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Kunstharz-Holz/epoxyresin-wood
Keine meiner Figuren sind vor mir sicher, solange sie sich in meiner Obhut befinden. None of my figures can be called safe from me as long as they are in my custody. Rebuilt sculptures, new material added. Umgebaute Skulpturen, neue Materialien angebaut.
Brele Scholz, Wood, Synthetic resin
Places
1. The Station 2. The Market 3. The Military Building 4.The Hospital
Nevena Popović, Paper, Textile
Eichenkeimlinge
Das Projekt „Eichenkeimlinge“ ist Skulpturengruppe und Prozess zugleich. Es vereint totes, bearbeitetes Holz und lebendige Bäume: sieben Eichen in einer Reihe, die zunächst kaum zu sehen sind. Die Künstler nennen sie „Zukunftsbäume“. Die Natur nimmt sich Zeit. Nach fünf menschlichen Generationen könnten sie ausgewachsen sein. Sie entwickeln sich zum Zitat der Allee, aus der sie abstammen. Als Keimlinge trieben sie aus Eicheln, welche die Künstler in der historischen Fürstenallee in der Gemeinde Schlangen sammelten – direkt unter den für ihr Projekt ausgewählten Eichen. Die altersschwachen Bäume wurden gefällt und mit Unterstützung der Staff Stiftung ersetzt. Aus den Stämmen gestalteten die Künstler überdimensionale Keimlingsskulpturen. Sie sind Denkmal, Versprechen und Platzhalter zugleich: Sind die gepflanzten Nachkommen einmal genau so groß, ist das bearbeitete Holz wohl längst verwittert – ein gegenläufiger Prozess für Neugierige mit Geduld. Auch als Kunstobjekte bleiben die Eichenstämme ein Stück Natur mit allen Eigenheiten. In ihm hallen die Jahre des Wachstums wider. Der individuelle Wuchs der alten Bäume prägt die Skulpturen maßgeblich mit. Die Künstler spürten bei der Formgebung Richtungen nach und reduzierten sie auf Wesentliches. Sie entfernten kranke, morsche Stellen, schälten den stabilen Kern heraus und machten ihn sichtbar. Die Bearbeitung mit der Motorsäge ist nachvollziehbar geblieben – kein Glätten verbirgt die Spuren einer intuitiven Auseinandersetzung mit dem Material. So wird die künstlerische Arbeit zu einem Nachdenken über Natur und Gestaltung: Der Kreislauf des Wachsens und Vergehens ist unaufhaltsam. Die Künstler entscheiden über Ort, Ausrichtung und Wahrnehmung ihrer Setzungen. Den Rest erledigt die Zeit. Ort
Frank Nordiek - Wolfgang Buntrock , Wood
ETERNITY I
ETERNITY curated by Bruno Corà Villa Foscari - La Malcontenta – during Venice Biennale from may to october 2017 Forme di una scultura estesa nel tempo e nello spazio Installed on the lawn in front of Villa Foscari, La Malcontenta, in Mira, the spatiality of Janine von Thüngen’s sculptures Eternity I and Eternity II is dialectically fused with that of Palladio’s architecture. Separate in their individual stations en plein air, the two bronze works are also different in plastic terms. Eternity I is a set composed of six elements in bronze, of different shape and size, standing on the green mantle of the lawn and set at distances from each other corresponding to the Fibonacci numerical sequence of natural proliferation. Eternity II, on the other hand, consists of a diptych, again made of bronze, but of a substantially different appearance. The tall, open forms of Eternity I, although defined by an earthy patina, unfurl in the air like sails fluttering in the wind. Counterbalancing them are the two bronzes of Eternity II, placed opposite each other and covered by a matt white patina that makes them resemble two crumpled pages. Both von Thüngen’s creations derive their forms from the rough surfaces of hypogeic cavities that were once the catacombs of the Eternal City, Rome. The conquest of air, light and green by these cavities transformed into works of art is due to the qualifying action of the artist who, with tenacity, has realised her aesthetic and poetic dream. Eternity I and Eternity II, which as sculpture have an objective physical extension, develop the premises of a plasticity intuited as the ‘continuity’ of matter in space (Boccioni) and achieve the goal of emancipation from objectuality (Martini). At the same time, in the context of contemporary sculpture, they enact the miracle of encompassing the zero time of Eternity.
janine von thungen, Bronze
ceramic-monster's 01-05
... eine Sculpturengruppe aus weisser Keramik | feingeschliffen
Bergit Hillner, Natural materials, Ceramics
Allesfliesstier
Dieser Stier wird mit Strassenmalkreiden immer wieder neu gestaltet. Von mit stammt lediglich die schwarze Bemalung, nicht die Form.
Bernhard Keller, Mixed Media, Synthetic resin
Monumentale/monuments
Im öffentlichen Raum gelten andere Regeln der Größe für Skulpturen. In public space another dimention of sculpture is needed. oak/Eiche, horsechessnut/Rosskastanie, olive/Olive
Brele Scholz, Wood
Einzelfiguren/single figures
Alle meine Figuten sind nackt. All my figures are naked. cherry/Kirsche, oak/Eiche, ash/Esche, hornbeam/Hainbuche, robinia/Robinie, cherryroot/Kirschwurzel
Brele Scholz, Wood
Doppelfiguren / double figures
Häufig befinden sich Paare im Baum, die ich herausschäle. Often I can find double figures within a tree. horsechessnut/Rosskastanie, cherry/Kirsche, hornbeam/Hainbuche, ash/Esche, maple/Ahorn, olive/Olive, plane/Platane, peartree/Birne, beach/Buche
Brele Scholz, Wood
Umgebaute Europäer/rebuilt europeans
Anfang 2014 begann ich die Europäer zu öffnen, sie auszuhöhlen, ihnen in die Köpfe zu schauen. Ich schaffe Innenräume, in denen komplexe Schichtungen sichtbar werden. Neue Materialien (Gießharz, Objekte, Tusche, Ölfarben) kommen zum Einsatz. Ein speziell entwickeltes Scharnier wird für jeden Kopf individuell angepasst. Der Betrachter übernimmt den Akt des Öffnens und Schließens. Ein Sich-hinein-versenken, wie vor einem Schrein, wird möglich. Unter dem Titel MASKEN UND VISIERE – UMGEBAUTE EUROPÄER stelle ich Fragen nach unserer europäischen Identität, nach der Wandlungsfähigkeit von einzelnen Menschen. Was macht unsere kulturelle Prägung aus? Wovon sind wir „besetzt“? Wie können wir uns öffnen? Die innere Vielschichtigkeit verweist auf die Komplexität der menschlichen Möglichkeiten. Seit Januar 2018 ist der Zyklus mit 28 Köpfen abgeschlossen. In early 2014 I began to open up the ‘Europeans’, to hollow them out, to look inside their heads. In the process, I create interiors in which complex layers become visible. I use new materials, (casting resin, objects, ink, oil paint). A specially developed hinge is individually fitted to each of the heads. The viewer takes over the act of opening and closing. Immersing him/herself, as in front of a holy shrine, becomes possible. Under the title MASKS AND VISORS - RECONSTRUCTED EUROPEANS I pose questions about our European identity, about the adaptability of the individual. What defines our cultural imprint? What kinds of things are we ‘occupied’ with? How can we open ourselves? The inner complexity gives pointers to the complexity of human possibilities. In January 2018, the cycle was completed with 28 heads.
Brele Scholz, Wood, Synthetic resin
No Man Land
The figures depicted as protagonists of situations in everyday life enable me to draw attention to the current social situation, to the position of people in society, to their loneliness. Ethical elements in my works aim to teach and simply illustrate extraordinary situations arising from the essence of human existence. This series focuses on the man. The problems he encounters on his journey through life, which determine his value system.
Miroslav Trubač, Wood, Plaster
'between intimacy and alienation'
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theater, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onward…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Installation, Performance
Human vs CNC
«Mit CNC (Computerized Numerical Control) können Werkzeugmaschinen per Elektronik gesteuert werden. Mit modernster Steuerungstechnik sind diese Maschinen in der Lage, Werkstücke mit höchster Präzision und komplexen Formen automatisch herzustellen. In Anlehnung an diese hochtechnologische Möglichkeit hat Daniel Züsli mehrere solcher Figuren erschaffen – aber natürlich ohne eine CNC-Maschine. Der Künstler hat aber gemäss der Vorgehensweise einer solchen Maschine gearbeitet und mit der Kettensäge und seinem Augenmass die Schnitte ausgeführt, die auch die Maschine vollziehen würde. Das Resultat ist ein Unikat, das von der durch den Menschen geschaffenen Unregelmässigkeit lebt. Trotz oder gerade wegen dieser Imperfektion strahlt die Figur eine grosse Eleganz und Charakter aus.» Christina Snopko
Daniel Züsli, Wood, Performance
Schöpferische Zerstörung
Ich arbeite beim Modellieren häufig mit dem Zerdrücken der zuvor modellierten Form. Jedes Mal wenn bei mir ein kreativer Prozess ins Stocken gerät, verstärkt sich dieser Wunsch des Zerdrückens. Aus dieser Situation heraus entstand eine neue Technik. Der Unikat Original Kunstdruck mit der verlorenen Form. Mit meinen Schöpferischen Zerstörungsarbeiten schaffe ich bevor eine neue Idee die alte zerstört ein Gedächtnis. So sind die Abdrücke Erinnerungen an eine Skulptur welche die Zerstörung hinterliess oder erhalten hat. Man erkennt Fingerabdrücke, Modellierspuren, Farbe die zerfliesst. Ein toller Mix zwischen Hoch- und Tiefdruck mit der verlorenen Form.
Daniel Züsli, Mixed Media, Performance
'between intimacy and alienation'(continuing..)
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theatre, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onwards…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Mixed Media, Natural materials
Morning stretching
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze, Bronze
'atlas'-'dynamic body-sculpture'
I am fascinated by the simple… the daily small things in life. In general all my works are responding to a personal situations or events. Maybe… I am somehow the viewer and the participant at same time, on one hand the center of the unit, however, on the other hand, also the viewer, watching the ‘things‘ happening around… Noam Ben-jacov has been developing his ‘body related work’ (body-sculptures) for a bit more than 30 years. Creating the work I emphasizing on the mental, physic & movement, relating to the human body as the ‘motor’, the center’ buildings, creating the construction around, with and on the body, paying much attention to the overall contact between sculpture & human body as well as to the sound the ‘work’ makes and just naturally not forgetting the space surrounding it all, ‘enjoying’ the restrictions taking, incorporating them along into this moving sculptural unite. A unit where the human can define owns space ,room , saying space meaning the inside and outside space , a room where you can be in… caring it ,living in, thought of extension, sheltering with…in. I am strongly believe in very personal self-expression and wanting my work to be as associative as can be, or perhaps just letting the work to talk …to scream… preferably to sing…. .
noam ben-jacov, Others, Performance
Unrevealedness: the Idea as Continuum
Installation at the Gorcum's Museum. Video presentation with soundscape, mindmap, ash photos Jannetje Paijmans and Dan Foerster
Alexandra Bremers, Installation, Mixed Media
ETERNITY II
In ETERNITY, the artist explores the seemingly endless possibilities of the subterranean Roman passageways and the journeys through space and time they represent. By taking rubber casts of the hand-hewn walls, bringing them to the Earth's surface, transforming them into molds and then casting them in bronze, von Thüngen brings a space out of the ground and into a new place. Along the way, she transforms that original space, twisting it gently and slicing it into new sections as she brings it to the surface. In doing so, she moves an ancient space through time: First, into the contemporary world, and then, when sunlight bounces off it and into space, the future. text by vernon silver curated by BRUNO CORA during Venice Biennale 2017
janine von thungen, Bronze, Installation
spiral_01
necklace ... for more neck | pure silver and a diversion of zirconia in orange, red and blue
Bergit Hillner, Metal, Natural materials
möbius and the saw
Hocker ... aus weissem Corian | die Programmierte Strucktur entspricht einem Möbiusband, welches dann zweigeteilt und als Sitzmöbel für eine Badelandschaft in weissem Corian gefügt mit rotem Corian ausgeführt wurde.
Bergit Hillner, Synthetic resin, Stone
Sitting beauty
12 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert Bronze
Marcel Börlin, Bronze, Bronze
Kunstkritik-Preis
Kunstkritik-Preis Arte Binningen 2018 https://www.marcelboerlin.ch/kunstguss/auszeichnung/
Marcel Börlin, Bronze, Bronze
Zusammenhalt
Bronzeplastik am Dorfplatz von Fuschl am See. Entwurf entstand bei einem Tapesculptur-Workshop mit 10 Kinder und Jugendlichen. Umgesetzt in Bronze und Edelstahl von Felix Igler.
Felix Igler, Bronze, Metal
My little wood stove
glass, transparent photosheets photos: Paul Niessen, artist
Alexandra Bremers, Glass, Plastics
Awakening
3 Exemplare limitiert, nummeriert, signiert handpatiniert und handpoliert
Marcel Börlin, Bronze
THE GARDENER
Following from Der KUSS, this piece further develops sculpture’s integration and unification with nature.The Gardener is even lighter and more transparent than ‘Der Kuss’ yet at the same time is also dynamic and powerful. The woman bends to look at the jasmine which grows along and within her leg, and beyond to the roots where its journey inside begins. The effect of the plant climbing within is a ‘Cul de Paris’, a 19th century skirt.
janine von thungen, Bronze, Others
The delusion
Als unentrinnbare Verstrickung drückt die Gnadenlosigkeit von Schmerz, Verzweiflung, Hoffnung und Sehnsucht existenzielle Not aus. In diesem Werk versuchte der Künstler sich aus den Bahnen vom reinen Expressionismus zu distanzieren und Narratives Figuratives ins Leben zu rufen. Dem Betrachter wird das Verborgene ohne Distanz vor Auge geführt, was fernab jeglicher Interpretation erlebt werden kann, sozusagen als Spiegel vom eigenen und kollektiven Trauma.
Marcel Börlin, Bronze
Black widow
Ein Rätsel. Erhaben und enigmatisch gibt diese Skulptur keine vorgefertigten Antworten, sondern lässt dem Betrachter Raum für Empfindungen und eigene Interpretationen.
Marcel Börlin, Bronze
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Wood, Metal
Gelbton
Gelbton Kinetische Skulptur zum aufziehen
Bernhard Jordi, Metal, Steel
Sesamo -
Sesamo explores the power and potential of the human voice which is as unique as the fingerprint. From recordings of the collector’s voice, the resulting sound waves are transformed into a sculpture which can be suspended like a mobile or fixed on a structure. Voice is given physical form. As the hollow tubes are caught in the wind, the work responds, producing its own melody. In this example, it is the voice of the owner alone who can unlock the gates to reveal the rich collection within. the collector recited 'voyelles' by A. Rimbaud
janine von thungen, Metal, Installation
Little speech
Little speech Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl
Bernhard Jordi, Metal, Others
Köpfe voller Eindrücke
Das sind Sitzgelegenheiten aus Holz. Holzköpfe welche Eindrücke aller Art gesammelt haben. Ein Möbelstück wird zur Skulptur oder umgekehrt. Es sind Gesichter, die von ihren Eindrücken geformt sind. Oder sind es Köpfe, die von den Daraufsitzenden zerdrückt werden? So entstanden in der Anfangszeit nach meiner dreieinhalbjährigen Reise die Archetypen: «erster Eindruck», «Beeindruckt», «leicht Bedrückt», «Unbeeindruckt», «Überdruck» und «Unterdruck».. Ebenso entstand an einem Festival der Entwurf einer Bank: Ein Kopf mit ausgestreckter Zunge als Sitzfläche, der sogenannte «Arschlecker». Schlicht, elegant und unaufdringlich sind meine Hocker auf keinen Fall. Sie schreien nach Aufmerksamkeit, sind nicht nur glatt: Man sieht die Arbeitsspuren des ‚urchigen‘ Handwerks, man kann das Holz fast noch riechen. Jedes Stück ist ein Unikat, handwerklich gefertigt, eventuell zusätzlich nach Kundenwunsch angepasst, sind es sehr individuelle Skulpturen.
Daniel Züsli, Wood
Liminal Place
In my recent work I have produced sculptures and installations, in which I disrupt the regular arrangement of sentences and words. The resulting lack of order is then manipulated in such a way to obtain a new tangible reality. My aim, with these projects, is to explore the unknown realms between language and not-language, between communication and silence. Silence is often seen as the reverse of language, however silence is an integral part of the message, as not only does it divide and link sentences, but it is also to be found inside of them and is, furthermore, inhabited by them as well. To communicate is to put into language (spoken, written, digital, visual, sound), a process which establishes the boundary between static order and incomprehensible chaos. This boundary between order and chaos is constantly in a state of flux and forever being redrawn. Finding relatable meaning in today’s flow of data plays an important role in understanding the world we live in and our place in it. Information overload may cause stress and fragmentation. Silence may often seem the only alternative in this threatening disorder. However this data glut also contains the opportunity for creativity and connection. With the digitalization of the media, our own semiotic production is becoming more and more complex and abundant. Signs are proliferating. There is hardly a space without writing in it or a quiet time to be found. Silence stands in the way of the speeding up of life. Additionally, the built-in silences in speech and writing are being shortened or eliminated by new media technologies. In fact, our knowledge is increasingly experienced, shared, learned, recorded and stored digitally. Our identities are increasingly shaped by faster modes of communication and by the footprints created in the process. When new signs take the place of silence, the relationship between communication and silence becomes more intimate, more microcosmic, and takes on altogether new forms. The figure is retreating from the sensory overload in order to interpret and connect this chaotic information glut. The pause or introspection is paramount not only to understand the contrasting, fragmented flow of information she is continuously subjected to, but more importantly, the ‘thinking pause’ also becomes a constitutive element of thought itself and therefore of creation. The moment of inspiration comes when chaos and its absence come together. The figure’s outer layer, made of parcels of text and images, aims at capturing the complexity of human beings, as well as placing subjectivity in correlation with social and cultural factors. In this project the fragments of knowledge become part of the figure; they seem to flow into each other to form a new whole. This new whole, however, is never static or finished. As an innumerable amount of events and encounters concur to form and shape every individual one could also say that human beings are made of various fragments (memories, images, text and people we meet) and therefore made of parts of others. Accepting the fact that we are made of parts of others, may involve dealing with a subjectivity, which expands beyond the subject itself to include otherness and chaos within.
Manuela Granziol, Mixed Media, Paper
kuglschrugl_02_01
ball chair ... the place to meditate ore just sleep a bit material: ply wood pine finish: polished with selfmade organic wax (natur) process: programmed structure, cnc-produced 79 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials
treePod_02_01
seating furniture material: ply wood pine finish: antique wax polished process: programmed structure, cnc-produced 26 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials
The wiil of matter
Installation of four sculptures made during the Residenze in the Künstlerbahnhof. (Bad Münster am Stein-Ebernburg)
Luciana Arditto, Wood
Feast
Serie, 6 Münder, Originalgröße, Silikon, Echthaar
Lisa Büscher, Mixed Media, Others
KRO 001
Kinetisches Raum-Objekt - Titandraht mit Stoffbespannung, Messing, Edelstahl, Kugellager
Michael Berger, Mixed Media, Metal
inlands-dis #3
Werkguppe INLANDS, drawing in space #3, steel, corten, stainless steel
Hans Some, Metal, Installation
"Familienstamm"
"Family tree" Auftragsarbeit aus Holz. Aus einem Stamm herausgearbeitet.
Guido Hofmann, Wood
Tänzerin
Subfossile Eiche (Mooreiche), 62 cm, Preis auf Anfrage; Kontraste - steinaltes, hartes und sprödes Eichenholz, geborgen aus einem Moor und geformt zu einer filigranen, anmutigen und eleganten Skulptur
Markus Brinker, Wood
YIN-YANG
Zyklus: 4-dimensionale Kunst Yin und Yang in Bewegung. Durch die eigene Bewegung entsteht ein Moiré-Effekt der die Skulptur zum Leben erweckt.
Berndt Schweizer, Metal, Steel
Unrevealedness: The belonging of Earth and World.
Installation of bees wax, wool and wood. ceramic container. photo: Jan Wilms
Alexandra Bremers, Wood, Natural materials
phague
phague, stainless steel & steel sphid|phague|glia series
Hans Some, Metal, Steel
3 aus 45
Dieses Land Art Projekt wurde im Rahmen vom 3. Kulinarik & Kunst Festival 2016 in St. Anton am Arlberg von den beiden Künstlern Sandra Brugger und Manfred Hellweger realisiert. Das Land-Art-Projekt trägt den Titel „3 aus 45“, da es aus 3 Weidenkugeln besteht und 45 m lang ist. Ebenso wird dieser Titel an das Lotteriegewinnspiel „6 aus 45“ angelehnt, da sehr viel Glück nötig ist, um diese Arbeit wetterbedingt auch vollenden zu können. Bei einem starken Gewitter und dem daraus folgenden Hochwasser würde die Arbeit binnen kürzester Zeit zerstört werden.
Manfred Hellweger, Wood, Stone
Werkserie Touch
Die Werkserie Touch besteht aus quadratischen Rahmen, hintereinandergestellt, schwebend, auf einem Federstahl gelagert. Die unbewegt, stillstehende Plastik als Ausgangspunkt: Bodenständig, statisch, mit Bodenhaftung, geerdet. Der Betrachter wird aufgefordert als Motor zu agieren, zu berühren. Das Objekt gerät in Schwingung; die Berührung ist sanft im Gleichklang oder nicht. Die Objekte sind kopflastig ohne den Kopf zu verlieren. Es entstehen neue Linien und keilförmige, trapezförmige Durchblicke
Jürgen Heinz, Metal, Steel
árbol
intervención en un parque con árboles centerarios. Por la gran extensión de los pinos es difícil de percibir la escala.
Hans Some, Metal, Steel
CAVALESE
A steel wire stretched from the ground to the wall in an ascending line is dotted with twenty glass tubes, each containing a piece of rice paper. Written on each sheet is the name of a person and the words “Place and date of death Cavalese Feb 1998.” The wire and tubes are accompanied by wall text describing an accident that took place near the small village of Cavalese, Italy in 1998.
janine von thungen, Glass, Concrete
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