Jochen Warth

Ohne Titel

Wandskulptur, Corten-Stahl teilweise gerostet, Hohlkörper nahtgeschweißt


Abmessungen : 30 cm x 50 cm x 60 cm (Height, Width, Depth)
Gewicht : 3 kg
Jahr : 2021
Material : Stahl, Metall
Stil : abstrakt, modern

Jochen Warth

„Ich beschäftige mich physisch - mit viel Arbeit - mit dem Raum. Mühe, Umwege und die dadurch bedingte Verlangsamung spielen eine wichtige Rolle. So reflektiere und erarbeite ich Raum, mache ihn mir vertraut, eigne ihn mir an – bis er mir gehört“

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Wandskulptur, Corten-Stahl teilweise gerostet, Hohlkörper nahtgeschweißt
Jochen Warth, Stahl, Metall
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
Ancient Sleepers
LandArt Park und Au Schloss Gleinstaetten, Austria
Marina Bauer, Naturstoffe
EINS ALLEINE | STAHL | 2019 (Serie Raumspiel) Räume bilden sich durch Linien und Begrenzungen. Linien im Raum, Raum durch Linien - diese Thema begleitete mich während des Schaffungsprozesses dieser Serie. Stahlstäbe werden gebogen, zu neuer Form gebracht, abstrakt, zwei oder mehrere mietender kombiniert, scheint es wie ein Spiel, durch neues Zusammenbringen, Räume zu verändern. Das Spiel macht frei für den künstlerischen Schaffungsprozess. EINS ALLEINE steht für eine Stahlarbeit, die alleine für sich spielerisch, tänzelnd den Raum erkundet. . . . ONE ALONE | STEEL | 2019 (Series Spatial Play) Spaces are formed by lines and boundaries. Lines in space, space through lines - this theme accompanied me during the creation process of this series. Steel rods are bent, brought to new form, abstract, two or more mietender combined, it seems like a game, through new bringing together, change spaces. The game frees up for the artistic process of creation. ONE ALONE stands for a steel work that alone for itself playfully, dancing explores the space.
Heike Weber, Metall, Stahl
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
STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Durch Biegen der Stahlstäbe entstehen Raumlinien, drei Raumlinien ergeben ein Ganzes. Ein Spiel mit Raum und Dimension. . STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Bending the steel bars creates spatial lines, three spatial lines make a whole. A game with space and dimension.
Heike Weber, Metall, Stahl
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
Keramik | 2021
Keramik | 2021 | gebrannt | glasiert | 13 x 14 x 26 cm . Ceramic | 2021 | fired | glaced | 13 x 14 x 26 cm
Heike Weber, Keramik, Ton
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
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
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)
The King and the Jester - like human beings they stand face to each other leaving a gap for visitors to slip through and immediately feel in a tense situation between two extremes: King – Jester, dominant – serving, strong – weak, good – bad. Alternatively, visitors can place right behind the figure so as to put on the mask as an actor and to see its opposition through the restricted sight of the mask. If you dare to act as the King you are forced to see the Jester’s freedom and informality, if you slip in the role of the Jester you will be remembered at the King’s rules. Due to tallness and reflective potential the installation is for men only. beechwood (bit-technique), coloured translucent varnish; epoxy resin; carbon fibre laminate; steel Wer in die Maske des Königs schlüpft, wird sein Gegenüber sehen, den Narren. Und wer meint, in die Rolle des Narren hineingeboren zu sein, darf sich auch einmal als König fühlen, wenn er es wagt, durch den engen Sehschlitz seiner Maske zu schauen. Steht man dagegen zwischen den Figuren, findet man sich unmittelbar in einer angespannten Situation zwischen zwei Extremen wider: König – Narr, dominant – dienend, stark – schwach; gut – böse. Wofür entscheide ich mich? Entsprechend der Grösse der Figuren, der Höhe der Sehschlitze und dem Reflektionspotenzial ist die Installation für Männer gedacht. Buche - Holzaufbau und Carbonlaminat / unterschiedlich farbige Lasuren; Stahl
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 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 – sacrificial lamb A start-up venture with a value of over one billion US-dollars at the initial public offer at the stock market is called a “Unicorn”. Does it create winners only? What is the sacrifice a spiritual society offers to an economy strongly focussed on materialistic aspects only? Anyway, a momentum of polarity; chase upward – fall down; climb the steps – slip back. Moreover, the installation offers other extremes; the columnar carcass of the ladder – the voluminous black vessel; usable – receptive; functional – spiritual. beechwood (bit-technique), coloured translucent varnish; epoxy resin; carbon fibre laminate; ladder; gloves "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; steigend – fallend; nach oben und nach unten. Die Installation hält noch andere polare Elemente bereits; das stengelige Gerippe der Leiter – das geräumige schwarze Gefäss; nutzbar – empfänglich; funktional – geistig. Buche - Holzaufbau und Carbonlaminat / orangefarbige Lasur; Leiter; Handschuhe
Klemens Pasoldt, Installation, Holz
Kleiner Wächter
Little Warden His copper crook is an antenna to the transcendent; in his ultramarine blue shield space does reflect; he does not really meet the ground. elm tree and copper bar; ultramarine varnish; steel plate Sein Kupferstab ist seine Antenne zum Überirdischen; sein blauer Schild spiegelt den Raum; wirklich verbunden mit der Erde ist er nicht. Ulmenholz mit Kupferstab; ultramarinblaue Lasur
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
Centering It all tends towards the centre where you find space, silence and rest – a stop for contemplation. Lumber of beech tree, glued and plugged; numerous layers of blue translucent varnish Alles führt in die Mitte, dort ist der Raum, die Ruhe und der Ort der Einkehr. Buchenkantholz verleimt und verdübelt; mit mehreren transparenten Schichten blau eingefärbt.
Klemens Pasoldt, Holz
SERIE: Pulp_Fiktion_Skulpturen Pappmache Nur bedingt für den Aussenbereich geeignet
Regine Jonas, Kunstharz, Papier
Stiller Rebell
Quiet rebel The quiet rebel is not a quiet assistant. Despite of his rigid helplessness he tends to be an actor – certainly not a victim. The one who has ear openings is able to hear – can record. Where does all the knowledge accumulate? Does it condense to certainty? Moreover, the one who has a mouth opening is able to utter – can take part in decision-making. Is this true? Do people listen? The inner fervour subtly shines through the thin skin. Between his tiny bits you notice the mastic of confidence which is supposed to hold all parts together - or is it mere black desperateness? Of course, what remains is his inside blankness - awesome and sheltered void - no disturbance. Exempt from thousands of constraints, needs and physical things it offers a possibility to get oriented - to find the essential - to become what must be - quiet rebel. beechwood (bit-technique), fuchsia translucent varnish; epoxy resin; fibre laminate 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 - mitbestimmen. 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. Buche - Holzaufbau und Laminat / magentafarbene Lasur
Klemens Pasoldt, Holz, Kunstharz
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
Memories II
interactive sculptural installation by Marina Bauer, 3 sandboxes with cement casts of objects, photos and texts
Marina Bauer, Installation
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
Boarderlines. 2021
Border + Lines. 2021 als ich Kind war, habe ich gezeichnet um die Welt zu verstehen. Jahre später .. um die Welt zu verändern.
Herbert Hundrich, Papier, Sonstige
the thin red line 2021. W.I.R II. / Dorfkirche Meierstorf
the thin red line / die rote Linie, der schmale Grat. 2021 Installation Dorfkirche Meierstorf Was ist richtig? Was ist falsch? Wo beginnt die Verantwortung? Was trennt das Gute vom Bösen? Das Projekt “der schmale Grat” ist dem Moment der Entscheidung gewidmet, genau dem Moment, in dem uns bewusst wird – egal wie oder was wir entscheiden, es ist falsch. Noch nicht einmal weil es wirklich falsch ist, sondern – weil es kein Richtig gibt. Es gibt Momente in denen selbst das Nichts-Tun schwer oder kaum zu ertragen ist, Momente in denen der Unschuldige schuldig wird. Darüber hinaus steht die Rote Linie für etwas, das alle Menschen verbindet: dass sie alle, aufgrund ihres Menschseins, mit gleichen, egalitär begründeten Rechten ausgestattet sind und dass diese Rechte universell, unveräußerlich und unteilbar sind. Hundrich, 20. August 2021
Herbert Hundrich, Installation, Mixed Media
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
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
Dream of Cyprus
This work was exhibited at Sculpture by the sea, Cottesloe2021 in Australia, and won the Kids' Choice Award, and was installed at the entrance of a shopping mall near the exhibition site.
Savako, Kunstharz
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
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
Ghöriga Xiberger
In einem Vorarlberger Bachbett habe ich diesen Kalkstein gefunden und bearbeitet. Jede Seite hat einen rohen Teil und einen glatten, bearbeiteten und mit Kerben versehenen Teil --- so wie ein "richtiger Vorarlberger" (ghöriga Xiberger) eben ist! 70 cm,
Stefan Kresser, Stein, Metall
Nature of the Thing
Installation in blown glass and acrylic
Alexandra Bremers, Glas, Kunststoff
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