DARINA PEEVA PEEVA

portfolio / artists biography/ statement / contact


selected works 2011-2016 / objects

 

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Catalogue SYSTEM ERROR / 2016

46 pages, 210 x 297 mm
printed on PERGRAPHICA© Classic Rough 120g/m2, Mondi Paper GmbH
Text:
Dr. Philipp Maurer (A),
Prof. Dr. Galina Lardeva (BG)
Layout Concept: Darina Peeva
Printing: Gugler print (A)

Catalog is available at Kro Art Contemporaray
www.kroart.at

 

 

 

 

 

 

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O.T. / 2015
Algraphy
100x140cm

 

 

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mickey4

Goodbye Mickey Mouse V/ 2015
Algraphy / 60x50cm
  Goodbye Mickey Mouse VI/ 2015
Algraphy / 60x50cm

 

mickey1

Goodbye Mickey Mouse I, 2015
Algraphy
60x100cm

 

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Goodbye Mickey Mouse II, 2015
Algraphy
60x100cm

 

plexi

Object / 2014 / print, plexiglass / d - 30 x 6 cm


licht

Light Object / 2014 / letters illuminated / d - 20 x 6 cm

 


Tell me what you want – Darina Peeva / Michael Wegerer
by Hartwig Knack

Programatically, at the beginning of the exhibition, Darina Peeva paid homage to Marcel Duchamp – co-founder of conceptual art and attendant of dadaism and surrealism. In her piece of art „Hologram – XIII“ she integrated Duchamp’s „Roue de Bicyclette/Bicycle Wheel“ (1913), which is considered the first Ready-Made, the first Objet trouvé ever presented in artistic connectivity. As an everyday object, it was placed into a different context and raised to another – artistic – level.
How did Duchamp form this concept? In short, it dates back to the French poet Lautréamont (1846-1870) whose book „The Songs of Maldoror“ were to influence surrealism considerably five decades later. Especially one of his metaphors was decisive: Lautréamont described a young man as follows: „As beautiful as the encounter of a sewing machine with an umbrella on a dissecting table“. This phrase should later on be indispensable in the programmatic concept of Surrealism.
In a certain way, Darina Peeva’s art ties in with these ideas. She also uses, for her image spaces, objects which exist in reality, which we encounter in everyday life and which challenge the human perception. Frequently, she settles on mirrors or reflective coating as artistic material. Her works of art, graphic, painted, or installations of objects, reflect on stories and situations and transfer them experimentally into new interrelations, into a new context of reality. 
The picture named „Foreign Intervention“, containing the scriptural acronym „trust me“ reminds us of a surrealistic image. And thus we should – contrary to the demand „to trust“ – not trust the metallized peephole. Opposite, a metallized cylindrical object is suspended from the ceiling which when passing causes a sort of stroboscopic effect, reminding one of the onset of cinematography. We all are familiar with the historic praxinoscopes and zoetropes, the „marvel barrel“. A peek through vertical slots in the spinning cylinder’s outer side reveals a rapid succession of images giving the illusion of motion. There, like in Peeva’s works of art, human cognition, the deception of apperception, the creation of new levels of reality are again the predominant issues. A vis-à-vis can be found in the other room of the exhibition. Michael Wegerer presents one of Darina Peeva’s works on paper from the series „Hologram“, bent to a semicircular – thus picking up the cylindrical shape -, fixed to the wall. Opposite, another sheet from this series, of which Peeva has cut out narrow vertical parts, thus evoking the association of the praxinoscope’s observation slits.
In her installation „Neon“, Peeva covers various semantic fields (semantic variations? the various connotations? Decline heißt auch verschlechtern, ist also ungeeignet) of the noun „Speculation“: presumption, suggestion, expectation, but also observation, mirroring, theorization, illusions, and phantasies. The artist illustrates these different levels by piling up the installation’s single components, which somehow prepare for the glance into some depth, into the environment.

Fotos: Jeff Wolf Leeb
Translation Lotte Deutsch


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Fotos: Jeff Wolf Leeb

Tell ma what you want
Darina Peeva / Michael Wegerer
Künstlerhaus / Vienna

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ipnc

New Prints 2014 at Christie's

International Print Center New York presents New Prints 2014, on view at Christie’s in Gallery 6, 20 Rockefeller Plaza, New York, NY, from July 9 - July 16, 2014. Gallery hours are 10am - 5pm, Monday-Saturday
and 1pm - 5pm on Sunday. The exhibition consists of ninety-eight projects by eighty-five artists originally included in New Prints 2014/Winter and New Prints 2014/Summer at IPCNY. The New Prints Program is comprised of a series of juried exhibitions organized by IPCNY three times each year featuring prints from all sources made within the past twelve months.

http://www.ipcny.org/node/2552

 

 



 

 

 

Hologram VII / 2014
Algraphy
50x60 cm
     
h1   Hologram VI / 2014
Algraphy
100x60 cm
     
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Hologram V / 2014
Algraphy
100x60 cm

     
h1   Hologram I / 2014
Algraphy
100x60 cm
     
     
h3   Hologram III / 2014
Algraphy
100x60 cm

 

 

 

 

 

 

 

 

 

 

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The graphic sheets of Darina Peeva are a good example of how behind even the most peculiar and seemingly arbitrary game of the fantastic and the illusionary, stands an orderly system, precisely traced interrelations, a balance, which is preset at every moment and at every point, an outline of associative chains and their interruption. In this particular case this means composing graphically developed photographic images; a combination of different surfaces and “matters”, precise rhythmization of geometrical elements, using a central compositional accent. The title is also situated in this perspective: the series Foreign Intervention, includes in its mathematically calculated world empty circles, in which the fine game of the geometrical forms is “penetrated” in its specifics. As a result, the “circles” become a center of different projections: projections of matters, projections of interruptions, projections of “differences”. Thus the circular incisions create spaces between the spaces. The aggression of the “foreign” against the as stated in the title, becomes a complex game of transitions.

It is not a coincidence that one of the traces in the meaning of the “empty space” leads to the phenomenological process of the choice as an esthetic act: the empty space is the ever unknown component of the artifact, which each individual perception fills in based on the experience, its situation, its individual choice. The circle, however, is a simple hermeneutic figure expressing the dynamic transition between the individual specifics and the abstract unattainable completeness- a figure of the wholeness.

The effect of the all-possible interlacing designs in the graphics of Darina Peeva is also achieved through this “geometrical” dynamics: in the amplitudes between the “folded” and the “flat” sections, in the relief development of household specifics(cutlery, a chair covered with drapery or a piece of clothing, a bed) amidst the abstract spaces and shadows.

Assoc Prof Dr Galina Lardeva

Art Historian

Artistic Director of the National Autumn Exhibitions 2013


Foreign intervation I/ II / 2013
Algraphy
90x90 cm

   
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Unnatural disasters” is a graphic series created from February through April 2012.There are 12 compositions and in each I show a certain point in a story that has already started, the beginning and end being unknown for the viewer.

The initial sensation of peace and quiet in the prints is sought for through the deliberate removal of color. With the white, which according to Kandinsky ”….affects the soul like absolute silence…,” I want to build an image of sterility, an artificially maintained environment, where there are mixed elements and images of daily life, political news and commercials. This mix of real and unreal gives the viewer the opportunity to perceive the different images unemotionally, distantly and with no sense of guilt. The viewer is just an observer, without the right to change anything, but also with no responsibility for what happens.

I combine images of animals with objects (firearms and bombs) and place them in situations different than their normal habitats (interiors and public buildings). That way these symbols of innocence and helplessness (dear and kind) quickly change into carriers (representations and significations) of violence and death.

The everyday news about wars, revolutions and human mistakes, for example, the sinking of the Costa Concordia, change our perceptions of what is natural and normal. We are getting used to receiving information about death and terrorist threats. The unnatural disasters caused by politics and peopl with power are becoming more global and they don’t leave us room or possibility to escape.

 

 

 

 

 

 

Unnatural desasters / VIII / 2011
Algraphy
49 x 32 cm

 
 
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