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7pm, 19 May 2007
"Rencontres Insolites"
Opening at
Le Musée de l'Oeuvre Notre Dame
1 place du Chateau
Strasbourg 67000
From May 19 - June 3
7pm 25 May 2007
"Equipe 1 Une Sélection"
Opening at
K4 Galerie
Karlstrasse 4
Saarbrücken 66111
From May 25 - June 9
»»» OLD NEWS »»»
28.9.2006
RICHARD HÖGLUND AWARDED
PRIX DE LA JEUNE CRÉATION
PARIS 2006
14.10.2006
Arrival in Sofia as Artist
in Residence
at the National Gallery of
Fine Arts
++++++++++++++++++++
"news" updated :
16 May 2007
Richard Merrill Höglund
b. 1982, USA
education
2005 DNAP obtained magna cum laud
2003 École Supérieure des Arts Décoratifs
de Strasbourg
2003 Massachusetts Institute Of Technology (Semiotics - doctoral program seminar)
2002 School Of The Museum Of Fine Arts. Boston
2001 Univerzita Karlova V Praze
(Poetry seminars)
2000 Northeastern University. Boston
(Graphic design & art history)
exhibitions
2007
Tout Contre
La Générale/A.M.Sevres, Paris.
Equipe 1 : Une Sélection
Galerie K4, Saarbrücken
Rencontres Insolites,
Musée de l’Oeuvre Notre Dame, Strasbourg.
Phase II
Espace Culturel Bulgare, Paris.
Dorneau, Höglund, Le Roux : Le Dessin.
National Gallery of Fine Arts, Sofia.
2006
Jeune Création 2006
La Bellevilloise, Paris
Influenced Identity = I
the Bernice Steinbaum Gallery, Miami
GUT :: WTF (performance w/ Linus Owen Garni)
ESAD, Strasbourg
Planets of Comparison
Museum Moderner Kunst Stiftung Ludwig Wien
Calking with God (performance)
La Chaufferie, Strasbourg
Crise de Foie
Salle 27, Strasbourg
2005
Virgule (performance)
ESAD, Strasbourg
The True Definition Of Man Does Not Involve Any Consideration Of The Number Twenty
(walldrawing installation/performance)
La Chaufferie, Strasbourg
Pankisi : aller|retour
Syndicat Potentiel, Strasbourg
Höglund : L’ordre
Manray, Boston
The Power Of Limits
Syndicat Potentiel, Strasbourg
2004
Adrift In London
Galerie Stimultania, Strasbourg
2003
NEITHER/NOR
BAG Gallery, Boston
Dana Pond Award
Grossman Gallery, Boston
awards
Prix de la Jeune Création 2006
grants
bourse of the Club de Strasbourg 2006-2007
residencies
2006
National Gallery of Fine Arts. Sofia, Bulgaria
languages
fluent: English+French
functional: Latin+German+Bulgarian
I am exclusively producing drawings. The principle is to keep the relationship between the mind, the hand, the tool and the surface as consistent as possible. The fidelity “mind-hand-tool-surface” preserves an organic interaction that separates my visual language from other representational systems based on similar methods of observation and interpretation (such as mathematics). The Vehicle is chosen for the immediacy/fluidity/proximity maintained between the process of artistic production and the process of cognitive interaction with things-in-the-world and their relationships.
(Observational Drawings or Drawings from Observation)
Instead of proceeding from the mimetic Tradition, my drawings are constructed from semiotic processes. I observe simple objects – those found in nature with physical properties and characteristics, and I observe complex objects – artificial and composed of numerous signs. Favoring semiosis over mimesis, I am able to develop representations of objects as they are known – conventionally understood or as I have come to understand them – and not as they are seen. Through observational practice, applied to numerous simple and complex objects, I arrive at a single drawing.
The inconsistency of the conventional inhibits the immediate recognition of objects (signified) through their signifiers (plastic manifestations of the objectIdea). In other words, the signified of a given sign may or may not be deduced from its appearance. Certain signs are heavily repeated and have a highly evolved signification, while others may be developed and forgotten in the course of a single drawing. In either case, there is no established system of notation, and signifiers are open to any number of interpretations. The totality of a given work seems to evoke a sort of schematic, and first interpretations are often localized in the work’s visual impact. After a certain amount of exposure to different works, connections are often made between the repeated signs, and ideas begin to develop as to their signification.
walldrawing project for "Influenced Identity = I"
at the Bernice Steinbaum Gallery in Miami.
Technical pencil on wall. 2006.
"Richard Höglund’s seemingly abstract drawings investigate the Eriksonian model of the formative stages of the life cycle. The work 2m20 : Multiplicité de relations d’indifférence begins with a drawing installation, located upstairs of the gallery’s main space in which the artist creates a VIII stage environment. Drawing VI is created on an individual sheet of paper which when complete is removed from the previous eight stages, re-framed and placed downstairs amongst a new environment, symbolizing the first stage of adulthood in which the individual begins to encounter new environments. Dealing with the formative stages of life, and how an identity is formed through experience, growth, and age this piece deals with a more organic model of development, and the influences that shape a persona."
collection of works realized in sofia, bulgaria
for the National Gallery of Fine Arts.
"Heredity" was developed during four months at the Nikola Tanev studio. The collection includes:
(1)Sum|Sunt, 12 portraits + autoportrait on Rives BFK on canvas with acrylic medium and marble powder in gold frames. Formats variable. (2)Minor Tapestry, technical pencil on Fabriano Artistico in the form of a decorative tapestry, hung with chain link and metal hooks. 56 cm x 140 cm. (3)Triptych (petit), technical pencil on Fabriano Rosaspina. Formats variable. (4)Fortuna, technical pencil on traditional preparation for icon painting. 20 cm x 48 cm (5)Triptych (grand), technical pencil on traditional preparation for icon painting. Formats variable. (6)Converto Omnium Oculos in Animas, technical pencil on Fabriano Artistico, 4m x 1m50 (7)Loco et Tempore, technical pencil on Fabriano Rosaspina, 56 cm x 75 cm (8)Scriptum Ambulatorium Siscitoris, ink on 5m rolls of tracing paper.
project realized for "Rencontres Insolites"
at the Musée de l'Oeuvre Notre Dame in Strasbourg
The project involved the development of a drawing that would finish as a synthesis of two fifteenth century paintings. The paintings (Les Amants Trépassés, Musée de l'Oeuvre Notre Dame ; The Bridal Couple, Cleveland Museum of Fine Arts) were originally painted on the same wood panel by an anonymous artist from the Souabe region of southwestern germany as a wedding gift around 1490. The side of the painting that was hidden against the wall is a subject of controversy. In the 1930s, the paintings were seperated and eventually came to be acquired by two museums 6,664 kilometers apart. O Curse! And not their appetites... brings the two sides of this curious memento mori together; filtered by an iconology that revisits this familiar allegory with a contemporary regard.
technical pencil on Arches "88", 38 cm x 62 cm. 2007.
ad Narragonia!
