janine von thungen

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

FACTSHEET:

Dimensions : 128 cm x 108 cm x 80 cm (Height, Width, Depth)
Weight : 100 kg
Year : 2011
Material : Bronze
Technique : Bronze casting
Style : monumental, poetic, figurative, modern

janine von thungen

Janine’s oeuvre is multifaceted and ever-evolving; she uses a variety of mediums ranging from traditional bronze, clay and glass to the more unusual rubber, hemp, water, sound and even plants. Works expand in scale from handheld to monumental sized sculptures, land art and sound installations. Janine is inspired by the contrasts and juxtapositions found in humans, nature and space. Interactions between these elements are at the core of her works, time and space are themes that mark the journey and evolution of her oeuvre. Participation between artist, viewer and art is fundamental to Janine.

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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, Glass, Glass
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
Ameli
Ameli shows how plants are vital to our lives and to our children who are the future. From deep within the mesh figures, plants grow and blossom. In life we watch babies become adults as they mature and flourish, but in contrast, it is these oversized mesh children who watch life grow inside them. As the plants require care and attention to thrive and bloom, so our children do too.
janine von thungen, Metal, Installation
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
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
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
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
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
THE PAPER - ∅
THE PAPER 13 works The surface is indented by imprints of the walls of roman catacombs. See ETERNITY: http://www.janinevthungen.com/2017/01/22/eternity-i/ The positive imprint arises from the negative imprint. A cellulose paste is pressed between the silicon molds and then contorted. Once dry, the sculptures are carefully covered by several hundred layers of “Washi” paper (Japanese paper that is extremely light and pure).
janine von thungen, Paper
ETERNITY IV
the 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 ,II,, III and IV 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. text by Bruno Corà
janine von thungen, Bronze
la strada
' La Strada' is the first Bronze 'stele' in a group of 6, the white patina sculptures are an edition of 3. Each sculpture has a positive imprint of a roman pavement on one side and on the other side the underneath pavement. Romans and tourists walk today above a city of the past. Underneath our feet we find memories of people and cities.
janine von thungen, Bronze
DNA,2019
WASHI paper Height 12 meters x width 40 cm 'endless mirror' with LED , iron frame diameter 150 cm
janine von thungen, Paper
SEGNI VERTICALI e ribaltamenti concettuali, 2019
3 lastre di acciaio inox tirate a specchio, spessore 1 mm 300 x 180 cm Edizione di 6 (in produzione - 3 lastre da 1mm di acciaio inox tirate a specchio 150 x 90 cm, Edizione di 9) 25 torri di carta da recupero di diverse altezze 2 tondi di plexiglass di diverse altezze riempite di palline di carta da recupero I fari e le torri di Sicilia sono i punti di partenza e di approdo, da terra e via mare, nel ritmo incalzante tra passato, presente e futuro. Ogni faro ha un’anima. Il tempo di luce e di ombra, il colore e l’alternarsi dei settori rammentano la sua natura e la sua posizione diventando un essere al limite tra l’umano e il mitologico, che non appare mai uguale ma sempre familiare. Una suggestione palpitante che illumina i ricordi vicini e lontani degli uomini in viaggio.
janine von thungen, Metal, Paper
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