árbol

intervención en un parque con árboles centerarios. Por la gran extensión de los pinos es difícil de percibir la escala.
Hans Some, Metall, Stahl

Material: branches of cherry trees Location: Allgäu, Germany
Judith Mann, Holz, Naturstoffe

Material: willow, wire, fog Location: Hilden, Germany Year: 2012
Judith Mann, Holz, Mixed Media

A steel wire stretched from the ground to the wall in an ascending line is dotted with twenty glass tubes, each containing a piece of rice paper. Written on each sheet is the name of a person and the words “Place and date of death Cavalese Feb 1998.” The wire and tubes are accompanied by wall text describing an accident that took place near the small village of Cavalese, Italy in 1998.
Janine von thungen, Glas, Beton

Bronzeguss einen abstrakten Torso. Gegossen von der renommierten Kunstgiesserei Strassacker, Süßen in Baden-Württemberg.
Sabrina Ferwagner, Bronze

Remont Gallery, 26/02-02/03/2018 Exhibition: The Time Collectors
Nevena Popović, Textil

1. Just one among many 2. The far future 3. Evan beautiful flowers remain so for a while 4. Memento mori
Nevena Popović, Keramik

Material: willow branches, fog Maße: Ø 3,94m Jahr: 2015
Judith Mann, Holz, Installation

The world is colourful with a great diversity of cultures in which every human being is unique. For this suspended object, which seems to escape gravity, I venture on how to translate an idea of harmony on the one hand and goodwill on the other. If every human being could achieve serenity and harmony around oneself, there would be peace and place for all in our world. In this miniature cosmos, the two elements, metal and acrylic intertwine, they are assembled by aluminium and acrylic rods, and are populated by human beings, symbolically represented by the coloured figurines. I invite us to think of the fragile situation of our world, of the colourful and resplendent world where there would be space for all.
Solange Keschmann, Metall, Kunststoff

Embassy comprised two structures, each with a flag, brass sign, lights, and sound; based on official buildings (Embassies). Each ‘building’ had four floodlights producing an area of illumination, and a speaker broadcasting a montage of speech and sound. A further flag and brass sign was affixed to an abandoned coastal machine gun emplacement, the third ‘embassy’ The brass signs name places that existed 175 million years ago: empires and politics are fleeting compared to geological time. The work was a satire on the ambitions of humankind, a reflection on the global threats that make ideas of empires ridiculous. There is also a joke at China’s view of Taiwan. The Embassies are in Taiwan, and not in China; therefore China does not exist. Dimensions are for each structure. The drawings are for the various versions of the proposed idea.
Duncan Mountford, Installation, Holz

Holzskulptur aus Birke, bemalt mit Acryl.
Sabrina Ferwagner, Holz

Im Rahmen der Landart-Ausstellung ‚Horizonte‘ in Oberägeri entstand 2016 diese sich verändernde und vergängliche Skulptur.
Daniel Züsli, Holz, Mixed Media

Mann und Frau - Stahl und Bronze auf Lärchenholz. Man and woman - steel and bronze on larch wood.
Kian Lorenz, Holz, Bronze

The work of Alberto Giacometti has always been very present in my mind and believe behind my work, so at one point I deciced to make an homage to his work rethinking the themes that were more common through his work. Cardboard, recycle cardboard packaging, acrylic paint From "The Giacometti Series"
CRISTIAN DIEZ SANCHEZ, Papier, Ton

From the Series Workout-Asana The feeling of exercising means the effort to make a stronger body and a clearer mind; to be healthy and prepared for new challanges, thinking always that one can achieve them. This came after all the months of reclusion due to the Covid Pandemia
CRISTIAN DIEZ SANCHEZ, Mixed Media, Gips

This installation, exhibited in the National Taiwan University of Arts Museum as part of a group show, used a text from Francis Bacon's New Atlantis as the starting point. Also reflected in the work were a number of other concepts, from the idea of a space station (a research institute) to memories of long corridors down which lay danger (science-fiction television being responsible for this). At the end of the corridor a lens allowed a glimpse of - another world? There were three entrances to the installation, and in each of the corridors could be heard a voice reading a paragraph form Robert Burton's Tha Anatomy of Melancholy. This dealt with the miseries of scholars, and was therefore perhaps a humourous reflection on the status of universities in general. The image at the end of the main corridor was achieved with a hand-constructed slide projector showing an image of a 19th century grave ornament in the form of a glass globe with interior ceramic symbols.
Duncan Mountford, Holz, Mixed Media

Visitors to this year’s Royal Horticultural Society Show Garden at Chatsworth House, Derbyshire, will witness a highly unusual event. A monumental stone sculpture, which will be on display in the garden, is similar to Stonehenge and other ancient sites that are lit up on particular days of the year: it is precisely aligned with the movements of the sun. At an exact moment, 4.30PM on Saturday 9 June, the shadows cast by the sun will fit perfectly with outlines of shadows that are carved into the stone. The sculpture, which is named Holocene after the current geological epoch, takes the form of a series of large sandstone blocks, which come from the Chatsworth estate. Like a large sundial, the blocks cast a complex pattern of shadows at different times of day, meaning that the work repays spending time with and revisiting. Some of the blocks also have carved into them, in deep relief, the outline of the shadows that will be falling on them at a precise moment of time: this has been worked out exactly using computer modelling. The creator of Holocene is Stroud-based sculptor Ann-Margreth Bohl, working with digital designer Dan Hughes McGrail and stone carver Danny Evans. Much of Ann-Margreth’s previous work, which includes previous commissions for the RHS and the National Memorial Arboretum, has also explored themes of light and shadow, change and the passing of time. By using stone from the Chatsworth estate, Holocene’s carbon footprint is kept to a minimum. The work in a sense comes from the Derbyshire landscape (where quarrying has historically been an important industry), and it is due to return to it: after the blocks have been displayed in the RHS Show Garden, they will stay on the Chatsworth estate.
Ann-Margreth Bohl, Installation, Stein

Eight sculptures, each having an internal video screen visible via a set of mirrors and a lens. The screens were connected in twos to a dvd player, and displayed a single channel video of imagery shot in Tokyo, and with an audio track of ambient sounds from Japan. The dvd players meant that the sounds moved in and out of phase. The electric conduit connecting the sculptures was also part of the work. The work was installed in an abandoned police station, and dealt with different views of a city, a critique of my Western-specific view of Japan. The lenses and the mirrors are a metaphor for the manner in which the experience of place is bounded by preconceptions and not seeing the wider perspective. Dimensions are for each sculpture.
Duncan Mountford, Holz, Metall

Keramik, bemalt, patiniert, lackiert Bauer beim Tagwerk - dem Prüfen der Erde bevor eingesät wird.
Lisi Deutsch, Keramik

Interactive light installation, exploring human connection and interaction with light.
Ann-Margreth Bohl, Mixed Media, Holz

installation, collaboration rhizomate! & NoSoloLuz
Hans Some, Metall, Kunststoff

"Bubble Trees" was created as a new iteration of the Bubble sculptures series and reflects values similar to those presented by the Bubble Forest: the ability of plants to produce oxygen. Bubble Trees in their basic form consists of three main elements (the trees), however they can be multiplicated, there can be many more Bubble Trees installed in the client’s location. When the sun sets, the dynamic illumination system (RGB LED lamps in light boxes installed in ground + the controller) lets the sculpture undergo a complete metamorphosis and shows its true colors. It’s a great feature in dynamic public places, where lots of people walk.
Mirek Struzik, Metall, Stahl

Ann-Margreth Bohl is known for her abstract stone carving, installations using beeswax, wooden frames, light and sound. Recent graphite drawings on black card are rooted in her childhood experiences of light in sacral spaces. Her style is minimal and direct, yet ephemeral. ‘Lichtspielhaus’ 2014 a black room with a backlit beeswax wall, aimed to give the viewer an immersive experience of the material beeswax with its smell and warm yellow light penetrating a confined black space. ‘3x3x3’ 2016 in this site specific underground light installation the viewer had to enter through a narrow entrance to reach a confined dark space where kinetic wooden frames cast mesmerizing shadow projections on the end wall of a cellar. Walls have fascinated Bohl for as long as she can remember “I grew up close to the wall dividing east and west Germany and visited often, I could not understand why I was able to look across the wall ‘Die Mauer’ but was not allowed to walk across.” Her work is heavily influenced by the likes of James Turrell, Richard Serra, Giuseppe Penone and Pierre Soulages. As a keen collaborator, Bohl has developed projects with fellow sculptors, composers and sound designers. During 2017 she was commissioned by landscape and garden designer Paul Hervey-Brookes to create ‘Passing Light’ a sculpture/installation, exploring the passage of time through the movement of light and shadow through and around a solid wall, this public sculpture was made of corten steel and will be permanently displayed at the National Memorial Arboretum from October 2017.
Ann-Margreth Bohl, Installation, Licht

iLlegal housing III. - 2018 in ccoporation with Ien van Wierst, Ses Roquettes, Islas Baleares, Spain
Herbert Hundrich, Naturstoffe, Kunstharz

H 180 x B 21 cm 12 cm distance plywood, varnish, acrylic paint The wafer-thin strips hanging loosely on the wall and moving in the current of the air are pendent and emblematic of the fleetingness and immateriality of light. The wooden/plastic strips hang on a nail 5/12 cm in front of the wall. Their number and their distance from each other depends on the spatial conditions. The individual strips are to be hung individually and and/or freely combinable in color and number. FF 6 The strip has the primary colors painted on the back. Where they overlap, secondary colors emerge in the projection onto the wall. Together, they produce a color spectrum that is contained in daylight. _____________________________ H 180 x B 21 cm 12 cm Abstand zur Wand Sperrholz, Lack, Acrylfarbe Die hauchdünnen, locker an der Wand hängenden und sich im Luftstrom bewegenden Streifen sind Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Die Holz-/Kunststoffstreifen hängen jeweils an einem Nagel 5/12 cm vor der Wand. Ihre Anzahl und ihr Abstand voneinander hängt von den räumlichen Gegebenheiten ab. Die Streifen sind einzeln hängbar und/oder frei kombinierbar in Farbe und Anzahl. FF 6 Der Streifen hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen in der Projektion auf die Wand Sekundärfarben. Zusammen ergeben sie einen Farbspektrum, welches im Tageslicht enthalten ist. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=b&bild=6#id6 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=2
Alexander Lorenz, Holz, Kunstharz

Installation in glass and rattan photos by the artist and Jan Wilms
Alexandra Bremers, Naturstoffe, Glas

seating furniture material: ply wood pine finish: antique wax polished / leaf gilded process: programmed structure, cnc-produced 14 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Holz, Naturstoffe

Description in German, English and French - please scroll down Dies ist eine der Skulpturen, die entstand indem der Geist die Hände führte, ohne dem Bewusstsein mitzuteilen, wohin die Reise ging. Am Ende enthüllte die Form den Namen der Skulptur: Pulpo. This is one of the sculptures that was created when the mind guided the hands without telling the consciousness where the journey was going. In the end, the shape revealed the name of the sculpture: Pulpo. Ceci est une des sculptures, créée lorsque l'esprit guidait les mains sans communiquer à la conscience où allait le voyage. Au final, c’est la forme qui donna le nom à la sculpture: Pulpo.
Jens Linnek, Stein, Naturstoffe

Tischplatte ... zwei prachtvolle Zierkarpfen umrunden sich in unendlich scheinender Detailtiefe. Lindenholz natur, gelasert,
Bergit Hillner, Holz

The connection between human, and the link between human and nature. We are all part of the universe and therefore we are all connected. I portrayed human in the state of togetherness and oneness. One’s actions will affect all other.
Mehnoush Modonpour, Ton

A three-quarter circular structure, the outside roughly finished and with the structures and cabling for the interior elements visible. The inside wall was faced with red linen, and with six cabinets inset in the wall. Each cabinet contained a constructed slide projector (light, metal tube, 35mm slide, mirror), and these threw the image of a single letter into the opposite side of the cabinet. Each letter was from the word 'museum'. The interiors of the cabinets were faced with black linen.
Duncan Mountford, Holz, Textil

Ring ... die kleine Urlaubs-Erinnerung | pure silver, 6 diamonds and the centerpiece is a shel found on a cap verdian beach 2017 (still a nice memory)
Bergit Hillner, Metall, Naturstoffe

Für den Unterbau meiner Gipsarbeiten arbeite ich teilweise mit verschweißtem Stahl und immer mit Drahtgeflecht. Für den Aufbau verwende ich Alabaster-Gips. Während meiner Arbeit entwickelt die Skulptur eine Stärke und gleichzeitig eine Verletzlichkeit, die unkalkulierbar ist. Diese Widersprüchlichkeit reizt mich. Das greife ich auf, lasse es zu, treibe es weiter auf bis auf die Spitze. Material: Gips, Draht, Leinen Unikate
Helga Kaes, Gips, Metall

Schmeichelsteine sind von Gestern ... heute gibt es die Hosen-Taschen-Ladys Handlich und zum garantiert Anfassen ... diese kleinen Werke entstehen zwischendurch aus verschiedenseten Materialien und je nach laune in schlank und biegsam, bis üppig weich ...
Bergit Hillner, Holz, Bronze

bronze, stainless steel & steel 2017
Hans Some, Bronze, Metall

die Tasse für den morgentlich riesigen Milchkaffe ... hilft auch am Nachmittag ... warme hände sind inklusieve ... Porzellan glasiert ...
Bergit Hillner, Keramik, Glas

inspired stones, 2017 copper & stone variable
Hans Some, Stein, Bronze

GOLDEN COAST SERIES Stainless steel & steel, gold leaf 24K
Hans Some, Metall, Stahl

There is always someone who goes opposite the crowd. Who is this person? An outcast? A hero?
Grigorio Antipov, Sonstige, Kunststoff

The forest is a place of transformation. Nature is changing continuously, offering endless possibilities. This funnel offers a place of concentration to receive the unexpected.
Karin van der Molen, Metall, Textil

The collector’s children recited their own names and the sound waves were recorded and represented in hand blown Murano glass tubes. These are set on iron rods which prevent an old tree from collapsing; representing the youth supporting the older generation. The texture of the glass resembles the bark of the trunk; symbolizing the similarities passed down through family. With the different lights of day the unique red colour appears alive; the work changes as the glass fluctuates from flaming bright to glowing warm or fading into darkness.
Janine von thungen, Glas, Glas

Wandskulptur, Corten-Stahl teilweise gerostet, Hohlkörper nahtgeschweißt
Jochen Warth, Stahl, Metall

The work is not only dedicated to the love between woman and man, but also of general love. Man should not be alone, he needs another half. Two figures make the circle. The circle is a symbol of perfection.
Irodion Gvelesiani, Stein

from the Vitruvian Man into the insect...
noam ben-jacov, Mixed Media, Textil

Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Kunststoff

LandArt Park und Au Schloss Gleinstaetten, Austria
Marina Bauer, Naturstoffe

EINS ALLEINE | STAHL | 2019 (Serie Raumspiel) Räume bilden sich durch Linien und Begrenzungen. Linien im Raum, Raum durch Linien - diese Thema begleitete mich während des Schaffungsprozesses dieser Serie. Stahlstäbe werden gebogen, zu neuer Form gebracht, abstrakt, zwei oder mehrere mietender kombiniert, scheint es wie ein Spiel, durch neues Zusammenbringen, Räume zu verändern. Das Spiel macht frei für den künstlerischen Schaffungsprozess. EINS ALLEINE steht für eine Stahlarbeit, die alleine für sich spielerisch, tänzelnd den Raum erkundet. . . . ONE ALONE | STEEL | 2019 (Series Spatial Play) Spaces are formed by lines and boundaries. Lines in space, space through lines - this theme accompanied me during the creation process of this series. Steel rods are bent, brought to new form, abstract, two or more mietender combined, it seems like a game, through new bringing together, change spaces. The game frees up for the artistic process of creation. ONE ALONE stands for a steel work that alone for itself playfully, dancing explores the space.
Heike Weber, Metall, Stahl

High density EPS, resin, Vero Metal coat. The Prono Gigantino was first exhibited in 2018 in CONTEXTO, the contemporary art event that invades the city of Edolo (BS), Italy. The sculpture was placed in the main square of the town. Under the artistic direction of Casa Testori, curated by Davide Dall’Ombra, the exhibition questions the GENERATIONS, intended as a place of witness passages, of cultural heritage that are handed down, but also as acts that give life to something new, beautiful and useful for everyone. The heart of the city opens on the ground floor of one of the most beautiful buildings in Edolo, between the Via and the Corte Mottinelli. 12 artists of three generations, with painting, drawing, video art, sculpture and installation, provide an insight into current artistic production. But there are plenty of surprises for three special projects (At the Liberty building near the train station, at the Library, ex Casa del Fascio and at the old prisons), to finish with two environmental works: near the Town Hall and the Church. The EPS/resin sculpture is a 1:1 model for a bronze sculpture made upon request.
Alessandro Pongan, Metall, Kunststoff

Serie: Pulp-Fiction Pappmache Nur bedingt für den Aussenbereich geeignet.
Regine Jonas, Naturstoffe, Papier

STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Durch Biegen der Stahlstäbe entstehen Raumlinien, drei Raumlinien ergeben ein Ganzes. Ein Spiel mit Raum und Dimension. . STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Bending the steel bars creates spatial lines, three spatial lines make a whole. A game with space and dimension.
Heike Weber, Metall, Stahl