Jürgen Heinz

Werkserie Touch

Die Werkserie Touch besteht aus quadratischen Rahmen, hintereinandergestellt, schwebend, auf einem Federstahl gelagert.
Die unbewegt, stillstehende Plastik als Ausgangspunkt: Bodenständig, statisch, mit Bodenhaftung, geerdet.
Der Betrachter wird aufgefordert als Motor zu agieren, zu berühren.
Das Objekt gerät in Schwingung; die Berührung ist sanft im Gleichklang oder nicht.
Die Objekte sind kopflastig ohne den Kopf zu verlieren.
Es entstehen neue Linien und keilförmige, trapezförmige Durchblicke

FACTSHEET:

Abmessungen : 71 cm x 60 cm x 7 cm (Height, Width, Depth)
Jahr : 2015
Material : Metall, Stahl
Stil : kinetisch, Geometrisch, konstruktiv

Jürgen Heinz

JÜRGEN HEINZ. METALLBILDHAUER
Jürgen Heinz arbeitet mit Stahl. Mit seinen MOVING SCULPTURES überschreitet der Künstler die
unüberwindbar scheinende Kluft zwischen archaischem, schwerem Stahl und sanfter Bewegung.
Die Objekte verbergen ihre Beweglichkeit in einer geschlossenen Form, die zunächst als Statische Plastik wahrgenommen wird.Ein leichter Impuls,ein Berühren oder Windhauch bringt die Plastik zum Schwingen und weckt ihre Lebendigkeit. Die MOVING SCULPTURES von Jürgen Heinz kommunizieren mit dem Betrachter, berühren,ziehen in Bann und fordern auf zum Agieren. „Die Seele des Objekts kommt durch die Bewegung zum Ausdruck" - so Jürgen Heinz.

JÜRGEN HEINZ.METAL ARTIST & SCULPTOR
Jürgen Heinz works with steel. With his MOVING SCULPTURES, the artist transcends the insurmountable gap between archaic, heavy steel and gentle movement. The objects conceal their mobility in a closed form, which is first perceived as static plastic. A light impulse, a touch, or a breath of wind brings the sculpture to swing and awakens its vitality. The MOVING SCULPTURES by Jürgen Heinz communicate with the viewer, touch, pull in pell and call for action. „The soul of the object is revealed through movement.“ - says Jürgen Heinz.

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Fragments of china porcelain form this funnel into Yu Lei mountain, an artpiece along the historic tea trade trail. At first sight it can be read as a tribute to the ancient culture, that is still feeding our culture today. Patterns of blue and white porcelain in the sculpture tell us about yin and yang balance, values that are still able to inspire us beyond the challenges of modern life. At closer look you will find also pieces of porcelain coming from European countries. As happens in this sculpture, our cultures get closer and eventually we are influenced and inspired by one another. At the bottom of the funnel there is the drain, to let the rainwater out of the sculpture. The drain pipe also tells us to cherish our fundaments, and not let them be washed away.
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inlands #1
inlands #1 2017 steel & stainless steel
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Tsunami Paradiso Canto II. Life-size silhouettes of figures fleeing from the Tsunami are cast in thin iron. These shadows are inscribed with the names of the thousands who lost their lives in the disaster. As these figures are touched by the viewer and sway in the wind, they become the runners between this world and the next. The flatness of the figures was inspired by the distinctly flat, rather than ‘fleshy’ Adam in Paradise from Massaccio’s Adam and Eve. In 2008 the first set of sculptures was realised in bronze rather than iron. The engraved text is from Dante Aligheri’s Paradise, Canto II. The full text is only visible if you read the letters written in the air between the sculptures. This specific passage links the events of the Tsunami disaster with Paradise in a more profound way. In Canto II the idealised and beloved Beatrice takes the author through Paradise.
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Portico Popilyn
Portico comes from an unknown planet. It was 2000 when I first produced Portico. Since then, I have been making Portico of various sizes as my lifework. I have let people “encounter” Portico in different places, such as on the top of mountains, on the beaches, and even on urban streets. Those who are pleased with Portico can get a small‐sized one. The owner would take Portico to a trip with him/her and enjoy taking photos. Seeing how they take it as a part of their life motivates me to work on producing Portico again.
Savako, Kunststoff, Kunststoff
Body Architecture I
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Metall
Body Architecture IV
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Performance
Two Tone Edition
MOVING SCULPTURE Nummerierte Auflage: 1-10
Jürgen Heinz, Metall, Stahl
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