KATRIN ALVAREZ domenica 19 agosto 2018 Login

Riduci 
     
 
RiduciLe opere di KATRIN ALVAREZ
   

 

 

In the beginning there was woman (2011)

oil on canvas  cm 95 x 125

 

 

 

 

Cognition (2013)

 pencil on board plus object cm 38x50x6

 

 

 

 

 

Virgin (2001)

oil on canvas object cm 105 x 105 

 

 

 

 

 

Freedom is just a hypothesis (2013)

pencil on board plus object cm36x42x4

 

 

  

 

Street girl (2006)

oil on canvas cm 41 x 53

 

 

 

Curriculum Vitae (2013)

oil on canvas cm65 x 75 x 5

 

 

 
 
RiduciHis Biography
   
Katrin Alvarez (birthplace Güstrow) is a qualified legal expert and editor. She has published several surrealistic satires and a novel.

Her paintings, which can be assigned to the fantastic realism, have already been exhibited in Israel, Canada, Italy, France, Austria, Switzerland, the U.S. and China.

Important awards:
In 2007, she won the Allan Edwards Award from the Federation of Canadian Painters (SFCA) in Vancouver.
In 2011, one of her works was selected for the "Museum of Fantastic Art" at the Pálffy Palace in Vienna.
In 2011, she was awarded with the Vivid Arts Network Award "Onore alla creatività e l'eccellenza nelle arti".
In 2012, Alvarez received the Grande Médaille d'Or MCA Azur at Cannes  and was awarded the Leonardo Prize (Painting) at the Chianciano International Art Award, 2012.





 
 
RiduciCurriculum Vitae
   

Soloshows (Selection):


2012    Palais Palffy, Vienna, Austria
2010    Palais Palffy, Vienna, Austria
           Galleria Tondinelli, Rome, Italy
2004   „Die kleine Weltlaterne“, Berlin, Germany
1981    Galerie Kunst und Psyche, Cologne, Germany
1978    Galerie Kunst und Psyche, Cologne, Germany
1972    Galerie Glaub III, Cologne, Germany

Groupshows (Selection):


2013    Moya-Museum, Vienna, Austria
           Luminarté Gallery, Dallas, USA
           London Art Biennale, London, UK
          "In The Mids"Art of Innovation, Florence, Italy
           Gagliardi Gallery, London, UK
           Chianciano Art Museum, Chianciano, Italy
2012    „M.C.A“ Cannes-Azur, Cannes, France
           Moya-Museum, Vienna, Austria
           Chianciano International Art Award 2012, Chianciano, Italy
           International Competition of GemlucArt 2012, Monte Carlo, Monaco
          "Imagine" at LuminArte Gallery, Dallas, USA
2011    Int. Art Exhibition (Nina Torres Fine Art at 1800 Gallery), Miami, USA
           Artrom „Home“ Gallery, Rome, Italy
           The Gallery in Redchurch Street, London, UK
           La Galleria Pall Mall, London, UK
           Atelier Z, Paris, France
           Ico Gallery, New York, USA
           Museum Castello Estense, Ferrara, Italy
2010    Fucking Kunst, Galerie Friedrichshöhe, Berlin, Germany
           George Segal Gallery, Montclair, USA
           Southern Nevada Museum of Fine Art, Las Vegas, USA
           Broadway Gallery, New York, USA
           The work „Borderline“ was selected for the „Phantasten Museum“ in Vienna,
2009    Ico Gallery, New York, USA
           Florence Biennale 2009, Florence, Italy
2008    Agora Gallery, New York, USA
2007    Painting on the Edge (Int. Competition), Vancouver, Canada.
2004    Agora Gallery, New York, USA
1978    Sara Kishon Gallery, Tel Aviv, Israel
1968    Jahresausstellung Kölner Künstler, Cologne, Germany

Fairs (Selection)


2013    BEIJING Art Expo 2013 (The gallery STEINER), Beijing, China
           AAF Mailand (Curator Rosanna Cotugno), Milano, Italy
           ART.FAIR (Artodrome Gallery), Cologne, Germany
2012    Art Innsbruck (Curator Dr. Allegretti), Innsbruck, Austria
2011    Red Dot Art Fair (Curator Despina Thunberg), Miami, USA
           Artexpo New York, New York, USA
2009    HanseArt Bremen, Bremen, Germany
1978    Art Basel 78, Basel, Switzerland

 
 
RiduciTransitional areas by von Gerhard Habarta
   


The art of the moment, of the immediate, is dominated by a great tendency to verbosity. Every documenta and biennale is packed with speech bubbles so as to conceal the lack of pleasure in art. Not only pleasure, but fear, longings, memories, injuries and damage caused by co-existence with other humans, a co-existence that can be sublimated through art. None of that has any value in instant art. ‘Life’ is replaced by political tirades, in the same way that action and reaction to life is replaced by tirades in the political sphere.

These emotions in life are more deeply buried under layers of theoretical constructs than are Sigmund Freud’s ‘dirty little gods’ in the debris of civilisations. The painter and illustrator Katrin Alvarez is an excavator. She reveals to us the pieces in life’s puzzle. With apparently unconnected material she points up interconnections by creating the transitional areas of impulsivity and instability in interpersonal relationships, in moods and in self-image, as it is called in the literature of clinical psychology. Her picture in Vienna’s Phantastenmuseum collection is tellingly called ‘Borderline’.

The artist worked for a long time as a journalist, and so one might dismiss her works as reflections on a door-to-door inquiry. But that’s not what they are. They are universally valid comments on the transitional area between the outside world and the inner world.

Unlike other fantastic artists who seek their subjects in mythological legend or who see themselves as visionaries or healers creating their own natural religion in paint, Alvarez paints pictures of psychotraumatology. Traumatic experiences are a basic human experience. The mental effects of global and personal catastrophes have been expressed in the collective unconscious. The painful losses and mental disturbances resulting from these events have led to numerous attempts to mitigate the negative mental effects through intuitive methods. Modern psychotraumatology is reckoned to have begun with a lecture by Professor Sigmund Freud ‘On the etiology of hysteria’ (1896). In it, Freud deals with the connection between hysteria and sexual child abuse. Sigmund Freud never understood why the Surrealists hailed him as their prophet: had he known the paintings of Karin Alvarez, he would have understood it better. But the Surrealists themselves were largely to blame for the lack of understanding on the part of the psychiatrist they so revered, because of their emphasis on the unconscious and dreams. Alvarez works differently.

Here the damage to mental life is directly sublimated. Not as therapy but, as the artist herself puts it ‘as a journalist describing life, not with words but with colours and lines. The overwhelming beauty of existence as well as its gruesome dark side – I try to observe as many aspects as possible and recreate them in my visual language. The melding of new virtual dimensions with good old reality is a source of great fascination for me’ And this fascination is conveyed to her viewers, making them find new ways of reading pictures.

 

Prof.Georg Habarta

Transitional areas by Prof.Georg Habarta (Curator, publisher, founder of the New Fantastic Art Museum at Palais Palffy,Vienna)

 
 
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