Go37Pe

"Geometrie und Zahlen" 34 von 37

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

FACTSHEET:

Abmessungen : 15 cm x 5 cm x 12 cm (Height, Width, Depth)
Gewicht : 1 kg
Jahr : 2019
Material : Stein
Bearbeitung : abgetragen
Stil : modern, Geometrisch, surreal
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Go37Pe

Es werden insgesamt 37 Kunstwerke mit geometrischen Formen ausgestellt...da ich eher zurückgezogen lebe,kenne ich keine Experten,die meine Werke beurteilen könnten,deshalb stelle ich sie online aus...

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"Geometrie und Zahlen" 34 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
"Geometrie und Zahlen" 35 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
A boy with a Flute
My Artwork bronze sculptura “a boy with a Flute” is figurative. In 1986 won the prestigious competition of Diploma works of Students of sowietunion, Minsk, Belorussia - a first prize, a bronze sculptura “a boy with a Flute”. One ekzemplar is purchased for the national Art fund Georgia. The second was bought in switzerland in private collection.
Irodion Gvelesiani, Bronze
"Geometrie und Zahlen" 36 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
"Geometrie und Zahlen" 37 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stein
quest, animale form
Im Schaffen von Daniel Priese sind die Positionen von Figürlichkeit und Ungegenständlichkeit ein Kontinuum. Ein Bindeglied zwischen beiden Orientierungen stellen die animalen Formen dar, mit denen sich der Bildhauer seit etwa dem Jahr 2000 beschäftigt. Nur selten ist dabei eine bestimmte Spezies gemeint. In der Regel dient hier lediglich ein organisches Gefüge allgemeinster Art als Ausgangspunkt einer Formentwicklung. Dr. Reimar Lacher
Daniel Priese, Stein
KING KONG BALLS ASPHALT
Sculpture: Clay on Iron, Wood. Original sculpture on his work table, this sculpture was used to make the mold for my "KingKongballs" in bronze. This sculpture was so beautiful despite the damage caused by the demolding, I decided to consolidate it with resin and keep it. The pieces of asphalt (recovered from a Budapest street under reconstruction) represent our planet in danger. This work is dedicated to our planet and all animals we are destroying.
Denis Defrancesco, Ton, Kunstharz
THE PINK LADY ( Small Version / Limited Edition of 6)
The Pink Lady Nostalgia. ... C’est une Poupée who says “Yes, yes, yeeessss!..” Who says Amen to whatever may come... A cuddly and consenting Doll... An unabashed doll... The Lady Heroine of all desires... The animated Object of all penchants, all sins... ... Sweetheart, come let us see if the Rose is rose/... A pic to capture that pink ... The wide-open diaphragm... The folds of the crimson robe, under the spotlights exactement... Petals of all colours, but roses are rose in all the gardens of the world, their buds like the diamonds of eternal pleasures... ... A Thousand and One Women... in ONE... The Synthesis is Bold, the Doll pumped up, the combinations multiple, the appearances deceiving...The Stone beneath the Flesh... Hard and cold... A polished and smooth Poupée de Marbre ... A Venus without her Fur... A shaven Sacher-Masoch... Not a hair left of Romanticism... A 2.0 Doll far from The Origin of the World... ... The body calibrated for stereotypical ardours... Unfussy tattoos, curls for artifice, silicone up to the gunwales, seams ready to split: The Pink Lady, Doll of the Quick Fuck… ... We would like her to speak... To pronounce words, sounds other than the conventional onomatopoeia of fawning pleasures... The Mmmm, the Aaaah, or the Ooooh... Letters that would form real words... No: nothing to be done, nothing to be said... ... A voiceless, unsmiling, soulless doll, her slits like bottomless pits, a humourless, joyless Doll... We will never see her heart or her feet, forever sealed in Carrara stone... A non-finito modern Galatea, off-putting her Pygmalion... The sculptor’s dream, his Ladies of yesteryear, his Marys full of grace and virtue, the Roses in bloom of his lost youth...
Denis Defrancesco, Stein, Marmor
Corruption
Oak lid covers, wood, gold wire, resin "21st Century" collection", Wall sculpture
Radu Alina, Holz, Naturstoffe
Sixty four million two hundred eighty five thousand tenth kilometer
"Is here a future or a past?", I was asked. My answer was :" here is present". The project is based on experience of walking. I invite spectators to feel the difference of several ground layers: the layer of the park and the fragment of layer of the city. I, as a viewer, find myself in a situation where two different layers appear. The project offers to get deeper into the concept of basis itself and to the layer itself as well. What is beyond this basis? What is above it? What is it made of? Sixty four million two hundred eighty five thousand nine kilometer is, according to statistics, a total length of the road in the world. In this project I am starting next kilometer, the tenth one, and continuing that layer of the city road here, in Oronsko sculpture park.
Ūla Šukytė, Mixed Media, Sonstige
Sitting beauty
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert Bronze
Marcel Börlin, Bronze, Bronze
Kunstkritik-Preis
Kunstkritik-Preis Arte Binningen 2018 https://www.marcelboerlin.ch/kunstguss/auszeichnung/
Marcel Börlin, Bronze, Bronze
Zwei Herren in Betrachtung des Domes
Die Skulpturengruppe "Zwei Herren in Betrachtung des Domes" (2010) spielt mit den Erwartungen des Betrachters, die durch das Konzept des Personaldenkmals geprägt sind. Erwarten würde man, in einem der Herren im Kostüm des 18. Jahrhunderts vor dem Gleimhaus eben den Dichter, Sammler und Freundschaftsapostel Johann Wilhelm Ludwig Gleim zu erblicken. In dem anderen könnte man irgendeinen der namhaften Literaten, Denker und schönen Geister vermuten, die Gleim in seinem so genannten "Freundschaftstempel" im Porträt versammelte. Doch Priese gibt eben kein Porträt, sondern verweigert den beiden Herren eine Identität. Die beiden Figuren sind schlicht zwei Herren aus der Zeit des 18. Jahrhunderts, die in Betrachtung des Domes begriffen sind. So löst sich die Gruppe vom herkömmlichen Personaldenkmal und bildet eine inhaltliche und optische Klammer zwischen Gleimhaus und Dom, wie Gleim tatsächlich ohne das Amt des Domsekretärs nicht nach Halberstadt gekommen wäre. Die Gruppe wurde schnell zu einem der beliebtesten Fotomotive der Stadt und zu einer Art Wahrzeichen des geistlich-musischen Halberstadt. Dr. Reimar Lacher
Daniel Priese, Stein
mittelsegment
Die Reihe SEGMENT weist Schnittstellen zu gleichgeordneten Gliedern auf, die das Werk als Bestandteil eines größeren Gefüges bezeichnet – etwa in der Art eines Formsteins im gotischen Maßwerk.
Daniel Priese, Stein
Zusammenhalt
Bronzeplastik am Dorfplatz von Fuschl am See. Entwurf entstand bei einem Tapesculptur-Workshop mit 10 Kinder und Jugendlichen. Umgesetzt in Bronze und Edelstahl von Felix Igler.
Felix Igler, Bronze, Metall
My little wood stove
glass, transparent photosheets photos: Paul Niessen, artist
Alexandra Bremers, Glas, Kunststoff
Awakening
3 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze
Erased
Sculpture (photographs printed on dibond, concrete base), 350 x 110 x 5 cm. Edition of 1. A site-specific sculpture designed for the Middelheim Museum, an open-air sculpture park in Antwerp, approaches the theme of the human figure omnipresent in the collection of the museum. Rethinking the ancient sculptures that lost their body parts in time, the headless statue gives a contemporary interpretation to the classics.
Marta Galmozzi, Holz, Beton
THE GARDENER
Following from Der KUSS, this piece further develops sculpture’s integration and unification with nature.The Gardener is even lighter and more transparent than ‘Der Kuss’ yet at the same time is also dynamic and powerful. The woman bends to look at the jasmine which grows along and within her leg, and beyond to the roots where its journey inside begins. The effect of the plant climbing within is a ‘Cul de Paris’, a 19th century skirt.
janine von thungen, Bronze, Sonstige
The delusion
Als unentrinnbare Verstrickung drückt die Gnadenlosigkeit von Schmerz, Verzweiflung, Hoffnung und Sehnsucht existenzielle Not aus. In diesem Werk versuchte der Künstler sich aus den Bahnen vom reinen Expressionismus zu distanzieren und Narratives Figuratives ins Leben zu rufen. Dem Betrachter wird das Verborgene ohne Distanz vor Auge geführt, was fernab jeglicher Interpretation erlebt werden kann, sozusagen als Spiegel vom eigenen und kollektiven Trauma.
Marcel Börlin, Bronze
REACHING TO THE STARS
6 Exemplare limitiert, nummeriert handpatiniert, handpoliert und signiert
Marcel Börlin, Metall, Stahl
Prometheus - Epimetheus
Prometheus, "der Vorausdenkende" (Macher und Feuerbringer der Menschheit) und sein Bruder Epimetheus, "der danach Denkende" (Zweifler) ringen um das Mögliche. Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Holz
3 sisters
Nature, sea life the beauty of rock pools
Michelle Gallagher, Keramik, Glas
Erwachen
Über 90 Jahre im Innern verborgen scheint das feuchte Kernholz des Nussbaumes beim Anschneiden mit dem Schnitzeisen unerwartet blauviolett auf, nach wenigen Sekunden wandelt es sich zum gewohnten Nussholz-Dunkelbraun. Nussbaum massiv; aus einem Stück gearbeitet / partiell blauviolett lasiert; mit Nussbaum-Sockel
Klemens Pasoldt, Holz
2 headed gargoyle
The gargoyle classically kept evil away.
Michelle Gallagher, Stein, Metall
Trias (Ameno)
Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Holz
Kijkdoos - looking box
An ordinary box with a fantastic imagined oceanic world inside.
Michelle Gallagher, Keramik, Keramik
Which personality are you?
Our public and private faces and personalities. What do we show and what do we hide. The empty compartment is for the viewer to decide what face/ personality would they choose? Irish playwright Brian Friel wrote “ Philadelphia here I come” one of the characters has two actors playing his public and private thoughts.This idea of our public and private personality was a trigger for this artwork.
Michelle Gallagher, Holz, Keramik
Standing at the Crossroad
Labiles Gleichgewicht; tanzen, ringen, entrückt gleiten, fallen; unaufhörliche Balance zwischen Extremen. Ulmenholz massiv, aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Holz
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
The Mirror
You can see yourself in the brain parts that are like a mirror and think.
Jaco van der Vaart, Metall
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Holz, Metall
Bestial bestiary
A series of showcases in which The balance is explored on what is considered decent and proper.
Bert Poot, Mixed Media
Eine Skulptur entsteht
Von der Idee zum Stein - vom Stein zur Idee - ein Wechselspiel! Kleine Skizzen helfen bei Proportionen. Diabas ist ein sehr harter Stein, gut zu bearbeiten und sehr edel!
Stefan Kresser, Stein
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
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
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
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
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
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
CLUB (2018) (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..
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
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