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GRIT Berlin - Painting Symposium

  • Roberts, A. (Host)
  • Gorrill, H. (Invited speaker)
  • Jurriaan Benschop (Invited speaker)
  • Benjamin Rubloff (Invited speaker)
  • Marguerite Nolan (Invited speaker)
  • Taylor, A. (Participant)
  • Geraldine Swayne (Participant)
  • Erika Krause (Participant)
  • Eglė Otto (Participant)
  • Michaela Zimmer (Participant)
  • Ina Gerken (Participant)
  • Jacopo Dal Bello (Participant)

    Activity: Participating in or organising an event typesParticipation in conference

    Description

    An integral part of G.R.I.T. involved a series of contemporary painting dialogues and exchange at the Berlin Painting Symposium. The discursive platform aimed to understand and re-evaluate, via the evidence of the curated exhibition (of fourteen, EU painters) how painted gesture and its physicality engages both the maker and the viewer. Presenting inclusions:
    Dr. Helen Gørrill (British writer/ artist, curator, feminist and art historian, lead in the field of painting’s gender equality) probed G.R.I.T.’s founding reference to art critic, Barry Schwabsky’s, The Observer Effect: On Contemporary Painting, that painting does not need to pitch figurative and abstract painting as opponent representations, that current painting embraces the body of both maker/ viewers. Gorrill highlighting, on gender and the "funambulism" of abstraction and figuration in contemporary painting.

    Marguerite Nolan, (founder & editor of ever emerging-mag, presenting women artists over45, based between Amsterdam and Berlin) presented a short overview how contemporary painting is received in contrast via online, digital and promotional methods, “pixels and paint”.

    Benjamin Rubloff (US, Berlin-based artist) whose paintings are based on found graffiti tags, shared his book, When I was there (2024), which explores gesture as an entry point for considering the experience of place and time in the city.
    Concluding keynote, Jurriaan Benschop (Dutch writer/curator based in Syros, Greece and Berlin) talked about his book, Why Paintings Work (2023), asking why does this painting work; in what way does it have meaning? Considering both visual aspects and concepts, beliefs and motivations behind paintings.

    All speakers’ presentations closed with Q&A with G.R.I.T. artists and (free-entry, attending) audience.

    Emerged findings: a deepening of understanding the maker/receiver relational aesthetic and palpable experience of painting in real life. Defining the maker/ viewer reception of painting as a means to grasp social encounters and enhance societal impact, equality and welfare.
    Period10 Aug 2024
    Event typeConference
    LocationBerlin, Germany, BerlinShow on map
    Degree of RecognitionInternational

    UN SDGs

    This activity contributes to the following UN Sustainable Development Goals (SDGs)

    1. SDG 4 - Quality Education
      SDG 4 Quality Education
    2. SDG 9 - Industry, Innovation, and Infrastructure
      SDG 9 Industry, Innovation, and Infrastructure
    3. SDG 10 - Reduced Inequalities
      SDG 10 Reduced Inequalities
    4. SDG 11 - Sustainable Cities and Communities
      SDG 11 Sustainable Cities and Communities

    Keywords

    • painting
    • painting and drawing
    • gesture
    • GRIT
    • contemporary painting
    • international exchange
    • european painters
    • Berlin
    • relational aesthetics
    • painting networks
    • painting research
    • painters in conversation
    • contemporary art
    • contemporary art curating