A sad history, or is it futurism?

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, Metal

Aus dem Drang und der Notwendigkeit etwas geschmeidiges und glattes zu erschaffen entstand diese Form - letztendlich jene einer ungeborenen Kreatur.
Jens Linnek, Bronze

Thüster Kalkstein, Schwarzweiß-Belichtung
Thomas Lucker, Stone

The installation EVEN THE TREES ARE CRYING by Aurelia van der Burght, initially created out of glass, ceramic elements and steel wire, has emerged following the disastrous world in which we live in, and from which we can’t leave. We are responsible and inevitable part of the catastrophic events that will occur. A process that is brought to an end very slowly, almost without notice, like an incendiary tumor. Aurelia invited Hanne Schillemans – dancer, choreographer – to create a new theatrical reality in her own unique way by blending music and image with her movements. The music is composed by Ralph Timmermans, and he’s been inspired by the installation of Aurelia and the movements of Hanne. The performance of his music is done by musician Rob Cornelissen.
Aurelia van der Burght, Glass, Ceramics

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, Metal

3-D print, titanium (grey)and stainlesssteel (silver). 3_D drawing made after a scull from a young dove.
Alice W Bakker, Metal, Others

I've taken the brick out of content. I lifted it to reinforce the feeling of lightness. The circles are deformed. 1/1
Viviane Brickmanne, Synthetic resin, Metal

Installation by Aurelia van der Burght soundsculpture i.s.m. Krijn Hendriksen en Hans d'Achard Gruyterfabrieken, 's Hertogenbosch
Aurelia van der Burght, Ceramics, Paper

Description in German, English and French - please scroll down Die Darstellung des Unsichtbaren, die ausgehöhlte Form, welche sich vom Materiellen löst und sich wie ein poetisches Feuer zu erheben scheint. Trying to represent the invisible. A hollow shape of the non-existing carving. Allowing the material to be released from any gravity, like poetic fire. Représenter l'invisible. Sculpter en creux la forme de ce qui n'est pas. Permettre l'envolée d'une matière libérée de toute pesanteur, comme un feu poétique.
Jens Linnek, Stone, Concrete

bowl dimensions: 44 cm x 44 cm x 33 cm (l x d x h) material: ply wood pine finish:antique wax polished process: programmed structure, cnc-produced 35 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials

Here the brick refers to suffering that is represented by the red nails "wounding" it. The two parts of the brick can be placed in many different ways. It is made of resin, the nails are in bronze. 1/1
Viviane Brickmanne, Synthetic resin

"Stern zu Bethlehem" / Stadt Linz
Konrad Feichtinger, Metal, Mixed Media

Holzrelief, Esskastanie, patiniert, H 90 x 105 cm
Alexander Heil, Wood

Bronze
Dagmar Vogt, Bronze, Bronze

This sculpture symbolizes devastation. The letters attached refer to destroyed cities as a result of human actions: Alepo(Syria); Palmira(Syria); Chernobyl(Ukraine); Saná(Yemen); Beirut(Lebanon); Bagdad(Iraq); Nagasaki(Japan); Kabul(Afghanistan); Homs(Syria); Jartum(Sudan); Mogadiscio(Somalia)... Sculpture to be hanged up, the upper part separately or together with the small odd pieces that are falling. 1/1
Viviane Brickmanne, Metal

Prekärer Dialog - Janus hält Zwiesprache
Wolfgang Sandt, Stone

10 Schalen aus Eis im Wald bei Jukkasjärvi, Schweden
Ilka Raupach, Natural materials

Freistehendes Relief, Eiche, patiniert, H 45 x 48 cm
Alexander Heil, Wood

Kraft | Bronze | aus dem Jahr 2020 Auflage: 3 . . Bronze Edition: 3
Helga Kaes, Bronze

Portrait of hut designer Fiona Bennett The melodramatic and baroque swirl crowns fashion designer Fiona Bennett, indulging in overflowing and sophisticated hat finery. It is a hybrid staging. The wonderful purity of the bleached ostrich feathers meets the ostrich foot as an unembellished reminder of repressed phases of evolution.
Margarete Adler, Plastics

Polyester, Glasfaser, Autolack, Holz Acrylfarbe, Lack
FOS, Plastics, Wood

I made this pendant to collaborate with the NGO Rescate (Acnur) that is rebuilding homes, hospitals and schools in Alepo (Syria) recycling rubble. The bricks are covered with a layer of gold (24 carats) or silver; or lacquered in red, black or brick red. This brick is patented and signed.
Viviane Brickmanne, Synthetic resin

Beeldenroute Landart Diessen An altar for an ordinary animal An altar for an ordinary animal manages to establish a connection between the church village of Diessen and the area where Landart Diessen takes place. In addition, visual artist Aurelia van der Burght brings an ode to the hare with this sculpture. This creature is equipped with special qualities. Fast, smart, alert, funny, symbolizes fertility, cyclic rebirth and magical power. There is, however, a duplicity in what is observed. The holy water containers change effortlessly into dipping sauces. The hare has been placed in the corner by many, we would like to eat in pieces during a festive meal. Aurelia van der Burght, Diessen 2008
Aurelia van der Burght, Wood, Ceramics

Polyurethan – gefärbt, GFK, Autolack
FOS, Plastics, Synthetic resin

This work is another version of Grace I. I make often two versions of a work, maybe to amplify its content. The difference with Grace I is very subtle, it is about rythms between circles and planes that are managed differently. 1/1
Viviane Brickmanne, Synthetic resin

Found in a dune and polished in a port, Embleton speaks of permanence when the waves come crashing. The artist and the landscape persevere. Crystalline frosting on the underside moves from Northumberland skies to the whispering pinks of the burnet roses and bloody cranesbills found in the dunes. A gilded area at one end highlights a major break-up. Absence makes the heart grow fonder.
Russell Coleman, Stone, Granite

I like to introduce decayed elements into the brick, such as these long old nails. 1/3
Viviane Brickmanne, Bronze

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Juxtaposition of round and spiky, both parts necessary to enhance the other parts quality 1/1
Viviane Brickmanne, Bronze, Others

Eine schwimmende, unbeachtete, flaue Situation… der Frauen. Scheint alles transparent! Aber… wie im Aquarium eingesperrt? Hommage an die große Bildhauerin Ruth Asawa (1926-2013), die ihre Skulpturen zu Hause schuf - unter Mitwirkung ihrer 6 Kinder. Hommage an die große japanische Künstlerin Toko Shinoda, die im März 2021 108-jährig starb, die die Entscheidung traf, auf den Weg zu verzichten, der für Frauen ihrer Generation vorbestimmt schien. „Ich habe nie geheiratet und habe keine Kinder
Solange Keschmann, Plastics

kleines Trinkgefäss ... Abformung eines Espresso-Bechers in Porzellan mit verschiedenfarbigen Glasuren.
Bergit Hillner, Ceramics, Glass

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Aluminiumdraht, Epoxidknete, Farbe, Drehmotor
FOS, Synthetic resin, Plastics

I like to put together various elements such as bricks and vegetables. 2/3
Viviane Brickmanne, Bronze

Die Skulptur / Gipsvormodell / Kubismus
Andreas Rimpel, Concrete, Plaster

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Aluminiumdraht, Epoxidknete, Stahlplatte, Farbe
FOS, Synthetic resin, Plastics

Young girl whose wings are made of bricks.The other Mutants can be seen on my website. 2/7
Viviane Brickmanne, Bronze

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Bronze on granite base Edition of 6
Alexandra Slava, Bronze, Metal

Kunstsammlung Nyffenegger, Arbon (Switzerland) Site: former industrial hall, next to other, similar looking pillars Material: foamrubber, plaster, wood, steelrope, paint
Cornelia Konrads, Installation

the cuboid-like shape is a modified Platonic volume. It becomes a module in an architectural structure or a setting that can be hidden or visible. Inspired by the traces of old buildings one might find in an ancient place, the installation calls to mind how these crumbling individual components now only serve as silent witnesses. However, at one time may have been the key element of a wall, or ceiling, etc. Regardless of their prior functionality, the aesthetic potential overrides the previous story
Toma Gabor, Metal, Plastics

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Installation at Oslo Kunstforening Acrylic colour, aluminium and 3D print on wall
Susanne Kathlen Mader, Installation, Metal

Father and deceased son. Created based on truthful images about Aleppo. Nominated for the Van Lanschot Art Prize 2016, audience winner, first casting purchased by Van Lanschot. A father jumps out of a car and carries his seriously injured son to the hospital. The son is quickly placed on a stretcher. Although the doctor is immediately on the scene, the boy dies. The pain off the father is indescribable. I visualize this enormous tragedy, which unfortunately is a daily reality. I made this sculpture as a form of prayer for father and son.
Antoinette Donkers-Dekker, Synthetic resin

Figurengruppe mit Paddel im Boot | Bronze
Claudia Katrin Leyh, Bronze, Metal

Stein (Serpentin-Raindrop), Eisenhalter
Silvia Withöft-Foremny, Stone

Tiefspühlbecken ... Keramik schwarz poliert Formstudie, welche zum streicheln und umarmen anregt ... ich fühle mich extrem geehrt, wenn meine Rezipienten tatsächlich mit meiner Toilette kuscheln möchten ...
Bergit Hillner, Ceramics

Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone

Arbeit zum Thema Flucht und Migration
Otto Beer, Wood