Marcel Börlin

Black widow

Ein Rätsel.
Erhaben und enigmatisch gibt diese Skulptur keine vorgefertigten Antworten, sondern lässt dem Betrachter Raum für Empfindungen und eigene Interpretationen.

FACTSHEET:

Abmessungen : 25 cm x 15 cm x 21 cm (Height, Width, Depth)
Gewicht : 4.5 kg
Jahr : 2017
Material : Bronze
Bearbeitung : Bronzeguss, Guss
Stil : figurativ, abstrakt, surreal

auch interessant:

Black widow
Ein Rätsel. Erhaben und enigmatisch gibt diese Skulptur keine vorgefertigten Antworten, sondern lässt dem Betrachter Raum für Empfindungen und eigene Interpretationen.
Marcel Börlin, Bronze
artwork.14
serie in pine wood carved and burned
Victor Mangeng, Holz
The Mirror
You can see yourself in the brain parts that are like a mirror and think.
Jaco van der Vaart, Metall
Fly bird, fly
A bird must fly! Everyday stories: An overbearing mother. A pre-planned life. A marriage according to class. Daughters have no participation in the narrow cage of tradition, paternalism and stereotypical role models. The bird escapes the cage and fulfills her dream as a dancer, but the price of freedom is high, because it means the loss of the African family.
Margarete Adler, Kunststoff, Kunstharz
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Holz, Metall
Sommerkälte
lebensgroße Bronze Frau mit Kleid
Susanne Kraißer, Bronze, Metall
Bestial bestiary
A series of showcases in which The balance is explored on what is considered decent and proper.
Bert Poot, Mixed Media
Zweite Rauhnacht
Bronzefigur Der Titel „Zweite Rauhnacht“ verweist auf die Tage nach Weihnachten, die dunkle, wilde Zeit. Traditionell eine Zeit der Geister, der wilden Jagd. Rauh und Nacht bergen Kälte, Einsamkeit, Gefahr in sich. Etwas, vor dem wir uns schützen möchten. Ich spiele mit der widersprüchlichen Wirkung des blauen Tuches: zum einen erinnert es an einen "Schutzmantel" ähnlich mittelalterlicher Mariendarstellungen, ein Zeichen für Ruhe und Beständigkeit, für Weite und Freiheit, für den Himmel. Eine melancholische, immerwährende Sehnsucht nach dem Meer, nach dem Ursprung. Zum anderen ist dieser Schutz offensichtlich unzureichend, eher betont er die Blöße des Mädchens, ihre selbstverständliche Fragilität.
Susanne Kraißer, Bronze, Metall
Blauer Tropfen - Blue Drop
blue Drop - Lime wood with lapislazuli pigment
Markus Brinker, Holz, Naturstoffe
Changing announcement
Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl Diese Skulptur gewann an der Skulptur Biennale in Astana, Kasachstan im Jahr 2017, den zweiten Preis!
Bernhard Jordi, Metall, Kunststoff
Wohlgefallen über Knickbein
Kinetische Skulptur zum kurbeln 2011 Metall, Draht, Blech
Bernhard Jordi, Metall, Stahl
Arctic
We use nature as a laboratory which gives us the right to do with it what we want. For an old butcher shop in Rotterdam in the Netherlands, I made a site-specific artwork installation dealing with a specific event. The event is the economical fight for the arctic in the search for oil. A struggle for the preservation of the arctic itself should be a lot more meaningful. The event got in the news when people of Greenpeace were held as hostages by the Russian Federation. The news was no longer about the damage done to the arctic, and so to nature worldwide. Attention needed to go back to the original problem, so I made this installation to pick up the initial debate. There were lectures and debates with Greenpeace and it got quite a lot of publicity.
Harry Schumacher, Eis, Metall
"Slowly, slowly..."
"O snail... Climb Mount Fuji, but slowly, slowly! " A boxwood and mammoth netsuke after the haiku by Issa.
Leon Mommersteeg, Holz
Hierarchy
The mountain of sand starts at the top in the box and find its way down through eight groups of circular orientated holes. The holes have their influence on the trail of the sand. The sand carries the box. The work is a metaphor for a hierarchy based society. A performance comments on the hierarchic system by taking sand from the lowest part and pour it into the box on top endlessly. The performance of over 20 hours took place at the "No Walls Expo" during the Rotterdam Contemporary Art Fair of 2016.
Harry Schumacher, Performance, Installation
Gelbton
Gelbton Kinetische Skulptur zum aufziehen
Bernhard Jordi, Metall, Stahl
DR 4 - “no-body”
Nach der “Venus de Milo” (Louvre). DR ist das Kürzel für “Doppel Reflexion”. Reflexion wird im doppelten Wortsinn verwendet: zum einen als reale Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion - nicht ohne Ironie! In Anlehnung an Rene Magrits Bild „Ceci n’est pas une pipe.“ - “ Das ist keine Pfeife.”, ist dies hier im doppelten Wortsinn “no body” oder “nobody”. Es ist eben das was es ist und darüber hinaus all das, was man damit verbindet oder auch nicht. Alle notwendigen Utensilien sowie Montageanleitungen sind im Paket beigelegt. _______________________________ Inspired by the shape of the “Venus de Milo” (Louvre). DR is the abbreviation for “Double Reflection”. Reflection is used in the double sense of the word: on the one hand as a physical reflection of color through light and on the other hand as an intellectual reflection - not without irony! Based on Rene Magrit's picture “Ceci n’est pas une pipe.” - “This is not a pipe.”, the sculpture plays with the double sense of the word “no body” or “nobody”. It is what it is and beyond that everything that is associated with it or not. All necessary utensils and assembly instructions are included in the package.
Alexander Lorenz, Holz, Mixed Media
Sesamo -
Sesamo explores the power and potential of the human voice which is as unique as the fingerprint. From recordings of the collector’s voice, the resulting sound waves are transformed into a sculpture which can be suspended like a mobile or fixed on a structure. Voice is given physical form. As the hollow tubes are caught in the wind, the work responds, producing its own melody. In this example, it is the voice of the owner alone who can unlock the gates to reveal the rich collection within. the collector recited 'voyelles' by A. Rimbaud
Janine von thungen, Metall, Installation
Little speech
Little speech Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl
Bernhard Jordi, Metall, Sonstige
Fog 2 – Salix.Alba
Material: willow, wire, lights, fog
Judith Mann, Mixed Media, Naturstoffe
Singener Kapitell
Stadthalle Singen a. Htwl., Eisenguss, Beton
Markus Daum, Beton, Metall
Sibyllen
Aus einem alten, gut gelagerten Birnenholz-Brett wollte ich ein sehr filigranes Werk schaffen. Mit vielen Durchbrüchen und teils sehr dünnen Stellen entstand "Sibyllen". Wikipedia: Eine Sibylle (altgriechisch σίβυλλα), auch fälschlich Sybille, ist dem Mythos nach eine Prophetin, die im Gegensatz zu anderen göttlich inspirierten Sehern ursprünglich unaufgefordert die Zukunft weissagt. Wie bei vielen anderen Orakeln ergeht die Vorhersage meistens doppeldeutig, teilweise wohl auch in Form eines Rätsels. gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 180 cm,
Stefan Kresser, Holz, Metall
Köpfe voller Eindrücke
Das sind Sitzgelegenheiten aus Holz. Holzköpfe welche Eindrücke aller Art gesammelt haben. Ein Möbelstück wird zur Skulptur oder umgekehrt. Es sind Gesichter, die von ihren Eindrücken geformt sind. Oder sind es Köpfe, die von den Daraufsitzenden zerdrückt werden? So entstanden in der Anfangszeit nach meiner dreieinhalbjährigen Reise die Archetypen: «erster Eindruck», «Beeindruckt», «leicht Bedrückt», «Unbeeindruckt», «Überdruck» und «Unterdruck».. Ebenso entstand an einem Festival der Entwurf einer Bank: Ein Kopf mit ausgestreckter Zunge als Sitzfläche, der sogenannte «Arschlecker». Schlicht, elegant und unaufdringlich sind meine Hocker auf keinen Fall. Sie schreien nach Aufmerksamkeit, sind nicht nur glatt: Man sieht die Arbeitsspuren des ‚urchigen‘ Handwerks, man kann das Holz fast noch riechen. Jedes Stück ist ein Unikat, handwerklich gefertigt, eventuell zusätzlich nach Kundenwunsch angepasst, sind es sehr individuelle Skulpturen.
Daniel Züsli, Holz
Space Station (Station 3)
An installation of corridors, doorways, flashing lights and sound - a low rumble and a voice intoning a series of numbers. There are numerous ideas, both visual and conceptual, that form the basis for this particular work, with the dialogue between the initial ideas and the changing construction of the work producing further elements within the overall structure, and initiating further ideas to follow. The work can be seen to mirror its own creation, taking on a life of its own. As if it was not an act of construction, but the result of the uncovering of a pre-existing site. The starting point was science-fiction, not the bright shiny science fiction of the contemporary media, but the science-fiction of television programmes of 1960’s UK, where the black and white images allowed room for imagination. As a child the imagery of these programmes affected my view of the city of my birth, where all strange corridors and abandoned buildings became infused with the possibilities of something unexpected, and a small room could be the entrance to another world. My love of science-fiction writing was engendered at this time, especially of those works that take as their subject the psychological effects of the Anthropocene. A further idea referenced in the installation is the idea (rather than the actuality) of the space-station, and speculation on how anyone could cope with an existence forever contained within an endless interior. Maybe memory would begin to take over, and the ghosts of the past would materialise in the corridors. Such contained interiors are spaces that become divorced from connection to anything except what is within, and there is here a connection to Earth bound contained interiors. A specific film is referenced here, but I will leave you to guess which one… The installation, by the fact that it is a space of corridors, proposes an unstated series of narratives. Installations are in this way akin to theatrical events. However, in the case of the installation, the audience become the actors in narratives of their own imagining. The installation was first exhibited at SeeArt Taipei, and then extended for the Formosa Sculpture Biennial in Kaohsiung Taiwan.
Duncan Mountford, Holz, Mixed Media
FF 2 - “Freiheit” - “Freedom”
FF 2 - “Freiheit” - “Freedom” Plywood, varnish, acrylic paint, screws dismountable My goal was to create a sculpture that expresses lightness and dynamism and conveys a feeling of freedom. The individual stripes literally fly into the middle (square) and interact formally and in color. FF is the abbreviation for "color & shape". Here, the focus is on the projected by the daylight colors and color mixtures, which always appear in daylight and weather conditions in a new light. Depending on the nature of the background, the colors appear almost as clear as with colored glass windows, as it is broken light. Daylight hits the wall and throws it onto the painted back of the sculpture / installation, which projects the color onto the wall and becomes visible to the viewer. Overlapping color projections produce color blends. ___________________________________ Sperrholz, Lack, Acrylfarbe, Schrauben zerlegbar Mein Ziel war es, eine Skulptur zu schaffen, welche Leichtigkeit und Dynamik ausdrückt und ein Gefühl von Freiheit vermittelt. 
Die einzelnen Streifen fliegen förmlich in die Mitte (Quadrat) und inter- agieren formal und farblich. FF ist das Kürzel für „Farbe & Form”. Hier liegt der Focus auf die durch das Tageslicht projizierten Farben und Farbmischungen, welche durch Tageszeit und Wetterlage immer in neuem Licht erscheinen. Je nach Beschaffenheit des Hintergrundes erscheinen die Farben fast so klar wie bei färbigen Glasfenstern, da es sich um gebrochenes Licht handelt. Das Tageslicht trifft auf die Wand und wird von dort auf die bemalte Rückseite der Skulptur/Installation geworfen, wodurch die Farbe an die Wand projiziert und für den Betrachter sichtbar wird. Sich überlagernde Farbprojektionen ergeben Farbmischungen. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=a&bild=3#id3 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video
Alexander Lorenz, Holz, Licht
The Embassy of Doggerland
The installation comprised 8 architectural models on tables of 100 x 100 x 100cm, with each table lit by a single work light with a daylight LED bulb. The entrance into the space was through a structure based on official buildings, and drawing on the previous project Embassy. The Embassy of Doggerland was a metaphor for the fragility of settlement, for the point where humanity went from hunter/gatherers to settled farmers, a symbol for contemporary capitalism and the resulting heating world. The models are of concrete buildings that exist between military infrastructure and industrial ruin, structures designed with a purpose that is no longer discernible. The architecture reflects memories of edge-lands; in the UK around the River Mersey towards the industrial centre of Widnes; and in Taiwan the coast around Taoyuan Airport. These sites are unfixed in time, seemingly as if ghosts from a future catastrophe. Dimensions are for each model/table
Duncan Mountford, Holz, Mixed Media
The Chamber of Uncanny Objects
A site-specific work in National Taiwan University that used the discarded objects from the University (ranging from technical equipment to cabinets from the Japanese colonial era) to produce a 'museum'. The aim was to open up a dialogue over what survives as historically important trace and what is discarded, and to play with ideas of presentation that indicates the value of an object. Extra details from the original proposal: The collected object The nature of a collection is predicated on pre-existing conditions that lay out the parameters of he collection. For this project there are a number of conditions that govern the collection. Primary is the status of the objects to be collected as ‘singular’, that is that they provoke a reaction of questioning (the concept of curiosity is central here). This status of the objects as ‘singular’ is in opposition to the objects in a museum collection, as these are typical – that is that they are of an order that enables the object to stand for all the others of its class (hence museums are educational tools in that they contain things that are examples or reference a specific history). The objects to be collected can also be ‘quotidian’, everyday objects that in the context of their normal function excite little interest. Divorced from this context and placed in the context of the cabinet, such objects will obtain the status of the singular. In addition the objects will be provided with ‘labels’ that reinforce this ‘singularity’, allowing the production of multiple poetic narratives that spiral out from the object. A second parameter that will govern the objects is the practical one of dimensions. There will be maximum dimensions for the objects (which will aid in the status of the objects as fragments), with the flexibility of the design of the cabinet (or of the cabinets that will contain the objects within the overall cabinet framework) enabling objects of different dimensions to be accommodated. Maximum size of objects will be approximately 100cm (height) by 75cm by 75cm. A third parameter for the objects will be based on sourcing them from different disciplines (knowledge areas) in the University, so that the collection retains the concept of curiosity as central (in distinction to attempting an overview of one area of knowledge). The objects will come from various sources, with one emphasis being on things that are disregarded or are now stored (due to technological changes; changes in how knowledge is discovered; changes in the means used to disseminate knowledge), another being on elevating the everyday to the status of the object of wonder. The students will therefore play a crucial part in the making of the work, being collaborators whose input will be important. They will explore the University, negotiate with staff to explore normally locked storage areas, recognise in objects the poetic possibilities. They will map the University as a series of connections that result from these processes. A central component of this part of the project will be the laying out of the ideas to the students, via a series of illustrated talks. The talks will focus on topics central to the overall project – the history of cabinets of curiosities, museums, and the connections of these forms to art practice and theory (with reference ranging from Surrealism to the Pitt Rivers Museum and the Museum of Jurassic Technology for example), various ways in which collections can be utilised in contemporary art, and the relationships between art and science. The methods used to display the objects in the cabinets will reinforce the concepts of singularity, and will reference a variety of means and methods of presentation. This will range from the use of magnifying lenses to direct the focus onto one part of an object (and fragment the overall affect); the placing of disparate objects in the space of the same cabinet (playing on the accidental poetry of such encounters – ‘as beautiful as the chance encounter of an umbrella and a sewing machine on a dissecting table’ ); the use of lights within the cabinets to emphasise the reliquary references; the use of materials such as linen in the interior of the cabinets. The objects will therefore not be displayed in a ‘museum-like manner’, but in contexts that add other readings/narratives. This will also be take place in the individual cabinets, with multiples of objects producing narratives. The total cabinet structure itself is also an artwork, and not solely a means of display. It will be designed and constructed as an artwork, with the enclosed central space producing an area of multiple lights and reflections on the windows of the multiple interior cabinets. The “books of utopias” are an integral part of the project, for, if the objects in the cabinet produce a dream-like series of connections (in the best surrealist sense), then these utopias are the dreams of what might be. All of the elements relate to the wider questing that lies at the heart of the ideal of the University (whether a specific university or in general). The project is therefore site-specific, in that it could take place in any other type of venue. Only a university produces such connections of different knowledge areas, and only this University will produce this network of connections (objects, utopias) from this very specific set of people.
Duncan Mountford, Holz, Mixed Media
Liminal Place
In my recent work I have produced sculptures and installations, in which I disrupt the regular arrangement of sentences and words. The resulting lack of order is then manipulated in such a way to obtain a new tangible reality. My aim, with these projects, is to explore the unknown realms between language and not-language, between communication and silence. Silence is often seen as the reverse of language, however silence is an integral part of the message, as not only does it divide and link sentences, but it is also to be found inside of them and is, furthermore, inhabited by them as well. To communicate is to put into language (spoken, written, digital, visual, sound), a process which establishes the boundary between static order and incomprehensible chaos. This boundary between order and chaos is constantly in a state of flux and forever being redrawn. Finding relatable meaning in today’s flow of data plays an important role in understanding the world we live in and our place in it. Information overload may cause stress and fragmentation. Silence may often seem the only alternative in this threatening disorder. However this data glut also contains the opportunity for creativity and connection. With the digitalization of the media, our own semiotic production is becoming more and more complex and abundant. Signs are proliferating. There is hardly a space without writing in it or a quiet time to be found. Silence stands in the way of the speeding up of life. Additionally, the built-in silences in speech and writing are being shortened or eliminated by new media technologies. In fact, our knowledge is increasingly experienced, shared, learned, recorded and stored digitally. Our identities are increasingly shaped by faster modes of communication and by the footprints created in the process. When new signs take the place of silence, the relationship between communication and silence becomes more intimate, more microcosmic, and takes on altogether new forms. The figure is retreating from the sensory overload in order to interpret and connect this chaotic information glut. The pause or introspection is paramount not only to understand the contrasting, fragmented flow of information she is continuously subjected to, but more importantly, the ‘thinking pause’ also becomes a constitutive element of thought itself and therefore of creation. The moment of inspiration comes when chaos and its absence come together. The figure’s outer layer, made of parcels of text and images, aims at capturing the complexity of human beings, as well as placing subjectivity in correlation with social and cultural factors. In this project the fragments of knowledge become part of the figure; they seem to flow into each other to form a new whole. This new whole, however, is never static or finished. As an innumerable amount of events and encounters concur to form and shape every individual one could also say that human beings are made of various fragments (memories, images, text and people we meet) and therefore made of parts of others. Accepting the fact that we are made of parts of others, may involve dealing with a subjectivity, which expands beyond the subject itself to include otherness and chaos within.
Manuela Granziol, Mixed Media, Papier
Fog 4 – Salix.Alba
Material: fog, light Location: Cologne, Germany Size: 10x15x25m Year: 2018 Photo: © Mandy Göhler
Judith Mann, Naturstoffe, Mixed Media
"a woman´s life"
Keramik, Rakugebrannt Einzeln gebrannte Teile, ineinander verschieb- und stapelbar, die kleinen Figuren versinnbildlichen-die ziehenden und zerrenden Sorgen, Ängste und Regeln, von denen man sich verformen lässt.
Lisi Deutsch, Keramik
Kinetische Wandobjekte KWO-FP
Version 01-04 Edelstahl, Messing, dichroitisches Glas, Mikrokugellager, Holz Metallkorpus 22 x 22 x 13 cm, Tableau 80 x 80 x 2cm Limitierung je Version 20 Stück Nominiert für den Staatspreis des Kunsthandwerks Nordrhein-Westfalen 2021 Publikumspreis der MANUFACTUM Ausstellung 2021
Michael Berger, Metall, Glas
kuglschrugl_02_01
ball chair ... the place to meditate ore just sleep a bit material: ply wood pine finish: polished with selfmade organic wax (natur) process: programmed structure, cnc-produced 79 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Holz, Naturstoffe
CLUB
A work for LAND ART MONGOLIA 2018, 5TH BIENNAL LAM 360°, in the steppe of Khentii Aimag, near Murun Sum village, with exhibit in Ulaan Bator Art National Gallery. (from exhibition catalog): As an artist and architect focused on landscape, Michele Giacobino is concerned about the land, the ways in which humans use it, and in particular the question of which humans decide how the land is to be used. In this work for Land Art Mongolia 2018, the purely visual association between the green rolling grasslands of Mongolia and the game of golf is straightforward. But this artwork is not about golf as a sport, or about the enormous areas of land, and water resources, devoted to golf courses around the world. The title Club refers instead to the ‘club’ of G20 nations (20 of the nations with ‘developed’ or more powerful economies) whose attitudes largely determine the use of natural resources – including the land – around the world. So, in Club, the use of the flags of the twenty nations refers to he globalized culture of the G20. As Giacobino points out, the homogeneity of globalized culture leads people to seek out the unusual, ‘exotic’ or ‘undeveloped’, adjectives often applied to Mongolia. Since there are also artists from almost 20 nations (not G20) in this edition of Land Art Mongolia, come to experience the land and its people, Club can also be understood as a reflection on the artists and Biennial workshop. Flags are an ambiguous device, of course, referring not simply to the marker of the golfer’s ambition, but also to the territorial ambition and claims of nation states to possess the land. Giacobino’s artwork was present in the landscape for only a few days, and the artist was careful to return the soil to the places from which it had been displaced. Many thanks to Lewis Biggs
Michele Giacobino, Metall, Textil
FF 6,7 - 60cm
H 60 x B 7 cm 5 cm distance plastic, 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 60 x B 7 cm 5 cm Abstand zur Wand Kunststoff, 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=4#id4
Alexander Lorenz, Kunststoff, Kunstharz
treePod_02_01
seating furniture material: ply wood pine finish: antique wax polished process: programmed structure, cnc-produced 26 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Holz, Naturstoffe
The wiil of matter
Installation of four sculptures made during the Residenze in the Künstlerbahnhof. (Bad Münster am Stein-Ebernburg)
Luciana Arditto, Holz
FF 8,9 - 60cm
H 60 x B 7 cm 5 cm distance plastic, 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 narrow slit in the middle of the stripes lets the particular color appear clearly without any shadows. Its effect is astonishing: Since the eye has no spatial clue as light and shadow, the colored stripes paradoxically appear at the same time as painted and infinitely deep. One has the feeling that space is repealed. 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 8 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 60 x B 7 cm 5 cm Abstand zur Wand Kunststoff, 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. Der schmale Schlitz in der Mitte der Streifen läßt die jeweilige Farbe klar ohne Schattenverlauf erscheinen. Seine Wirkung ist verblüffend: Da das Auge keinen räumlichen Anhaltspunkt, also Licht und Schatten hat, erscheint der farbige Streifen paradoxer Weise gleichzeitig wie aufgemalt und unendlich tief. Man hat das Gefühl die Räumlichkeit sei aufgehoben. 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 8 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=c&bild=1#id1 https://youtu.be/_0RdhubU-ME
Alexander Lorenz, Kunststoff, Kunstharz
FF 8,9 - 180cm
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 narrow slit in the middle of the stripes lets the particular color appear clearly without any shadows. Its effect is astonishing: Since the eye has no spatial clue as light and shadow, the colored stripes paradoxically appear at the same time as painted and infinitely deep. One has the feeling that space is repealed. 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 8 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. Der schmale Schlitz in der Mitte der Streifen läßt die jeweilige Farbe klar ohne Schattenverlauf erscheinen. Seine Wirkung ist verblüffend: Da das Auge keinen räumlichen Anhaltspunkt, also Licht und Schatten hat, erscheint der farbige Streifen paradoxer Weise gleichzeitig wie aufgemalt und unendlich tief. Man hat das Gefühl die Räumlichkeit sei aufgehoben. 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 8 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=c&bild=5#id5 https://youtu.be/_0RdhubU-ME
Alexander Lorenz, Holz, Installation
FF 10 - “Farbkreis” - “Color Wheel” - 64cm
Dm 64cm 8cm distance HDF, varnish, acrylic paint edition of 15 pieces Daylight hits the wall and throws it onto the painted back of the sculpture/installation, projecting the color onto the wall and becoming visible to the viewer. The circle has the primary colors painted on the back. Where they overlap, secondary colors emerge. With these, the entire color spectrum is displayed and the round shape creates a color wheel. The black on the front, as the absence of color, contrasts with all the colors of the background. The immateriality of light and its colored reflexions is met by the very thin, almost intangible circle, the edges of which are beveled to make it vanishingly thin and hardly perceptible as a body. _____________________________ Dm 64 cm 8cm Abstand zur Wand HDF, Lack, Acrylfarbe Auflage von 15 Stk Das Tageslicht trifft auf die Wand und wird von dort auf die bemalte Rückseite der Skulptur/Installation geworfen, wodurch die Farbe an die Wand projiziert und für den Betrachter sichtbar wird. Der Kreis hat auf der Rückseite die Primärfarben & Magenta aufgemalt. Wo sie sich überlappen entstehen Sekundärfarben. Mit diesen wird das gesamte Farbspektrum abgebildet uns durch die runde Form entsteht ein Farbkreis. Das Schwarz der Vorderseite steht als Absenz von Farbe im Kontrast zu allen Farben des Hintergrundes. Der Immaterialität des Lichts und seiner färbigen Lichtbrechungen kommt der sehr dünne, beinahe nicht greifbare Kreis entgegen, dessen Kanten schräg abgefast sind, um ihn verschwindend dünn und als Körper kaum wahrnehmbar zu machen. https://www.youtube.com/watch?v=KFNMZ6VWb6g http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=4 https://vimeo.com/189933959?utm_source=email&utm_medium=vimeo-cliptranscode-201504&utm_campaign=28749
Alexander Lorenz, Holz, Kunstharz
Vulnerable
"Vulnerable" - in unserer Verletzbarkeit, liegt die Kraft und der Mut zur Veränderung und Heilung, die unsere Welt braucht! Bodo Braunhuber
BeBe, Stahl, Metall
FF 10 - “Farbkreis” - “Color Wheel” - 110cm
Dm 110cm 12cm distance HDF, varnish, acrylic paint edition of 15 pieces Daylight hits the wall and throws it onto the painted back of the sculpture/installation, projecting the color onto the wall and becoming visible to the viewer. The circle has the primary colors painted on the back. Where they overlap, secondary colors emerge. With these, the entire color spectrum is displayed and the round shape creates a color wheel. The black on the front, as the absence of color, contrasts with all the colors of the background. The immateriality of light and its colored reflexions is met by the very thin, almost intangible circle, the edges of which are beveled to make it vanishingly thin and hardly perceptible as a body. _____________________________ Dm 110cm 12cm Abstand zur Wand HDF, Lack, Akrylfarbe Auflage von 15 Stk Das Tageslicht trifft auf die Wand und wird von dort auf die bemalte Rückseite der Skulptur/Installation geworfen, wodurch die Farbe an die Wand projiziert und für den Betrachter sichtbar wird. Der Kreis hat auf der Rückseite die Primärfarben & Magenta aufgemalt. Wo sie sich überlappen entstehen Sekundärfarben. Mit diesen wird das gesamte Farbspektrum abgebildet uns durch die runde Form entsteht ein Farbkreis. Das Schwarz der Vorderseite steht als Absenz von Farbe im Kontrast zu allen Farben des Hintergrundes. Der Immaterialität des Lichts und seiner färbigen Lichtbrechungen kommt der sehr dünne, beinahe nicht greifbare Kreis entgegen, dessen Kanten schräg abgefast sind, um ihn verschwindend dünn und als Körper kaum wahrnehmbar zu machen. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=4 https://vimeo.com/189933959?utm_source=email&utm_medium=vimeo-cliptranscode-201504&utm_campaign=28749
Alexander Lorenz, Holz, Kunstharz
FF 11 - Variations
Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise. https://youtu.be/xfZOz_9boVo https://vimeo.com/189926593
Alexander Lorenz, Holz, Kunstharz
FF 11 -13 - Variations-a
Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise.
Alexander Lorenz, Holz, Kunstharz
FF 11 -13 - Variations-b
FF 11 -13 - Variations-b Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise. _____________________________ Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles.
Alexander Lorenz, Holz, Kunstharz
FF 11 -13 - Variations-c
Dm 36/64 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise.
Alexander Lorenz, Holz, Kunstharz
FF 11 -13 - Wall Installations
With these art installations, the wall becomes a canvas. Each wall becomes a free designed light artwork. It is conceivable to design whole flats - private apartments, offices, hospitals, etc - in this way. This is also possible outdoors on facades. Here the material would be made of sheet metal and the colors would be weatherproof. In addition to circles, rectangles and other geometric shapes, the shapes of objects can also be free forms -The imagination knows no limits. _____________________________ Bei diesen Kunst Installaionen wird die Wand zur Leinwand. Jede Wand wird zum frei gestalteten Licht Kunstwerk. Es ist vorstellbar aufeinander folgende Räume - Privatwohnungen, Büros, Spitäler usw - in dieser Art durch zu gestalten. Auch im Außenbereich an Fassaden ist dies möglich. Hier wäre das Material aus Blech und die Farben witterungsbeständig. Die Formen der Objekte können neben Kreisen, Rechtecken und anderen geometrischen Formen auch freie Formen sein - der Fantasie sind keine Grenzen gesetzt. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=6 https://vimeo.com/189933208
Alexander Lorenz, Holz, Kunstharz
DR 1 - “Achtung - Kunst” - “Warning - Art”
H 53 x W 61 x D 6 cm Hardboard, breakdown triangle, varnish, screws DR is the abbreviation for “Double Reflection”. Reflection is used in the double sense of the word: on the one hand as a physical reflection of color through light and on the other hand as an intellectual reflection. Since the beginning of the 20th century, the concept of art has radically expanded. For example, Duchamp postulated that an object becomes a work of art when it is called art by the observer or artist. Since then, not only the concept of art and art forms have been expanded but also the uncertainty about it - with the public and artists alike. Artists usually admit that privately. As a reference to Duchamp, with a ready-made (breakdown triangle) as a stumbling block, DR 1 ironically asks the question: "Is this art?" _______________________________ DR ist das Kürzel für “Doppel Reflexion”. Reflexion wir im doppelten Wortsinn verwendet: zum einen als physische Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion. Seit Anfang des 20. Jh. hat sich der Kunstbegriff radikal erweitert. So postulierte z.B. Duchamp daß ein Objekt zum Kunstwerk wird, wenn es vom Beobachter oder Künstler als Kunst bezeichnet wird. Seitdem wurden nicht nur Kunstbegriff und Kunstformen erweitert, sondern auch die Unsicherheit darüber - bei Publikum und Künstlern gleichermaßen, wobei letztere dies meist nur hinter vorgehaltener Hand zugeben. Als Verweis auf Duchamp, mit einem Ready Made (Warndreieck) als Stolperstein, stellt DR 1 ironisch die Frage: “Ist das Kunst?” https://youtu.be/gC_LCv_D5DQ
Alexander Lorenz, Holz, Kunststoff
DR 2 - “STOP”
H 50 x W 50 x D 6 cm Hardboard, plastic, varnish, acrylic paint, metal pipe DR is the abbreviation for “Double Reflection”. Reflection is used in the double sense of the word: on the one hand as a physical reflection of color through light and on the other hand as an intellectual reflection. Since the beginning of the 20th century, the concept of art has radically expanded. For example, Duchamp postulated that an object becomes a work of art when it is called art by the observer or artist. Since then, not only the nconcept of art forms have been expanded but also the uncertainty about it - with the public and artists alike . Artists usually admit that privately. The mirror-inverted writing "ART" symbolizes the position of the observer, who does not look at the appearance of the work of art, but rather stands behind it and asks the fundamental question: "What is art?" _______________________________ H 50 x B 50 x T 6 cm HDF, Kunststoff, Lack, Acrylfarbe, Metallrohr DR ist das Kürzel für “Doppel Reflexion”. Reflexion wir im doppelten Wortsinn verwendet: zum einen als physische Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion. Seit Anfang des 20. Jh. hat sich der Kunstbegriff radikal erweitert. So postulierte z.B. Duchamp daß ein Objekt zum Kunstwerk wird, wenn es vom Beobachter oder Künstler als Kunst bezeichnet wird. Seitdem wurden nicht nur Kunstbegriff und Kunstformen erweitert, sondern auch die Unsicherheit darüber - bei Publikum und Künstlern gleichermaßen, wobei letztere dies meist nur hinter vorgehaltener Hand zugeben. Die spiegelverkehrte Schrift “ART” (Kunst) versinnbildlicht ironisch die Stellung des Betrachters, der nicht die Erscheinung des Kunstwerkes betrachtet, sondern quasi hinter ihm steht und die grundsätzliche Frage stellt: “Was ist Kunst?” https://youtu.be/JDaRLpCJHuo
Alexander Lorenz, Holz, Kunststoff
FG 9 - “Macht” - “Power”
FG 9 - “Macht” - “Power” Plywood, varnish, acrylic paint, metal dismountable Sperrholz, Lack, Acrylfarbe, Metall Beschläge http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=fg&kat=d http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=7
Alexander Lorenz, Holz, Metall
Leben
Leben, Bronze, ca. 33 x 116 x 24 cm, 2019
Dagmar Vogt, Bronze, Bronze
Pina
Pina, Bronze, ca. 100 cm x 60 cm x 120 cm, 2021
Dagmar Vogt, Bronze, Bronze
...weitersuchen...
CAPTCHA
This question is for testing whether or not you are a human visitor and to prevent automated spam submissions.

Menu
...loading...
...upload...
Bitte Pflichtfelder ausfüllen