Fleur van den Berg

silent monument

a monument for war victims, on a very small scale
'pile of legs, look like a pile of firewood'. The ends of the legs are polished to shine.

FACTSHEET:

Abmessungen : 16 cm x 53 cm x 25 cm (Height, Width, Depth)
Gewicht : 12 kg
Jahr : 1998
Material : Glas
Bearbeitung : Guss, Abformung
Stil : monumental, zeitgenössisch, figurativ

Fleur van den Berg

'Making sculptures is my way to deal with the world.'

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Holding the wheel of life
Vielseitig angewendetes Symbol für Einheit und Zusammenhalt widerspiegelt das Rad des Lebens Simplizität, Potenzial und Vollendung ... Der ästhetische Aspekt kommt hier besonders zum Ausdruck und füllt den Raum mit dem stillen Ausdruck von Vollkommenheit. Die Stärke des Zusammenhaltens wird hier durch das Rad repräsentiert. Vollständig und im Gleichgewicht steht das Rad des Lebens ohne Anfang und Ende als ein in sich wiederholender, vollständiger Kreislauf.
Marcel Börlin, Bronze
Time and movement VII
On a piece of driftwood rescued from river Ebro, the artist has continued the carving process already started by the atmospheric agents: sun, water, wind, ice,... as well as other living things: mainly xylophages. This work is thus executed by quite a group of modelling "artists".
Eduardo Domínguez Cabrerizo, Holz
silent monument
a monument for war victims, on a very small scale 'pile of legs, look like a pile of firewood'. The ends of the legs are polished to shine.
Fleur van den Berg, Glas
Martian and moonlight
Elm, lilac and pine, internal light, wax.
Miłosz Płonka, Holz
Little Lady (Nr. 168)
Weiblicher Torso aus Thüster Kalkstein, teilpoliert, Eisenhalter
Silvia Withöft-Foremny, Stein
MADREAEON, ILIVEMYLIFETREECYCLE
I am literally part of the recycle system, when I die, my body will be burned or decompose and live on as little particles in other things. I have also given life, which makes me part of the reproductive system. With the work 'MADREAEON, ILIVEMYLIFETREECYCLE' I made a portrait of myself as part of the recycle system and as a transferee of life. The posture of the woman is open, without a gene, the legs graceful like a Venus, the arms like branches of a tree. It is also like a blood vessel system, full of life.
Fleur van den Berg, Glas, Glas
Shahrázáds fortellinger II
at Sandnes Kunstforening Installation Acrylic and aluminium on wall
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RUNNER
'faster, more efficiënt, no time to contemplate....'
Fleur van den Berg, Glas
Io, von Argos' hundert Augen überwacht
Eine dreiteilige Plastik mit einem Thema aus der alten griechischen Mythologie, welches auch für die heutige Zeit sehr zutreffend ist. Nachdem Io, vom ehebrechenden Zeus verführt oder vergewaltigt wurde, verwndelt der Göttervater diese, aus Angs vor seiner Gemahlin,in eine Kuh. Die gekränkte, eifersüchtige Ehefrau will nun jene schöne, weiße Kuh zum geschenk. Zeus erfüllt ihr den Wunsch, aber Hera hat nichts anderes zu tun, als sie an einen geheimen Ort zu verbannen und von ihrem hundertäugigen Wächter, dem Ungeheuer Argos überwachen zu lassen. Zeus bekommt ein schlechtes Gewissen und will Io helfen. Er begibt sich zum Götterboten Hermes,n verzaubert sich selbst in einen Specht und weißt ihm den Weg zur Nymphe Io. Hermes soll auf seiner Flöte spielen und zwar solange bis der gefährliche Wächter eingeschlafen ist. Im Anschluß soll Hermes das Ungeheuer töten. Was dieser auch befolgt und erledigt.
Manuela Clarin, Mixed Media, Gips
'drink my blood'
‘believe in me, love me, take me in so we will be connected. 'Everything is connected.’ A selfportet, refering to Christian traditions. The head and hands are cast in crystal glas. The inside is etched the rims polished. Inside there is red wine, diluted with water.
Fleur van den Berg, Glas, Mixed Media
Warten.......Mutter mit zwei Kindern
Eine Mutter mit zwei Kindern wartet. Wartet auf Asyl. Wartet auf Hilfe. Wartet auf einen netten Menschen. Sie tröstet und beruhigt ihre Kinder.
Manuela Clarin, Marmor
Changes 2010
Greenham Business Park, the former Royal Air Force World War Two airbase, Berkshire This is Changes by the Icelandic sculptor Gudrun Nielsen, a monumental piece that has just been unveiled at Greenham Common where US bombers used to land – you get the references just by looking at it. Since the Greenham Common women saw off the last of the Right Stuff in 1988 the trees have returned along with the birds and the rest of the flora and fauna, and the military buildings have either been demolished or converted by the Greenham Common Trust which now owns it. Nielsen won a competition along with the late Michael Kenny, but that was 12 years ago and while Kenny’s large geometric form, Broken Symmetry, was unveiled almost immediately by Ringo Starr (a Kenny fan and local resident), Gudrun’s was a little tardy in taking off, as it were............... 17.11.2010 / Simon Tait's Diary http://www.artsindustry.co.uk/features/simon-taits-diary/45
Gudrun Nielsen, Stahl, Beton
BRONZE SUN
Made from solid cast bronze on a square granite plinth.
Sophie Marsham, Bronze, Metall
RADIATOR SHEEP
Photographed in the Highlands of Scotland, this sheep sculpture is life-sized and made from reclaimed objects.
Sophie Marsham, Mixed Media, Metall
Geest - fliessende Steine
Landesmuseum für Natur und Mensch Oldenburg 2006
Michael Lukas, Mixed Media, Installation
PEN TREE
Created for an event for the Adobe software company, made entirely from Bic biros.
Sophie Marsham, Mixed Media, Kunststoff
Stay True
'Stay True' from the series 'Nomadic Vases'
Nicolet Boots, Gips
Casual
Klassisch, realistisch. Im Freizeitlook.
Marcel Börlin, Bronze
PEN NIB SUN
Made from antique pen nibs cast in acrylic resin, suitable for inside of outside. Hangs from trees with stainless steel cables.
Sophie Marsham, Metall, Kunstharz
Genesis. Thought.
Project “Genesis. Dances with shadows” scrutinize feelings, mind, mental and physical, material. To Imagine. To Understand. To Feel. To See. My task is not only creation art images as a combination of different materials (included but not limited by glass, metal, wood and stone) but to understand what is the cornerstone of our consciousness, what is The Genesis? Thought. Imagination as basement, a freedom to think and to learn. The only first way to self cognition is Thought!
Grigorio Antipov, Kunststoff, Mixed Media
Sprießel
Eine überdimensionale Figur aus Eichenholz. Sie entspringt in einem Quadrat und entwickelt sich nach obenhin zur Figur, dem Chaos entfliehend.
Lukas Schmid, Holz, Holz
The way. Life and Death.
A mountain river as a simbol of infinite life. Two stones - two ways of existence. Wich way do you choose?!
Grigorio Antipov, Stein, Naturstoffe
Ohne Titel
Frei Arbeit aus der Reihe Blätter. In Privatbesitz.
Benjamin Schulte, Holz
Liveline
Abstrakte Frauenfigur, gefertigt aus Apfelholz
Lukas Schmid, Holz, Metall
Bird Lady
Seen from a low perspective, this woman figure shows herself in a confident pose.
Nicolet Boots, Gips, Textil
Dawiedort, eine Entscheidungshilfe / Thiswaythatway
Fichte verkohlt geölt / Pruce charred oiled Sockel Granit /socket granite
Andreas Mathes, Holz
Ohne Titel
Das größte Objekt aus der Reihe Blätter.
Benjamin Schulte, Holz, Papier
LOVE THY NEIGHBOUR
Männliche Figur, Lindenholz, Temperafarbe
Lukas Schmid, Holz, Metall
Clavia II
Jap. Schnurbaum geölt / Styphnolobium japonicum oiled
Andreas Mathes, Holz
Dried Poppy
Abstrakte Mohnkapsel, Eiche+Stahl Privatbesitz
Lukas Schmid, Holz, Metall
Charons Boot (Schifffisch) Bronzeguss poliert (8 Ex.)
Charons Boot (Schifffisch) Bronzeguss p0liert (8 Ex.)
Regina Altorfer, Bronze, Bronze
Auge II / Eye II
Kastanie, Feuer, Öl / chestnau, fire, oil
Andreas Mathes, Holz
Nest 1
Material: Bronze Weight: 0,6kg Year: 2015
Judith Mann, Bronze
Ich gebe dir ZUKUNFT
Die Geste des Gebens ist für eine Bäckerei täglich Brot. Zur 60-Jahrfeier von Fischer Brot wurde ein Museum eingerichtet. Am Ende des Museums ist eine Hand mit Touchscreen installiert. Hier sieht man das Heute und die Visionen und Pläne für Morgen. Also "Ich gebe Dir Zukunft" . 420 Cr-Ni Buchstaben aus dem Firmennamen FISCHER BROT formen eine Hand die aus der Decke kommt und 1 Meter über dem Boden schwebt. Durch die Auflösung der Oberfläche in Buchstaben wird die Skulptur leicht und fügt sich elegant in die Eingangshalle ein. Im Inneren der Hand ist eine indirekte Beleuchtung eingelassen, dies unterstützt die Illusion der schwebenden Hand otimal.
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Seele des Baumes
Ein gesamter Baum wurde zerteilt und in einem leeren Becken installiert,
Frank Nordiek - Wolfgang Buntrock , Holz
Regentinnen
Büste mit Goldhaube / grüner Haube | Bronze
Claudia Katrin Leyh, Bronze, Metall
Maske II / Mask II
Jap. Schnurbaum geölt / Sumachtree oiled
Andreas Mathes, Holz, Holz
Bookworm
Bücherstapel aus Kastanienholz Um den Bücherstapel läuft ein Zitat des Schriftstellers Hunter S. Thompsen:´´life has become immeasurably better since i have been forced to stop taking it seriously´´ Privatbesitz
Lukas Schmid, Holz, Holz
TEXTUR
Anröchter Dolomit Gesägt und geschliffen
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Fog 3
Material: fog Location: Bochum, Germany Size: 18x30x14m Year: 2017 Photo: © Mandy Göhler
Judith Mann, Mixed Media, Sonstige
Daphne Caruana Galizia
In memory of Daphne Caruana Galizia, journalist, Malta, murdered 2017
Claire Nelissen, Bronze
glia 1
glia 1, copper,bronze
Hans Some, Bronze, Metall
Porifera
Pappel, Feuer, Wachs / poplar, fire, wax
Andreas Mathes, Holz, Holz
SOPHISTIKATION II
Anröchter Dolomit Standort Marblicksweg Lippstadt
Friedrich Vossel, Stein
Egon, Sitzender Männerakt
Platane geflämmt, geölt Sockel Granit
Andreas Mathes, Holz, Holz
Borrowed View 231 2012
Edsvik Konsthall, Sollentuna, Sweden
Gudrun Nielsen, Holz, Kunststoff
BROKEN
BROKEN, Esskastanie, patiniert, 2014
Alexander Heil, Holz
Passing Light
A striking new monumental sculpture is going up at the National Memorial Arboretum: an imposing wall, some three metres high and fifteen metres long, with a series of cracks and grooves cut into it, designed to cast a complex and changing pattern of shadows as the sun moves across the sky. The sculpture, entitled Passing Light, is the work of Stroud-based artist Ann-Margreth Bohl. ‘It’s like some bonkers Stonehenge’, she says: ‘like some of those ancient sites, this also is a time piece. It’s an outdoor installation that unfolds in time, looking very different at different times of day. That means that it repays spending time with it, or revisiting it. So it suits the National Memorial Arboretum: a place where people go again and again, to grieve or to remember.’ Passing Light was commissioned by the renowned Stroud-based garden designer Paul Hervey-Brookes, who wanted it initially for the IQ Quarry Garden at the RHS Chatsworth Flower Show in the grounds of Chatsworth House, Derbyshire. Ironically, Ann-Margreth was commissioned on the very day that Donald Trump was elected President, with his plans for a very different kind of wall. Ann-Margreth’s brief was just to make a wall with an incision or crack in it: other than that, she had freedom to do pretty much what she liked. She chose to focus on the shadows cast by the wall, and the contrast between what seems solid and the ephemeral effects of light as it plays upon it. ‘The work I’d done before is all to do with light, shadow and form, so it fitted really well.’ Passing Light was originally intended to be in stone, but the final version is made of rusted Corten steel (a preservation order was placed on the Chatsworth stone that Ann-Margreth had planned to use, meaning that it couldn’t be taken away from the Chatsworth Estate – a problem, given that she knew from the outset that Passing Light was to have an afterlife at the National Memorial Garden). Being steel, it will age quicker than it would if it was made of stone – as well as the light changing from moment to moment, over time the material of the wall will change too. For Ann-Margreth this is a new departure: never before has she made work on such a large scale. While she has worked collaboratively in the past (including with Stroud-based composer Emily Hall, and sound designer David Sheppard at the London Sinfonietta), making Passing Light meant working especially closely with others, and in particular with local digital designer Dan Hughes McGrail, who made a computer animation showing how the shifting shadows would be cast by the wall, and who translated Ann-Margreth’s models for Passing Light into something that could be used by architects and structural engineers, to create a monument that won’t fall over. ‘For something that weighs tons, and that is a public artwork, you really need to think that through.’ Walls have a particular significance for Ann-Margreth: she grew up in Germany near the wall between the East and West. ‘That was one of my core inspirations. As a child I would look over the wall and see the guys with machine guns, and all the houses painted the same colour. I always make a point of returning there when I go back to Germany.’ That wall is no longer there (it, too, having proved to be ephemeral), and the former ‘death strip’ between East and West is now a haven for wildlife. Another of Ann-Margreth’s strongest influences is the fact that she grew up a Catholic: ‘I would spend hours in church, looking at the light coming through the windows, and seeing how it would hit the sculptures.’ Time is also a major theme. Ann-Margreth, who works a great deal in stone (and also teaches stone carving at New Brewery Arts in Cirencester), says that she finds it ‘an amazing material – it’s so old, and you’re aware of the time it encapsulates. If I discover something in a piece of stone as I carve away, I know that I’m the first person ever to have seen it. It’s a magical thing. And as you get older, time gets to be a big subject for you. How little our time is here, how important it is to be aware that everything is passing, and how you must make the most of every day. In my work I can translate some of that: Passing Light is a monument to something that can’t be held, or that is moving through.’ Finally, the transitory nature of life is something that was impressed on Ann-Margreth at a young age. ‘In my early twenties I trained as a paediatric nurse, working with terminally ill children. Being with children who are dying, and seeing how short their life is – it was a hard job to do. But from an early age it made me think “I’ve got to make the most of this.” Since then, with the support of a lot of people, I’ve been able to carve out my life. It’s like the old sundials, which often had mottoes carved into them saying “don’t waste time” – you have to be aware that everything is ephemeral. My work taps into that.’ When Passing Light was on display at Chatsworth, Ann-Margreth was able to sit, unobserved, and hear what visitors said about it. ‘The punters would come in and they would say things, and I would sit with my little notebook, writing down their comments. There was one that touched me deeply: a woman said “you know what, this reminds me of when we went to Berlin. Do you remember the wall there, and how they had taken everything down? It really reminds me of that.” And that in a way is where this all comes from. Sometimes as an artist you question whether what you do is worth it, but when it can trigger a thought in somebody else, for me that’s the biggest gift that I can give.’
Ann-Margreth Bohl, Metall, Licht
Piedra y Hierro II
Reconciliation between stone and iron.
Eduardo Domínguez Cabrerizo, Stein, Metall
Crying Dinghy (A Spirit Recharge Vessel from the Cosmic Recharge Series)
The Crying Dinghy is a rescue boat for the human spirit, made for everyday people as a place for contemplation. It comprises a stone pillow near the bow and two giant gramophone horns, which channel tears cried into the pillow to amplify them. While the vessel is built to navigate the sea of tears, once the flood of raw emotion has been released, the person themselves might feel their own inner buoyancy.
Hanna Hoyne, Metall, Stein
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