Conference
Exhibition
Kunstverein Mittelrhein, Künstlerhaus Metternich, Koblenz. Germany, 7-23 June 2024.
'Saludos desde el Toon!'
Exhibition: 'Saludos desde el Toon!' (group show)Talleres de Arte Contemporáneo, Mexico City, MexicoMarch - May 2024.
KON TAKT 23
23- 24 September 2023KON TAKT 23, an interdisciplinary project exploring collaborative painting and its commonalities with music.
Video: Astrid Bierschenk.
KON TAKT 23
23- 24 September 2023KON TAKT 23, an interdisciplinary project exploring collaborative painting and its commonalities with music,
Mainz, Germany with Alexander Süss and Voces Cantantes.
Supported by bbk.rlp, Stadt Mainz, Evangelische Kirche Weisenau, Boesner Mainz
Prometheus
20 March – 22 May 2023
Prometheus continues the exploration of collaborative painting that The Customs House and Newcastle University Fine Art started through Glaucus & Scylla (2022), this time beginning with the myth of Prometheus from Ovid’s Metamorphosis.
Before and After Teaching, thinking about the future art school.
10 and 11 Nov 2022
14-15 Windsor Terrace
Newcastle Fine Art, PGR HUB Windsor Terrace
Art schools are increasingly fragmented, shaped by managerialism and division of services. Through the introduction of a range of Extra Curricular Activities (ECAs), Fine Art has successfully countered this trend and created a strong sense of belonging and a meaningful learning environment. Omitted from module evaluations, yet an essential part of the student educational experience, we suggest an urgent re-evaluation of Forums and Workshops. We aim to initiate a platform to review the potential of teaching approaches, outside prescribed modules and scheduled sessions.
GLAUCUS & SCYLLA
A Painting Project by Christian Mieves The Customs House Gallery, South Shields
21 April - 15 May 2022
23.06.2022 — Review
Glaucus and Scylla:
A Collaborative Painting Project
The Customs House Gallery, South Shields
GLAUCUS & SCYLLA
A Painting Project by Christian Mieves The Customs House Gallery, South Shields
21 April - 15 May 2022
Glaucus and Scylla centres upon the idea of transformation, drawing links to the Greek myth of Glaucus and Scylla, while simultaneously focusing on the fluid settings and shifting identities between humanity and nature. In the myth, fisherman Glaucus sees himself transformed into a sea god with fish-like features. Subsequently gaining immortality and bound to the sea, the former fisherman becomes a protector of sailors lost on the waters. The irony of Glaucus’ identity later arises when he falls in love with the nymph Scylla, who is then transformed into a sea monster in the name of unrequited love, haunting the very fishermen Glaucus was duty-bound to protect.
The exhibition references the seaside location of The Customs House, including the overlap of its changing historical roles — from Merchant Navy building to morgue. It works as a space that crosses this transformational barrier, intrinsically linked to both the sea and the land, acting as a periphery of constant change.
The exhibition was created as a collaborative effort between Christian Mieves, students from Newcastle University and volunteers from The Customs House’s artistic community. Taking place over a three-week period, this process allowed visitors the chance to observe the behind-the-scenes changes happening in real-time.
This project has been supported by funding from Newcastle University and the Garfield Weston Fund.
Painting Landscapes
2020- present
Recent Figurative Work
2020- present
Chairs, Christian Mieves, Paintings 2015-2020
Please click on the images above.
New:
See the catalogues of recent paintings:
Mark-making in the recent paintings is not an index of expression, where the traces of paint are irrevocably tied to the artist’s sensations. Instead, the registration of the mark, and its emphasis upon material facture, explicitly foregrounds the contingency of the image. The continual adjustments and elisions of the surface create the sense of an image perpetually in flux. [...]
Dec 2020
Dirty Practice:
Make-shift studio from home
4 Dec 2020, 12- 6 PM
The omnipresence of homeworking has become one of the key features of life in recent months as a consequence of the pandemic. Artists work in makeshift studio spaces at home whilst cooking the tea, caring for family or being confined to a bedroom where they eat, sleep, socialise and ostensibly work – in this context questions of the studio space and practices needs to be reviewed.
As part of this Dirty Practice event we continue to focus on close interconnections between practices, art education and space. We wish to ask to what extend the new situation impacts on opportunities to build communities, give a sense of belonging and allows for the appearance of digital ‘messy spaces’.
For more details see link
September 2020
Wet Paint
Painting Workshop
Outside here understood as outdoors, as well as outside certain norms and restrictions and how the two sides might overlap.
Revisiting established forms of plein-air or landscape painting, we will discuss the advantages and opportunities of working outside and responding to the surrounding in a very immediate way. This raises questions not only of ways of representing spaces (while being in the space) , yet also painting practices and social forms of painting (including working together in a socially distanced way in an outside space).
In the first session we will discuss ideas such as represention of spaces, the idea of ‘alla prima’ painting and the differences between painting in the studio and outside.
August /September 2020
Town Moor Paintings
A series of plein-air paintings created at Newcastle Town Moor.
During two months of August and September 2020 more than 40 paintings, oil and acrylic on Fabriano paper have been completed on site. The paintings build a larger body of work and an ongoing interest in outdoors painting and will be shown in an exhibition soon.
Exhibition, Crown Street Art Gallery, Darlington
No in-between
Tuesday 22 - Wednesday 30 October 2019
The exhibition explores the idea of erosion, collapse, constant change imposed on everyday objects and environments. The paintings in this exhibition deal with a slippery setting, endless ambiguities and its productive potential. In this instability bodies seem to dissolve and images to disintegrate, leaving the viewer with a sense of ‘no pauses, no in-between’. Spaces and objects are bound to collapse, yet simultaneously something new emerges.
In Conversation/ Vernissage:
Christian Mieves in conversation with Matthew Hearn.
Crown Street Art Gallery, Darlington Library, Thursday 24 OCT 2019, (Doors open 6.00pm, starts 6.30pm)
Exhibition
Paper Gallery, Manchester.
with Brendan Fletcher
28 September - 9 November 2019
Private View: Thursday 26 Sept 2019, 6-9 PM.
PAPER
Unit 12
Mirabel Studios
14-20 Mirabel Street
Manchester
M3 1PJ
Journal of Contemporary Painting
Interview with American Artist
David Schutter
In this conversation American painter David Schutter and the author discuss key aspects of Schutter’s work. Schutter (born 1974), whose work makes reference to major European painting collections, explores in his work the relation to tradition and repetition of artistic conventions. His work, presented at ‘Documenta 14’ (2017), often employs strategies of radical limitation of the colour scheme, and restriction of visibility, sometimes blackening out the image plane altogether.
Exhibition
Landfill
21 April - 25 Mai 2018
BePoet, Frankfurt, Germany
Langenhainerstr. 26 / Ecke Idsteinerstr.
60326 Frankfurt am Main
http://www.bepoet.de
Die hier gezeigte Auswahl von Arbeiten zeigt Öl Malerei auf Blechdosen (Coke, Bier, Soft Drinks etc.). Die Dosen im Laufe der Jahre aus den meisten Stadtbildern in Deutschland verschwunden, in England (aufgrund eines fehlendend Pfand Systems) noch sehr präsent, zeigen die Bilder „Landschaften’ , die wie die Blechdosen selbst, oft übersehen und kurzlebig sind. Kurze flüchtige Skizzen von scheinbar unbedeutende Kompositionen.
Artist Talk
Panel Discussion: Object Relations
1 Feb 2018, 2 PM
Andrew Bracey, Euripides Altintzoglou, Christian Mieves
N.T., 2015, oil on canvas, 180 x 120 cm
Exhibition
Object Relations:
Nuneaton Museum and Art Gallery, Nuneaton
Exhibition
Abstrakter Gegenstand: Neue Malerei von Christian Mieves
7 - 13 Oktober 2017, Vernissage: Freitag 6 Oktober 2017, 18-21 Uhr
Documentation by Wolfgang Schallon of the Vernissage of the Exhibition Abstrakter Gegenstand - Neue Malerei von Christian Mieves
Freitag 6 Oktober 2017, 18-21 Uhr at PENG Mainz
PENG | Gesellschaft zur Förderung von Design, Kunst und Kommunikation e.V. Mainz, Weisenauer Straße 15, Mainz, Deutschland, 55131 Mainz;
Bankley Open Call & Open Studios 2017
Private View: Fri 6th October 2017, 6-9pm
Exhibition continues 6th – 28th October 2017
Open 7th, 8th, 14th, 21st & 28th October 12-4pm
Bankley Studios & Gallery
Bankley Street, Levenshulme
Manchester, M19 3PP
Publication
Wonder in Contemporary Artistic Practice
Edited by Christian Mieves, Irene Brown
2017 – Routledge
308 pages | 8 Color Illus. | 32 B/W Illus.
Summer Lodge 2017, NTU Nottingham
3rd July– 14thJuly 2017, Nottingham.For ten days each July, the Fine Art studios and workshops of Nottingham Trent University are transformed into The Summer Lodge and play host to a gathering of thirty diverse artists. It is intended as an opportunity to think through making by being able to work for a while without many of the usual constraints and distractions. Summer Lodge 2017
New Bridge Project Studio Newcastle
August-September 2017
Dirty Practice: A Painting Workshop and the Hidden Curriculum
Christian Mieves and Maggie Ayliffe, ‘Dirty Practice: A Painting Workshop and the Hidden Curriculum’ in Ian Hartshorne, Donal Moloney, Magnus Quaife (eds) Teaching Painting, Black Dog. (ISBN: 978-1911164104)
Exhibition
Recent Paintings/ Christian Mieves
Eagle Works Gallery
Alexandra Street, Wolverhampton,
WV3 0TE
https://www.eagle-works.com/gallery/
28 April – 7 May 2017
Viewing by appointment
Private view: Thursday 27 April 2017, 6:30-9.00 PM
10 Jahre später from askabel on Vimeo.
Exhibition:
Zehn Jahre Später
Opening
Vernissage of the Exhibition
Zehn Jahre Später/ Ten Years Later.
Rathaus Galerie Mainz, 27 Nov 2013
Dirty Practice: The Role of the Artist’s Studio
Research Project 2015- present
This initiative sets out to explore critically the current artistic framework where manual skills and studio based practices are increasingly denigrated in favour of conceptual or socially engaged art practices. This is partly mirrored in the educational structures (and spaces) found in the new HEI environment where Fine Art departments are increasingly relocated into non-purpose-built, inadequate office type spaces without workshop support. More
Erosion and Illegibility of Images
One-day Symposium
Friday 31 Oct 2014
The New Art Gallery Walsall
website
Exhibition
Zehn Jahre Später. Exhibition 2013-14, Rathaus Mainz, Germany
https://issuu.com/mieves/docs/entwurfbroschureends
Turps Banana
Painting Magazine
Issue #14 Out 24th July 2014
Christian Mieves interviews Dana Schutz –
Revisiting the Beach
Journal of Visual Art Practice Vol 9 (3), 2010
Philippe Cygan & Christian Mieves
Spezial Issue in connection with a symposium and exhibition.
Participants: Richard Forster, Joana Duarte Bernardes, Jane Darke, John Fox, Peter Burleigh & Sophie Jung, Cath Keay,
Judith Tucker, Christian Mieves.