Mittwoch, 20. Juli 2011

NY ARTS MAGAZINE - SWISS ARTIST BARBARA STREIFF 2011

Primal geometry – ten symbols found in nature - has been a spiritual awakening and an unending source of inspiration for the Swiss artist Barbara Streiff. Empowered by the symbolic energy in primal geometry, her work reflects all cultures, all religions, and all time.

Barbara Streiff's primal geometry art not only reflects the profound meld of nature and human cultures worldwide, but each piece also symbolizes her own personal passion.

http://www.nyartsmagazine.com/index.php?option=com_content&view=article&id=5302:barbara-streiff&catid=73:s-directory&Itemid=644

Montag, 6. Juli 2009

Barbara Streiff in NY Artsmagazine International Dr. Phil. Astrid Brunner

AION. She works uncier a web ot rafters. Rafters and Iight entwine at the top of the old railway station in Glarus. Paintings of meditation. A dot on the floor centre. The dot contains all before it unfolds. From the rafter above hangs a spiral wing of burnt and firepainted metal. Underneath is a vessel filled with water. Beside it a burning candle. A patch of pebbles encircles the centre of dat, vessel, and candle.
The installation exemplifies the AION, the ‘primary geometry of the ten archaic symbols Swiss painter and sculptor, Barbara Streiff, has worked out from ancient cultures, her blacksmith ancestors, and her own worldwide travels. The “Vernetzugen,“ or “VerFlechtungen of the ATON symbols are the basis of her work. They are visual texts that ‘explicate [sic] my implications.“ These visual texts are divisible into distinct geometric chiffres, which, once seen, are in each work gathered up again into a total vision.
The method of creating recalls the manner of arguing practiced by the medieval mystics in that it both hides and reveals the‘truth of the intended artistic gesture. The eye returns to the fire-branded metal objects. There is something archaic, wise, and wounded about theirtexture. Punctured bythe burning, glorified like rainbows bythe fire-painting and the cooling in the water, they sing with the pain and pride of their Mary Magdalene maker - no matter what form they are given in the final forming and smithing process.
ATON. She sits at train stations, in Central Park, at Place Pigalle, a current newspaper on her knees. The daily rags around the world are her canvas. The intent of these action “Comics“ is the expressionistic tree tlow ot everyday lite.“ They speak of passion, pathos, and skill. This ‘boulevard performance‘ mirrors from the inside ofwhat passes outside. The process ofthe action “Comics‘ is intuitive. In terms of the ATON they tend to use the sinuous chiffres derived from the dot.


Wornan “giving, loving, revenging,“ is en-wombed in the “Comix Inferno“ triptych that goes back to the Garden of Eden, with a differenc: the snake is not Goethe‘s Mephisto, nor Blake‘s, she is the yielding woman forced into metamorphosis. The giving bird turns snake out of self-defense. In Streift‘s world, woman‘s ‘Schlangenkampf‘ is always just around the next writhing spiral of dove-like love and trust. The gesture is misunderstood, hence woman has only the Ovidian option of metamorphosis. Nightingale becomes silence, loving woman becomes guileful Cobra.
The metal sculptures and comics action-paintings are almost pure process. In contrast, the acrylic on paper meditations are traditional in technique, inward and silently removed in their effect. Lao Tse is not far, nor is the artist‘s father, who built trains in South America and the far east, then returned to the goats in the mountains. Lichen on stone, water in the mountains, a flowering desert, or a rock in the ocean, are hardly state of the art sujets. Nor is the meditative stillness of their effect. The eftect is more than state of the art, its tangible stillness is mystical.
The totality of Streift‘s work is in the ATON signs, which are archaic gestures recognized and realized as “Ur-Geornetrie,“ the (now patented) “primae geometrie“ the artist worked out as fundamentally belonging to all known cultures. Her primary geometry chiffres are also “Ur-Text,“ the primary text residing in all theology. The “Punkt,“ the dot is what in Neo-Platonic language, for instance, is known as the One, lt contains everything before lt unfolds. From the One the way goes through the curvilinear symbols that belong to every gesture, whether cosmic or infinitesimal: circle, star, spiral; the line that, like the dot for curvatures, contains the linear icons, the square, rectangle, triangle, cross, parallel, and the “Blitz,“ the zigzag of lightning.



“Vernetzung,“ texture in its root meaning of “texere,“ ofweavIng things together, also un-weaving them to recall that the complex is the simple, the masculine the feminine, the cosmic the everyday, this is ultimately the import of every gesture Streiff makes, of every mirroring she undertakes.
As ßJON texture her work is enveloping. In thatsense it makes no mater whether the specific expression is the “Comix Inferno“ triptych, the global newspaper comic, or the “intuitive Bewegungsbild“ - crayon paintings created with a circular motion of the hand that is also a form of meditation. The burnt and fire-painted metal sculptures cosmology for all the other works: the spirals, angels‘ wings, the sacrificial vessels that recall “the battle of the snake,“ they all symbolize the creative hand that prays, protects, supplicates.

Donnerstag, 21. Februar 2008

barbara streiff`s art since 1998 in nyc

nyc art project by barbara streiff since 1998 - first published artwork of aion-primal geometry in summer exhibition ny artsmagazine 1999 - performance "reflection at guggenheim museum " in books of museum since 2002 - expressive motionspaintings nyc - the art publisher abraham lubelski in world exhibition for freedom 2003 unesco.ch - nyc - berliner kunstprojekt 2004 - worldartmedia - china artfairs - ny artsmagazine international 2007

Montag, 18. Juni 2007

Barbara Streiff since 1998 in NYC
by Abraham Lubelski publisher of NY ARTS MAGAZINE
www.nyartsbeijing.com

Primal geometry – ten symbols found in Nature - has been a spiritual awakening and an unending source of inspiration for the artist. Empowered by the symbolic energy in primal geometry, Barbara Streiff's work reflects all cultures, all religions, and all time.

Born on 1 August 1955 in Lucerne - the heart of Switzerland – Barbara Streiff spent her childhood in the Swiss Alps in the Linth Valley of Glarus. From her first contact with art at age seven, she began learning traditional art techniques from her family and older artists.

Later she studied art at l' École des Beaux-Arts in Paris, the School of Art and Design Zurich, and the Centre of Cultural Heritage in Cyprus, where she also taught. Travels relating to her work and exhibitions have taken her throughout Europe and the world – from Asia to the Arabic states, from California to Africa, and most recently from Cyprus to Brazil.

Barbara Streiff's primal geometry art not only reflects the profound meld of Nature and human cultures worldwide, but each piece also symbolizes her own personal passion:

To further the evolution and transformation of traditional art into innovative and modern forms by communicating with artists all over the world without forgetting the forests of the Swiss Alps.

http://berlin.kijiji.de/www.alpswissart.ch

Freitag, 15. Juni 2007

barbara streiff's meditative concentration by firework on metal



aion - primal geometry founded by concentration in nature. Paintings of plants, organic life, elements and natural energy in abstraction.
Symbols wich joins all cultures and religions by homage to nature in all time together.
art concept by barbara streiff in nyc at broadway - china down - grand station - central park - bronx and arab childrens painted on news paper on place all over the world is hanging online



expressive motionspaintings on news paper from the happenings of the moment on place ist on the road by performance of barbara streiff installation "all is hanging online" in nyc - berlin - cyprus - italy - brasil - arab states - zurich

SWISS ARTISTS FROM GLARUS AT BROADWAY IN NYC 2001



SWISS ARTISTS FROM GLARUS AT BROADWAY IN NYC 2001

Text by Dr. phil Astrid Brunner

SWISS ARTISTS FROM GLARUS IN NYC THE FORGOTTEN CHILDREN OF ART:
75 years of art history visits NYC. The project Swiss Artists From Glarus will show at Gallery Abraham Lubelski 450/473 Broadway, March 6-17, 2001.
The more than 20 artists all live and work in the Swiss mountain valley of Glarus. Last year they teamed up to do a valley-wide exhibition on eight historical sites throughout their mountain Canton. Quite a number of the participating artists are former students and gallery artists of Glarus' Art School Center, Fly Gallery, headed by artist Barbara Streiff in the gods of the old railway station in CH-8750 Glarus in Switzerland.
The NYC exhibit is conceived and organized by the Head of the Glarus Art School Center and Fly Gallery, Barbara Streiff. For the last ten years, she has been working in the cultural heart of Glarus, as artist, sculptor, art teacher, and curator of socio-interactive exhibitions recognized throughout Europe. A major concern is the socio-cultural animation of art - the kind of Vernetzung or Verflechtung that also marks her sculptural work. The Vernetzung/Verflechtung sculptures are now internationally known as AÏON or primae geometrie sculptures. In 1999, Streiff was invited to her AÏON work at the Abraham Lubelski Gallery. Out of this contact the idea of a joint visit in the same gallery emerged.
With writer, art critic and academic Astrid Brunner, the project Swiss Artists From Glarus has found its journalist. Brunner, who commutes regularly between Glarus and Canada, has devoted much of her writing to The Forgotten Children Of Art. This aspect of her art writing is a tribute to her childhood valley.

Anne A. Vogt, art teacher at the Glarus High School. One of her achievements in the Glarus art community was her success in having art at school evaluated on a par with the traditionally more highly evaluated subjects on the academic curriculum, such as mathematics and languages. Her worldwide workshops and performances in the spirit of Buddhism represent the tenth of Tibetans that make up the population of the Canton Glarus. Workshops and performances in Switzerland, Italy, Paris, Germany, GB, Spain, New Zealand, Guatemala, Habitat II Istambul, Tibet China, Amazon Brasil, Borubudur Java. Her newest art work, "Viara-Icones", are microsized prayer paintings in mixed tenique on wood panels, continuums, triptichons and diptichons with spiritual energy through the space as inspiration.
Roberto Koch, a professional computer instructor at the KV Zürich Business School, has assisted the Swiss Artists From Glarus project by designing and constructing for its own commercial website, actually at http://www.alpswissart.ch.
Paul Lohnke, aged 95, is the oldest participant of the Glarus-to-NYC project - the youngest is performance artist Sarah Burger, aged 18. Lohnke's career reaches back to Zürich's Dada art scene of the mid-twenties. "It is only a play with form and color, I never wanted to say anything more than that," he says to this day. He still paints incessantly. Jakob Schneider lives in the hindmost village of the Glarus valley. He paints religious allegories and expressionist landscapes; his technical handling of chiaroscuro reminds of Segantini. A poor boy from the alps, he later, as a young artist, managed to travel all over Europe. A portion of his allegorical work is installed permanently at a church in Stuttgart. Though Swiss Artists From Glarus presents a multiplicity of styles, the overall project is a coherent whole born from the mutual respect for each other's work amongst the participating artists. The naturalistic approach is seen in the watercolors of Sr. Hadwig Vogel, the large silk and cotton batique canvases of Heinz Bächler, the natural stone sculptures of Hansueli Knobel; a number of artists work in expressionist to abstract techniques in various media and diverse professions, such as architecture, jewelry, teaching, graphic design, sculpting, performing, and photography. Fridolin Walcher is a realist photographer whose special approach and themes put him at the forefront of the European photographic scene. He also works on commissions for industry and tourism.Very different is photographer Ruth Zweifel. Her poetic photo-pictures are meticulous and highly skilled technically. Her subjects are the landscape of the Glarus valley, its mountains and distinct natural character traits. Heinz Bächler pursues the same theme, but extends the natural world into often anthropomorphised fairy-tale dimensions. Bächler's work is historically significant as well in that it tunes in with the age-old textile industry for which the Canton of Glarus is famous worldwide. Susan Honegger takes as her concerns with the traditional Glarus textile industry inside the textile factories. In an expressionist-poetic style she sketches, draws, and paints its history from inside out. After years of rendering the local textile history, she has ended up working in a totally abstract style based on the rudimentary tools of industrial textile making - spindle, warp and woof. Architect Pierre Haefelfinger presents himself in a purely abstract manner with his Slidepictures, with which he invites the viewer to touch and manipulate his movable paintings and to rearrange them constructively into new individual constellations. Armin Simon's monochrome paintings, worked with pigments made from scratch, present a reductio ad absurdum of abstract technique and thinking. The almost fundamentalist purism of this artist is well illustrated by his painstakingly constructed website. Greth Spälty's work lives from the structure of color put on in layers, which are then incised in various techniques. Her untitled work is a kind of radical expressionism. Sculptor Alfred Knobel jun. works in extreme 3-D abstractionism, which amounts to a direct inner dialogue with the essence of any given rock material. The logical radical step of this dialogue is to deconstruct the stone to its powdery particles, which are then painted on plexiglass surfaces. Design-jeweller and interior designer Peter Oberholzer works in precious metals, mostly on one-of-a-kind commissions. His abstraction are not unlike the cut precious stones that are part of his art material.
Barbara Streiff and her Glarus Art School Center presents tachist and surrealist student work with Heidi van Sprundel, Valerio Manfré, and Martha Mayhensek. Heidi van Sprundel with her fantasy pictures from trees, flowers, women and landscapes she gives back her sensitive impressions of nature, expression in strong bright colors and forms. Her technique is mixed in different coats, colors and styles. Valerio Manfré favorites are the motion paintings in surrealism. In a long time process, he brings the 3d dimension in his intuitive paintings. Martha Mayhensek, her mystic paintings tell the story of her live. Her concentration of color and form is like a ritual of intuition. Her favorite technique is to paint with selfproduced pigmented colors and the use of different materials.
Many of the youngest Glarus artists showing in NYC have been formed by the Glarus Art School Center with Barbara Streiff's Fly Gallery, either as students or exhibitors, often both. Another influence is Anne A. Vogt, art teacher at the Glarus High School. Owing to these influences are Katrin Hotz, Ingrid Käser, Frederick Rossmann and Sarah Burger. These are the new generation of Glarus artists - sculptors, graphic designers, performers - some of whom already with exhibitions and art studies throughout Europe to their credit.
The future of The Forgotten Children of Art from Glarus may not be forgotten, thanks to the chance given them by Abraham Lubelski's invitation to host their work in his international gallery space on 450/473 Broadway, NYC, March 6-17, 2001.


MORE ABOUT THE ARTIST/PUBLISHER OF NY ARTSMAGAZINE INTERNATIONAL

ABRAHAM LUBELSKI

Abraham Lubelski was born in Siberia in the USSR in 1940. In 1950 he immigrated to the United States with his parents. He became a U. S. citizen in 1954. Mr. Lubelski has been a professional artist for more than four decades and over the years has worked back and forth between painting, conceptual projects and installatons. In 1969 he completed a number of street works and performances in conjunction with the Architecture League of New York which were written up in Life and People magazines. In the 1970‚s, among his other projects, he developed theater set designs. In the late 70‚s and early 80‚s Mr. Lubelski exhibited at the Neill Gallery in SoHo. Since the 1980‚s Mr. Lubelski has exhibited internationally on a regular basis. He has exhibited in Paris, Barcelona, Berlin, and Hamburg, and, as well, in Poland, Japan, and various countries in South America. In conjunction with these exhibitions a number of catalogues have been produced and reviews have appeared in such international publications as Flash Art. Since 1990 Mr. Lubelski has managed several exhibition spaces on Broadway in SoHo in New York City. He has used the spaces to give exhibitions to underrepresented artists (from the U. S. and abroad) and has, in addition, sponsored the visits to the United States of numerous international artists.