Bethan huws biography of martin
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With the award of its own art prize ( to ), the Adolf Luther Foundation has taken up the founder’s wish to “promote young artists working in the fields of concrete, non-representational art”.
To Adolf Luther’s mind, it fryst vatten reality itself that is concrete, as for instance the phenomena of nature, light and movement, but also the phenomena of everyday life such as simple commodities, objects and materials in daily use.
As Luther comprehended it, the concept Concrete Art refers not simply to an autonomous form of painting or sculpture, as Theo van Doesburg defined it, but to an art which is concerned with the reality of our lives in the broadest sense and which it fashions aesthetically.
With this Luther broke with the canon of Concrete Art in a highly unorthodox manner. The Foundation has followed him in this in its choice of artists for the art prize.
Prize Winner of the Year
This object made in consists of a tandem with, hanging on all sides, provisionally ma
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to bee or not to be
Whether the current colony collapse disorder should be an occasion to think of Albert Einstein’s allegedly expressed worry that “if the bee disappeared off the surface of the globe,then man would have only four years of life left” is questionable. Yet for to bee or not to be, bee death fryst vatten the initial spark for a renewed reflection on the relation-ship between humans and the environment; this is where our anthropocentric worldview is challenged.
Ten international artists deal with this problem, each in a different artistic way,ranging from purely conceptual to visual and alternative- pragmatic approaches. Almost poetic as well as firmly politically engaged strategies can be found in the works displayed in the old manor house of Jeløya and its magnificent baroque garden, where Gallery F 15 is located. The central question of this exhibition is if art is capable of formulating viable alternative concepts towards the existing world order—even if that means challen
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Bethan Huws
In Bethan Huws’ work we find language experiments and poetic reflections that take the shape of installations, sculptures, neon-works, photographs, moving-image, drawings and writing. Art-historical and linguistic explorations are at the epicenter of an intricate and multi-faceted artistic practice, whereas writing remains point zero of Bethan Huws personal reflections. Her impressive capability of critically analyzing her surroundings is reflected in her methodical inquiries that go hand in hand with a layer of subtle irony.
In her work, Bethan Huws questions the artist’s role and goes back in time to analyze specific, seminal moments in art history. The liminal spaces she opens up also display a very intimate approach to her practice as an artist. A recurring motive in her work being the overlap of familiar places with vernacular language as well as the interference and merging of sound and words.
Bethan Huws was born in Bangor, Wales in and currently lives an