Regine Jonas

EPIGENESIA IM ZWISCHENREICH

SERIE: Pulp_Fiktion_Skulpturen
Pappmache
Nur bedingt für den Aussenbereich geeignet

FACTSHEET:

Gewicht : 15 kg
Jahr : 2020
Material : Kunstharz, Papier, Naturstoffe, Naturstoffe, Papier
Stil : modern, monumental, surreal, konstruktiv, Pop-Art, figurativ, abstrakt, symbolistisch, zeitgenössisch, sozial

Regine Jonas

"There is a crack in........and that`s how the lights get in"
"Ein Riss ist in allen Dingen, aber genau so kommt Licht hinein"
Leonhard Cohen

Ich betrachte mich nicht ausschliesslich als Künstlerin, da diese Definition für mich persönlich, ..auch wenn es widersprüchlich klingen mag... bereits Enge und Unfreiheit signalisiert.

Aus diesem Grund möchte ich jedem Betrachter und Liebhaber meiner Werke selbst überlassen, ob er Kunst oder Design oder gar beides in denselbigen sieht.

Meine Werke sind stets eigenschöpferisch, entstehen aus Erfahrungen , Erlebnissen , Erkenntissen und Emotionen. meines Seins.
Für mich verschwimmen die Grenzen, da ich im Vorfeld - geistig, gedanklich und gefühlsmässig - zwar "designe", das Resultat aber dennoch vollkommen zufällig und fast absichtslos aus mir selbst heraus entsteht.
Während der Schaffungsphase entwickelt sich oftmals etwas ganz anderes, und immer wieder bin ich selbst erstaunt über das fertige Werk.

In meinen neuesten Werken lege ich grossen Wert auf Farbe und Buntheit als ästhetisches und autarkes Mittel.
Ohne den Betrachter beeinflussen zu wollen, dienen mir Farben dazu, das Fiktive meiner Skulpturen deutlich zu machen.

Und Ja; Kunst muss nicht, aber Kunst darf dekorativ sein.

auch interessant:

Pulpo
Description in German, English and French - please scroll down Dies ist eine der Skulpturen, die entstand indem der Geist die Hände führte, ohne dem Bewusstsein mitzuteilen, wohin die Reise ging. Am Ende enthüllte die Form den Namen der Skulptur: Pulpo. This is one of the sculptures that was created when the mind guided the hands without telling the consciousness where the journey was going. In the end, the shape revealed the name of the sculpture: Pulpo. Ceci est une des sculptures, créée lorsque l'esprit guidait les mains sans communiquer à la conscience où allait le voyage. Au final, c’est la forme qui donna le nom à la sculpture: Pulpo.
Jens Linnek, Stein, Naturstoffe
koi_01
Tischplatte ... zwei prachtvolle Zierkarpfen umrunden sich in unendlich scheinender Detailtiefe. Lindenholz natur, gelasert,
Bergit Hillner, Holz
Unity
The connection between human, and the link between human and nature. We are all part of the universe and therefore we are all connected. I portrayed human in the state of togetherness and oneness. One’s actions will affect all other.
Mehnoush Modonpour, Ton
Findling_01
Ring ... die kleine Urlaubs-Erinnerung | pure silver, 6 diamonds and the centerpiece is a shel found on a cap verdian beach 2017 (still a nice memory)
Bergit Hillner, Metall, Naturstoffe
Hosen-Taschen-Ladys
Schmeichelsteine sind von Gestern ... heute gibt es die Hosen-Taschen-Ladys Handlich und zum garantiert Anfassen ... diese kleinen Werke entstehen zwischendurch aus verschiedenseten Materialien und je nach laune in schlank und biegsam, bis üppig weich ...
Bergit Hillner, Holz, Bronze
INLANDS #2
bronze, stainless steel & steel 2017
Hans Some, Bronze, Metall
cup parisien _ 01
die Tasse für den morgentlich riesigen Milchkaffe ... hilft auch am Nachmittag ... warme hände sind inklusieve ... Porzellan glasiert ...
Bergit Hillner, Keramik, Glas
inspired stones
inspired stones, 2017 copper & stone variable
Hans Some, Stein, Bronze
SOLID GOLD HELL
GOLDEN COAST SERIES Stainless steel & steel, gold leaf 24K
Hans Some, Metall, Stahl
The alchemist
The forest is a place of transformation. Nature is changing continuously, offering endless possibilities. This funnel offers a place of concentration to receive the unexpected.
Karin van der Molen, Metall, Textil
Harp
The collector’s children recited their own names and the sound waves were recorded and represented in hand blown Murano glass tubes. These are set on iron rods which prevent an old tree from collapsing; representing the youth supporting the older generation. The texture of the glass resembles the bark of the trunk; symbolizing the similarities passed down through family. With the different lights of day the unique red colour appears alive; the work changes as the glass fluctuates from flaming bright to glowing warm or fading into darkness.
Janine von thungen, Glas, Glas
Love
The work is not only dedicated to the love between woman and man, but also of general love. Man should not be alone, he needs another half. Two figures make the circle. The circle is a symbol of perfection.
Irodion Gvelesiani, Stein
'the isect'
from the Vitruvian Man into the insect...
noam ben-jacov, Mixed Media, Textil
Hello Golem “Schroedinger”
Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Kunststoff
PRONO GIGANTINO
High density EPS, resin, Vero Metal coat. The Prono Gigantino was first exhibited in 2018 in CONTEXTO, the contemporary art event that invades the city of Edolo (BS), Italy. The sculpture was placed in the main square of the town. Under the artistic direction of Casa Testori, curated by Davide Dall’Ombra, the exhibition questions the GENERATIONS, intended as a place of witness passages, of cultural heritage that are handed down, but also as acts that give life to something new, beautiful and useful for everyone. The heart of the city opens on the ground floor of one of the most beautiful buildings in Edolo, between the Via and the Corte Mottinelli. 12 artists of three generations, with painting, drawing, video art, sculpture and installation, provide an insight into current artistic production. But there are plenty of surprises for three special projects (At the Liberty building near the train station, at the Library, ex Casa del Fascio and at the old prisons), to finish with two environmental works: near the Town Hall and the Church. The EPS/resin sculpture is a 1:1 model for a bronze sculpture made upon request.
Alessandro Pongan, Metall, Kunststoff
Bridge over troubled Water
Serie: Pulp-Fiction Pappmache Nur bedingt für den Aussenbereich geeignet.
Regine Jonas, Naturstoffe, Papier
Hello Golem “Togen”
“Oto” and “Togen” have permanently been installed at Sculpture Park Billund, Denmark. My studio is at the foot of a mountain that is full of nature. I wished that there should be some spirit-like presence among the surroundings of plants, insects, bird’s voice and fresh air, the sculptures that took shape from that wish, I named them golems.
Savako, Kunststoff
Not a knot
Forests, fields, rivers and the sky: nature’s most important feature is it’s openess. There are no boundaries, we can disappear in it. Even seemingly impenetrable forests or labyrinthical footpaths open their ways to us if we carefully listen to their language. Nature may feel like an impenetrable knot, a place too difficult to understand. It did to me for a long time, as I was born and raised as a city girl. The digital age only added to that feeling of alienation. But breathing the fresh air and hearing the leaves rustle, I envisioned an open knot sculpture, woven as lace with willow. It is open from the top to the bottom , letting the sky in and move through the tube to the earth.
Karin van der Molen, Naturstoffe, Metall
Sign of the times
In the south of Sweden there are still many gravehills of the bronze age and rockcarvings that may be even older. The sun was worshipped, it was depicted as the so called Sun Cross. The landscape is changed nowadays in a functional way, it can be a nature reserve or used for (industrial) farming or tourism. In many places pipelines criss cross countries to supply fuel for our energy needs. I used the graphic quality of these pipelines, popping in and out of the ground, to depict ways of human traces in the landscape. Seen from the center of the otherwise randomly installed pipes the prehistoric sign of the Sun Cross appears, as a reminder of a different view on the earth that we inhabit.
Karin van der Molen, Naturstoffe, Metall
four layers
Installation invites to get deeper into a concept of layer itself. Whether it is an institutional layer, a cultural or social one. The title becomes a reference to a field of layers. It is provocative and manipulative. Practically the installation is made out of four layers: the first one- the space itself, which remained untouched( I didn't move a piece that was left in the room so the broken armchair, the electrical panel, holes in the wall appear ), second one- layer of plaster which gently covers the layer under it in a form of a playground, the third layer- the line that is made of a paint which used for marking the roads for transport and last one- the marks of visitors which in time changes depending on visitors who are leaving their traces on the white paint of floor and walls. Title stops counting those layers after the fourth one, but if we get deeper we can see many more (example - the layer of knowledge which is necessary to read the work, the layer of spacial and general sensitivity, the layer of individual experience and so on)
Ūla Šukytė, Mixed Media, Sonstige
Ceci n'est pas une pipe
This is not a pipe, to paraphrase Magritte, but the sculpture suggests the existence of a pipeline across the river. Pipelines are abundant in our world and even if they disturb the landscape they are eventually accepted as a new kind of nature.
Karin van der Molen, Naturstoffe
Mindbubble
When thinking we are hardly aware of the environment, we are closed in our mindbubble. When you put your head in this coconut fibre sculpture, the world is dark, soft and lonesome.
Karin van der Molen, Naturstoffe, Metall
Flux
This old villa needed to be connected to the botanical garden that encloses it. I moved the old furniture and it started to flow as a waterfall down into the garden, returning to nature.
Karin van der Molen, Holz, Installation
König - Narr (zwei Masken)
Wer in die Maske des Königs schlüpft, wird sein Gegenüber sehen, den Narr. Und wer meint, in die Rolle des Narren hineingeboren zu sein, darf sich auch einmal als König fühlen, wenn er durch den engen Sehschlitz seiner Maske schaut.
Klemens Pasoldt, Holz, Kunstharz
Polarbear 2.0
Everything changes always, but now nature is forced to adapt to unforeseen circumstances. This 'skin' is put on a frame as the Inuit do traditionally after their bear hunt.This feathered polarbear skin raises questions about tradition versus modernity, change and loss in the natural world.
Karin van der Molen, Naturstoffe, Textil
Vanitas
Vanitas objects are an old symbolic in the arts of the inevitability of death and the transience and vanity of earthly achievements and pleasures. This feathered skull is fixed to a transparant boat, ready to cross the waters, may also be seen as a tribute to the beauty of life.
Karin van der Molen, Naturstoffe
Einhorn - Opferlamm
"Unicorn" (das Einhorn) ist ein Startup-Unternehmen, welches an der Börse mit einer Milliarde US-Dollar durchstartet. Gibt es dabei immer nur Gewinner? Wir gross ist das Opfer, welches wir als Gesellschaft geistig-seelisch für unsere materiell orientierte Wirtschaft bringen? Auf alle Fälle ein polarer Bewegungsimpuls; nach oben und nach unten.
Klemens Pasoldt, Installation, Holz
Kleiner Wächter
Sein Kupferstab ist seine Antenne zum Überirdischen; sein blauer Schild spiegelt den Raum; wirklich verbunden mit der Erde ist er nicht. Ulmenholz mit Kupferstab
Klemens Pasoldt, Holz, Mixed Media
The source
Fragments of china porcelain form this funnel into Yu Lei mountain, an artpiece along the historic tea trade trail. At first sight it can be read as a tribute to the ancient culture, that is still feeding our culture today. Patterns of blue and white porcelain in the sculpture tell us about yin and yang balance, values that are still able to inspire us beyond the challenges of modern life. At closer look you will find also pieces of porcelain coming from European countries. As happens in this sculpture, our cultures get closer and eventually we are influenced and inspired by one another. At the bottom of the funnel there is the drain, to let the rainwater out of the sculpture. The drain pipe also tells us to cherish our fundaments, and not let them be washed away.
Karin van der Molen, Keramik, Beton
Einmitten
Alles führt in die Mitte, dort ist der Raum, die Ruhe und der Ort der Einkehr. Buchenkantholz verleimt und verdübel; mit mehreren transparenten Schichten blau eingefärbt.
Klemens Pasoldt, Holz
EPIGENESIA IM ZWISCHENREICH
SERIE: Pulp_Fiktion_Skulpturen Pappmache Nur bedingt für den Aussenbereich geeignet
Regine Jonas, Kunstharz, Papier
Stiller Rebell
Stiller Rebell ist kein stiller Helfer. In seiner starren Hilflosigkeit will er Täter sein - kein Opfer. Wer Ohrenöffnungen hat kann hören - aufnehmen. Wohin fällt all das Wissen? Verdichtet es sich zur Gewissheit? Und wer eine Mundöffnung hat kann sich äussern - bestimmen. Ist dem wirklich so? Wird zugehört? Schmerzlich schimmert das innere Feuer durch die dünne Haut. Zwischen den Teilchen der Kit aus Zuversicht, der alles zusammenhält - oder ist es schwarze Hoffnungslosigkeit? Gewiss, ihm bleibt die Leere im Innern – grossartige, umhüllte Leere - kein Inhalt. Die Möglichkeit befreit von tausend Zwängen, Müssen und Dingen sich zu ordnen - sich zu finden - zu werden, was sein muss - stiller Rebell.
Klemens Pasoldt, Holz, Kunstharz
Moonstruck
A huge hollow hayball is suspended in the citypark of Kiev, offering a place to be alone and isolated in a natural surrounding. Just the smell of the grass, the feel of the hay and a view towards the sky.
Karin van der Molen, Naturstoffe, Metall
The thorn
This corten steel sculpture is inspired by the real existing plant Colletia Paradoxa, consisting of little airplane wings. It is a prickly plant and so are airplanes in our world, very convenient but displaying inconvenient effects on nature.
Karin van der Molen, Metall
inlands #1
inlands #1 2017 steel & stainless steel
Hans Some, Metall, Stahl
TSUNAMI
Tsunami Paradiso Canto II. Life-size silhouettes of figures fleeing from the Tsunami are cast in thin iron. These shadows are inscribed with the names of the thousands who lost their lives in the disaster. As these figures are touched by the viewer and sway in the wind, they become the runners between this world and the next. The flatness of the figures was inspired by the distinctly flat, rather than ‘fleshy’ Adam in Paradise from Massaccio’s Adam and Eve. In 2008 the first set of sculptures was realised in bronze rather than iron. The engraved text is from Dante Aligheri’s Paradise, Canto II. The full text is only visible if you read the letters written in the air between the sculptures. This specific passage links the events of the Tsunami disaster with Paradise in a more profound way. In Canto II the idealised and beloved Beatrice takes the author through Paradise.
Janine von thungen, Bronze
Portico Popilyn
Portico comes from an unknown planet. It was 2000 when I first produced Portico. Since then, I have been making Portico of various sizes as my lifework. I have let people “encounter” Portico in different places, such as on the top of mountains, on the beaches, and even on urban streets. Those who are pleased with Portico can get a small‐sized one. The owner would take Portico to a trip with him/her and enjoy taking photos. Seeing how they take it as a part of their life motivates me to work on producing Portico again.
Savako, Kunststoff, Kunststoff
Body Architecture I
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Metall
Body Architecture IV
"Body Architectures" is a 3 year project, composed of 5 series respectively. "Body Architectures" is born from a concern for the body. It presents questions and reflections on identity, on the meaning that society gives to my body, on what it means to have and to be, at the same time, a body. As Judtih Bulter explains "the body appears as a passive medium on which cultural meanings are inscribed". In this sense, it is recognized that the processes of incorporation fostered by culture shape the subjects of society, with the body becoming a symbolic construction. This project is consolidated as an investigation that metaphorically works the construction of the normative body from the construction of objects-prosthesis and the explorations that arise between body and object, with the purpose of developing diverse narratives that question the socio-cultural models of codification of the present. In this construction/exploration process, the body is constituted as a narrative space. The methodology itself becomes research, since multiple readings or narratives can be generated from the same object.
Tamara Jacquin, Holz, Performance
Two Tone Edition
MOVING SCULPTURE Nummerierte Auflage: 1-10
Jürgen Heinz, Metall, Stahl
inlands-DIS #1&2
Werkgruppe inlands, -drawing in space- Edelstahl, Einbrennlackierung rot verzinkter Stahl, Einbrennlackierung blau
Hans Some, Metall, Stahl
Alpha and Omega. Lou laughs longer.
glass, metal, cremation badge photo: Louis Visseren
Alexandra Bremers, Glas, Stahl
David revisited
wrought steel daimones|gestalten series
Hans Some, Metall, Stahl
PRONO GIGANTINO BALOSSA
WINNER OF PARCO BALOSSA ART PRIZE 2018, curated by Casa Testori for Parco Nord Milano. Permanent installation september the 15th 2018, the sculpture is part of an art itinerary in the public park. The Parco della Balossait is a public park obtained from an area that has strenuously resisted the attack of building speculation in the northern suburbs of Milan now part od Parco Nord Milano. The work consists of a structure of recycled Innocenti tubes, a symbol of building construction, and the planting of climbing plants. The nature that resists and takes back its spaces. The creepers are Parthenocissus quinquefolia, chosen for their color mutation accompanying the succession of the seasons. The sculpture is an elaboration of my Prono archetype which here becomes a small gentle giant. His position evokes the first movements of a child, like a new awareness of humanity in relation to the environment. The sculpture has immediately become a landmark of the territory and the final stage of a path of urban art trekking. When a work of art generates a place! The last time I visited the little giant, as soon as I approached, a group of birds took flight from it. This work is now part of the European Sculpture Path of ART MOVES EUROPE.
Alessandro Pongan, Metall, Naturstoffe
Erkenne dich selbst
Ton Büste Ottilie von Faber-Castell
Bogi Nagy, Ton
The dual origin of the world
Goethe schrieb: „Das Ewig-Weibliche zieht uns hinan.“ Die vorliegende Skulptur steht dieser Sentenz in nichts nach, repräsentiert sie doch als Agglomerat primärer weiblicher Geschlechtsmerkmale das Epizentrum männlicher sexueller Begierde. Doch die heteronormative Dichotomie aus „Männlich“ und „Weiblich“ erodiert im Angesicht der zeitgenössischen Sexualmoral, die bestehende Grenzen und Kategorien im Streben nach individueller Freiheit hinter sich lässt. „Everything goes“ wird zur wesentlichen Maxime ebendieses Zeitgeistes, in dem die private Selbstverwirklichung der sexuellen Identität eines der unabdingbaren Kernkriterien demokratischen Miteinanders ist. Die mehr und mehr dem Gestern anheimfallende heteronormative, patriarchalische Herrschaftsordnung gerät demnach durch die ostentative Zurschaustellung des vulgär weiblichen aus den Fugen. Subversiv hält die Skulptur dem Betrachter alles feil, wonach dem Mann gelüstet. In dieser Form hat die Weiblichkeit im Zuge ihrer bis zur Unkenntlichkeit vorangeschrittenen Reduktion und Objektivierung ihr menschliches Erscheinungsbild jedoch eingebüßt und verweist somit mahnend auf die Inhumanität des patriarchalischen Jochs, das die Frau einzig zum Zweck der männlichen sexuellen Erregung dienstbar zu machen sucht. Die schiere Weiblichkeit stellt somit die rigoroseste Kampfansage gegen das Patriarchat dar und ist ein donnerndes Plädoyer für Freiheit und Gleichheit.
Bogi Nagy, Ton
Black Soul
Belgischer Granit, dunkelgrau, 85 cm, Obwohl diese Frauenfigur geometrischen Charakter hat, war mir wichtig, dass alle Flächen mehr oder weniger abgerundet sind. Das gibt dieser Skulptur einen besonderen Reiz.
Stefan Kresser, Granit, Metall
Connections
Aus einem Stück Apfelholz (Stamm) - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 145cm,
Stefan Kresser, Holz, Metall
Die Konferenz
Aus einem Stück Kirschholz (Stamm) - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 100 cm,
Stefan Kresser, Holz, Licht
Dandelions in Nice
Designed for Cap3000 "Bubble Forest" and "Dandelions" installations were created as a result of inspiration with delicate natural plant forms, and were executed in extremely hard and weather-resistant material — acid-resistant stainless steel. "Dandelions" is an installation directly inspired by the sophisticated design of dandelions (Taraxacum officinale) occurring in nature. The concept of this work was preceded by a meticulous analysis of the structure of dandelion seedhead, which in a somewhat simplified form was then transposed to the macro scale. As a result, the delicate floral pattern took on a completely new — half futuristic, half fairy tale — context.
Mirek Struzik, Metall, Installation
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