To your Information:

Ronald Anderson, Native American Artist (Oklahoma, USA), 2001:

During a conversation about art

 With “Art Touches Art – 41 + 42”, I introduce the works of art “The Blanket Woman” (41) and “Apache-Dance” (42).

With my texts to this I give insights into a small part of reality of American natives.

 To be found under “Art Touches Art”

Renate Hugel 

“Art Touches Art – 42”

Ronald Anderson (Native American Artist):

“Apache-Dance”,  Acryl on Recycling-Cardboard, 80×57 cm, 2000

Dance of Apaches in the Night

 Ronald Anderson had painted the acryl-painting on hand on recycling cardboard (with the measures 80X57 cm) during the symposium in Bremen in summer 2000. With his picture he directs the observer into a typical dance scene of the Apaches:

The dancers move around a brightly flickering fire, short wooden swords carrying in their hands. The persons in the shade of the fire seem to be gloomy with their black-white upper part of the body-painting, the skirt and the boots, like also the construction striving up on their heads: The base forms a horizontal slat there of which on the right and left long sticks tower while between this about three to four candles are shining. To give the whole support, this construction is held together with a ribbon and fixed at the body (bright rues on the upper parts of the body). With that, it gets clear that the dancer, in the picture in front on the left, can be seen from behind. The same applies to the small person being besides of this dancer on the right.

The dancer who is lit up by the light of the flames brightly, however, is behind the fire.

When the look is changing now – from the details to the general view -, then a common energy between the person-group is getting perceptible: With a dreamy-walking safety the dancers are moving here according to a spiritualized structure of the course – while the fire is in the center.…

For me, it is obviously that the center lit up by the fire shall lead the dancers to their personal inner shining-center… – as a prerequisite for this to light up one’s own spirit and to clear the thoughts.…

The full moon appearing in the picture on the right is pointing out that this “Apache Dance” takes place in the night. I consider the symbolic-power of the “night” (standing for unconsciousness) as an expression for the will to inspiration: She, the night, is able to strength the connection of consciousness to the unconscious… However, the huge power of nature – manifesting into landscape, into animal or plant – does make possible identification and orientation for the dancers directed towards their own energy: The dancers will be touched and will absorb the spiritual quiet and strength of the nature in its being-that-way.…

In this place, my memory returns to the year 2001:

It already had got dark this day we had spent with the Kiowa Black Leggings Ceremony (see to this: “Art Touches Art – 41”). As already mentioned in the previous contribution, there had been a meal at the completion of the ceremony together with the family Chaddlesone who had invited us in her eating-pavilion. We finally thought to set off and say goodbye to our hosts. We, altogether eight persons, had reached the venue with the car and everyone got in there now again.

From the keyword “car” I stray a little now and would like to mention that in fact, our visit had been planned really perfectly. This meant that for the far distances in the field of the country Oklahoma, we had been dependent on a car. And Ronald Anderson had provided it: If I remind it correctly, it had been his brother-in-law, who had helped us in a generous way – in his function as a parish priest of the FELLOWSHIP OF AMERICAN INDIANS CHURCH in Chickasha, OK. The minibus with which we were allowed to drive carried this signature with great characters. Our gratitude for it I would like to confirm in writing here once again, said verbally already!

We remarked soon that Ronald Anderson for the journey home had taken a way appearing strange! It had got darker and darker! On the right and on the left of the narrow street we could perceive in the deep black contours of edges of a forest or simply the pure black, obvious above fields. For me it had been inconceivable how he could orientate himself in this labyrinth from black, without any lights! However, Ronald Anderson was apparently able: With an extremely high safety he turned into a crossing street, left it again and drove on in this darkness, unimpressed!

Suddenly – for us – he got slower, however, did not stop but stayed with the low speed. At the same time he had looked to the left. We followed his look at a wide field under the black sky, while the shadows showed beginning woods on the left of it…

However, the field had released the look on a scene!

We recognized three persons – in seated position – who executed movements with their arms and short swords at high attention and concentration. They had carried the construction on their heads with burning candles as can be seen in the above acryl picture of Ronald Anderson. These dancers apparently were in another phase of the ceremony than represented in the picture.…

Although only a very short perception of the event had remained to us while passing – but, this brief impression had achieved this to confront us with another reality of identity-finding!

More intensely, a contrast could not have got experience-able:

We just had left the Kiowa Black Leggings Ceremony where we had spent the complete day and experienced a well-organized program there with at least 800 (or more?) participants or spectators of the Kiowa tribe. They had had the chance to give identity to each other in addition to the lived traditions each other with that.

And now this!

A pitiful small group opposed forgetting there! …

Interpretation: Renate Hugel

 

Ronald Anderson

Native American Artist –

Ronald Anderson, 2001: During a conversation about art

Remark 1: Current stand: To Ronald Anderson I have written under “Art Touches Art” the contributions “Art Touches Art – 1, 13, 19, 25, 29, 34 and 42”. Furthermore you find a “remark to Ronald Anderson” on HOME (from the 24th of July 2015).

In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: The contributions under “Art Touches Art” refer in part 1 (“Art Touches Art – 1 to 28”) to the symposium “Attempt of an Encounter – Five Native American Artists meet five European Artists”. This had taken place in Bremen (Germany), in the year 2000. Whoever would like to ask about the genesis of the symposium can scroll back till “Art Touches Art – 1”, then continue scrolling back till Information about ‚Art Touches Art‘; after that you find then the „Chronology of the Past History“.

In part 2 (as of “Art Touches Art – 29”), the contributions refer to the return visit in Oklahoma (USA) in the year 2001.

Note: (of the 24th  of  07th  2015):  See on HOME: “Remark to Ronald Anderson”

Renate Hugel

„Art Touches Art – 41“

– Renate Hugel –

Renate Hugel: “The Blanket-Woman”, Acryl on Carton,

28x41cm, or 39×52, 5 cm (with sides opened out), 2001

The Blanket-Woman

This picture, “The Blanket-Woman”, I had worked in the “Heaven” (see: “Heaven”: “Art Touches Art – 31”) and painted with acryl on a carton-lid, inclusive of the four sides of the lid. Therefore, at first my work had been three-dimensional. For the transportation I had solved the adhesion of the sides, though. On the photo above, the four open sides can be recognized.

The spontaneously sedate subject-composition consists of elements, painted associatively, and of color-areas between blue, red and pastel green. Furthermore, on some areas and subjects, gesticulatory scratching can be recognized.

In its statement, The Blanket-Woman refers to an experience which had been behind a few days at the time then:

We guests had been invited at taking part in the Kiowa Black Leggings Ceremony taking place every year.

This ceremony is the annual main event, the great Pow Wow, of the Kiowa – tribe. It is causing community and identity with that for all tribe members.

A teepee set up specifically was on a big area, put from the platform on the left side. The color design of the teepee-jacketing corresponds to the tradition: One half of the teepee-cloth is yellow-black with stripes going horizontally. The remaining cloth is of white color, in the upper part up to the top, however, of red color. The wood bars of the teepee are rising beyond the top – as usual. The American flag can be seen blowing in the wind on one of these bars. The entrance of the tent is situated on the side which points towards the small piece of woodland behind this*.

Exactly opposite to this area, there had been set up a big platform for the visitors, the spectators. The rows of seats went along on the lengthways side of the area mentioned above. The further rows of seats behind this were ordered in steps up at the same time so that the visitors from all places could pursue the ceremony.

Talking about the spectators, I mean approximately eight hundred persons. They were mainly American Natives of the Kiowa – except us guests. Other exceptions were the partners who belong to another tribe, but had accompanied their partner, however.

Remark to * (see in the text above): People had partly arrived from far away and had the possibility in the small piece of woodland of staying there. Most of arrived had parked their station wagons or also trailer here. Whoever, in the evening, still wanted to drive home had built up tents or pavilions already in the morning, predominant “eating pavilions”.  

For the Course of the Ceremony:

The complete ceremony followed a fixed order of items on the agenda:

  • The address: It had begun with the message that there had started a war in Afghanistan. Prayers and serious words had followed since many young American natives had been drafted from their rows.
  • According to an old Kiowa-tradition the women of the “victorious warriors*” started with the dance of the women.

 The dance of the young warriors* had followed. The fact that many of the young men were missing had been announced worriedly (see item 1).

Remark to *: The term “warrior” had been very requiring habituation for us since we are adjusted rather pacifist. Actually, we had experienced the American natives as very kind and benevolent people for whom it had been natural to take us guests in their rows and to let take part in their traditions. We had therefore experienced them as peaceful people.

Now, this genuine ceremony, however, is the “recurring theme” to the “bloodline” of their ancestors and therefore the passed on terms are most natural for the Kiowa natives.

  • The next entrance started with young American natives who had had the task of leading the veterans and accompanying them on the stage. All these men had been obliged to serve in Vietnam. Here on the stage, they executed now the Dance of the Veterans.

Also Sherman Chaddlesone belonged to the group of the veterans (see to this:Art Touches Art – 11”).

This item on the agenda is – after my feeling – not exclusively an appreciation of their “successes in the war” as it perhaps had been thought in the past. With this ceremony the Afghanistan-veterans feel taken in the circle of the community. There they feel a security helping them to process injuries – suffered from physical and, or also from spiritual injuries…

The Dance of the Veterans had felt drawn on a long time very much; it had been executed by all involved with seriousness and dedication. After the completion of this dance of the veterans, till now uninvolved women from the spectator crowd finally entered the dance-floor to follow dancing. It was important to wrap oneself in a blanket: This was the phase of the “Blanket-Dance”. Margaret Hettrick (see: „Art Touches Art – 6 + 23“), from Texas arrived, in order to be present at the ceremony, had also gone onto the dance-floor and had wrapped herself in a blanket, before. Sometime Sherman Chaddlesone’s sister had come to my husband Heinz and me, wrapped us into a blanket respectively and had led us onto the dance-floor!

Later, we had learned that we were the first Germans to whom this honor of the con-dance had been granted!

Such a magnanimous and friendship-bringing-about gesture we had felt as a great mark of confidence!

After the ceremony of The Dance of the Veterans having been completed, then there had followed: The Defeated Death.

As a whole, the “Dance of the Veterans” follows a particular choreography. Each step has to be carried out exactly. This information should draw our attention on the niceties which had been hidden for us – the “clueless-ones”. Therefore we could not get aware of these minimal movement-changes either of the complete construction.

This, what we had been able to recognize, however, had been how great the physical effort must have been, together with a highly concentration for hours during the ceremony: At the end, Sherman Chaddlesone had dropped down obvious exhaustedly on his seat.

The last item on the agenda of the complete ceremony had been then a naming-ceremony for a small child: People from the environment of the young family had given presents to each other. Many people had gone onto the event-area for this and had put bags down there provided with nameplates. The names of the present-giver and present-receiver had then been read out. During the naming-ceremony banknotes had been put down in front of the young parent couple.

After the event finally had been ended, the crowd dissolved itself: Many natives had started for the way home, but there had also been numerous persons arrived from far, who wanted to stay overnight in their tents, pavilions, trailers or station-wagons in the small piece of woodland. At first one went, however, into the prepared eating pavilions. Also the family Chaddlesone had prepared an eating pavilion and all of us had been guests invited to be at the meal together present! Once again we had been overwhelmed by the great hospitality, warmth and kindness which had been brought to us!!!

The sound of the drum continued to have an effect still energy-giving into us. Nonstop the drummers had drummed during the complete ceremony of the Kiowa Black Leggings to the different items on the agenda of this afternoon and had played an important role with that.

In connection with this, it seems probably difficult to understand that I had painted a flute on the outside on the right in my acryl picture The Blanket Woman which shows the color of its surroundings and is situated in a long distance to the “Blanket Woman”.

The whole afternoon I had had this vague feeling as if softly moved air had got into vibration and seemed having radiated sensitive flute tones between the people: A common atmosphere under the people whom something far away inwardly moved, something from a far temporal distance. …

The drums had made audible the energy and rhythm of the actors. The atmosphere of the people on this had spoken differently – had been celebrated by a common inner vibration, however…

This inwardly having been moved, I had heard like an inconspicuously, almost breathed singing or flute-playing from the past: a soft sound had laid in the air, simultaneously like an easily rough breath which seemed to come from a wide distance as uniting memory of the ancestors and the past.…

Everyone had had the chance during the complete ceremony “to sing their very own melody, belonging to all of them”

The memory of the ancestors is a respectful gesture which finds its expression in carrying out the tradition and is intended as empathy for the destiny of the ancestors.  

We had saved in our memory the undisguised warmth towards us. Simultaneously the intensive dedication of all involved (the watching like also the active persons) to the traditions of their own ancestors had impressed me! Particularly I recognized this in the respect for their ancestors and in the seriousness at all their actions…

Some years ago, I had found a photo which I had taken during the “Black Leggings Ceremony” in 2001. This had seemed suitable to me as an example of what I had explained above. It also had inspired me to the work of art “Mother and Daughter Following the Ceremony“ – Or: “Keeping Creates a Strong Ribbon” (2012).

Renate Hugel: „Mother and Daughter Following the Ceremony“

Or: „Keeping Creates a Strong Ribbon“

Mixed Technology, Flake Off Technology (29,5×41,5 cm), 2012

I had this picture worked with black, as also different-colored Indian ink and opaque white. After having taken an outline to the paper, I had to put at first bright, waterproof-colors and further have had to decide which areas have to be saved: Because, my procedure followed now the so-called “Flake-Off-Technology”. In the dried condition all areas I had wanted to be saved I had covered then with opaque white. After the white color had got dried the complete picture I had covered then with black Indian ink. After this had dried as well, the picture had to be washed with water. The areas not having been covered with opaque white had changed their color by the black ink now (on my picture partly mixed with reddish brown). This one – in this phase – wet opaque white under the black Indian ink had got bursted in contact with wetness of the black Indian ink. These broken colors can now be washed off and will release the colors beyond. In this moment when I had wanted to stop the washing I can save opaque white traces – in case that I want to save this state…

The Flake-Off-Technology I had chosen because, during the process of this technique, hidden things can be transported again to the daylight… – And therefore this technology can be taken as “a symbol for bringing out the past and with that for bringing out the heavy losses” – …

Within the inner attitude of the persons of my picture I see my intention to let get visible the passing-on-strength, on to the children in this: The mother is deepened in concentration and obviously “arrived inwardly” – in expectation of the ceremony. The girl orientates herself at the behavior of the mother, as also at her feelings and her inner attitude…

So the chain of the ceremony-repetitions continues to get a new chain-link with each year at the time.…

My description above of the process of “going back to the roots”, – not only intellectually but also by a physical usewith this I show what creates, corresponding to the inner attitude, an inwardly strength giving a certain size in the here and present to the person!!!!!

Interpretation: Renate Hugel

Renate Hugel

 (Bremen, Germany)

Renate Hugel-Selfy, 2017

www.other-q.com/renate-hugel

Remark 1: Current stand: To Renate Hugel I have written the contributions “Art Touches Art – 9, 17, 22 and 41under “Art Touches Art”.

In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the outside of the right.

                     Renate Hugel

To your Information:

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Jereldine Redcorn: “The Queen of Clay”

  – Caddo – Native American Artist –

(Norman, Oklahoma, USA)

“Art Touches Art – 40” is about Jereldine Redcorn. In addition, one learns in this why the White House finds mention into this.

To be found under “Art Touches Art”

Renate Hugel 

“Art Touches Art – 40”

– Jereldine Redcorn –

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Jereldine Redcorn:  „Five Effigies“

Ceramic vessels, worked according to the examples of her own ancestors, the CaddoNatives of America, Bremen (Germany), 2000

Remark: Composition of the photos of the five vessels: Renate Hugel. The photo of the head vessel I have processed a little – with consent of JR.

Jereldine Redcorn: The Queen of Clay

(And: Parting of the White House)

About the request and the work of Jereldine Redcorn (JR) (Artist of American Natives, Caddo, from Norman, Oklahoma, USA) I have already written repeatedly:

„Art Touches Art – 2“: „Caddo Ceramic of Jereldine Redcorn“

„Art Touches Art – 10“: „Interval“and „After Columbus“

„Art Touches Art – 18“: „The Feeling Hand”

In Oklahoma we had seen JR (2001) to the common presentations and could visit her also in her home in Norman.

Here I cite a quotation of Jereldine Redcorn because it had inspired me to the contributions about her work:

“Creating Caddo pots becomes a journey with my ancestors. I use the tools, materials and firing methods as close to what, I believe, the old Caddos would have used 500 years ago. The earthenware created truly comes from e –nah – wah – dut, the mother earth.” (Jereldine Redcorn)

The photo below, I had taken 2001 during a celebration event with presentations on the area of the Rose State College in Oklahoma City (Oklahoma, USA):

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I appreciate at this photo that the mathematics teacher J. Redcorn shows herself obliged to her rationality in the condition of attentiveness and concentration there. At the same time, her traditional garment points (together with the traditional jewelry) that (beyond the scientific intellect) closeness to her ancestors belongs to her personality!

By her work, reconstructing the ceramics of her ancestors like also the required production techniques, she succeeded a resurrection of the historical vessels! And this earned her the following title:

“The Queen of Clay“

(see: www.redcornpottery.com)

This, her reputation, had spread apparently over Oklahoma’s limits! It was about eight years ago when JR had totally been out of her mind! – The reason for it?

Former President Obama and his wife Michelle at that time had collected works of art for their new home, the White House, short time after his assumption of office’s post!

One of Jereldine Recorn’s Caddo vessels had belonged to this art collection!

In the meantime (in January 2017), the family Obama has left this domicile again – as known to everyone. Joined in moving had all the works of art – then had been selected with love – and thus also the ceramic vessel of JR

Even today, I know quite exactly how overjoyed Jereldine Redcorn had been about this: To be represented in the White House with a work of her own, this she had felt as recognition on eye-level – not only for herself but for all American Natives!

Exactly this openness towards all people and all forms of art of Barack Obama is worth to me receiving a special mention!

Renate Hugel

Remark 1: Current stand: To Jereldine Redcorn I have written the contributions “Art Touches Art – 2, 10, 18 and 40under “Art Touches Art”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.

Renate Hugel

 

 

„Art Touches Art – 39“

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Heinz Hugel: “the pair…”

Sculpture from find pieces (2001), Stone plate, wood thick boards, metal applications, partly painted with, “red earth” from Oklahoma

Details on the photo-montage: “the pair… in front of burned earth” of Oklahoma

View: Photos: 2001, Photo-Montage: 2002, Heinz Hugel

Remark: Heinz Hugel had given his sculpture “the pair…” in exchange for Juanita Pahdopony’s work of art “Comanche-Education”. (See to this “Art Touches Art – 36”)

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Heinz Hugel:  „the pair“ Or: “Into Ash and in Mourning”

Photo of his own sculpture (back): “the pair”  (2001)

“the pair”…

September 29th, 2001, was the “peace day”. We (our hosts and we, the guests from Germany) had been invited to take part in the peace ceremony of American Natives in a school in Anadarko. The memory of the victims of “September 11th, 2001”, had been the main concern this year.

To the participants of the peace ceremony belonged besides the pupils like also the teachers of the school the invited guests. As a person responsible we could among others be aware of the principal. In addition, Linda S. Poolaw (Delaware / dramatist, photographer, curator and educationalist*) belonged to the invited guests (*see to this: “Chronology of the Past History” under “Art Touches Art”).

The peace ceremony had started with digging earth, because it had been planned to plant a young tree. It can be seen on the square photo that it had already been planted into the earth; nevertheless, the dug earth-hole still had remained open during the ceremony.…

Some addresses which had referred currently for September 11th of 2001 had followed.

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Details on the Photo: Preparing the planting of a young tree + the ceremony

Following, all participants formed a long, approximately oval till circle shaped chain. And everybody got a little bow.

These bow ribbons had got the colors white, black, red and yellow. These are the four colors which stand for the philosophy of life of the American natives:

An every color has a certain meaning. As a whole they form the coordinate system which gives orientation to the people.

To these belong for example the four points of the compass, like also the winds coming from all directions, the four age-sections in the life of a man, there are correspondences at the four seasons also at the day-sections… (See also „Art Touches Art – 16“)

I hereby have outlined the special philosophy only very briefly on which the four colors are based. With their position, assigned to each single point of the compass, to the directions of the wind and, or to the individual age-sections of man for example, this reveals a way of perception showing his and ours dependence of time, of the earth and this of its position and function in the universe…

By this philosophy outlined roughly – built up on the basis of the four colors – having been internalized in their spiritual substance, the American natives had been under the protection of these colors – as an expression of their complete attitude of mind. Therefore these four colors also are named as “the guardians of the spirit”.

Each from the “human chain” should – the row after – approach the young little tree now. At first a little bit tobacco had to be scattered into the earth-hole. Afterwards, the small bow was hung on a branch of the little tree. During the complete action it had been important to think a positive thought or desire.

When everybody then finally had hung his bow into the tree, the completion of the ceremony followed: “The tomahawk was buried” – in double regard:

An American native had done this with his words, his talk. The real action followed to this by a “tomahawk” being put into the prepared hole together with a pipe, the “peace-pipe”

After that, this hole had been filled up with earth.

Finally, dances to music formed the end of the ceremony carried out by young American natives (pupils of the school).

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Details on the Photo: Carol Whitney hangs her ribbon as a symbol for her good thoughts and wishes on the peace tree.

Again and again, our look had fallen now on the small adorned treetop:

There had arisen an atmosphere which – this one seemed to me so – had given this treetop a certain radiation and aura. And exactly this gives the many good thoughts a chance to grow and develop!

Everybody has therefore taken on a responsibility to feel oneself obliged to the “guardian of the spirit” (the four colors) and to be willing to think – what means: to let arise – the good for all people…

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Details on the Photo: The freshly planted small tree carries the ribbons carrying in itself the good thoughts and wishes as “shoot – carrier” which want to grow and to form a good future…

The sculpture “the pair” has arisen afterward under the impression of this peace day. Heinz Hugel had collected the material he had discovered and which had been at disposal to him.

In the result a work of art which evokes a collective traumatic experience full of heavy thoughts and feelings had arisen.

The realization by simple wood boards may be confusing for the observer, though. But using the millennia old building-material wood in fact corresponds to the experience of having been lead back to human social behavior in the time of early human societies. The social structure of all early societies then had got comprehensible rules in the “with-each-other”.

It really had been about the “you to you”. At conflicts the human mind should reflect and remember that forgetting quarrel causes or injuries offers the chance for a new beginning. “Burying the tomahawk” in its symbolism, this helps at it.…

The sculpture “the pair”, Heinz Hugel had put together – on the photo right above – in front of another photo, on which the earth dried out is shown in the glaring dazzling sunlight of Oklahoma. The brittle, dried out and cracked earth may stand for deserted human relations here…

Right at the top it is to be seen the photo which Heinz Hugel had taken of his own sculpture in the year 2001: “the pair”or: “Into Ash and in Mourning”. It shows the back of the sculpture. The light in which the two tower fragments had been dived makes appear them in the smoke and the heat of the inferno and shows the moment before the caving in of the towers. This impression of instability is made grow since Hugel had taken his sculpture so that the stone base carrying everything is not perceptible.

In the middle of the upper photo edge, there are appearing the letters RE. They are standing for “Remembrance” – branded in…

On the right and on the left, the two black stripes symbolize for Heinz Hugel “Ash and Mourning”…

Interpretation: Renate Hugel

To the Person of Heinz Hugel   (Artist from Bremen, Germany)

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Renate Hugel: „Portrait of Heinz Hugel“

Manual Print, 2003 – Relief-Print-Method: Print Plate: Vinyl, Linocut Print Colors

heinz hugel

 1936: Heinz Hugel was born in Bremen.

1976, since: Activity in the artistic area, among others in the adult education

1981, from: Freelance artist

1982: Foundation of a gallery

1990: Joining the artist group “Der Bogen”

1992: Founder member of the group “Quintum” (union of international artists)

2000: Symposium “Encounter of Native American Artists and Artists from Germany (one artist from Bulgaria)” (con-organization)

2001: Study visit to Oklahoma/the USA (“return visit”),

Expansion of the group “Quintum” into “Quintum international”

2002: Certificate of the university Bremen – studies with Professor Uwe Mempel, main emphasis in “Art Practice” – “Experimental Ceramic”

2007: Member of the group “Art in the Province”

2009: Member of the group “Art – Projekt”

2013, from: Retreat because of physical problems

 Exhibitions or Exhibition Participations: (Choice)

Bremen, Borgholzhausen, Herford, Hamburg, Kiel, Kleestadt, Großumstadt, Langenargen (Lake Constance), Loidved (Denmark), Munich, New York, (USA), Oklahoma (USA), Rose State College (Oklahoma City, USA), Tribes Gallery (Norman, USA), Heaven, “International Exhibition” of German and Anadarko Basin Artists (Gracemont, USA), Siklos (Hungary), Tekomatorp (Sweden), Tournus (France), Zwolle (Netherlands)

Several Exhibitions in Niedersachsen (Lower Saxony, Germany):  Bassum, Bruchhausen – Vilsen: Klostermühle Heiligenberg (Cloister Mill Saint Mountain), Delmenhorst, Diepholz, Kirchdorf, Lemwerder, Oldendorf, Osterholz Scharmbeck, Rotenburg, Wümme, Schneesen, Sulingen, Syke, Wagenfeld, Weertzen, Weyhe, Wildeshausen, Worpswede

Heinz Hugel

 Remark 1: Current stand: To Heinz Hugel I have written the contributions “Art Touches Art – 7, 15, 21, 32 and 39under “Art Touches Art”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.         Renate Hugel

 

To your Information:

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Roland Schneeweiss

(Bulgarian artist with German roots):

“Kukeri”

At reading this contribution, “Art Touches Art – 38”,

you will experience an art-meeting with a Bulgarian tradition!

You find the contribution if you select on HOME

“Art Touches Art” on the above.

Information about the complete previous contents of the category Art Touches Art” you find by selecting

“Art Touches Art” on HOME on the right on the outside.

 Renate Hugel 

„Art Touches Art – 38“

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Picture Details: Roland Schneeweiss  (Bulgarian artist with German roots): „Kukeri“ – Engrave

Roland Schneeweiss: “Kukeri”

 Or: Art-Meeting with a Bulgarian Tradition

Remark first of all: Unfortunately, it had not been possible for Roland Schneeweiss (R.S.) to fly together with us to Oklahoma in the year 2001. This had been very a pity – for all of us, particularly for himself.

Some time ago, R.S. had sent me some copies of some of his artworks. He wished that I write a contribution for him to the Art-Meeting in Oklahoma…  Renate Hugel

“Kukeri” is the title of the engrave-work to be seen above. With that, Roland Schneeweiss (R.S.) refers to an Old Bulgarian tradition during carnival.

Analogously, Schneeweiss has written for me the following lines to this:

These folklore-dancers are called „Kukeri”. Their dances symbolize the fertility. While dancing they are carrying wooden sabers against the bad.”

At first the observer looks into quite a number of eye couples who belong to the mask-carriers. A concentration of masks lets appear them in an enormous presence.  Above and on the sides the picture edge is determined by dynamically set lines and triangles – in different thickness.  Through this R.S. lets the observer feel the enormous energy which the mask-carriers expend during the dances. Altogether, this graphic work therefore works as a part from a much larger crowd of mask-carriers. Apparently they are wearing masks having been carried out differently. The facial expression worked mainly straightly and angularly is common to them – beyond organically tracking face features.

A saber mentioned above by R.S.for the fight against the bad – is held up in the above on the left of the picture. This fight is meant against the bad one at itself. A certain abstraction is lying in this, and, how I think, primarily philosophical thinking: For, the used energy for the defense is not aimed at another person or persons also not against other groups. How, the bad one at itself is defined and where can it be found? I will seek an answer to it by following further traces which prove the determination of the dancers for the defense of the bad one:

It can be recognized in the foreground that in addition also cowbells are carried. By the movements during the dances they are made sound. R.S. has shown the cowbells in their form-variety and condensed them to a complete composition on his work of art. That way, the cowbells can be perceived in any case and simultaneously as well they “can be heard in any case”!

The ringing of cowbells gets a weighty meaning with that! I will get on the track of it by considering which association the metal sound is producing: The world is all right if the life insurance “cow” – as the food-donating – has not been got lost! So the sound of the bells associates: Feeling oneself protected because the bells are proving this that life is secure (by the existence of the cow) and everything runs well. The bad, however, does not know any reliability and, therefore cannot interpret the cowbell-ringing in this way either. For the bad, the ringing merely is an infernally noise! And the dancers want to chase away the bad exactly through this.

Another indication for the reinforcements of the fight against the bad is the facial expression of the masks. These are arranged mainly angularly what emphasizes their determination in their facial: The people behind really want to chase the bad! That the bad does not have any chance, the masks of the dancers confirm furthermore with their ”extended tongue” – of which one of such a mask is lying in the field of vision of the observer in front on the right. I find this detail meaningfully in connection with this, because: With an extended tongue, all inner feelers are blocked and cannot get into an inner contact with the opposite person – or even to absorb something of the spiritually of the person.

The dance of the Kukeri symbolizes the fertility, such R.S. had formulated it. As described above, the main concern of the dancers consists in fighting against the bad. So, the fertility stands apparently for the good: Everything which is good for living lets the good arise. To carry fruits, this is the result of infinitely many actions which collaborate in nature.  And this means not to act against the laws of nature. Then, the growth in the nature and of the nature wants to happen undisturbed with the aim to produce new fruits… This excellent performance of reproduction, inwardly natural balances, culminating in the fertility, which owe the people to the vegetative processes within all living ones! If such a balance is disturbed, nature answers on this with corresponding negative consequences. It is an act of understanding of correlations, in order to realize, to what the so-called bad can be put down! … And these consequences had been caused by having been careless! Because: Attentiveness is an inner attitude which keeps everything in the balance, the outer like also the inner world!

With that, the fight against the bad is not only meant for outer disastrous natural phenomena but primarily for one’s own “inner human” who can stimulate or block the natural processes by one’s inner attitude!

I would like to mention in this place what R.S. – analogously – further has written for me: Nowadays the masks are called “wisdom” jocularly in Bulgaria. This is an ironic reference to the scientist Albert Einstein of whom a portrait photo exists with an extended tongue.…

My thoughts to this: Does Einstein, with this pose, take distance of his own scientific discovery???

It might have become conscious to him that his scientific knowledge requires the purified and responsible person. The good and the bad are lying quite close together and are a question of an inner attitude – of everybody man…

Interpretation: Renate Hugel

To the Person of Roland Schneeweiss 

 (Bulgarian artist with German roots)

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Roland Schneeweiss:

Left photo: From the year 2000 during the symposium in Bremen, Germany

Right photo: From the year 2015 in Burgas, Bulgaria (in front of the announcement of his exhibition in September 2015, on the occasion of his 80th birthday on the 25th 07th 2015)

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Roland Schneeweiss: “Karnobat in the 19th century”

(Hometown of R.S., Bulgaria)

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Roland Schneeweiss: “The Advancement”

(Art in the Public Room of Karnobat, Bulgaria, Concrete)

Roland Schneeweiss

 was born in Leisning (Saxony in Germany) in 1935. By the chaos of war his family came to Bulgaria. He has grown up and been socialized there in the small town Karnobat. He studied art at the Academy of Arts in Sofia.

Works of art of Roland Schneeweiss are in the Bulgarian National Gallery in Sofia durably as well as in many other galleries of the country, and in the Graphic Gallery in Pittsburg (USA).

Roland Schneeweiss lived and worked on 1988 in Rotenburg (Wümme), a town which is located between Hamburg and Bremen (Germany).

He had got a profession with interesting tasks and devoted himself to the graphical documentation of archeological finds and knowledge among others, in which he had been very interested and what had brought him much joy. His “Studio on the Meadow” had been the place for his artistic activities. Today, he already lives some years in Karnobat (Bulgaria) again.

Participation in International Art Exhibitions:

From 1965:

  • Participation in “Exhibitions of Bulgarian Art“ in

Austria, Algeria, India, Spain, Cuba, Mexico, UDSSR,

Germany and in the USA

  • Repeated participation in the “Biennale for the modern Graphic“ in Varna, Bulgaria (from 1981)
  • Repeated participation in the „International Art Exhibitions“ in the Cultural Center Jockrim near Landau (1981 – 1985)
  • Participation in International Exhibitions in Vienna (1990), Austria, New York City, USA (1995) and in Lahti, Finland (1998)

Individual and Community Exhibitions in Germany: Syke, Lemgo, Bremen, Buchholz, Rotenburg (Wümme), Brunswick, Lilienthal (near Bremen) and Hamburg

Other Activity and Awards:

  • Artistic Inner Design and “Art at the Building“ in “Ethnic Graphic and Historical Museums” of the country Bulgaria (from 1965)
  • “Monumental, Plastic and Picturesque Wall Design” in Bulgaria and in Moscow (from 1965)
  • Medaillion for 1300 years Bulgarian State (1984)
  • Medal of the Bulgarian Minestry of the Arts for Art, Kyrill and Methody III (1984)
  • Medaillion for Wall Design of the Bulgarian Inner Department of Commerce (1986)
  • Member of the Bulgarian Artist Union (since 1970)
  • Member of the Organisation „Art in the Province r. a.“, Lower Saxony, Germany (since 1991)
  • Founder Member of the Group „Quintum“, Bremen, Germany
  • Participation in the exhibitions at the completion of the symposium “Attempt of an Encounter: Native American Artists – European Artists”: Artist of American natives, European artists, in Bremen, Germany, 2000
  • Participation in FOOTPRINT INTERNATIONAL 2014 in Norwalk, USA
  • Exhibitions in Bourgas and Karnobat, 2015 (Bulgaria), 2015 (Bulgarien)
  • Participation at 18th International Exhibition in Varna, 2015 (Bulgaria)
  • 2016 Participation: International Watercolor Triennal Exhibition – Varna (Bulgaria)

Reference to originator:

My listing of the life data, as also of those ones of the artistic activities of Roland Schneeweiss, refer to a composition which Schneeweiss himself had worked out once for himself. The details on his exhibitions as of 2014 refer from the correspondence with R.S. They do not lay any claim to completeness.

Renate Hugel

Remark 1: Current stand: To Roland Schneeweiss I have written the contributions “Art Touches Art – 8, 14 and 38”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.

 

 

To your Information:

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Carol Whitney: „Wichita’s Burning“

To this large-sized acryl picture on canvas (by Carol Whitney) I write in my contribution

“Art Touches Art – 37”.

You find the contribution if you select on HOME “Art Touches Art” on the above.

Information about the complete previous contents of the category Art Touches Art” you find by selecting

“Art Touches Art” on HOME on the right on the outside.

Renate Hugel