Project omschrijving

MURAL Machinepainting Show @ART ROTTERDAM 2020

ArtistThomas Trum, Ash Keating (AU), Rutger de VriesBeschrijvingOn the property of the Van Nelle factory, on the opposite side of the entrance to the fair, three (inter)national mural specialists will be on a rotation every other day to create a dynamic mural on a temporary wall, that comes about through interventions of mechanical resources.
DimensionsVariabelMaterialsPaint
LocationArt Rotterdam Van NellefabriekArt directorMarleen van Wijngaarden
ProducerMURALS Inc.Thanks toDroom & Daad, Art Rotterdam, Convexarchitecten,

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MURAL Machinepainting Show @ART ROTTERDAM 5 – 9 FEB 2020

Thomas Trum, Ash Keating, Rutger de Vries

On the property of the Van Nelle factory, on the opposite side of the entrance to the fair, three (inter)national mural specialists will be on a rotation every other day to create a dynamic mural on a temporary wall, that comes about through interventions of mechanical resources.

MURALS Inc. is a Rotterdam based agency specializing in contemporary murals. The agency focuses on a stratification within the offer, looking with emphasis on the architectural context and selects mural specialists based on autonomous principles. MURALS Inc. wants to emphasize on the visual qualities and original trends within the different art movements that manifest themselves in the field of Wall Art. Post-graffiti, machine and drone painting,lettering, text based art, calligraffiti, super graphics, public murals, freestyle painting, deconstruction, post futurism, concrete art are examples.

The Mural Machinepainting Show focuses on one of the development that is ongoing, namely machine painting. Artists use self-constructed tools to apply the paint. They base these techniques on substantive assumptions and lots of trials and errors. Applying the paint takes the form of an intriguing performance, the results ultimately are of an exciting and outspoken character.

Thomas Trum

Research is central to the oeuvre of the artist Thomas Trum (1989). This research is not limited to the material with which he works. Other parts and possibilities are also constantly being explored, such as how the material is processed and the carrier on which it is carried out. A constant in his work is paint, whether it concerns small-scale drawings or his colorful, large-scale works in public space. As an instrument, Trum uses, among other things, self-designed very large-format felt-tip pens, a machine for marking lines, and brushes on a drilling machine. All this results in unconventional methods and techniques with which the ‘images’ of his work find their way on paper, canvas, and directly on the wall. His style of working is often based on trial-and-error, in which the directness of the action in the creative process is an essential part of the extraordinarily fascinating result.

Rutger de Vries

The expansive painting installations of Rutger de Vries emerge from the seemingly contradictory acts of expression and concealment. His spatial interventions mark spaces in such ways that oftentimes they seem to disappear under colorful layers of paint. Divergent in both geometric visual language and more organic, fanning painterly surfaces, the uncompromising painterly landscapes initially echo the expressive character of an energetic, restless painter. However, visible traces occupy the installation’s scene: the tools left behind characterize the maker’s own absence.

De Vries’ work is influenced by traditions of both process painting and conceptual art, from which systematic logics arise that conform to the working conditions at hand. The outsourcing of artistic gestures to formula-like methods evokes associations with artists such as Sol LeWitt, although his canonical statement ‘the idea becomes a machine that makes the art is reinterpreted by De Vries and extended into self-developed tools and computer-controlled machines. By having this equipment determine the composition, form, and intensity of his automated paintings and drawings, De Vries investigates the scope of his own authorship.

Although De Vries’ practice stems from painting, it is at odds with the radical and visual tradition of the graffiti subculture. In graffiti terms, the act of writing a (preferably very visible) tag in public space is called bombing. Such markings are simultaneously a gesture of strong authorship and anonymity, navigating between decoration and destruction. To avoid the risks of prosecution, graffiti practitioners initially chose to protect their identities and remain obscure. Today, anonymity and the use of pseudonyms have turned out to be a farce: the grown popularity of ‘street art’ and the legitimization of rebellious attitudes in mainstream culture have turned them into a mere commercial strategy.

In reclaiming autonomy, De Vries acknowledges the impossibility of circumventing the artist persona: the art world is highly dependent on upholding the notion of authorship. By appropriating techniques such as aerosol spray paint, paint bombs, corrosive etching chemicals, and typography, De Vries blurs the value of his identity while reflecting the visual means of anti-establishment movements. Consequently, operating in the context of the visual arts, a new antagonist appears: while art spaces present themselves as public spaces, today many institutions are primarily occupied by privileged audiences. De Vries, originally working in the graffiti scene, bombs these traditional places for art reception with explosions of paint, in search of a new platform for painting and alternative exhibition formats.

Ash Keating (AU)

Keating’s painting process involves applying paint and water from both pressurised fire extinguishers and an airless sprayer to create dynamic, layered works of scale that harness the gravitational pull of paint down the surface of the structure.

Ash Keating has exhibited extensively in galleries and created numerous large-scale, site-responsive art projects in Australia and internationally since 2004.He has undertaken numerous large-scale painting commissions in public spaces, including the National Gallery of Victoria, Melbourne (2013), the Adelaide Festival Centre (2015), Sydney’s Domain (2018), as well as self initiated projects across Melbourne. Keating’s art practice has attracted significant attention in Australia and his works are held in many public and private collections including the NGV, NGA, MCA, AGNSW, MUMA and Artbank.

MURALISTS