Claire Nelissen

Daphne Caruana Galizia

In memory of Daphne Caruana Galizia, journalist, Malta, murdered 2017

FACTSHEET:

Abmessungen : 42 cm x 30 cm x 22 cm (Height, Width, Depth)
Gewicht : 30 kg
Jahr : 2020
Material : Bronze
Bearbeitung : Bronzeguss
Stil : figurativ

Claire Nelissen

SCULPTURE IS MATTER'S BREATH OF LIFE

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Bilston Totems
15 sweet chestnut trees up to 6 metres tall commemorating the steel industry in the town of Bilston in England. Handcarved.
Robert Koenig, Holz, Installation
Wind house
Private Commission, Reserva do Ibitipoca, Lima Duarte MG (Brazil) Site: pasture on a hillside Built in the way of typical local farmhouses using a traditional clay wall technique (“pau à pique”) Materials: wood, clay soil, straw, cow dung, cement, metal grid, rooftiles 3.4 x 2.8 x 6.5 m
Cornelia Konrads, Installation
FF 17 - Monument - Victim of Homosexual Persecution Sculpture
The important things first The rainbow colors of the monument are created by daylight alone, without electricity. Here the focus is on the colors projected by daylight, which always appear in a new light depending on the time of day and the weather. Depending on the nature of the background, the colors appear almost as clear as with colored glass windows, since the light is refracted. The brighter the ambient light, the more delicate the colors appear. The darker it gets, the brighter they shine. Direct light depicts the object as a colored shadow, indirect light allows the colors to run smoothly. Daylight hits the white background and from there is thrown onto the painted back of the strips in front, projecting the color onto the white background and making it visible to the viewer. This effect works from sunrise to sunset. Idea The consideration before finding the form was whether a classic monument, for example with a base and a top part cast in bronze, would still trigger the desired reactions in today's viewers or whether it would not be better to go in a different, more contemporary direction. I tried the latter with this design. Experience has shown that you are more concerned with something if it is not obvious at first glance and you have to conquer it of your own accord (almost like in love). What only becomes apparent at second and third glance stays with you longer. To do this, however, the viewer's attention must first be demanded. In this case with the unusual shape, the bold construction and the bright colors. Curious, our passer-by finds the inscription on the back, the subject of which he will try to connect with the individual parts and overall picture of the monument when he looks at it again. Appearance In order not to limit the topic to the sad historical event and to transport it to the "here & now", I decided to make the monument appear self-confident and, in the case of the brilliant rainbow colors, almost cheerful. The horizontal band (B,C) literally and figuratively accompanies passers-by a part of their way - by the way, at eye level! _________________________________ Das Wichtigste zuerst Die Regenbogenfarben des Monuments entstehen alleine durch Tageslicht, ohne Strom. Hier richtet sich der Focus auf die durch das Tageslicht projizierten Farben, 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. Je heller das Umgebungslicht ist, desto zarter erscheinen die Farben. Je dünkler es wird, desto kräftiger leuchten sie. Direktes Licht bildet das Objekt als färbigen Schatten ab, indirektes Licht läßt die Farben zart verlaufen. Das Tageslicht trifft auf den Hintergrund B und wird von dort auf die bemalte Rückseite der vorgelagerten Streifen C geworfen, wodurch die Farbe an die Fläche B projiziert und für den Betrachter sichtbar wird. Dieser Effekt funktioniert von Sonnenaufgang bis Sonnenuntergang.
 Idee Die der Formfindung vorausgegangene Überlegung war, ob ein klassisches Monument zB mit Sockel und in Bronze gegossenem Aufsatz beim heutigen Betrachter noch die gewünschten Reaktionen auslösen würde oder ob es nicht besser wäre andere, zeitgenössische Wege zugehen. Letzteres habe ich mit diesem Entwurf versucht. Erfahrungsgemäß beschäftigt man sich mit einer Sache mehr, wenn sie sich nicht gleich plakativ und vordergründig auf den ersten Blick zu erkennen gibt und man sie sich aus eigenem Antrieb erobern muß (beinahe so wie in der Liebe). Was sich erst auf dem zweiten und dritten Blick erschließt, bleibt länger hängen. Dazu muß allerdings erst die Aufmerksamkeit des Betrachters erheischt werden. In diesem Fall mit der ungewöhnlichen Form, der kühnen Konstruktion und den leuchtenden Farben. Neugierig geworden, findet unser Passant auf der Rückseite die Inschrift, deren Thematik er beim nochmaligen Betrachten des Monuments mit dessen Einzelteilen und Gesamtbild versuchen wird in Verbindung zu bringen. Erscheinungsbild Um das Thema nicht nur auf das traurige historische Ereignis zu beschränken und es ins “Hier & Heute” zu transportieren, habe ich mich für ein selbstbewusstes und im Falle der brillanten Regenbogenfarben für ein fast heiteres Auftreten des Monuments entschlossen. Das horizontale Band (B,C) begleitet dabei im wörtlichen wie im übertragenem Sinne die Passanten ein Stück weit ihres Weges - übrigens auf gleicher Augenhöhe!
Alexander Lorenz, Metall, Installation
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.
Konrad Feichtinger, Metall, Mixed Media
Rooting Garden
Cahors Juin Jardins, Cahors (France) Site: public park in the old town of Cahors, former herb garden of a monastery . Extension of a line of flowerbeds Materials: iron fence, roots, earth, plants 2.3 x 2.3 x 0.8 m
Cornelia Konrads, Installation
Hostage.
Holzskulptur aus Eiche. Auseinandersetzung: Zuweilen wird die Welt ganz klein, als ob man unter einer Glocke lebt. Die eigenen Gedanken, die eigenen Gefühle, drücken einen zu Boden, umzingeln einen. Werden urplötzlich zu Gefahr, ketten einen, machen einen klein, machen einen niedrig.​ Und die Frage, die sich nun stellt: ​Was ist es das uns aus dem Kerker, aus unserem eigenen Panzer, zu befreien vermag.
Sabrina Ferwagner, Holz
Seele des Baumes
Ein gesamter Baum wurde zerteilt und in einem leeren Becken installiert,
Frank Nordiek, Holz
Starke Schulter / Strong Shoulder
Andreas Rimpel / Ton / kubistische Skulptur
Andreas Rimpel, Ton, Bronze
Mother and Child
Optics and pattern combined with figurative exploration
Owen Johnson, Glas, Glas
Passage
Centre d‘Arts et de Nature, Domaine de Chaumont-sur-Loire (France) Site: forestborder, start of a narrow trail Materials: iron, steel cable, branches
Cornelia Konrads, Installation
Diomedes.
Holzskulpturen aus Robinie und Birke. Auseinandersetzung: Stärke vs. Schwäche Schild, Schutz, Verletzlichkeit Was muss geschützt werden? Was wollen wir sehen? Welches Bild wollen wir sehen? Was müssen wir schützen? Was wollen wir nicht sehen? Was ertragen wir zu sehen? Welchem Bild wollen wir glauben?
Sabrina Ferwagner, Holz
Regentinnen
Büste mit Goldhaube / grüner Haube | Bronze
Claudia Katrin Leyh, Bronze, Metall
Liberation.
Holzskulptur aus Eiche. Gefärbt mit Eisensulfat. Auseinandersetzung: In diesem Werk wird der Zustand der Befreiung, der Liberation, aus einem Gefangenheitsgefühl thematisiert. Oft sind wir im Kopf verfangen, basierend auf antrainierten Glaubenssätzen, die uns in Abhängigkeiten halten. Dieses Werk spricht von dem Zeitpunkt der Befreiung von diesen Glaubensätzen und damit einhergehenden Ängsten.
Sabrina Ferwagner, Holz, Holz
Sharon.
Holzskulptur aus Eiche.
Sabrina Ferwagner, Holz
Space Station (Station 3)
An installation of corridors, doorways, flashing lights and sound - a low rumble and a voice intoning a series of numbers. There are numerous ideas, both visual and conceptual, that form the basis for this particular work, with the dialogue between the initial ideas and the changing construction of the work producing further elements within the overall structure, and initiating further ideas to follow. The work can be seen to mirror its own creation, taking on a life of its own. As if it was not an act of construction, but the result of the uncovering of a pre-existing site. The starting point was science-fiction, not the bright shiny science fiction of the contemporary media, but the science-fiction of television programmes of 1960’s UK, where the black and white images allowed room for imagination. As a child the imagery of these programmes affected my view of the city of my birth, where all strange corridors and abandoned buildings became infused with the possibilities of something unexpected, and a small room could be the entrance to another world. My love of science-fiction writing was engendered at this time, especially of those works that take as their subject the psychological effects of the Anthropocene. A further idea referenced in the installation is the idea (rather than the actuality) of the space-station, and speculation on how anyone could cope with an existence forever contained within an endless interior. Maybe memory would begin to take over, and the ghosts of the past would materialise in the corridors. Such contained interiors are spaces that become divorced from connection to anything except what is within, and there is here a connection to Earth bound contained interiors. A specific film is referenced here, but I will leave you to guess which one… The installation, by the fact that it is a space of corridors, proposes an unstated series of narratives. Installations are in this way akin to theatrical events. However, in the case of the installation, the audience become the actors in narratives of their own imagining.
Duncan Mountford, Holz, Mixed Media
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
The Embassy of Doggerland
The installation comprised 8 architectural models on tables of 100 x 100 x 100cm, with each table lit by a single work light with a daylight LED bulb. The entrance into the space was through a structure based on official buildings, and drawing on the previous project Embassy. The Embassy of Doggerland was a metaphor for the fragility of settlement, for the point where humanity went from hunter/gatherers to settled farmers, a symbol for contemporary capitalism and the resulting heating world. The models are of concrete buildings that exist between military infrastructure and industrial ruin, structures designed with a purpose that is no longer discernible. The architecture reflects memories of edge-lands; in the UK around the River Mersey towards the industrial centre of Widnes; and in Taiwan the coast around Taoyuan Airport. These sites are unfixed in time, seemingly as if ghosts from a future catastrophe. Dimensions are for each model/table
Duncan Mountford, Holz, Mixed Media
prêt à porter
Wachsmasken, Silberdraht, Kupferstangen
Eva Ducret, Installation
TEXTUR
Anröchter Dolomit Gesägt und geschliffen
Friedrich Vossel, Stein
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
FÜNF JAHRE
„Fünf Jahre“ ist ein am 8. Januar 2018 erstmals hergestelltes Kunstobjekt des deutschen Künstlers Roland Eugen Beiküfner als Multiple in einer Auflage von fünf limitierten Einzelexemplaren in fünf aufeinander folgenden Jahren. Bestehend aus einer Vitrine, einem Nothammer, der Musik-CD "The Rise and the Fall of Ziggy Stardust an the Spiders from Mars" von David Bowie und einem Teil einer Bambus-Stange mit einer Inschrift „Fünf Jahre vor dem Weltuntergang bitte öffnen“. Bei der Eröffnung der Ausstellung „Treibgut“ im Markt Feucht sagte der Künstler dazu: „Meine Objekte sind nicht aktuell, sondern wirklich akut.“ Das Multiple mit der Nummer 1 vom 8. Januar 2018 befindet sich in der Sammlung Erhard Witzel im Quadrart Dornbirn in Dornbirn. Die Nummer 2 aus dem Jahr 2019 in der Galerie Al Dente in der Sammlung von Kathrin Koll in Schwarzenbruck. Die Nummer 3 aus dem Jahr 2020 ist in der Sammlung von Prof. Dr. Urich Amon und Dr. Sabine Amon, Eschenbach.
Roland Eugen Beiküfner, Mixed Media, Installation
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
Society I.
Gruppe von Holzskulpturen aus Elsbeere.
Sabrina Ferwagner, Holz
The Chamber of Uncanny Objects
A site-specific work in National Taiwan University that used the discarded objects from the University (ranging from technical equipment to cabinets from the Japanese colonial era) to produce a 'museum'. The aim was to open up a dialogue over what survives as historically important trace and what is discarded, and to play with ideas of presentation that indicates the value of an object. Extra details from the original proposal: The collected object The nature of a collection is predicated on pre-existing conditions that lay out the parameters of he collection. For this project there are a number of conditions that govern the collection. Primary is the status of the objects to be collected as ‘singular’, that is that they provoke a reaction of questioning (the concept of curiosity is central here). This status of the objects as ‘singular’ is in opposition to the objects in a museum collection, as these are typical – that is that they are of an order that enables the object to stand for all the others of its class (hence museums are educational tools in that they contain things that are examples or reference a specific history). The objects to be collected can also be ‘quotidian’, everyday objects that in the context of their normal function excite little interest. Divorced from this context and placed in the context of the cabinet, such objects will obtain the status of the singular. In addition the objects will be provided with ‘labels’ that reinforce this ‘singularity’, allowing the production of multiple poetic narratives that spiral out from the object. A second parameter that will govern the objects is the practical one of dimensions. There will be maximum dimensions for the objects (which will aid in the status of the objects as fragments), with the flexibility of the design of the cabinet (or of the cabinets that will contain the objects within the overall cabinet framework) enabling objects of different dimensions to be accommodated. Maximum size of objects will be approximately 100cm (height) by 75cm by 75cm. A third parameter for the objects will be based on sourcing them from different disciplines (knowledge areas) in the University, so that the collection retains the concept of curiosity as central (in distinction to attempting an overview of one area of knowledge). The objects will come from various sources, with one emphasis being on things that are disregarded or are now stored (due to technological changes; changes in how knowledge is discovered; changes in the means used to disseminate knowledge), another being on elevating the everyday to the status of the object of wonder. The students will therefore play a crucial part in the making of the work, being collaborators whose input will be important. They will explore the University, negotiate with staff to explore normally locked storage areas, recognise in objects the poetic possibilities. They will map the University as a series of connections that result from these processes. A central component of this part of the project will be the laying out of the ideas to the students, via a series of illustrated talks. The talks will focus on topics central to the overall project – the history of cabinets of curiosities, museums, and the connections of these forms to art practice and theory (with reference ranging from Surrealism to the Pitt Rivers Museum and the Museum of Jurassic Technology for example), various ways in which collections can be utilised in contemporary art, and the relationships between art and science. The methods used to display the objects in the cabinets will reinforce the concepts of singularity, and will reference a variety of means and methods of presentation. This will range from the use of magnifying lenses to direct the focus onto one part of an object (and fragment the overall affect); the placing of disparate objects in the space of the same cabinet (playing on the accidental poetry of such encounters – ‘as beautiful as the chance encounter of an umbrella and a sewing machine on a dissecting table’ ); the use of lights within the cabinets to emphasise the reliquary references; the use of materials such as linen in the interior of the cabinets. The objects will therefore not be displayed in a ‘museum-like manner’, but in contexts that add other readings/narratives. This will also be take place in the individual cabinets, with multiples of objects producing narratives. The total cabinet structure itself is also an artwork, and not solely a means of display. It will be designed and constructed as an artwork, with the enclosed central space producing an area of multiple lights and reflections on the windows of the multiple interior cabinets. The “books of utopias” are an integral part of the project, for, if the objects in the cabinet produce a dream-like series of connections (in the best surrealist sense), then these utopias are the dreams of what might be. All of the elements relate to the wider questing that lies at the heart of the ideal of the University (whether a specific university or in general). The project is therefore site-specific, in that it could take place in any other type of venue. Only a university produces such connections of different knowledge areas, and only this University will produce this network of connections (objects, utopias) from this very specific set of people.
Duncan Mountford, Holz, Mixed Media
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
TOP HAT
PERSONAGGO with Statuario Marble of Carrara, French Red Languedoc Marble, Travertino Noce, Rosso di Verona and Russian Travertine, Added Oil Paint, Glass Eyes.
NEAL BARAB, Stein, Marmor
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
Säule der Freiheit
Kunstprojekt 2017 Säulen der Freiheit „Die Freiheit ist wie das Meer. Die einzelnen Wogen vermögen nicht viel , Aber die Kraft der Brandung ist unwiderstehlich. Václav Havel
Friedrich Vossel, Stein
Egoism
Compass, many, metal, rust Installation, growing size Rotate around one's own axis.⁠ Infinity with place for hope⁠ Defense, aggression, defense, ego, weapon.⁠ Hope.⁠
Cate Wind, Metall, Installation
Zeewierwoud
Installation. Kirigami, Tyvek. In Ireland at the Atlantic shoreline, when the ocean-floor temporary becomes land, eccentric shapes of seaweeds appear on the rocks. Fascinating, huge and mysterious. With a tough leather like structure, now and then half transparent like the skin of strange sea creatures. How would it be like to wander through these seaweed woods? This work ‘Seaweed-wood’ started in spring 2020, during the first outbreak of Corona crisis when society came to a hold. The silence and the absence of daily disturbance gave the opportunity to optimum concentration. These peculiar circumstances were of great influence on the final looks of this work.
Alice W Bakker, Installation, Kunststoff
The Last Supper
Another interpretation of The Last Supper. In comparison with the accepted iconography, the image of Judas is not recognizable but is emphasized the Chalice.
Gevorg Tadevosyan, Bronze
Hope, Believe, Love
Love is the source of virtues... Without love, there is no hope, no faith․․․
Gevorg Tadevosyan, Bronze, Metall
DER KUSS
Der Kuss: Inspired by Gustav Klimt’s famous Kuss, this sculpture explores the relation and integration of human love and nature. As the two figures entwine, so the plants interweave, uniting the sculpture and becoming a part of it. Like the plants, the couple’s love starts from a small seed, grows and blooms, yet is also subject to influence and change from the world. Aesthetically this work is connected to New York Project, but a step further in transparency
Janine von thungen, Bronze
Ignorance #1
“Ignorance is the root of all suffering which is the lack of knowledge and understanding.” In this sculpture I show ignorance as heads that are in the box, they are ignorant therefore they can’t find their way to happiness. They are in a dark area which is the box where they cannot see the light. They are all connected. They are all part of one body which is the universe.
Mehnoush Modonpour, Ton, Sonstige
Ich frei mich nicht fühl
Lunch boxes, many, metallic installation, puzzle. Imprinting. boundaries. liberation. hunger.
Cate Wind, Metall
FiligreeShit
Description in German, English and French - please scroll down Auf der Spur der Vergänglichkeit und der Suche nach harmonischer Bewegung inmitten eines empfindlichen, dünnen Steins. Und wider Willen wird man Zeuge einer unerwarteten Rebellion des Materials. Shit happens... Tracking evanescence, in search of the harmony of curves midst of a narrow and fragile mineral. But sometimes the stone fights back, making us witness of an unexpected rebellion of the material. Shit happens … Traquant l'évanescence, le geste recherche l'harmonie de courbes entrelacées au sein d'un matériau fragile et étroit. Mais parfois, la pierre se rebiffe et se brise. Shit happens...
Jens Linnek, Naturstoffe, Stein
Ignorance #2
In this sculpture the boxes are almost open and heads are about to come out. They are not in the dark anymore, but still can’t see (heads don’t have eyes) and can’t hear (they don’t have ears). But there is still hope. Also, they are connected because all humans are connected like cells in a body. We are all part of the universe and therefore we are all connected. If one cell in a body is suffering it will affect all other cells. So if one human is suffering, it affects all other human-beings.
Mehnoush Modonpour, Ton
"Shelter"
Holzrelief, gefasst und mit Epoxidharz ausgegossen
Lisi Deutsch, Holz, Kunstharz
Approach
Approach is made from Sweet Chestnut lengths cut from the coppiced woodland around an outside theatre. Long trunks frame the path, while slabs form henges along the way. These trees form a slightly unruly colonnade.
Grace Adam, Holz, Naturstoffe
FF 1
HDF, plastic, acrylic paint The object can be hung all four sides on the wall or placed on a pedestal. The wafer-thin material is a pendant and a symbol of the refugee and immateriality of light. Its waveform "models" the reflected color gradients. Where two colors meet, color mixtures are created. _____________________________ HDF, Kunststoff, Lack, Acrylfarbe Das hauchdünne Material ist Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Seine Wellenform “modelleiert” die reflektierte Farbverläufe. Wo sich zwei Farben begegnen entstehen Farbmischungen. Das Objekt kann beliebig herum an die Wand gehängt oder auf einen Sockel gelegt werden. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=ff&unterkat=ff01-09&kat=a
Alexander Lorenz, Holz, Kunststoff
HollowHopper
Description in German, English and French - please scroll down Essbare Insekten als ökologischere Alternative zu unserem derzeitigen Proteinkonsum rücken heutzutage immer mehr in den Fokus unserer westlichen Kulturen, obwohl dies für große Teile der Welt ganz normal ist. Als ich mich für dieses Thema interessierte, hatte ich eine surrealistische Idee... Was wäre, wenn Heuschrecken mit ihren verheerenden Auswirkungen auf die Fauna von Pflanzen zurückgeschlagen würden, gefressen und ausgehöhlt: HollowHopper! Edible insects as a more ecological alternative to our current protein consumption is nowadays coming more and more into the focus of our western cultures, even though that it is quite normal for large parts of the world. When I got interested in this topic, I had the surrealistic idea of... what if grasshoppers with their devastating effects on fauna were fought back, eaten and left behind by plant life: HollowHopper! Les insectes comestibles en tant qu'alternative plus écologique à notre consommation de protéines actuelle, entrent de plus en plus dans le champ de vision de nos cultures occidentales, bien que cela soit tout à fait normal dans d’autres parties du monde. En s'intéressant à ce sujet, j'ai eu l'idée surréaliste de... Et si les sauterelles avec leurs effets dévastateurs sur la faune étaient combattues par les plantes, mangées et délaissées : HollowHopper!
Jens Linnek, Stein, Naturstoffe
the insane
the work is part of a composition called vices. VICES These works represent an image of past, present and future vices. They narrate the ritual of everyday habits that interconnects various characters illustrated in their transformation (metamorphosis). Relations emerging therefrom give birth to a story. What are these relations? What is the story? I am attempting to stimulate the viewer to assess circumstances, I am trying to start an impromptu dialogue by association of two seemingly absent entities. Starting from the human dimension, each character – which may become an exemplary model to be meditated upon – makes reference to fundamental life experiences in a place (universe) dominated by the everlasting omnipresence of frustration, whose existence in time is intended to be anticipated. Therefore, these works are materialized in the visual plan of the imbalance between inner- and outer-self. My endeavors pursue a human urge, more precisely the reintegration in basic, day-to-day life of fragments of an excess (overabundance) of actuality (reality), represented in a condensed form through the details of a gest. Petre Mihai Nilă
Nila Mihai-Petre, Bronze, Metall
Inside of me 2
This work is made for people who nobody can understand them or their feelings, rather said that the people around that person always misunderstand him/her.
Aziz Anzabi, Bronze, Metall
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