Michele Giacobino

PACIOC

PACIOC (2017): It is an installation made for “LAND ART LUPANICA”, a land art international annual festival in Italy. It works on surfaces of trees as natural sculptures.
According with traditional “patois” that I talk with my family, “pacioc” means “mud”: a special kind of mud, with a secret formula, it is used to make decorations over more than twenty trees that are growing in a part of a very very ancient forest that survive between Italy and Slovenia. In the formula, there is a bit of soil of the place. Different soil with different compositions make different colors of paint, according to “genius loci”, i.e. the spirit of that place.
According to curators of festival, “wood is an open wall”, so it is ready to receive any kind of message. Mud shows an ephemeral way (the real essece of environmental art), a transient way (and so also a sort of pessimistic symbol of era that we live in) to express myself as man and as artist. No messages, only symbolic decorations. This is also connected to idea of “to leave a sign”, a trace on this earth.
The mud applied to the trunks, then, is part of me, of my story, of my family and of the activity that we always do in agriculture. It's a traditional remedy we still use today to help a tree to repair wounds or diseases of the trunk and bark. Sublimating this gesture through an ephemeral artistic installation that decontextualizes it from its practical purpose and deconstructs it by reinventing it… here this seems to me one of the things that comes closer to my concept of art. http://www.lupanica.it/

FACTSHEET:

Abmessungen : 300 cm x 2500 cm x 2000 cm (Height, Width, Depth)
Jahr : 2017
Material : Holz, Naturstoffe, Ton, Sonstige
Bearbeitung : Kunststoffguss
Stil : abstrakt, zeitgenössisch, Land Art, Geometrisch, politisch, symbolistisch, surreal

Michele Giacobino

STATEMENT - I am interested in relationship between human manufactures and landscape, between nature and culture, between inner landscape of everyone of us and how it reflects on external landscape.
So, starting from architecture and design landscape, with particular regard to garden design, I converged on ephemeral art, public art and land art, declined in their most varied ways. Large sculptures in open spaces (and, often, wild spaces), installations, public events, interaction with citizenship and cultural promotion of the territory are the object of my interest.
I work not only with natural materials (but that otherwise I prefer, especially wood, soil and “alive” materials as trees and shrubs). Respect for nature is for me a priority.
Using shovel, pick and other tools traditionally used working in agriculture I connect myself whit the most intimate part of me and, at the same time, with gestures and manual abilities of my fathers, abilities that they transmitted to me since I was very young.
Through my work I speak about civilization, about the attraction exerted on man by the wilderness and its contemporary result of feelings of fear and repulsion.
My work always starts from intimate memories or suggestions to interpret reality in a personal and often surreal way, through free associations of ideas. I still believe in the social value of art, or at least some of its forms. Dreaming does not cost anything (perhaps, for now).

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PACIOC
PACIOC (2017): It is an installation made for “LAND ART LUPANICA”, a land art international annual festival in Italy. It works on surfaces of trees as natural sculptures. According with traditional “patois” that I talk with my family, “pacioc” means “mud”: a special kind of mud, with a secret formula, it is used to make decorations over more than twenty trees that are growing in a part of a very very ancient forest that survive between Italy and Slovenia. In the formula, there is a bit of soil of the place. Different soil with different compositions make different colors of paint, according to “genius loci”, i.e. the spirit of that place. According to curators of festival, “wood is an open wall”, so it is ready to receive any kind of message. Mud shows an ephemeral way (the real essece of environmental art), a transient way (and so also a sort of pessimistic symbol of era that we live in) to express myself as man and as artist. No messages, only symbolic decorations. This is also connected to idea of “to leave a sign”, a trace on this earth. The mud applied to the trunks, then, is part of me, of my story, of my family and of the activity that we always do in agriculture. It's a traditional remedy we still use today to help a tree to repair wounds or diseases of the trunk and bark. Sublimating this gesture through an ephemeral artistic installation that decontextualizes it from its practical purpose and deconstructs it by reinventing it… here this seems to me one of the things that comes closer to my concept of art. http://www.lupanica.it/
Michele Giacobino, Holz, Naturstoffe
Connected
A link between human and their past, surrounding, tradition, condition and situation is described in this sculpture. The Umbilical Cord is what is binding the figures to each other. Their bodies are formed by the many faces together. Those faces are representing history, tradition, culture. One figure is in the support status that is firmly attached to the history and tradition. The other figure is in the state of flight and going forward, but, he’s attached with the Umbilical Cord and those many faces.
Mehnoush Modonpour, Ton
THE RAIN IN THE WELL
THE RAIN IN THE WELL (2016): It is an installation made for "BAS - BOSCO ARTE STENICO", a land art international annual festival in Italy. Reflection concerns water as a vital element. Growth rings of a tree represent a lifetime and before their growth has been cut off it has been influenced by the amount of rain fallen in the woods. They tell, in some ways, rain stories (rain poetry in the woods) and they themselves refer to concentric waves on the water's hair. We have to consider the vital importance of trees in the life cycle of the element necessary to life. The WATER well is also an ancient and emblematic element of survival, in this case with a decontextualized reference: instead of being the essence of an inhabited center is placed in the middle of a forest, realizing a double referring to a fairy tale: the forest and the well are both united by mystery and desire, attraction and repulsion. http://www.boscoartestenico.eu
Michele Giacobino, Holz, Naturstoffe
"Geometrie und Zahlen" 17 von 37
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Go37Pe, Stein
ETERNITY I
ETERNITY curated by Bruno Corà Villa Foscari - La Malcontenta – during Venice Biennale from may to october 2017 Forme di una scultura estesa nel tempo e nello spazio Installed on the lawn in front of Villa Foscari, La Malcontenta, in Mira, the spatiality of Janine von Thüngen’s sculptures Eternity I and Eternity II is dialectically fused with that of Palladio’s architecture. Separate in their individual stations en plein air, the two bronze works are also different in plastic terms. Eternity I is a set composed of six elements in bronze, of different shape and size, standing on the green mantle of the lawn and set at distances from each other corresponding to the Fibonacci numerical sequence of natural proliferation. Eternity II, on the other hand, consists of a diptych, again made of bronze, but of a substantially different appearance. The tall, open forms of Eternity I, although defined by an earthy patina, unfurl in the air like sails fluttering in the wind. Counterbalancing them are the two bronzes of Eternity II, placed opposite each other and covered by a matt white patina that makes them resemble two crumpled pages. Both von Thüngen’s creations derive their forms from the rough surfaces of hypogeic cavities that were once the catacombs of the Eternal City, Rome. The conquest of air, light and green by these cavities transformed into works of art is due to the qualifying action of the artist who, with tenacity, has realised her aesthetic and poetic dream. Eternity I and Eternity II, which as sculpture have an objective physical extension, develop the premises of a plasticity intuited as the ‘continuity’ of matter in space (Boccioni) and achieve the goal of emancipation from objectuality (Martini). At the same time, in the context of contemporary sculpture, they enact the miracle of encompassing the zero time of Eternity.
janine von thungen, Bronze
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Bergit Hillner, Naturstoffe, Keramik
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"Geometrie und Zahlen" 29 von 37
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Allesfliesstier
Dieser Stier wird mit Strassenmalkreiden immer wieder neu gestaltet. Von mit stammt lediglich die schwarze Bemalung, nicht die Form.
Bernhard Keller, Mixed Media, Kunstharz
Dreaming the woods III
The project “Dreaming the Forest” speaks of the ephemeral experience of standing in front of a tree; of the incorporeal experience of remembering nature. The third piece in the series is a video installation, in which you can see a body with a body artifact that helps to remember the living forest, the action takes place in a skeletal landscape desolated by the cold. This piece talks about the memory of the forest. The work is a contact with the earth, a connection with nature that is evoked by the music of the wind. The video-performance is projected on layers and layers of silk of different textures. This silk interlining is hung over a brass tube which in turn is hung from the ceiling. The layers of silk give the moving image a three-dimensionality by fragmenting the image and replicating it in the different dimensions expanding its reflection.
Tamara Jacquin, Metall, Textil
Monumentale/monuments
Im öffentlichen Raum gelten andere Regeln der Größe für Skulpturen. In public space another dimention of sculpture is needed. oak/Eiche, horsechessnut/Rosskastanie, olive/Olive
Brele Scholz, Holz
Hello Golem “Magicamuska”
Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Kunststoff
Einzelfiguren/single figures
Alle meine Figuten sind nackt. All my figures are naked. cherry/Kirsche, oak/Eiche, ash/Esche, hornbeam/Hainbuche, robinia/Robinie, cherryroot/Kirschwurzel
Brele Scholz, Holz
Doppelfiguren / double figures
Häufig befinden sich Paare im Baum, die ich herausschäle. Often I can find double figures within a tree. horsechessnut/Rosskastanie, cherry/Kirsche, hornbeam/Hainbuche, ash/Esche, maple/Ahorn, olive/Olive, plane/Platane, peartree/Birne, beach/Buche
Brele Scholz, Holz
Powerhouse I
Alabastergipsguss Relief...... limitierte Auflage
Regine Jonas, Gips
Powerhouse II
Alabastergipsguss / Wandrelief Relief : limitierte Auflage
Regine Jonas, Gips, Naturstoffe
Reflecting the forest
The materials used industrially now returned symbolically and physically to the nature they came from. Trees in a forest carry a certain energy and their purpose is simply to grow, to live, and the industrial structures we build are ever as temprary as nature's. So the seemingly incongruous juxtaposition of corrugated metal trees in a forest position, question the relation between the human and natural, and even makes us question what is 'real'.
Karin van der Molen, Metall, Stein
Umgebaute Europäer/rebuilt europeans
Anfang 2014 begann ich die Europäer zu öffnen, sie auszuhöhlen, ihnen in die Köpfe zu schauen. Ich schaffe Innenräume, in denen komplexe Schichtungen sichtbar werden. Neue Materialien (Gießharz, Objekte, Tusche, Ölfarben) kommen zum Einsatz. Ein speziell entwickeltes Scharnier wird für jeden Kopf individuell angepasst. Der Betrachter übernimmt den Akt des Öffnens und Schließens. Ein Sich-hinein-versenken, wie vor einem Schrein, wird möglich. Unter dem Titel MASKEN UND VISIERE – UMGEBAUTE EUROPÄER stelle ich Fragen nach unserer europäischen Identität, nach der Wandlungsfähigkeit von einzelnen Menschen. Was macht unsere kulturelle Prägung aus? Wovon sind wir „besetzt“? Wie können wir uns öffnen? Die innere Vielschichtigkeit verweist auf die Komplexität der menschlichen Möglichkeiten. Seit Januar 2018 ist der Zyklus mit 28 Köpfen abgeschlossen. In early 2014 I began to open up the ‘Europeans’, to hollow them out, to look inside their heads. In the process, I create interiors in which complex layers become visible. I use new materials, (casting resin, objects, ink, oil paint). A specially developed hinge is individually fitted to each of the heads. The viewer takes over the act of opening and closing. Immersing him/herself, as in front of a holy shrine, becomes possible. Under the title MASKS AND VISORS - RECONSTRUCTED EUROPEANS I pose questions about our European identity, about the adaptability of the individual. What defines our cultural imprint? What kinds of things are we ‘occupied’ with? How can we open ourselves? The inner complexity gives pointers to the complexity of human possibilities. In January 2018, the cycle was completed with 28 heads.
Brele Scholz, Holz, Kunstharz
Unrevealedness: Industry of Creativity
Installation in brass, glass, wool, industrial meters etc. photo: Jan Wilms detail. blown glass photo: Dan Foerster
Alexandra Bremers, Bronze, Metall
DIE BLOCKADE
Alabastrgipsguss Limitierte Auflage
Regine Jonas, Naturstoffe, Gips
Langraum mit Kreuz
Liegen oder Stehen, Leere oder Fülle; Ruhe oder Bewegung; lebendige Entscheide fallen in der Grauzone zwischen den abstrakten Polen des Denkens. Lindenholz; aus einem Stück gearbeitet / weiss lasiert
Klemens Pasoldt, Holz
Power of Universe
Aus einem belgischen Granitblock ist dieses "monumentale" Werk heraus gearbeitet. Es soll Kraft, Bewegung, Unentdecktes, Verletzliches, aber auch Energiegeladenes mit Emotionalem verbinden und symbolisieren. Durch einen Fingertipp lässt sich der Stein in Rotation versetzen.
Stefan Kresser, Holz, Metall
Aufbruch
In Zeiten wie diesen (Corona) möchte ich mit dieser Skulptur die Energie, den Mut und die Courage zum Aufbruch darstellen. Mit Verletzungen und Narben gezeichnet, wachsen wir furchtlos und selbstbewusst unzähligen, namenlosen Herausforderungen entgegen.
Stefan Kresser, Stein, Licht
Silberblatt
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Holz, Mixed Media
No Man Land
The figures depicted as protagonists of situations in everyday life enable me to draw attention to the current social situation, to the position of people in society, to their loneliness. Ethical elements in my works aim to teach and simply illustrate extraordinary situations arising from the essence of human existence. This series focuses on the man. The problems he encounters on his journey through life, which determine his value system.
Miroslav Trubač, Holz, Gips
CUBE Rijik Museum
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Holz, Kunstharz
torso animal
Diese Arbeit entstand aus der Verknüpfung der Idee der "animalen Formen" und dem Konzept "Interface". Dieses Stück war die Grundlage für weitere, ähnliche Arbeiten.
Daniel Priese, Stein
Defence
The work "Defence" exists of vertebras forming a closed circle. It is the evolution of the human spine into a non-flexible backbone. It should be inevitable if the human race continues in the direction it is going. What kind of creature could live with this kind of spine is left to the imagination. It could be the last configuration before extinction.
Harry Schumacher, Mixed Media, Holz
Madonna with a golden earring
Precisely glued and composed pieces of wood, wax, gilding.
Miłosz Płonka, Holz
Awareness
Three times the same muscle structure, two up and one upside down. Tough becomes vulnerable. The triptych is connected by wires. For the Kunstschouw the prices are reduced.
Harry Schumacher, Mixed Media, Kunstharz
Geometrie und Zahlen 7 von 37
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Go37Pe, Stein
"Geometrie und Zahlen" 9 von 37
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"Geometrie und Zahlen" 10 von 37
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"Geometrie und Zahlen" 11 von 37
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Blue man
Patinated and polychrome stucco, internal light.
Miłosz Płonka, Mixed Media
Composure
A pillow is stuck in a branch, the features of a face appear like the pillow is suffocating someone. Maybe the extinction of mankind would mean the survival of the planet.
Harry Schumacher, Holz, Textil
Education
This work exists of a blackboard taken out of context. The void in the frame of the blackboard is fixed in an amateuristic way, providing some stability for now. The sentence “Have we not learned anything yet” stands for making the same mistakes, over and over. Short term solutions and the lack of a long term vision. The branch needs blood by transfusion to survive.
Harry Schumacher, Holz, Mixed Media
"Geometrie und Zahlen" 12 von 37
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Go37Pe, Stein
Against All Odds
For the sculpture garden Ravesteyn a site specific work has been made. In memory of all the perished refugees at see a work about the dangerous journey. For a lot of people it is not a choice, but a way of survival. The work exists of a small boat with a proportional huge figurehead to enforce a save journey. No woodcarving but an original tree to hold on to life itself. The boat is connected with the tree by bandages, with fists as a variation on the Hamsa (protection) with Nazar (evil eye). The Hamsa are not suited for the weather influences and will drown.
Harry Schumacher, Holz, Installation
Cornucopia
Interior design for a markethal designed by Winny Maas for MVRDV in Rotterdam.
Iris Roskam, Mixed Media, Stahl
Content
The branch is just a hollow shell. On the back a structure wraps around it. Something can be added to acquire content.
Harry Schumacher, Holz, Mixed Media
Riverdelta
Harry Schumacher was invited for a symposium in Trstenice in the Czech Republic. The village stretches along a small, partly dry river in an oblong valley. The East/West trade route that should have gone through the village is the starting point of the artwork. In a graphic sense a trade route is the connection in two directions between two points. The work consists of two V-shaped riverdelta's like two turned away arrows, which only touch in one place. In a riverdelta the water searches its way from high to low. The liquid in the artwork flows against the current. The area is the center of water flowing in two opposite directions, to the Baltic Sea and to the Black Sea. The map forms the Czech Republic, still struggling between East and West. I choose to make the work of art on location and made every day the trip through the village with a trolley to get into contact with the people as a part of the artwork.
Harry Schumacher, Installation, Naturstoffe
'between intimacy and alienation'
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theater, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onward…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Installation, Performance
Human vs CNC
«Mit CNC (Computerized Numerical Control) können Werkzeugmaschinen per Elektronik gesteuert werden. Mit modernster Steuerungstechnik sind diese Maschinen in der Lage, Werkstücke mit höchster Präzision und komplexen Formen automatisch herzustellen. In Anlehnung an diese hochtechnologische Möglichkeit hat Daniel Züsli mehrere solcher Figuren erschaffen – aber natürlich ohne eine CNC-Maschine. Der Künstler hat aber gemäss der Vorgehensweise einer solchen Maschine gearbeitet und mit der Kettensäge und seinem Augenmass die Schnitte ausgeführt, die auch die Maschine vollziehen würde. Das Resultat ist ein Unikat, das von der durch den Menschen geschaffenen Unregelmässigkeit lebt. Trotz oder gerade wegen dieser Imperfektion strahlt die Figur eine grosse Eleganz und Charakter aus.» Christina Snopko
Daniel Züsli, Holz, Performance
Schöpferische Zerstörung
Ich arbeite beim Modellieren häufig mit dem Zerdrücken der zuvor modellierten Form. Jedes Mal wenn bei mir ein kreativer Prozess ins Stocken gerät, verstärkt sich dieser Wunsch des Zerdrückens. Aus dieser Situation heraus entstand eine neue Technik. Der Unikat Original Kunstdruck mit der verlorenen Form. Mit meinen Schöpferischen Zerstörungsarbeiten schaffe ich bevor eine neue Idee die alte zerstört ein Gedächtnis. So sind die Abdrücke Erinnerungen an eine Skulptur welche die Zerstörung hinterliess oder erhalten hat. Man erkennt Fingerabdrücke, Modellierspuren, Farbe die zerfliesst. Ein toller Mix zwischen Hoch- und Tiefdruck mit der verlorenen Form.
Daniel Züsli, Mixed Media, Performance
Nest 2
Material: Bronze Size: 19x12x12cm, 0,6kg Year: 2015
Judith Mann, Bronze, Bronze
'between intimacy and alienation'(continuing..)
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theatre, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onwards…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Mixed Media, Naturstoffe
Nest 3
Material: Bronze Size: 27x14x14cm, 2,1kg Year: 2015
Judith Mann, Bronze, Bronze
Universe 3
Material: Bronze Size: 19x15x15cm, 2,5kg Year: 2016
Judith Mann, Bronze, Mixed Media
Morning stretching
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze, Bronze
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