Guy and Michèle Beddington both follow a family tradition,
as members of both families in every generation since the 19th century
have been closely involved in the Arts, either as patrons, experts, dealers or as artists.
Long-time admirers of the Midi, and permanent residents nowadays, they exhibit well-known Contemporary Artists on two floors of a magnificent 18th century ‘Maison de Maître’ on the south-facing ramparts of the mediaeval village of Bargemon, where they also display works from their eclectic collections from other periods.
They work with museums and offer an art consultancy service to private clients, architects and to interior designers covering all aspects from the sourcing, purchase and sale of works of art to advice on valuation and insurance.
BEDDINGTON FINE ART Les Remparts 83830 Bargemon Var Provence – France
DUTCH LIGHT Everything happens in the landscape
To dutch painter Ramon Otting (1969), the landscape is a huge source of inspiration. The landscape reflects our moods, is enjoyable, can heal, or gives cause for contemplation. Otting’s work is all about nature and what it does to us human beings. This interaction is essential. An almost physical ominous threat is present in many of his land- and seascapes. Sometimes in dark and stormy skies, sometimes in overwhelming lightness. The superior power of nature compared to man, who will always lose, is palpable.
“I’d love to literally transfer nature’s behavior onto canvas. To paint like that is like almost merging with nature, even though there’s always some sense of shaping the image. But of course this is never attainable, this can only happen in nature. Sometimes you can also go too far, so you fall over, but that’s good too. In the end it’s all about the endeavour, because we can never really attain nature’s perfection. We’ll always be confronted with our shortcomings and insignificance. But it’s a requisite for us humans to persevere, on the road to the goal. Even though essentially you’re not, or only hardly, doing anything new.”
More and more, Otting’s work concentrates on building the wholeness to be found in nature. From low viewpoints and using terroir, Otting shows us the beauty and wealth of form and colour in nature. The looseness of his painting opens up his work even more and strengthens the power in the details. Paintings which capture that wondrous effect of light upon universal landscapes based on the rich Dutch cultural background. Dutch Light.
Helena Stork, Art Historian
Alejandro Mendoza is one of Cuba’s most diverse and intensely driven contemporary sculptors. His career in the U.S., particularly in South Florida, has had far-reaching impact. His work is constantly evolving yet maintains an aesthetic and personal integrity. His sculpture, in particular, is unafraid of venturing into different themes and tones–from defense of natural world to explorations of the personal and collective unconscious. His work boldly explores a wide range of formal concerns and draws on and fuses such diverse references as nature, urban detritus, and the dream state, and he does this in works whose deceptive simplicity and presentational immediacy allows them to be enjoyed by people with cultivated and popular tastes alike.
Mendoza genuinely embraces the role of sculpture and art in general as a motor for change in the world. For all the audacious experimentation in style and media Mendoza engages in, he does not cater to effete sensibilities and settles to have his work admired by smug illuminati. His “Giants in the City,” for example, has gathered dozens of inflatable sculptures by international artists specifically created for this project. Mendoza has taken them to numerous venues and installed them in publicly accessible grounds, permitting the general population to enjoy the various works whose impact range from the whimsical to the enigmatic and from the purely aesthetic to the socially conscious. Whether it be in his own powerful and distinctive work or in projects such as “Giants,” Mendoza’s spirit is the same–art is a fundamental social and personal need, an undeniable and irrepressible force in our personal and collective presence in this world.
ART CRITIC Ricardo Pau-Llosa
It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now.
Museums and art centers have lately been taking a remarkable interest in abstract art, past and present. Last year, MoMA opened “Inventing Abstraction, 1910–1925”; the Guggenheim offered “Art of Another Kind,” comparing American and European abstraction of the 1950s; “Destroy the Picture,” at the Museum of Contemporary Art, Los Angeles, explored the fascination with dirty, distressed materials among artists of the same era; the Musée d’art contemporain de Montréal traced theimpressive history of Canadian abstraction since 1939; the Hunter College/Times Square Gallery presented “Conceptual Abstraction,” a survey (which I curated with Joachim Pissarro) of 20 abstract painters who came to prominence in New York in the 1980s; and MUDAM (the Musée d’Art Moderne) in Luxembourg gathered 23 contemporary European artists in “Les Détours de l’abstraction.” Already in 2013, the Walker Art Center in Minneapolis has opened “Painter Painter,” a survey of emerging abstract painters from both the U.S. and Europe, and next month, the Museum of Contemporary Art in Chicago opens “MCA DNA Chicago Conceptual Abstraction,1986–1995,” with works in various mediums.
How do we make sense of all this activity in a type of art that was declared dead 40 years ago? I believe the most useful way to understand abstraction is not in terms of its formal evolution (which does not, in any case, fit the linear models beloved of theoreticians) but in terms of thematic content. The formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstract painting or sculpture are: What themes and forms does it retrieve from the tradition of modern art? How have they been changed? And how has the artist used them to express the social, political, and spiritual experience of our own time?
Amanda Madrigal was born and raised in Miami, Florida, where she attended one of the most prestigious art magnets in the country, New World School of the Arts. The school soon became a true home and family to her and offered the foundation she needed for her next journey, acquiring a bachelors degree in fine arts at Maryland Institute College of Arts. Amanda recently graduated from MICA in the Spring of 2013 with a major in Fiber Art and is currently living and working in Miami.
I began working on this piece from the inside out, both literally and figuratively. It is a circular object, created using a single element crochet technique, beginning in the center and working outward. The form is reminiscent of a polar grid, the same basic structure used to create a doily, but in this case, on a huge scale. I think about this piece as both a release of energy and collection of time. A way for me to transfigure the energy inside of me into something outside myself, and tangible; evidence. The piece was created using mostly donated and found materials that I would cut up and rip into long strips which I then crocheted into the final product, a large circular net. The simple and repetitive actions felt so necessary to me, they became a way to capture the fleeting time. The net is a physical construct made to collect my thoughts, ideas, feelings, and memories. Formulated from thousands of stitches, I would tear things apart and put them back together, stronger and united as a whole.
As the piece grew larger, it would consume the surrounding space so that I was no longer working around the net, but it was working around me. Forming a sort of back and forth between me and this extension of myself, constantly growing with every knot. Each layer of color that was added would transform the piece into something completely different, and watching this object spill effortlessly from my body I felt connected to the space around me. This idea began to provide a deep feeling of release.
The work became a mirror of the energy and time I put in to it. I saw a place to observe and experience abundance, flexibility, expansiveness and endless possibilities.
BENEDICTE FONTAINELLE BLANC
Ouroboros is a discussion of the beautiful process of birth-death-rebirth
9 artists Deserving such of Honorable Recognition.In 1983, Miami’s former Cuban Museum of Arts and Culture presented the groundbreaking exhibition The Miami Generation, which represented a pivotal moment in South Florida’s cultural history and brought together for the first time nine emerging artists from Miami’s Cuban exile community who were part of a first generation that received its artistic education in the United States. Now, more than 30 years later, NSU Museum of Art Fort Lauderdale picks up where this exhibition left off, with The Miami Generation:Revisited, a new exhibition featuring works created since 1983 by the original nine artists: Mario Bencomo, María Brito, Humberto Calzada, Pablo Cano, Emilio Falero, Fernando García, Juan González, Carlos Maciá, and César Trasobares.
The Florida Africana Studies Consortium (FLASC) presented their 2014 Culture Keeper Award to Noor Blazekovic, the Publisher of IRREVERSIBLE Magazine. For over the last 8 years, IRREVERSIBLE has sustained a critical engagement with contemporary visual expressions contributing to the rise of South Florida as a global cultural center.
Locally published with incontestable global reach, IRREVERSIBLE has positioned Miami at the center of international debates on contemporary cultural issues.
The achievements of this publication owe much to Mrs. Blazekovic’s commitment, dedication and passion for the arts. By these means, we salute Mrs. NOOR as a Culture Keeper for her contributions to making the South Florida art scene a better place for all.
Babacar M’Bow: The city of North Miami has appointed Mr. M’Bow as the director for the Museum of Contemporary Art. Babacar M’Bow, is the managing editor of the Encyclopedia of the African Disapora and founder of the Multitudes Contemporary Art Gallery in Little Haiti.
The award was presented during the 10th Annual Symposium scheduled at the Museum of Contemporary Art of North Miami (MOcaNomi) Saturday June 14, 2014 @4PM.
IRREVERSIBLE is seeking contemporary visual artists for our 2014 juried competition. Winning work will be published by IRREVERSIBLE Limited Edition Magazine during Art Basel Miami week Dec 2014. Enjoy other opportunities to win as ten (10) artists will be selected by a panel or highly noted jurors for recognition in Publication and through a physical exhibition. “Irreversible – an International art project – is a pioneering exhibition platform for all projects that transcend the classical art show including small format, large scale installations, theatrical events, mixed media, video projections, massive sculptures, music, live performances & unlimited kids programs.”
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Open to all professional artists from all backgrounds: emerging, mid career, established, national and international artists over 18 years of age.
Winning Work : will be published by IRREVERSIBLE Limited Edition Magazine during Art Basel Miami week Dec 2014. Enjoy other opportunities to win as ten (10) artists will be selected by a panel or highly noted jurors for recognition in Publication and through a physical exhibition.
Eligibility: This call for submission is open to all residents of the U.S. and its Territories also welcomes international artists; working and leaving overseas, 18 years of age or older.
AMAZING ARTICLE IN THE PALM BEACH ARTS PAPER
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2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida, Noor Blazekovic founder Publisher/ Irreversible Projects- Exhibitions -The Magazine
Winner Tiago(China) and Gallery owner Elizabeth San Juan
2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida,
2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida, Dario Posada
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Alejandro Mendoza provides a visual vocabulary that signals the recognition that the transactions of peoples brought together result in profound disruptions and adjustments that require an active process of forging new identities. Mutan Series then prompts to ask: What does the artworks, and expressive forms generally, tell us about this process that exceeds what analytical and historical accounts by themselves can reveal? Are there more general lessons to be learn here about the problematic of subjectivity, particularly regarding the role of affect? And are these the forms through which identities and ways of life can be re-figured? For Mendoza, it is through the activities of recalculating/calibrating that locations are transformed into place of meaning. The works presented in Art Monaco 2014 provide cues for finding adequate formulas.
In his art Dirk Janssens explores the positive and emotional aspects of the basic concept of being human. His work is a tribute to life and love, purely instinctive, in a completely unique language. His works are an investigative transformation; it is far from arbitrary, and represents a willful, passionate craving for almost unattainable and utopian Love. At the same time, this art offers comfort, as it fires an enthusiasm for life and inspiration; in fact it’s a tireless courting of passion itself.
The artist forces himself to convert every single feeling of frustration into pure life force. Whether futile or intense, the expression shows an iron will, an unfailing passion and an enduring optimism that is deep-rooted in the artist himself. By doing so he makes his audience contemplate their own happiness.
Within just a few years, the Gerald Hartinger Fine Arts Gallery has made a name for itself far beyond Austria’s borders. Today, it owns one of the most relevant pop art collections in Europe. The focus of the gallery is classic American pop art from artists such as Andy Warhol, Roy Lichtenstein and Tom Wesselmann who nowadays have become icons themselves, as well as neo-pop art, with works by Keith Haring, Steve Kaufman, Russell Young, Burton Morris and the rising star, Romero Britto. Furthermore, the gallery has in its possession, probably uniquely in Europe, works by Ringo Starr and John Lennon.
The Gallery aims to appeal to all art enthusiasts. An international network with good contacts and extensive knowledge of the market and the subject matter allows the gallery to provide assistance to clients and prospective buyers in every phase of acquisition – from research and expertise to auction and transfer. As far as art investment is concerned, however, the emotional value should be considered even for very stable and profitable assets: the ability of a work of art to touch us in a new way over and over again, to – as Picasso so beautifully said – wash away from our souls the dust of everyday life
Dirk Janssens lives and works in Leuven, Belgium. During his childhood, he worked in the studio of his father, sculptor and artist Freddy Janssens. That is where he learned how to sketch, paint, use and understand materials and techniques. He painted portraits, abstract works, worldly wisdoms and quotes on canvas.
After years of intense research and study, Janssens made his first collection in 2010. He named it Made in Wonderland. It was one of the most popular shows to be exhibited at CATM CHELSEA, New York in 2011. He continued his professional career as an artist with his second collection, Lost in Wonderland, debuting at the BAH – Belgian Art House, where his work was welcomed with great excitement and proved most successful. There his work was displayed with some of the greatest contemporary Belgian artists, including, Luc Tuymans, Michael Borremans, Arne Quinze, Hans Op de Beeck and Jan De Cock.
IRREVERSIBLE 2014 Featured Magazine Competition
Guy and Michèle Beddington
Alec Von Bargen
Beddingtong Fine Art
Guy and Michèle Beddington both follow a family tradition, as members of both families in every generation since the 19th century
have been closely involved in the Arts, either as patrons, experts, dealers or as artists. Long-time admirers of the Midi, and permanent residents nowadays,
they exhibit well-known Contemporary Artists on two floors of a magnificent 18th century ‘Maison de Maître’ on the south-facing ramparts of the mediaeval
village of Bargemon, where they also display works from their eclectic collections from other periods. They work with museums and offer an art consultancy
service to private clients, architects and to interior designers covering all aspects from the sourcing, purchase and sale of works of art to advice on valuation and insurance.
BEDDINGTON FINE ART Les Remparts 83830 Bargemon Var Provence – France
Bargemon is an ancient village in the upper Var department, sitting at the edge of the Canjuers plateau at the base of the Var Prealps.
Dating back to the early 9th century, Bargemon was fortified in Medieval times, and still retains vestiges of walls and fortified entries.
Bargemon village has an ancient feel to it. The streets are narrow and the many squares with flowing fountains are heavily shaded.
The buildings are old, and there are many examples of the past here, including the 12th-century church built into the old defensive wall of the village.
Bargemon is known for its pure water and its climate and, like some of the other villages of this region, has olive-oil mills and honey.