cohabitation and contact, the comparison of different cultures. The hybridization of cultures is as contemporary as an event, and resonates as a paradigm actually transparent, but requires precise depth.
The term "contemporary" is to indicate not only the 'now', the horizon of today's world. We know how fast the time and current world, as this is always in real time as a television, a space where images in a surprising speed often confusing. Internet becomes a virtual space in which the whole world joins you in a snapshot size. The contemporary consumer culture, changing fashions, new economy subject to abuse and inequality, the status symbol is not, does not coincide with the world of today, the horizon of our most basic everyday now, but it is also something that references , wanting to adopt a phenomenological perspective, all that is reasonably believed at the same time of life, the knowledge that exists, exists, consists of an event at the same time when everyone is acting, there is, he thinks, that, without be able to see or touch, is significant in the same line of practice, thoughts, concepts, values, norms: is the idea that others share the same thoughts and practices when each individual thinks and acts. The contemporary world, as the path to images, messages, in which events are reflected in a simultaneous instant, imposes the need to adopt a fundamentally new look, freed from the conception of "culture" as a separate closed, isolated, identified with a territory. An American anthropologist now in his latest book turns its attention to an interpretive paradigm of "ethnic landscape: the views of people who are so great multi-ethnic civilization in which we live. Tourists, immigrants, refugees, political exiles and non-seasonal workers and other groups and classes of people and "people" in motion and face the reality with the fantasy of having to move, to play a part, a role on the world stage, the life ... So the concept of culture as we have always understood why these keys is less interpretive hermeneutic reading of the territories of the human ethnic landscape is a mess, a mess, a plot in which we are entangled, entangled in a limited role, because one hand we believe we can qualify the entities, to which cultures are subsisting and separate identity as defined, delimited, circumscribed to the specific boundaries, subject to laws and rules of their transformation, implicit, intrinsic, on the other we are embarrassed when we have to define these cultures in contact, in the substrate, in comparison, and multi-cultural encounter: where to start, where it ends, what elements constitute it and really determine, define it? The trilogy identity-culture-land is now obsolete sense, almost obsolete, but at this time of approval and the globalization of civilization there is a growing need for a return to a sense of identity, community, recovery through a "red line" of memory, but tied to particular historical events which its territory, the signs typical humans, the settlement time in the territories of the theater stories, history and experiences, of the infinitesimal moments of everyday life which it is woven. As you can retrieve the size of the contemporary memory of the past?
participation expo collective "primopianogallery" Lecce, Italie, 8.01.2001 - 16.02.2011
NOI SIAMO LA STORIA PERCHE` CI RACCONTIAMO
from 8/1/2011 to 16/2/2011
In today's society is difficult and almost impossible to think, always, the cohabitation and contact, the comparison of different cultures. The hybridization of cultures is as contemporary as an event, and resonates as a paradigm actually transparent, but requires precise depth.
The term "contemporary" is to indicate not only the 'now', the horizon of today's world. We know how fast the time and current world, as this is always in real time as a television, a space where images in a surprising speed often confusing. Internet becomes a virtual space in which the whole world joins you in a snapshot size. The contemporary consumer culture, changing fashions, new economy subject to abuse and inequality, the status symbol is not, does not coincide with the world of today, the horizon of our most basic everyday now, but it is also something that references , wanting to adopt a phenomenological perspective, all that is reasonably believed at the same time of life, the knowledge that exists, exists, consists of an event at the same time when everyone is acting, there is, he thinks, that, without be able to see or touch, is significant in the same line of practice, thoughts, concepts, values, norms: is the idea that others share the same thoughts and practices when each individual thinks and acts. The contemporary world, as the path to images, messages, in which events are reflected in a simultaneous instant, imposes the need to adopt a fundamentally new look, freed from the conception of "culture" as a separate closed, isolated, identified with a territory. An American anthropologist now in his latest book turns its attention to an interpretive paradigm of "ethnic landscape: the views of people who are so great multi-ethnic civilization in which we live. Tourists, immigrants, refugees, political exiles and non-seasonal workers and other groups and classes of people and "people" in motion and face the reality with the fantasy of having to move, to play a part, a role on the world stage, the life ... So the concept of culture as we have always understood why these keys is less interpretive hermeneutic reading of the territories of the human ethnic landscape is a mess, a mess, a plot in which we are entangled, entangled in a limited role, because one hand we believe we can qualify the entities, to which cultures are subsisting and separate identity as defined, delimited, circumscribed to the specific boundaries, subject to laws and rules of their transformation, implicit, intrinsic, on the other we are embarrassed when we have to define these cultures in contact, in the substrate, in comparison, and multi-cultural encounter: where to start, where it ends, what elements constitute it and really determine, define it? The trilogy identity-culture-land is now obsolete sense, almost obsolete, but at this time of approval and the globalization of civilization there is a growing need for a return to a sense of identity, community, recovery through a "red line" of memory, but tied to particular historical events which its territory, the signs typical humans, the settlement time in the territories of the theater stories, history and experiences, of the infinitesimal moments of everyday life which it is woven. As you can retrieve the size of the contemporary memory of the past?
parution dans Nature Art Today 2010
voici le lien:
parution dans ,,la bible de l'art singulier'', ed. lelivredart 2008, page 70
pour visualisez la page, voici le lien:
bible-singuliers-2.php
Ioan Herteg - Demarche artistique
S’il faut nommer une chose, je l’appellerais l’épreuve du temps. Parce que tout est lié à ça. Tout.
Enfant, je voulais d’abord être archéologue. Et je le souhaite toujours ! Jamais éloigné de mon goût pour la nature où j’ai agrandi, je trouve l’inspiration dans l’enfance, toujours à la recherche de traces, empreintes, écritures, de choses oubliées ou abandonnées. Attiré par les choses qui ont vécu déjà une histoire, qui, quelque part, ont déjà une mémoire, je me laisse guidé par les matériaux que je trouve.
Je travail par séries et, en fonction de cela, j’essaye de les mettre ensemble dans l’état brut, cet à dire, de trouver un aspect graphique ou esthétique (qu’est ce que l’on attend d’un œuvre d’art), en utilisant leurs « défauts », découpages, trous, déchirures.
Pour moi, l’essentiel d’un œuvre d’art ce n’est pas ce qu’elle présente comme signe, symboles ou éléments présentés. C’est l’histoire cachée, un mélange de réalité vécue ou pas, et la notion créé dans l'imaginaire de celui qui regarde.
Entre abstraction et figuration, j’utilise des symboles pour donner la chance d’accéder à des nombreux mystères.
Ioan Herteg - Nio