Fog 1 – Salix.Fog

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein, Licht

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein, Licht

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen (100% Handarbeit)
Go37Pe, Stein, Licht

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein, Licht

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein, Licht

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Licht, Stein

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein

An organism, just existing of two legs and wearing a diaper is tied to the wall to limit it’s space. The part of the wall it can reach in width is covered in drawings of bodyparts the organism lacks, as a wishful dream in growth. Apart from the limitation in movement the rope also keeps the creature in balance, almost learning it to walk. Worldwide a lot of people have to deal with just the “right” amount of oppression to keep them barely alive, but silent. The row of drawings on the wall will change over time because of the acid-rich paper.
Harry Schumacher, Holz, Installation

Keine meiner Figuren sind vor mir sicher, solange sie sich in meiner Obhut befinden. None of my figures can be called safe from me as long as they are in my custody. Rebuilt sculptures, new material added. Umgebaute Skulpturen, neue Materialien angebaut.
Brele Scholz, Holz, Kunstharz

Projekt Paradies in Luxemburg, Burg Hollenfels, Jugendliche mit Kriegserfahrung sind gefragt dem Bösen ein Gesicht zu geben. Es wird modelliert und 1:1 in den Bannbaum gesetzt. Bannbäume sind von Bienen bewohnt und haben das Böse zu bannen, denn wer will nicht alles an den süßen Honig? Diese Bäume sind dann mit Bienen besetzt worden und stehen nun in der Demeter-Imkerei von Michel Collette
Apisculptor , Holz, Naturstoffe

As humans we are part of nature, which feeds us literally. In spite of that we often place ourselves above and we think we have the right to use nature as it pleases us. Nature develops through time, people who try to hold on to their acquired values are standing still.
Harry Schumacher, Holz, Textil

1. The Station 2. The Market 3. The Military Building 4.The Hospital
Nevena Popović, Papier, Textil

« Dans le noir, nous verrons clair mes Frères ! Dans le labyrinthe, nous trouverons la voie droite ! » (Henry Michaux) « Do not go where the path may lead, go instead where there is no path and leave a trail. » (Ralph Waldo Emerson) My work revolves around the idea of "imprint", approached from different angles: our existential imprint on this earth, the ecological footprint of man, what human and non-human traces tell us in the natural cycle, making us part of an indissoluble whole. Reasoning the labyrinth as a key element to face the heart of my poetics, namely land art to connect the interior landscape and the exterior landscape and the relationship between man and nature and between man and man, I wanted to explore anthropologically the labyrinth as a constant theme of European art. From a local-global relationship perspective, I returned physically and symbolically to the Alpine valleys where my family is from. In recent years, it has become relatively famous among prehistoric scholars for the presence of "Masso Falchero", a huge millstone that takes its name from the family that owned it. The peculiarity of this stone is that it was engraved in prehistoric times with representations such as bas-reliefs that researchers have traced to the representations of the rituals inherent in the cult of the Great Mother, a cult in relation to which we find labyrinthine representations in different regions of the Alps. It is curious that from a linguistic point of view in the dialect spoken in “my” valley unlike the neighboring valleys all the important elements of daily life are feminine. In addition, it is emblematic, in my childhood memories, how in my family's home village old women, and not old men, played a key role in collective decisions concerning community life. I thought of the graphic and formal relationship between our fingerprints, the symbol par excellence of our uniqueness and our individuality, and the symbol of the labyrinthine representations of communities united by daily practices and cults that attach them deeply to the earth. In particular, my attention has focused on the thumb as a symbol of human skill and evolution and, in particular, a symbol of female talent and power: the opposable thumb, the thumb injured by the spindle in the ancestral fairy tale, thumbs for sewing and (above all) embroidery, thumbs to mark in the ancient practices of magic with mud and ashes, your thumb to support a child's head, thumb to assess and sample distances and shapes, as an artist, the thumb to clean the kids' faces, the thumb to hitchhike and so on! Nevertheless, the thumb is also used for counting banknotes (a gesture I associate with men) and today the thumbs are used for text messaging and for playing video games (is that an involution?). So I thought of creating an ephemeral labyrinth based on the graphic synthesis of the thumbprint. I was struck by the image of Accous and its valley, and the fact that it has always been an important transit point to the Iberian Peninsula, connected to a route like that of Santiago de Compostela which follows paths of even older routes that linked the old continent to the four corners. I thought about how the two great mountain ranges of the Pyrenees and the Alps, far from being physical barriers in reality thanks to their valleys, have always favored exchanges and movements. I thought of an ideal link between the Aspe valley and "my" Val di Viù, part of a path that crosses the Italian peninsula and the Alps connected Greece with England, a route taken later in the Middle Ages by pilgrims from all over Europe to Rome and Holy Land. I thought that in such a place a labyrinth, symbol of spiritual journey, could find an ideal location. I thought of current events. The theme of travel, thinking of how the labyrinth can express the complexity and the labors and tortuosity of those who travel out of necessity and for change, in search of a better life for thousands and thousands of kilometers, and how the Alps and the Pyrenees, always a place of connection and exchange, become insurmountable barriers due to new frontiers dictated by man. Moreover, I think of the fingerprints taken, the thumbprints, taken even by young children so that men can lay down, imprison, and repel other men. What is our current footprint? What are its meanings? What are its implications and labyrinthine facets? The imprint is the imprint of my grandmother, the last descendant of these women from "my" valley. The idea of the grandmother's fingerprint lies in the homage to an idea. In my idea, it is an ephemeral labyrinth, made of natural materials and intended to fade slowly and naturally over time, made with the materials available on site, guided by the "genius loci". The place (and the premises, after all, a place and its spirit are or are given especially by those who live there) will inspire the best formal solution on the spot to concretize the concept by expressing all the meanings contained therein. PHOTO CREDIT: MILA BRAUDEY for photos n. 6 / 7 / 9 / 10 / 11 / 12 / 14 / 15 / 16 / 19 GREGOIRE LAVIGNE for photos n. 1 / 8 PHILIPPE LE COZ for photos n. 18 thank you so much. And really special thanks to all "Phonies Bergères" organization and members, to Cler&Sandrine of "Maison Despourrins" and to all Accous friends.
Michele Giacobino, Holz, Naturstoffe

Bronze Auflage: 3 . . Bronze Edition: 3
Helga Kaes, Bronze

Element Air, walnut wood with leaf gold, making air visible - photos taken by myself
Markus Brinker, Holz

Das Projekt „Eichenkeimlinge“ ist Skulpturengruppe und Prozess zugleich. Es vereint totes, bearbeitetes Holz und lebendige Bäume: sieben Eichen in einer Reihe, die zunächst kaum zu sehen sind. Die Künstler nennen sie „Zukunftsbäume“. Die Natur nimmt sich Zeit. Nach fünf menschlichen Generationen könnten sie ausgewachsen sein. Sie entwickeln sich zum Zitat der Allee, aus der sie abstammen. Als Keimlinge trieben sie aus Eicheln, welche die Künstler in der historischen Fürstenallee in der Gemeinde Schlangen sammelten – direkt unter den für ihr Projekt ausgewählten Eichen. Die altersschwachen Bäume wurden gefällt und mit Unterstützung der Staff Stiftung ersetzt. Aus den Stämmen gestalteten die Künstler überdimensionale Keimlingsskulpturen. Sie sind Denkmal, Versprechen und Platzhalter zugleich: Sind die gepflanzten Nachkommen einmal genau so groß, ist das bearbeitete Holz wohl längst verwittert – ein gegenläufiger Prozess für Neugierige mit Geduld. Auch als Kunstobjekte bleiben die Eichenstämme ein Stück Natur mit allen Eigenheiten. In ihm hallen die Jahre des Wachstums wider. Der individuelle Wuchs der alten Bäume prägt die Skulpturen maßgeblich mit. Die Künstler spürten bei der Formgebung Richtungen nach und reduzierten sie auf Wesentliches. Sie entfernten kranke, morsche Stellen, schälten den stabilen Kern heraus und machten ihn sichtbar. Die Bearbeitung mit der Motorsäge ist nachvollziehbar geblieben – kein Glätten verbirgt die Spuren einer intuitiven Auseinandersetzung mit dem Material. So wird die künstlerische Arbeit zu einem Nachdenken über Natur und Gestaltung: Der Kreislauf des Wachsens und Vergehens ist unaufhaltsam. Die Künstler entscheiden über Ort, Ausrichtung und Wahrnehmung ihrer Setzungen. Den Rest erledigt die Zeit. Ort
Frank Nordiek, Holz

In this sculpture heads are out and wonder. They have ears and their eyes are wide open in the overwhelming feeling of reverence and admiration. They are experiencing and understanding the unknown. They are in the state of admiring something beautiful, remarkable or unfamiliar.
Mehnoush Modonpour, Ton

Description in German, English and French - please scroll down Diese Skulptur wurde während der ersten harten (!) Lockdowns in Frankreich erstellt. Das seltsame Gefühl, der Freiheit beraubt zu werden, ohne einen anderen Mangel zu erleiden. Die Skulptur stellt Gegensätze dar und die Idee war, einen ähnlichen Ansatz zu verfolgen, wie das bekannte Yin-Yang, jedoch auf einer dreidimensionalen Ebene. Im übertragenen Sinne spiegeln die Gegensätze sich in dem oberen, hohlen, voluminöseren Teil und dem unteren massiveren Teil der Skulptur wider. This sculpture was made during the first hard (!) lockdown in France. The strange feeling of being deprived of liberty without suffering any other shortage. The sculpture represents opposites, thinking of the well-known yin-yang, the idea was to have a similar approach but on a three-dimensional level. In a figurative sense, the opposites are reflected in the upper, hollow, more voluminous part and the lower, more massive part of the sculpture. Cette sculpture a été réalisée lors du premier confinement en France. L'étrange sensation d'être privé de liberté sans souffrir d'autres pénuries. La sculpture représente les contraires, en pensant au célèbre yin-yang, l'idée était d'avoir une approche similaire mais à un niveau tridimensionnel. Au sens figuré, les contraires se reflètent dans la partie supérieure, creuse, plus volumineuse et dans la partie inférieure plus massive de la sculpture.
Jens Linnek, Stein

Description in German, English and French - please scroll down In einer ironischen Note versucht diese Skulptur, die Umstände eines Tinnitus zu beschreiben; die tiefe, innige Verbundenheit mit dem Ohrgeräusch, wie jene eines guten Freundes, der einen nie verlässt. This sculpture tries to describe with an ironic note, the circumstances of a tinnitus; the deep, intimate connection with the noise in your ear, like that of a good friend who never leaves you. Sur une note ironique, cette sculpture tente de décrire les circonstances d'un acouphène ; la connexion profonde et intime avec le bruit dans votre oreille, comme celle d'un bon ami qui ne vous quitte jamais.
Jens Linnek, Stein

A manifestation of the bond between humans, and that we are what we have received from our mothers through generations. The attachment of mankind shown as the umbilical cord, symbolizes our attachment to our background and past generations; wanted or unwanted. Worshiping the symbol of Mother that is the source of all.
Mehnoush Modonpour, Ton

Human beings are members of a whole, In creation of one essence and soul. If one member is afflicted with pain, Other members uneasy will remain. If you’ve no sympathy for human pain, The name of human you cannot retain! a poem by “Saadi”
Mehnoush Modonpour, Ton

An installation 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

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

An installation 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

A work for the "MAF" museum in the park at the Nosedo sewage treatment plant in Milan, near the Chiaravalle abbey, within the 2020 schedule of the city's cultural initiatives dedicated to "Women's talents". It was born from the real imprint of my mother’s thumb (finger as symbol of humanity and fundamental element for human creativity), digitally reworked and transported to the ground in the way you can see in the attached photos. At the center of the work (and integrated with it) there is a wooden form, that refers to a seed, or a bulb ready to bloom, or a spindle, inspired by ancient fetishes of rebirth and fertility still visible in traditional festivals in some places in the Alps (see, for example, the "Puento" in Chiomonte, near Turin). Following an accurate preliminary study through both traditional drawing and computer graphics, each component of the work was handmade without the aid of machinery and following traditional techniques linked to ancient agricultural practices. In fact, it is a fundamental component of my poetics to relate to the landscape through artistic work to discover and try to overcome one's individual limits in balance with nature. Access to the interior of "Arianna", to walk through her labyrinth, it is forbidden to visitors by a museumstyle perimeter cordon to make people think, first, about the relationship between citizens and public art. Here are the curator's words about “Arianna” (please note English version below): Il filo conduttore della vita… Terra, natura, labirinto, filo e tessitura. I punti chiave per comprendere “Arianna”. La riflessione su una spirale che può assumere diversi significati in base al punto di vista da cui la si guarda o la si pensa, un’impronta digitale o magari un labirinto. Un filo che si avvolge in tante ellissi che girando attorno ad un fuso, crea un labirinto, reale e immaginario. Come nel labirinto del Minotauro è una donna che risolve il labirinto, Arianna, che ci aiuta a percorrere i solchi nella terra. All’interno dell’opera si trova un fuso, un intreccio creato dalla natura, Madre Natura che ci accompagna nel labirinto della vita con l’uomo che pone la sua impronta sulla terra. Un discorso sul territorio, sul paesaggio, un filo conduttore, come un corso d’acqua che crea canali che si intrecciano per creare una rete. Legno e terra, semplice, perfetto per un racconto, la trama di un tessuto. Gloria Longhi, curatrice The common thread of life... Earth, nature, maze, thread and texture. The key points to understand “Arianna”. The reflection on a spiral that can take on different meanings based on the point of view from which you look at it or think of it, a fingerprint or perhaps a labyrinth. A thread that winds itself in many ellipses that, turning around a spindle, creates a real and imaginary maze. As in the labyrinth of the Minotaur, it is a woman who solves the maze, Ariadne (Arianna), who helps us walk the grooves in the earth. Inside the work, there is a spindle: an intertwining created by nature, Mother Nature who accompanies us in the labyrinth of life, with man who places his imprint on the earth. A discourse on the territory, on the landscape, a common thread, like a river that creates channels that intertwine to create a network. Wood and earth, simple, perfect for a story, the texture of a fabric. Gloria Longhi, curator PHOTO CREDIT: for photo number 1, at the beginning: Google Earth for photo number 19, at the end of presentation: GLORIA LONGHI (special thanks)
Michele Giacobino, Holz, Naturstoffe

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein

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

... eine Sculpturengruppe aus weisser Keramik | feingeschliffen
Bergit Hillner, Naturstoffe, Keramik

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein

Ausstellung OBJEKT & SKULPTUR in Unkel Hier zeige ich bei den Skulpturen eine Auswahl meiner Bronze Arbeiten, ausnahmslos Frauen. Als Objekte zeige ich meine Reihe UMBRUCH. Diese Arbeiten sind in der Pandemie entstanden und spiegeln meine Wahrnehmung dieser Zeit wider. . . Exhibition OBJECT & SCULPTURE Here I show a selection of my bronze works among the sculptures, all women. As objects I show my series UPHEAVEL. These works were created during the pandemic and reflect my perception of that time.
Helga Kaes, Bronze, Metall

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein

Vollmond, Bronze, ca. 27 x 112 x 25 cm, 2019
Dagmar Vogt, Bronze, Bronze

Was sie hier sehen ist das Modell für gegebenfalls öffentliches Werk. Es ist eine aus olivenholz gemeisselte Skulptur zusammen mit 3D scan und 3D print von einer Frau die sich die Ohren, den Mund und die Augen zuhält. das bedeutet: ICH SEHE NICHT ICH HÖRE NICHT ICH SPRECHE NICHT Wia auch andere von meinen Werken bezieht sich diese Aussage auf die heutige Umstände unserer Zivilisation, hauptsächlich der "Zivilisierten Zivilisation unseres Planeten, die allerdings diejenige sind die den Sachaden unseres Planeten versursachen-
Isabela Lleo, Holz, Stein

Die Baumtänzerin, Bronze, B65 x H285 x T50cm, 2020
Dagmar Vogt, Bronze, Bronze

Dieser Stier wird mit Strassenmalkreiden immer wieder neu gestaltet. Von mit stammt lediglich die schwarze Bemalung, nicht die Form.
Bernhard Keller, Mixed Media, Kunstharz

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

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

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

from a new series from this year "Les Danseurs" that is paralell to the series of Exercise 1, that comes of the thinking that dancing alliberates the mind and helps and heels the body. necessary after this year and a hald of confinement, even is not allowed in big groups, the idea of dancing comes on a way of alliberating the the tensions produced by the pandemic
Cristian Diez Sanchez, Naturstoffe

The Series "Les Danseurs" comes from the idea that actually after the pandemic people need to alliberate the mind and reax the body exercising. The concept of the dance is to comunicate and share while alliberating tensions and dramas brought by the pandemic. Music and dancing can act as therapy for releasing tensions
Cristian Diez Sanchez, Naturstoffe, Sonstige

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

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

Alabastergipsguss Relief...... limitierte Auflage
Regine Jonas, Gips

Alabastergipsguss / Wandrelief Relief : limitierte Auflage
Regine Jonas, Gips, Naturstoffe

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

The weird sisters of fate (the Three Norns) live at the fountain under the world ash tree (Yggdrasil). They spin the thread of fate and determine the destiny of the world and all individuals. They are called Urd (destiny), Verdandi (necessity) and Skult (need/ought to be) and thus are assumed to represent the past, the present and the future respectively. Made from oak tree each form reaches with their arms to the upper spheres and conducts the spirit into the hudge receptive body underneath – a body of resonance which hug the visitor. oak tree, chalked Die drei Schicksalfrauen (Nornen) leben im Wurzelgebäude der Weltenesche (Yggdrasil). Sie weben am Schicksal der Welt und aller Individuen. Sie heissen Urd (Schicksal), Verdandi (das Werdende) und Skult (Schuld; das was sein soll) und repräsentieren damit das Vergangene, die Gegenwart und die Zukunft. Aus drei Eichenstämmen hergestellt greifen ihre Arme in höhere Speren und leiten den Geist in den darunterliegenden Hohlkörper - einen Resonanzkörper, der den Betrachter zu umarmen scheint. Eichenholz, gekalkt
Klemens Pasoldt, Holz

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

Installation in brass, glass, wool, industrial meters etc. photo: Jan Wilms detail. blown glass photo: Dan Foerster
Alexandra Bremers, Bronze, Metall

Using a lodestone compass this work explores the phenomenon of electromagnetism making reference to recent scientific discoveries in geo-magnetism and magneto-reception. Its premise hinges on the fact that animals are connected to the earth in a fundamental way that humans are not. Recent science has revealed that animals have a sense that allows them to detect the earth’s magnetic field whereas humans do not possess this ability. The human species has literally lost its sense of direction. This is therefore the grand metaphor of the work – we have lost our sense of direction. Using a powerful magnet and series of compasses, a distorted anthropocentic power relationship is established to amplify humanity’s dominance over the natural world and our inherent shame. The invisibility of this power, the magnetic field, stands to remind us of the fact that we don’t see the enormity of the damage being done. What many are now calling the sixth great extinction. The work has layered content but at its heart is climate change, species extinction and humanity’s culpability in this process. Named after The Tempest Prognosticator by George Merryweather in 1851 this work is about the silence before the storm, the increasing rapidity of species extinction, in all habitats across the earth. See this working : http://richardpaton.com/the-tempest-prognosticator/
Richard Paton, Holz, Bronze

Alabastrgipsguss Limitierte Auflage
Regine Jonas, Naturstoffe, Gips