The FID gathers some amazing minds…

ciobica

In 2012, Andreea Ciobica was an art student in Romania, when she became the FID Prize laureate. Today, she is our Guest Juror, invited to participate to the FID Prize Jury 2016.

Serghei Litvin: You won the FID Prize in 2012: what changed in your professional life since then?

Andreea Ciobica: It’s hard to narrow it down to just one thing. I believe it has been an intense surge ever since. I realized then that being in the art world is as much about the relationships you nurture as it is about the work.
(Since FID Prize 2012, Andreea Ciobica participated in art fairs like Viennafair and Arco Madrid, solo and group shows with museums and galleries like MAK Vienna, Ivan Gallery, (Bucharest, Romania), Plan B Gallery (Cluj-Napoca, Romania), Catherine Putman Gallery (Paris), Salonul de Proiecte (Bucharest, Romania), Twilight-Zone Gallery (Tournai, Belgium),…)

Serghei Litvin: What would you say to motivate artists to participate to the competition?

Andreea Ciobica: This competition in particular gathers some amazing minds surrounding drawing so entering it means communicating in a constructive environment. It’s the beginning of what could be a profoundly rewarding conversation.

Serghei Litvin: All applicants will not make it until the final phase – they will not be all Finalists. What would you say to motivate these artists to participate again, to come back next year?

Andreea Ciobica: Results happen in a set of circumstances that are each time unique. Applicants should be aware that their presence in a future edition might make an entirely different statement than the previous one did. One answer doesn’t have to be the end of the conversation.

Serghei Litvin: In his interview for FID Newsletter, Brett Littman said: « My hope is that the artists who apply for the 2016 FID Prize deeply respect what drawing can be and can achieve. » Could you make a comment on this as an artist and a Juror?

Andreea Ciobica: Since drawing is so basic to art, it has the potential to slip through our perception and reach impossible ends without being noticed. I too am hopeful that the artists who apply this year use this superpower to its full extent.

Serghei Litvin: What would you advise the candidates not to do?

Andreea Ciobica: I would ask them to avoid editing their work in order to fit any expectations.

The applications for the FID PRIZE 2016 opens Tuesday 1 December at 09:00 UTC
http://thefid.org/#regulations
The registration time is limited.
The number of applications is limited.
 

Interwiew with Maurits van de Laar

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Only 6 days before the start of applications for the 7th edition of the FID Prize, Maurits Van De Laar accepted to answer to our questions. He speaks about building up long term relationships with artists, about the important part of his gallery program that is devoted to drawing. He says also that drawing should inspire and surprise both artist and viewer…

Serghei Litvin: Very young, you considered going to art school. Finally, you studied art history at Leiden University in The Netherlands. Why did you decide to become a gallerist?

Maurits Van De Laar: Because I wrote my thesis about the german Painter Markus Lüpertz and so I got to know Gallery Michael Werner in Cologne. I was impressed by Michael Werner who had built up his gallery over a long time and not without difficulty when he started. The aspect of perseverance and building up long term relationships with his artists appealed to me.

Serghei Litvin: What is drawing for you? And what is the place of drawing in your gallery?

Maurits Van De Laar: Drawings make up an important part of my gallery program.
Most fascinating for me is the directness of drawing.
Drawing is less burdened than for instance painting and this makes the artist feel less restrained and inspired to express him/herself freely. Ideas often find their first concrete form in drawing. To me a good drawing gives an insight into the mind of the artist.
Over the years artists like Marcel van Eeden, Robbie Cornelissen, Martin Assig, Ed Pien, Henri Jacobs have shown their work at the gallery. Last year Robbie Cornelissen showed a groundbreaking animation video The Black Room that is projected simultaneously on three screens that are placed in a U-shaped form. The work consists of about 60 animations based on charcoal drawings, in which the essence of drawing is investigated: line versus volume, perspective and space, abstraction and figuration and the transition from two-dimensional to three-dimensional.

Serghei Litvin: What do you personally expect from the candidates? What would you say to motivate artists to participate to the competition?

Maurits Van De Laar: Most of all I want to be surprised and convinced by the artist in creating a new and genuine world in their drawings. I am curious as to what the artists will send in for the competition. I hope they will draw without holding back, in a direct and passionate way. Drawing should excite, inspire and surprise both artist and viewer.

Serghei Litvin: As a FID Prize Juror, what would you advise the candidates not to do?

Maurits Van De Laar: Not force themselves because of the competition, but give themselves trully and freely through the choice of the drawings they will present.

Registration will open on Tuesday 1 December 2015 at 9:00 UTC and will close on Friday 4 December 2015 at 5:00 p.m..
The registration time will be limited and the number of applications will be limited.

thefid.org
mauritsvandelaar.nl

With many thanks to Petrus Viljoen

Interwiew with Rebecca Kerlin

kerlin-fid

In the FID Prize Jury 2016 there are two international gallery owners among the most important in the field of contemporary drawing: Rebecca Kerlin (Gallery Joe, Philadelphia) and Maurits Van De Laar (The Hague). “The FID is one of the only prizes given exclusively for drawing.” says gallerist Rebecca Kerlin.

Serghei Litvin: Gallery Joe has moved to a new location: 2 Saint James Court, Philadelphia, PA 19106, “By Appointment Only.” Why?

Rebecca Kerlin: I moved because of pending construction on the building where the gallery was located. What initially seemed like a crisis became an opportunity to rethink the whole idea of a traditional gallery.
My new space has a small exhibition area. Drawings will always be on display, but the monthly shows will no longer be a priority. I will continue participating in art fairs both in the US and abroad and will hold small events in the space a few times a year.
Over the past few years the proportion of my clients who live outside of Philadelphia has grown dramatically. By having a comfortable welcoming space by appointment I can offer my local clients a more personal experience. At the same time, a more vigorous presence on-line will better serve my clients who live far away.

Serghei Litvin: Yes, crisis as opportunity, a new strategy: switching priorities, participating more in art fairs, being more on line. What is drawing for you?

Rebecca Kerlin: Drawing is the most fundamental and direct of the art forms. It is closest to the artist, to how he or she thinks. It is a means for organizing one’s thoughts, observing detail, and re-presenting information. It can be a simple sketch, or a highly detailed portrait, a watercolor, or a line in the sand.
I opened my gallery in 1993. In the beginning I showed a variety of things, sculpture, drawing, and installation. My mission became clear in 1997 when I saw Mark Lombardi’s drawings in the Winter Selections exhibition at The Drawing Center in New York. I was profoundly moved by Mark’s work. It opened the world of drawing for me. From then on the gallery has been devoted exclusively to the exhibition of contemporary drawing. Mark’s work remains a touchstone for me. I go back to it when I feel lost or need inspiration.

Serghei Litvin: What do you personaly expect from the candidates? Do you have a specific expectation for the 7th edition of FID Prize? What would you say to motivate artists to participate to the competition?

Rebecca Kerlin: Personally, I hope to see drawings that show consistency in presentation, rigor in thinking, and the ability to communicate an idea.
I hope to see a great variety of drawings, from many countries, all age groups expressing the vast diversity of peoples, techniques, and subjects. Is this too much to ask? Perhaps, but that is what I would like to see.
If your primary art form is drawing, then you certainly should apply. The FID is one of the only prizes given exclusively for drawing. Jurors who have a particular commitment to the field will view your work only in the context of drawing.

  • Standard data and procedures for FID Prize 2016 are at your disposal here: http://thefid.org/#regulations
  • GALLERY JOE / REBECCA KERLIN: http://www.galleryjoe.com/
  • MARC LOMBARDI: http://www.informaction.info/video-geopolitique-mark-lombardi-artiste-conspirateur

An interview with Brett Littman, Executive Director of the Drawing Center

interview-littman

Serghei Litvin: You accepted to be FID Prize 2016 President of the Jury and we are honored. This seventh edition of the drawing contest takes place 100% online. It is open to artists from around the world, without any age limit. The subjects, techniques and dimensions are entirely at the discretion of the participants. The contest is independent of any aesthetic or commercial strategy. It is open to all modes of expression, from the most traditional to the most experimental. What is your personal involvement with drawing?

Brett Littman: I’ve been director of The Drawing Center now for 8 years and the thing that has been interesting to me in drawing (I’m not an art historian, I don’t have a PhD in art history – I come to the art world from philosophy and poetry) in drawing is the idea that it is an analogue for thinking. So I’m interested in how drawing actually intersects with many disciplines including architecture, food, engineering, science, mathematics and music. I have not abandoned visual arts, of course that’s the core of what we do, but I am very interested in what drawing means to many different kinds of practitioners in the 21stcentury particularly as we move more and more to a digital age and what that actually might mean for the future of the medium.

Serghei Litvin: You speak of “digital age” for drawing. But how can the traditional (material) one compete with the second, the digital? Where can they meet? Can they be equally judged? Isn’t their essence different? A pièce unique will never be a clone – and vice versa. Anyway, why is the good old drawing so active today?

Brett Littman: For me, drawing is at the root of all visual thinking. The synergy of the hand, mind and eye really occurs in drawing and gives it a unique foundational position in helping us understand, interpret and represent the world. Everyone can draw, sketch or make notations. Artists, architects, graphic designers, chefs, filmmakers and other creative professions are using drawing more than ever as a way to express themselves, solve problems and to see the world in new and different ways. That said, I’ve been on more than 500 studio visits since I’ve been the director of the Drawing Center and I must say that less than 20 per cent of the time artists have taken out works on paper and showed them as drawings. They’ve danced for me, they’ve sung, they’ve showed me an algorithm, they’ve showed me an animation, they’ve performed, they’ve done many, many, many things and also sometimes when they don’t even know what to call things, things that they just can’t classify any other way, they call them drawings. So I think that the idea and definition of drawing has become both quite fluid and elastic. Maybe that’s a good thing, maybe that’s a bad thing, but also I have to say, that I’m interested in how artists are defining it as well as how historians are.

Serghei Litvin: The FID Prize Jury pays attention to manner in which the poetic state is expressed graphically by the line, both in the act of drawing and in the drawing as a work. It takes into consideration the impact of the drawing on its audience. What do you personally expect from the candidates?

Brett Littman: My hope is that the artists who apply for the 2016 FID Prize deeply respect what drawing can be and can achieve. They should be idealistic and projective about what drawing can achieve as an art medium, as an approach to object making and as a form of visual thinking. I would love to see drawings by a wide range of practitioners from different disciplines and really hope to see some really groundbreaking and expansive approaches to the medium.

the drawing center

Brett Littman is the Executive Director of The Drawing Center, 35 Wooster Street│NY NY 10013
web: drawingcenter.org │ blog: blittman.tumblr.com/

Brett Littman (B.A., Philosophy, UC San Diego) has been working in the non-profit arts field for more than fourteen years. He is the Executive Director of The Drawing Center, based in New York, since May 2007; was the Deputy Director at P.S.1 Contemporary Art Center, a MoMA affiliate from 2003 – 2007; from 2001 – 2003 he was the Co-Executive Director of Dieu Donné Papermill in SoHo, New York and from 1995 – 2001 he was the Associate Director of UrbanGlass in Brooklyn, New York.
Littman lectures internationally on art, design and craft. He is an active critic, a member of AICA/USA and has written numerous catalog essays and articles for a wide variety of international publications.

source :clocktower.org Clocktower Productions is a non-profit art institution working in the visual arts, performance, music, and radio. Founded in 1972 in Lower Manhattan by MoMA PS1 Founder Alanna Heiss, Clocktower is the oldest alternative art project in New York, and its radio station, Clocktower Radio, was founded in 2003 as one of the first all-art online museum radio stations in the world.