Interview with Philipp Artus, Part 1

Berlin-based artist Philipp Artus speaks at the Phillips on May 11, and his work will be featured at the 2017 Contemporaries Bash: Berlin Underground. We asked the artist a few questions about his process and his work at large.

FLORA, Philipp Artus

Tell us a little about yourself. When did you first begin pursuing the arts?
I grew up in Bremen, a German city close to the North Sea. After school I moved to Nantes in France to study art and experimental film. I then spent one year in Portugal with a cat to learn about character animation and its relation to sound and music. Later I continued my studies of Media Art in Cologne/Germany, where I developed an interest in site-specific installations. After graduation I moved to Berlin, where I have lived and worked since 2013.

What is your creative process like?
I often start with an idea and let it develop its own life, so that I can follow it. Thus, when I am working on a project I never really know where the idea will take me. I need this sense of discovery to keep me excited throughout the project. This curiosity makes me get to know various different artistic fields and sometimes allows me to draw unusual connections between them.

One example for this working style is my most recent project FLORA. I started to learn text-based coding from scratch about two years ago. At first it felt like I was going nowhere, but after a while I learned how to combine my knowledge about animation with the principles of computer programming. The result was the installation FLORA, which is a combination of animation and algorithmic art. I think it is this mixture of different artistic fields that characterizes my work and makes it unique.

Installation view of Artus’s BerlinerListe exhibition

Do you have any recurring themes you like to play with in your work?
Life is a recurring theme in my work that I like to play with. The word animation originates from the Latin word “anima”, meaning “give life to.” In my work I am exploring animation, which is essentially the expression of life through movement. Due to this connection to life, even my most abstract works have a figurative spirit.

Also, I often like to create dialogues of oppositions: a fast-paced film can simultaneously feel slow and meditative. A serious topic might be mixed with whimsical and absurd ingredients. A timeless theme can be combined with playful quotations of popular culture… I like surprising myself and the viewer, and challenging our preconceived ideas and stereotypes.

Check back next week for Part 2 of this interview.

Matthias Pintscher: Pathways between Sight and Sound

Matthias Pintscher’s music will be performed at The Phillips Collection by members of the International Contemporary Ensemble tomorrow, Thursday, December 13 at 6:30 pm. Click through for program details and reservations.

Can the painter’s brush strokes ever become the composer’s notes? Can the canvas ever produce echoes of sound, and can music echo the subtleties of painting? The many-layered connections between visual art and music provide huge creative scope to experiment with the hypothesis, and indeed many artists from both fields have spent lifetimes investigating the possibilities. However the dichotomy remains: is there any true, and collectively meaningful way to unite the aural and visual senses through a synthesis of art and music?

For German composer Matthias Pintscher, who appears at the Phillips on Thursday as part of the Leading European Composers series, it is a question of how the connections between the two are made. Pintscher has made explicit reference to his inspiration from visual art. Many of his compositions take their names from painting and sculpture, and he is particularly drawn to art of the American minimalist tradition: Brice Marden, Robert Ryman, and Mark Rothko among others.

Pintscher has been quick to acknowledge the contradictions that music and art can present. In his notes for a work that appears on Thursday’s program, dernier espace avec introspecteur, he writes:

“It goes without saying that visual impressions cannot be composed, or ‘set to music’–there is no genuine, interdisciplinary way to translate between forms that are heard and those that are seen.”

This recognition is implicit in Pintscher’s approach. His music does not force an impossibility, it creates a pathway, a vessel between the two worlds that is more subtle and nuanced. Dernier espace avec introspecteur is Pintscher’s musical reaction and dialogue with a sculpture by the German artist Joseph Beuys.

The connections are gestural, formal, and even painterly; Pintscher consciously uses sound as a brush, and instrumental timbre becomes his canvas.

Each of the four pieces on Thursday’s Leading European Composers program have a connection to visual art.  Studies II and III for Treatise on the Veil are informed by a large work of the same name by the American artist Cy Twombly. Pintscher created a cycle of four works that interpret the themes of Twombly’s canvas: elasticity of time, the ephemeral nature of creation, and most prominently, silence. Pintscher’s music emerges from silence, and maintains a whispering, hovering, distance from it. The performance instructions for the studies are “floating, overcast, and very unreal” and the thin, almost precarious threads of Pintscher’s sound echo the fragility of Twombly’s painting. It is as if the sound—as the image—were on the very brink of collapse

The solo piano piece, on a clear day, to be performed by pianist Phyllis Chen, takes its inspiration from a piece by the American/Canadian artist Agnes Martin. The work consists of 30 silk screens with horizontal and vertical lines lightly drawn on each screen to form grids. Martin’s use of restraint—of means, color, and movement—creates a state of vulnerability and the unequal lines and unpredictable variations suggest an uncertain visual world. In musical terms, it is neither a loud forte nor quiet pianissimo. It sits somewhere between sound and silence. Pintscher’s musical landscape elicits the same pathos; musical lines are scattered imperceptibly, faintly woven together in a shifting world of tonal ambiguity. There are points of return and departure throughout; it begins on a lone E flat harmonic, instructed to sound as strange and mystical as possible. This single utterance establishes the uncertain fabric of the piece, and we hear its distant cry throughout, suggestive of a faint memory of the past, but still resonating in the acoustic present, leading toward an unknown end. This question of the unknown and the limits of what language—musical or otherwise—can express, gets to the very heart of Pintscher’s aesthetic. The composer creates worlds of veiled sound that paradoxically inhabit states of movement and stasis. His goal is to seek out the space in-between.

Jeremy Ney, Music Consultant

A Geologist Painter Goes to Brussels

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A retrospective of Danish artist Per Kirkeby’s extensive body of work opened in February at the Centre for Fine Arts (BOZAR) in Brussels at the heart of its Let’s Dansk! program to mark the Danish EU Presidency.

Over 40 tireless years, Kirkeby has produced a huge body of work. He has mastered expression in painting, sculpture, film, poetry, and other media. With training in both art and arctic geology, thorough knowledge of art history, and familiarity with the philosophy of another renowned Dane–Søren Kirkegaard–Kirkeby is a rare polymath.His artistic range seems only natural given his expertise across disciplines, and his sense of continuity between art, science, and philosophy is embodied in paintings like Inferno V (1992) in The Phillips Collection.

The  retrospective in Brussels features more than 180 of Kirkeby’s works–including early Masonite “blackboards,” paintings, architectural models, sculpture, watercolor, and illustration–capturing the shifts and changes in his work as well as pervading thematic links. Kirkeby’s art is complemented by the “forbidden paintings” of Kurt Schwitters–realistic landscapes revealing a range beyond the artist’s typical dadaist style.

The exhibition touches on Kirkeby’s dialogue with art and nature: important and inevitable shifts and changes in material, sensitivity and responsiveness to the surrounding world, and continuity through time. Every shift draws from the past and fuels the future. Retrospective Per Kirkeby and the “Forbidden Paintings” of Kurt Schwitters is on view at BOZAR in Brussels through May 20, 2012. And that’s not all–another Kirkeby exhibit is on view in Germany through May 28 at Museum Küppersmühle für Moderne Kunst, and the Phillips looks forward to bringing his work to D.C. audiences this fall with Per Kirkeby: Paintings and Sculpture, 1964–2010 (Oct. 6, 2012-Jan. 6, 2013).