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

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

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

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

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

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 (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

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

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

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

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

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

Luise Rückert hatte im Gegensatz zu ihrem Mann Friedrich Rückert in Erlangen kein Standbild. Die die zwei Kinder Franz und Luise schon früh starben, ist dieses Bienenhaus eine Hymne des Lebens an alle drei. Die Mutter von insgesamt 10 Kindern steht als Bienenhaus im Botanischen Garten von Erlangen, bzw. im Egloffsteinschen Palais, ihrem früheren Wohnsitz.
Apisculptor , Holz

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

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

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

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

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 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

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

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

Precisely glued and composed pieces of wood, wax, gilding.
Miłosz Płonka, Holz

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

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

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

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