Despite the closure of its exhibition space at the end of 2009 due to circumstances beyond its control CCNOA (http:///www.ccnoa.org) is determined to continue its activities as an international, multidisciplinary platform for contemporary ‘reductive’ art and to this end is currently focusing on developing new concepts and different ways of communicating its aims and aspirations.
30/30 is one of these new concepts and – along with the continuation of our touring group exhibitions – forms the core of our activities, at least for the time being. The concept for 30/30 was developed by German artist, curator and artistic director of CCNOA Tilman. It’s is a collective enterprise as well as a work in progress, based on cooperation not only between the artists and us but also between us and YOU, the viewer.
The first edition of 30/30 was presented in April 2010 at Minus Space, New York, the second edition opened on 7 November 2010 at PS, Amsterdam, and the third opened on 7 December 2012 at Moins Un, Paris.
But beware, 30/30 is not your usual exhibition scenario but a continually growing collective collection of unique small-scale artworks by artists we have cooperated with over the last twelve years as well as newly invited artists from around the globe. So yes, definitely a divergence from the modus operandi of the past but a mission which nonetheless remains faithful to the same underlying objective: to showcase the excitingly wide range and high quality of contemporary artistic production in the realm of reductive art at international level.
30/30 simply refers to the exact size of the commissioned artworks, which is set at 30 x 30 cm with a maximum depth of 5 cm. Since the works don’t have to take the format of a square – they can be triangular or circular – we inserted a slash instead of a times sign between the numbers. Just when everybody else is continuing to go bigger (despite the recession) or at least hang on to the status quo, we have decided to go smaller.
About.... Artist Statement Tilman
It is incumbent on every painter working today to address the current raison d’Ítre of painting. In this context my work could to a certain extent be considered as concrete in art-historical and formal terms but to the same extent it distances itself from this self-reflective language. The aim is to trigger a dialogue that transcends the concrete, opening up this tight framework for reading a painting and providing access to a more personalized universe.
My artistic practice is deeply rooted in the ‘here and now’, taking its cue from our everyday life and environment. It is concerned with the basic act of seeing and perceiving as a constructive approach towards reading one’s surroundings, both mentally and physically, and with expanding perceptual experience. It builds on my early experiments with photography in the late 1970s. Negotiating the confines of this tradition and turning away from it, I adopted light, and by implication color and time, as the basis of my formal language.
Anything which catches the artist’s eye can be appropriated and used to create a personal language, filtered into the intimate language of art-making, spurning the received ideas and philosophical tenets surrounding the subject of the ‘reductive’.
In this way my paintings reflect and encourage physical and intellectual mobility. They are in a state of perpetual change, subject to transformation by the qualitative and quantitative variations of the space they inhabit. Movements in space, moments in time – time as movement, as a passing-by, as a continuum – they demand a relational sensitivity in order to comprehend our essential position within and towards our perimeters. The end result is a personal journey in which everyone can participate.
An exploratory dimension is thus added to the act of seeing, The viewer is invited to move closer and ‘look awry’, to crouch alongside floor-stacked edges and follow the glint of corners suffused with color; to shift from passive spectatorship to ‘spectator-authorship’, and in the process not only review and reevaluate the function, potential, relevance and validity of light, color and time as it affects his life but also discover a fresh perspective on the transfers between the material realities of art and life today. To quote Gottfried Honegger (Aphorismen, 2006): Seeing is a creative act. He who only looks doesn’t see. Seeing means reflecting, perceiving, and being aware. He who only looks doesn’t know. Seeing involves binding in all the senses … creating sense.
Tilman 2011 www.lookawry.com