Eva Hesse documentary

Film Forum presents EVA HESSE starting tomorrow, April 27th in part of “Eva Hesse Around Manhattan.”

From the beginning, Eva Hesse’s life was marked by drama and social challenges. Born in Hamburg in 1936 to a German-Jewish family, the artist’s fierce work ethic may have developed from a complex psychology that was formed, in part, as a Jew born in Nazi Germany. Having escaped the fate of her extended family, Eva and her older sister Helen were sent out on one of the last Kindertransports (trains that carried Jewish children to safety) and was eventually reunited with their parents in Holland. They made their way to New York but her family struggled to make a new home and her mother, after many years of depression and a failed marriage, committed suicide when Eva was 9 years old.

The artist graduated from Cooper Union and Yale School of Art, then returned home to Manhattan in late 1959 and began to receive attention for her highly original, abstract drawings. In 1961 Hesse met Tom Doyle, an already established sculptor, and in a whirlwind romance married him a scant 6 months after first glimpse.  Their relationship was both passionate and competitive. Hesse struggled with the desire to be on equal footing with Doyle in terms of their art making but also wanted to be in a marriage with someone who could offer her the security that life often denied her.

 In 1964 Friedrich Arnhard Scheidt, a German industrialist, offered an all-expenses paid artist’s residency to Tom Doyle for year of working in an abandoned textile factory near Essen, Germany. It was tough choice – go back to the country that had murdered her family or stay in New York and work menial jobs while trying to make art with any time and energy left over. Ironically, the work on which her reputation was built began to emerge during this extended visit to the homeland she had escaped 25 years earlier.

 The documentary film celebrates the life of one of America’s foremost postwar artists and joins organizations around the city in celebrating her work.

 For more information on where her work is being displayed and celebrated, visit: http://zeitgeistfilms.com/sitelets/evahesse/evahessenyc.html

ERICA MURALLES HAZBUN : The Labyrinths

Interviewed and Translation  by Séverine Grosjean, Edited by Yoon Joo Lee

 After studying geography, international relations and sociology in different countries (France, Spain, Portugal, Ecuador, Peru),  Séverine Grosjean works as a freelance cultural journalist. She has published articles in  french, Canadian, British, Mexican, Chilean magazines. She is preparing to inaugurate her  first photography exhibition as curator in Paris in october. 

Erica Murals Hazbun began working with paint, mainly in oil and acrylic, a step which ended after a few years. This did not meet her expectations, due to certain limitations found in the paint. That is why it was necessary for her to experiment with different techniques such as collage and printmaking, including screen printing, gravure printing or digital engraving.

Serie- %22Ensayos Imaginarios%22, Collages, 2010.

Serie: “Ensayos Imaginarios”, Collages, 2010.

Serie- %22Ensayos Imaginarios%22, Collages, 2010. 2

Serie: “Ensayos Imaginarios”, Collages, 2010.

Sín Título, óleo y acrílico, 2010

Sín Título, óleo y acrílico, 2010

%22Laberinto Interno I%22, 2011, Serie- Laberintos, Grabado- Intaglio sobre papel de algodón, 57 x 76 cm

“Laberinto Interno I”, 2011, Serie: Laberintos, Grabado: Intaglio sobre papel de algodón, 57 x 76 cm.

 

%22Laberinto Interno III%22, 2011, Serie- Laberintos, Grabado- Intaglio sobre papel de algodón, Trazo original del Centro Histórico de la ciudad de Guatemala, 57 x 76 cm.“Laberinto Interno III”, 2011, Serie: Laberintos, Grabado: Intaglio sobre papel de algodón, Trazo original del Centro Histórico de la ciudad de Guatemala, 57 x 76 cm.

“Construcciones Imaginarias III”, 2010, Serie- Construcciones Imaginarias, Grabado digital, 61 x 83 cm

“Construcciones Imaginarias III”, 2010, Serie: Construcciones Imaginarias, Grabado digital, 61 x 83 cm

%22 Construcciones Imaginarias VII%22, 2012, Serie Construcciones Imaginarias, Grabado digital, 110 x 45cm

” Construcciones Imaginarias VII”, 2012, Serie Construcciones Imaginarias, Grabado digital, 110 x 45cm

Many of her works are worked from a line drawn by hand and then scanned, along with Mayan textiles models. In her work, she explores the facilities, subject and abstract art. This is particularly the case for this series illustrated by clips called « Process » and a series of installations, she currently continues to develop by including soldering iron and copper wire.

%22Proceso III%22, 2013, Serie- Procesos, Acrílico y grapas sobre papel de algodón, 57 x 76 cm

“Proceso III”, 2013, Serie: Procesos, Acrílico y grapas sobre papel de algodón, 57 x 76 cm.

%22Proceso IV%22, 2013, Serie- Procesos Acrílico y grapas sobre papel de algodón, 57 x 76 cm“Proceso IV”, 2013, Serie: Procesos Acrílico y grapas sobre papel de algodón, 57 x 76 cm.

%22No. 1%22 (detalle), 2014, Serie- Sin Título, metal soldado, Dimensiones variables, 260 x 170 cm

“No. 1” (detalle), 2014, Serie: Sin Título, metal soldado, Dimensiones variables, 260 x 170 cm.

She was quickly interested in abstract art. She wanted to travel to the United States and France to specialize through courses focusing on drawing, composition studies and bases leading to abstract art. Back in Guatemala, she was in contact with several artists who guided the variously as Hellen Ascoli, Marlov Barrios ,Moises Barrios and Max Leiva.

It is important for her to define the relationship between “what we want to do” and “what can be done.” Erica says that throughout the process there is the work that is in the head, the work that is in the hands and the final work. She displays a specific piece but by developing and experimenting with different materials, certain limits and certain changes appear. However, most of her pieces are worked from tests or error, so if the end result varies, it does not matter as long as it does not deviate from her intention.

Her creative process integrates both the written part as the realization of the piece. She needs to work on her pieces. She uses the perception and intuition as a function part of the process. This is the case of an installation in which she was used copper wire as a wire loom. She has chosen for its features and contradictory features: strong and rigid but malleable and resistant.

“Sin Título”, (detalle), 2014, Serie- Sin Título, Alambre de cobre tejido, Dimensiones variables, 260 cm x 32 cm (diámetro)

“Sin Título”, (detalle), 2014, Serie: Sin Título, Alambre de cobre tejido, Dimensiones variables, 260 cm x 32 cm (diámetro).

Erica focuses on every detail. It is a meticulous work. Each work requires a special time. Some can be worked sporadically, but there are others that require ongoing attention. For the latter, Erica becomes a hermit. She locks herself with her until the end. Her work is constantly updated. She uses modulation or repetition as a starting point. She reflected on the daily monotony and behavior patterns in humans and what happens in daily life. The intention is not to build a closed, perfect system, but a system tied to life, so random and unplanned.

To know more about Erica Muralles Hazbun here .

Presented by the International Foundation for Women Artists.


 Interview in French

ERICA MURALLES HAZBUN ET SES LABYRINTHES

Elle a commencé à travailler avec de la peinture, principalement à l’huile et à l acrylique, une étape qui s’est terminée au bout de quelques années. Cela ne répondait pas à ses attentes, en raison de certaines limitations trouvées dans la peinture. C’est pourquoi il lui a été   nécessaire d’expérimenter différentes techniques comme le collage et la gravure, y compris la sérigraphie, l’héliogravure ou la gravure numérique.

Plusieurs d’entre elles sont travaillées à partir d’une ligne tracée à la main puis numérisée accompagnée de modèles numérisés de textiles mayas. Dans son travail, elle explore les installations, l’art objet et abstrait. C’est notamment le cas pour cette série illustrée par des agrafes appelée – Processus– et une série d’installations qu’elle continue d’élaborer actuellement en y incluant du fer à souder et le fil de cuivre.

Elle s’est très vite intéressée à l’art abstrait. Elle a souhaité voyager aux Etats-Unis et en France pour se spécialiser grâce à des cours mettant l’accent sur le dessin, les études de composition et les bases menant à l’art abstrait. De retour au Guatemala , elle a été en contact avec plusieurs artistes qui la guidèrent de différentes manières comme Hellen Ascoli, Marlov Barrios, Moïse Barrios et Max Leiva.

Son processus créatif intègre aussi bien la partie écrite que la réalisation de la pièce. Elle a besoin d’intervenir sur ses pièces. Elle utilise la perception et l’intuition comme une fonction faisant partie du processus. Il lui est important de définir la relation entre «ce que l’on veut faire » et «ce qui peut se faire ». Erica explique que tout au long du processus , il existe le travail qui est dans la tête, le travail qui est entre les mains et le travail final . Elle visualise une pièce déterminée mais en élaborant et expérimentant avec différents matériaux certaines limites ou changements apparaissent. Cependant, la plupart de ses pièces sont travaillées à partir d’essais ou d’ erreurs , par conséquent si le résultat final varie , cela n’a pas d’importance tant qu’il ne dévie pas de son intention.

Ceci est le cas d’une installation dans laquelle elle a utilisé le fil de cuivre comme un fil à tisser . Elle l’a choisi pour ses caractéristiques et ses particularités contradictoires: solide et rigide mais aussi malléable et résistant.

Erica se concentre sur chaque détail. C’est un travail méticuleux .Chaque oeuvre exige un temps spécial. Certaines peuvent être travaillées de façon sporadique, mais il y en a d’autres nécessitant une attention continue. Pour ces dernières , Erica devient une ermite . Elle s’enferme avec elle jusqu’à la terminer.

Son travail est constamment mis à jour . Elle utilise la modulation ou la répétition comme un point de départ. Elle réfléchie sur le quotidien, la monotonie et les modèles de comportement chez l’homme et ce qui se passe dans sa vie quotidienne. L’intention n’est pas de construire un système fermé , parfait mais un système  lié à la vie, donc aléatoire et non planifié.

Séverine GROSJEAN

Lean More about Erica Muralles Hazbun here

Presented by the International Foundation for Women Artists.