THALBERG & arte

Dusan Dzamonja – Sculptures and Projects

Tijana Gogić — Sun, 21 Oct 2018 12:42:00 +0000

Exhibition that we have the honor of attending is part of the joint project of Arte gallery from Belgrade and Thalberg gallery from Zürich. In the exhibition space of the later, during the autumn of 2017, exhibition of sculptures and drawings of Dušan Džamonja took place. Exhibition in Zürich should be seen in the light of the will to promote the art of the artists significant for the Yugoslav history of art on a global scale and to secure it the position it deserves. Great eﬀort of artist’s family to promote the eternal artistic legacy of this distinguished creative individual should be given praise. The intention of the organizer of this project is to acquaint artistic audience in Belgrade with the opus of one of the greatest persons of art in more recent local history. Although scientific apparatus is not prone to using bombastic and eulogistic epithets, we have a need to employ them when talking about this multiply awarded visionary with international exhibiting career, whose works found a place in many private and public collections around the world.

…

Only provisionally, the exhibition is divided into two parts: sculptures and projects – mobile sculptures of smaller dimensions and projects presented with the aid of usual methods used by architects – models, plans and print presentations of 3D solutions. Curator’s idea was to observe the strength of the relation between Džamonja’s sculptural and architectural solutions, i.e. to show a way by which the dominant curved, spherical, oval and angular shapes represented in sculptures are transposed to large-scale buildings. Exhibited works testify of the unity of architectural solutions and sculptures. Lesser format sculptures whose aesthetic qualities Džamonja raised to a masterful level are truly real collector’s exceptions. Works of „home plastic“ possess the same strength as the giant „sculptures“ (monuments and buildings) out in the open. The same relation exists between sculptures and works on paper which have been exhibited together many times. There is an unbreakable bond between these two media which are equally important for Džamonja as means of exploring creativity. Džamonja’s drawings, as bases of all other forms of visual arts – painting, sculpture, architecture, design – possess the same conviction and concreteness which exude from sculptures and other objects. Sometimes, and we agree with Darko Glavan, there is a dilemma whether 2D solutions are preparatory works on paper for the future 3D free-form sculptures or completely autonomous achievements.

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Jelena Lazarevic, Art Historian

Dusan Dzamonja’s Artworks

More about the Exhibition

Nikola Zigon – As If It Had Been A While Ago

Tijana Gogić — Sat, 28 Jul 2018 13:06:28 +0000

What is the worth of living if we do not remember our life
Frédéric Beigbeder

THE THALBERG GALLERY is proud to present the exhibition
NIKOLA ŽIGON – AS IF IT HAD BEEN A WHILE AGO,
from August 30th, 2018 until September 21st, 2018.

Through this exhibition, Nikola Žigon embarks on a journey through his own memory map. A journey that has its duration, shortcuts and stray paths, as well as its final destination. What is required for this is that the right preconditions are created, and it would appear that such a moment has arrived in the creative opus of Nikola Žigon. The works seem to have been developed and materialized parallel with the images being lit up in the artist’s spirit. They exude uncommon ease and freshness, which the artist achieves when he does not let skill take precedence over curiosity, and are firmly founded on the artist’s clearly defined attitude, visible in each phase of the investigative process, that is, cycle.

You are welcome to attend the opening on August 29th, 2018, at 6 p.m.

Petar Mirkovic | Drawings

Tijana Gogić — Thu, 19 Apr 2018 17:02:18 +0000

The Gallery Thalberg proudly presents the exhibition Petar Mirkovic | Drawings, from April 24th 2018 to June 29th 2018.

Petar Mirkovic is a visual artist of Serbian origin who has been building his international career for more than a decade by exhibiting his work at many large fairs around the world. We represent charcoal on paper drawings based on contrasts – a powerful stylistic tool of his art. Roads, speed and reflection, on one side, and frozen moment with protagonists caught as if in a photograph, on the other. The horizontal is in contrast with vertical, often accentuating the diagonal. This dynamic setting has been rounded up with the exquisite treatment of light. The scene is composed by means of dominant contrasts between black and white, light and darkness, characteristics of film noir and photography. Processing of various textures, metal, water, reflections and accents of light, richness of shades and shadows in coloured surfaces point to a great drawing artist.
A catalogue is edited along with the exhibition.

You are welcome to attend the opening on April 24th, 2018, at 6 p.m.

Pierre Schwarzenbach － The Post-Concrete Way

Tijana Gogić — Wed, 06 Sep 2017 22:45:19 +0000

Pierre Schwarzenbach’s work shares, with concrete art, a dedication to non-figurative art and restriction to non-referential basic visual features like lines, rectangles, and circles. His expressions of emotion, however, set his work apart from other Zurich-based concrete artists. For Schwarzenbach, the materialization of emotions is more important to him than calculation, regulation or perfection. Sensuality and feeling, as mediated by the pictorial surface, is a central concern for him; his compositions are free of dogmatics. If his pictures were music, one would sense delicate, harmonic dissonances. He alters his compositions, meticulously and without peace, until the interplay of weight and counterweight dissolves ordinances from above and below. In his painting, leanings may be noticed towards abstract expressionism with its spatial depth, though it skirts a traditional art-historical classification.
The artist’s generic term “post-concrete” is striking and apt, insofar as it carves a path from the known to the unknown, flourishing in possibility. In its complexity, Schwarzenbach’s work is counterpoint to mid-20th century informal painting. Just as other Zurich concrete artists – especially Richard Paul Lohse – worked from a socio-political postulate, Pierre Schwarzenbach, too, has social concerns: “I would like to oppose the increasingly shrill, louder and more brutal impulses of the digital age. With each picture, I invite onlookers to guiet contemplation. Viewed in this light, my post-concrete painting is a meditative painting, a kind of poetic constructivism.”
Raised in a family with a dynastic heritage in the silk industry, the young Pierre Schwarzenbach developed a great sensitivity to materials, a sensitivity he honed in the department of textile design at Niederrhein’s University of Applied Sciences in Krefeld. This sensitivity, first marshalled in the service of silk companies like Abraham and later Hermes Paris, was then transposed to his art. The bright shades he had once played out on the haute couture catwalks lost their glamour in his artwork, though they gained a new complexity and depth in execution.
In the graphic workshop of the Zurich artist Kfaus Damker (1930-2009), Pierre Schwarzenbach learned the techniques of fine art from scratch. His mentor introduced him to the full breadth of graphic techniques and encouraged him to experiment with new materials. Thanks early on to Damker’s instruction, Schwarzenbach remains knowledgeable about contemporary painting media and techniques. Always in search of a deeper surface, Pierre Schwarzenbach often works with sand, wax, graphite, lacquer, and rare pigments. The gold leaf he uses in certain pictures is applied on a specific structure, handled in such a way that its radiance is amplified without seductive sweetness. He frequently employs old masters oil painting effects with acrylics, layering many colours, applied pointiLListicaLLy, so that base tones come to reflect fight on the surface, producing effects of the highest subtlety. In this technique, blacks and whites remain the primary contrasts, as they do in printmaking, while shades of colour, in their scarcity, shine all the more strongly.
The artist’s ways of post-concrete art sometimes lead to monochrome images, yet another break with tradition. It is not the gesture of brushwork that distinguishes them but rather a sensitivity and modesty in structure, creating a near-haptic attraction for the viewer. The philosopher Edmund Husserl spoke of the phenomenology of silk and its unique splendour, positing that although its splendour is visually present, its unique smoothness cannot be seen but only be felt – or perhaps imagined from the way it reflects light – something Schwarzenbach masterfully addresses in his work. This attempt at tactile perception in a visual medium plays a fascinating role, approaching synesthesia. Zurich concrete art is quite different: in it, the serial sequence of works is quite characteristic of a rigid system. As a former textile designer, the artist is familiar with this kind of repetition, but he is opposed, however to categorizations of artistic “branding” by such a system. Every image, for Schwarzenbach, is its own new adventure. Within this exhibition, it might be said, the only constant is his handwriting.

Yves Schumacher, Zurich March 26^th, 2017

Miljus － Monograph

Tijana Gogić — Tue, 05 Sep 2017 15:47:26 +0000

Branko Miljus was one of the most productive artists in our community for over fifty years. Given the characteristics of his art, the variety of the artistic techniques he used, and due to the development and transformation that occurred in his entire opus, his works were consistently current in the artistic representation and, at the same time, not current as literal examples of critics promoting some of the new phenomena.

Ljiljana Slijepcevic

Collector as a Curator and Selector

Tijana Gogić — Tue, 05 Sep 2017 15:25:08 +0000

With the “Collector as a Curator and Selector” project, we want to affirm collecting and point out the collector’s knowledge of choice of works of art. During the last couple of years, we have been privileged to make sure of the existence of the cultural treasure which mostly was unavailable to the professional public, other collectors, and the audience. Within this project, we would like to share our experience and show top works of art originating from more than fifty collections which were available for us.
We selected artists on the basis of their presence in, at least, three representative collections. Due to extensive material, we focused on the authors who were creating from the late forties to the late eighties of the 2oth century. We also reviewed the artists who stepped into the art scene after 1990, because we believe in their work, and think they will soon find their place in many collections.
The “Collector as a Curator and Selector” project is committed to all collectors, their love and passion for art, persistence and effort to preserve or expand their collections. To people who have developed true love for art which fulfills them and make them last.
We are honored to know them.

“Arte” Gallery Team
Belgrade, March 2013

Kalemegdan Bridge

Jelena Lazarević — Thu, 31 Aug 2017 10:58:10 +0000

“Kalemegdan Bridge” is an ideal project for huge functional ramp on Belgrade Fortress with high aesthetic characteristics. The project is signed by two world famous artists – Richard Deacon and Mrdjan Bajic.
Our latest mission is to promote this visionary collaboration of two respectable contemporary artists.
Please visit official websites of Belgrade Fortress,
Richard Deacon and Mrdjan Bajić.

Kunst 17 Zurich

Jelena Lazarević — Thu, 31 Aug 2017 11:26:11 +0000

We are happy to welcome you from October 26 to October 29, 2017 to the Art Fair “Kunst 17 Zürich” at ABB Halle 550 in Zürich-Oerlikon.

Opening hours
Tuesday – Friday 2.00 pm – 6.30 pm
Saturday 10.00 am – 17.00 pm
and by appointment.

We are showing works of Marina Abramovic, Francis Bacon, Mrdjan Bajic, Marc Chagall, Christo, Marko Crnobrnja
Alan Davie, Nikki de Saint Phalle, Dusan Dzamonja, Sam Francis, Keith Haring, Le Corbusier, Roy Lichtenstein
Minya Mikic, Joan Miro, Pierre Schwarzenbach, Andy Warhol and Herbert Zangs.

“Marble and Sounds” International Art Fair

Tijana Gogić — Fri, 08 Sep 2017 17:12:20 +0000

“Marble and Sounds” International Art Fair is one of the first Art Fairs founded in Europe, since it lasts from 1965. It takes place in Arandjelovac, Serbia, and its programme lasts two months every summer, including artistic exhibitions, music concerts, theathre shows, literature presentations, and two open-air sculpting simposiums, “The World of Ceramics” and “Beli Vencac”, which was named by the famous type of marble from Arandjelovac.
In 2017, “Thalberg & Arte” Gallery exhibited the works of Pierre Omcikus in “Marble and Sound’s” official art gallery.
The exhibition can be seen until the August 14, 2017.
Except Pierre Omcikus, also Mrdjan Bajic, Rados Antonijevic and Vladimir Velickovic paricipated in “Marble and Sounds” International Art Fair, whom are artists that our gallery represents. Their marble sculptures are now part of the permanent open-air marble sculptures exhibition in Bukovicka Banja Park in Arandjelovac, the biggest exhibition of its kind in Europe. The permanent “Marble and Sounds” exhibition becomes richer with few artworks every year, with annual sculpting simposiums.

Kunst 15 Zurich

Tijana Gogić — Thu, 07 Sep 2017 12:14:54 +0000

We are proudly looking back to our first successfull fair participation from October 29 to November 1, 2015 in “Kunst 15 Zürich” Art Fair, ABB Halle 550, Zürich-Oerlikon, where we presented the works by Ben Vautier, Sam Francis, Richard Deacon, Bernar Venet, Eduardo Chillida, Andy Warhol, Roy Lichtenstein, Jean Tinguely, Francis Bacon, Turi Simeti, Dieter Roth, Günther Förg, Christo, Arman, Zoran Music, Cuno Amiet, Dusan Dzamonja and Mrdjan Bajic. We would like to say thank you for the many visitors at our booth, for the nice conversations and the big interest in the exhibited artists.