Marcel Börlin

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.


Dimensions : 36 cm x 34 cm x 18 cm (Height, Width, Depth)
Weight : 5 kg
Year : 2018
Material : Bronze
Technique : Bronze casting, Casting
Style : figurative, abstract

Marcel Börlin

Marcel Börlin

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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
EX VOTO is a cycle of works in progress. They are votive figures that somehow echo those that can be seen in the ancient baroque churches placed by the faithful as a sign of gratitude for the grace received. This votive sculpture is against the yes men not rarely it is an amulet against the yes men that unfortunately we often have to bear.
Alessandro Pongan, Bronze, Metal
Schlechte Nachricht / Bad News
A. Rimpel: 2017 Palazzo Mora Venedig / Kubismus
Andreas Rimpel, Bronze, Plaster
PRONO cubic
Bronze lost wax casting, black patina.
Alessandro Pongan, Bronze, Metal
6 Exemplare limitiert, nummeriert handpatiniert, handpoliert und signiert
Marcel Börlin, Metal, Steel
Lindenwood with pigments and natural resin.
Victor Mangeng, Wood, Others
Relationships, a Work in Progress
Two parts of one broken piece of Staturio marble found buried in the sand of a Danish beach. Finding the relationships and connections between them I have brought them back together as part of a lifelong pursuit finding ways to deeply connect and relate. to myself, to others, to the world.
Robin Krepakevich, Marble, Stone
PRONO - Despite Everything
Despite Everything is an experimental piece made with concretized sand. The sculpture can virtually be produced in large scale. My archetype Prono is shown here like a mountain carved out of deep canyons and eroded by time. My intention was to bring back the essence of our self after the passage of life events.
Alessandro Pongan, Others, Synthetic resin
EX VOTO I - Visio
Votive sculpture dedicated to the Vision. EX VOTO is an in progress cycle of digital sculpture that sometimes reaches the physical state through my sculptures, bas-reliefs, graphics and video productions. They are votive figures echoing those that can be seen in the ancient baroque churches placed by the faithful as a sign of gratitude for the grace. I will fine art print in limited series. Printed on Hahnemühle - Photo Rag Bright White 310 g/m2
Alessandro Pongan, Paper
Gemeinschaftsskulptur Sitzsteine
Partizipatives Bildhauerprojekt für den Öffentlichen Raum
Birgit Cauer, Stone
EX VOTO II - Fortuna Adversa, Fortuna Propitia
EX VOTO II - FORTUNA PROPITIA, FORTUNA ADVERSA EX VOTO is a cycle of works in progress that sometimes reaches the physical state through my sculptures, bas-reliefs, graphics and video productions. They are votive figures that somehow echo those that can be seen in the ancient baroque churches placed by the faithful as a sign of gratitude for the grace received. I will fine art print in limited series. Printed on Hahnemühle - Photo Rag Bright White 310 g/m2
Alessandro Pongan, Paper
Prometheus - Epimetheus
Prometheus is the well-known Titan from the Greek Mythology who stole fire from heaven for the benefit of mankind. He is the active maker and his name means “fore-thinker”, but for his famous deed he was heavily punished by the gods. His brother Epimetheus is far less-known. The “after-thinker” is ill-reputed for his hindsight and probably suffered a lot from this reputation. While Prometheus is characterized as ingenious and clever, Epimetheus is depicted as foolish. As a pair they strive for the possible and the feasible in this procumbent but dynamic sculpture. cedar tree; one piece; untreaded surface Prometheus ist der bekannte Titan aus der griechischen Mythologie, aktiver Macher und Feuerbringer der Menschheit. Er trägt den Namen «der Vorausdenkende»; für seine berühmte Tat wurde er allerdings von den Göttern fürchterlich bestraft. Sein Bruder Epimetheus ist praktisch unbekannt. Als ewiger Zweifler, «der danach Denkende», hat er einen schlechten Ruf und litt sicher sein Leben lang unter dieser «Charakterschwäche». In der liegenden Holzskulptur loten die beiden Brüder als polares Paar das Mögliche und Machbare aus. Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
Awakening Over 90 years hidden inside the stem the moist heart wood of the walnut surprisingly shows a purple-eggplant colour when cut by the carving knife; only seconds after the colour has changed to its ordinary walnut-brown. This stupendous effect has been inspiration for the coloration of the inner part of the sculpture which branches off the main body in the lower half and nestles in a bowl like structure in the upper zone again. walnut, made from one piece; purple-eggplant translucent varnish; walnut pedestal Über 90 Jahre im Innern verborgen scheint das feuchte Kernholz des Nussbaumes beim Anschneiden mit dem Schnitzeisen unerwartet blauviolett auf, nach wenigen Sekunden wandelt es sich zum gewohnten Nussholz-Dunkelbraun. Dieser überraschende Effekt stand Pate für die Farbgebung des inneren Teils der Skulptur, die sich in der unteren Hälfte vom Hauptkörper löst, um sich im oberen Bereich wieder in eine Schalenform hineinzuschmiegen. Nussbaum massiv; aus einem Stück gearbeitet / partiell blauviolett lasiert; mit Nussbaum-Sockel
Klemens Pasoldt, Wood
Trias (Ameno)
Like a fossil dug from Triassic sea deposits; old, quiet, calm, wise, but the three parts find together in tension as they want to move or struggle for new positions. «One» means undivided, entity; «two» means divided, polarity and «three» («tri»; Greek prefix for threefold) means completeness, perfection which is only achieved by moving the antagonism. As bowl-like structures the parts are open for new contents. cedar tree; made from one piece; untreaded surface Ein Fossil aus triadischen Meeresablagerungen; alt, ruhig, gelassen, weise, und doch finden hier drei Teile in einer Spannung zueinander, als wollten sie sich fortbewegen – oder ringen miteinander um neue Positionen. «Eins» ist das Ungeschiedene, die Einheit; «zwei» steht für das Geteilte, die Polarität und «drei» («tri»; griech. Präfix für dreifach) ist die Vollständigkeit, die Geschlossenheit, die durch das Bewegen der Gegensätze erreicht wird. Als Schalenformen ohne Inhalt sind die Teile offen für Neues. Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
Which personality are you?
Our public and private faces and personalities. What do we show and what do we hide. The empty compartment is for the viewer to decide what face/ personality would they choose? Irish playwright Brian Friel wrote “ Philadelphia here I come” one of the characters has two actors playing his public and private thoughts.This idea of our public and private personality was a trigger for this artwork.
Michelle Gallagher, Wood, Ceramics
Schwanger / Pregnant Woman
Andreas Rimpel, Gips-Torso, Kubismus
Andreas Rimpel, Clay, Plaster
Standing at the Crossroads
Two standing organic crosses touching each other at the fringes only, not even the inner limb connects the bodies. Instable equilibrium; dancing, struggling, delighted sliding, falling; ceaseless quest for balance. However, at the crossroads you have to make up your mind. Elm tree; made from one piece; untreated surface Zwei stehende, organische Kreuze, zusammengehalten nur an ihren äusseren Rändern, auch der innere Holm ist nicht durchgehend. Labiles Gleichgewicht; tanzen, ringen, entrückt gleiten, fallen; unaufhörliche Suche nach der Balance. Aber an der Kreuzung muss ein Entscheid fallen. Ulmenholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
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
serie in pine wood carved and burned
Victor Mangeng, Wood
The Mirror
You can see yourself in the brain parts that are like a mirror and think.
Jaco van der Vaart, Metal
Fly bird, fly
A bird must fly! Everyday stories: An overbearing mother. A pre-planned life. A marriage according to class. Daughters have no participation in the narrow cage of tradition, paternalism and stereotypical role models. The bird escapes the cage and fulfills her dream as a dancer, but the price of freedom is high, because it means the loss of the African family.
Margarete Adler, Plastics, Synthetic resin
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Wood, Metal
lebensgroße Bronze Frau mit Kleid
Susanne Kraißer, Bronze, Metal
Bestial bestiary
A series of showcases in which The balance is explored on what is considered decent and proper.
Bert Poot, Mixed Media
Zweite Rauhnacht
Bronzefigur Der Titel „Zweite Rauhnacht“ verweist auf die Tage nach Weihnachten, die dunkle, wilde Zeit. Traditionell eine Zeit der Geister, der wilden Jagd. Rauh und Nacht bergen Kälte, Einsamkeit, Gefahr in sich. Etwas, vor dem wir uns schützen möchten. Ich spiele mit der widersprüchlichen Wirkung des blauen Tuches: zum einen erinnert es an einen "Schutzmantel" ähnlich mittelalterlicher Mariendarstellungen, ein Zeichen für Ruhe und Beständigkeit, für Weite und Freiheit, für den Himmel. Eine melancholische, immerwährende Sehnsucht nach dem Meer, nach dem Ursprung. Zum anderen ist dieser Schutz offensichtlich unzureichend, eher betont er die Blöße des Mädchens, ihre selbstverständliche Fragilität.
Susanne Kraißer, Bronze, Metal
Blauer Tropfen - Blue Drop
blue Drop - Lime wood with lapislazuli pigment
Markus Brinker, Wood, Natural materials
Changing announcement
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Bernhard Jordi, Metal, Plastics
Wohlgefallen über Knickbein
Kinetische Skulptur zum kurbeln 2011 Metall, Draht, Blech
Bernhard Jordi, Metal, Steel
We use nature as a laboratory which gives us the right to do with it what we want. For an old butcher shop in Rotterdam in the Netherlands, I made a site-specific artwork installation dealing with a specific event. The event is the economical fight for the arctic in the search for oil. A struggle for the preservation of the arctic itself should be a lot more meaningful. The event got in the news when people of Greenpeace were held as hostages by the Russian Federation. The news was no longer about the damage done to the arctic, and so to nature worldwide. Attention needed to go back to the original problem, so I made this installation to pick up the initial debate. There were lectures and debates with Greenpeace and it got quite a lot of publicity.
Harry Schumacher, Ice, Metal
"Slowly, slowly..."
"O snail... Climb Mount Fuji, but slowly, slowly! " A boxwood and mammoth netsuke after the haiku by Issa.
Leon Mommersteeg, Wood
The mountain of sand starts at the top in the box and find its way down through eight groups of circular orientated holes. The holes have their influence on the trail of the sand. The sand carries the box. The work is a metaphor for a hierarchy based society. A performance comments on the hierarchic system by taking sand from the lowest part and pour it into the box on top endlessly. The performance of over 20 hours took place at the "No Walls Expo" during the Rotterdam Contemporary Art Fair of 2016.
Harry Schumacher, Performance, Installation
Gelbton Kinetische Skulptur zum aufziehen
Bernhard Jordi, Metal, Steel
DR 4 - “no-body”
Nach der “Venus de Milo” (Louvre). DR ist das Kürzel für “Doppel Reflexion”. Reflexion wird im doppelten Wortsinn verwendet: zum einen als reale Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion - nicht ohne Ironie! In Anlehnung an Rene Magrits Bild „Ceci n’est pas une pipe.“ - “ Das ist keine Pfeife.”, ist dies hier im doppelten Wortsinn “no body” oder “nobody”. Es ist eben das was es ist und darüber hinaus all das, was man damit verbindet oder auch nicht. Alle notwendigen Utensilien sowie Montageanleitungen sind im Paket beigelegt. _______________________________ Inspired by the shape of the “Venus de Milo” (Louvre). DR is the abbreviation for “Double Reflection”. Reflection is used in the double sense of the word: on the one hand as a physical reflection of color through light and on the other hand as an intellectual reflection - not without irony! Based on Rene Magrit's picture “Ceci n’est pas une pipe.” - “This is not a pipe.”, the sculpture plays with the double sense of the word “no body” or “nobody”. It is what it is and beyond that everything that is associated with it or not. All necessary utensils and assembly instructions are included in the package.
Alexander Lorenz, Wood, Mixed Media
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
Fog 2 – Salix.Alba
Material: willow, wire, lights, fog
Judith Mann, Mixed Media, Natural materials
Singener Kapitell
Stadthalle Singen a. Htwl., Eisenguss, Beton
Markus Daum, Concrete, Metal
Aus einem alten, gut gelagerten Birnenholz-Brett wollte ich ein sehr filigranes Werk schaffen. Mit vielen Durchbrüchen und teils sehr dünnen Stellen entstand "Sibyllen". Wikipedia: Eine Sibylle (altgriechisch σίβυλλα), auch fälschlich Sybille, ist dem Mythos nach eine Prophetin, die im Gegensatz zu anderen göttlich inspirierten Sehern ursprünglich unaufgefordert die Zukunft weissagt. Wie bei vielen anderen Orakeln ergeht die Vorhersage meistens doppeldeutig, teilweise wohl auch in Form eines Rätsels. gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 180 cm,
Stefan Kresser, Wood, Metal
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
Space Station (Station 3)
An installation of corridors, doorways, flashing lights and sound - a low rumble and a voice intoning a series of numbers. There are numerous ideas, both visual and conceptual, that form the basis for this particular work, with the dialogue between the initial ideas and the changing construction of the work producing further elements within the overall structure, and initiating further ideas to follow. The work can be seen to mirror its own creation, taking on a life of its own. As if it was not an act of construction, but the result of the uncovering of a pre-existing site. The starting point was science-fiction, not the bright shiny science fiction of the contemporary media, but the science-fiction of television programmes of 1960’s UK, where the black and white images allowed room for imagination. As a child the imagery of these programmes affected my view of the city of my birth, where all strange corridors and abandoned buildings became infused with the possibilities of something unexpected, and a small room could be the entrance to another world. My love of science-fiction writing was engendered at this time, especially of those works that take as their subject the psychological effects of the Anthropocene. A further idea referenced in the installation is the idea (rather than the actuality) of the space-station, and speculation on how anyone could cope with an existence forever contained within an endless interior. Maybe memory would begin to take over, and the ghosts of the past would materialise in the corridors. Such contained interiors are spaces that become divorced from connection to anything except what is within, and there is here a connection to Earth bound contained interiors. A specific film is referenced here, but I will leave you to guess which one… The installation, by the fact that it is a space of corridors, proposes an unstated series of narratives. Installations are in this way akin to theatrical events. However, in the case of the installation, the audience become the actors in narratives of their own imagining. The installation was first exhibited at SeeArt Taipei, and then extended for the Formosa Sculpture Biennial in Kaohsiung Taiwan.
Duncan Mountford, Wood, Mixed Media
FF 2 - “Freiheit” - “Freedom”
FF 2 - “Freiheit” - “Freedom” Plywood, varnish, acrylic paint, screws dismountable My goal was to create a sculpture that expresses lightness and dynamism and conveys a feeling of freedom. The individual stripes literally fly into the middle (square) and interact formally and in color. FF is the abbreviation for "color & shape". Here, the focus is on the projected by the daylight colors and color mixtures, which always appear in daylight and weather conditions in a new light. Depending on the nature of the background, the colors appear almost as clear as with colored glass windows, as it is broken light. Daylight hits the wall and throws it onto the painted back of the sculpture / installation, which projects the color onto the wall and becomes visible to the viewer. Overlapping color projections produce color blends. ___________________________________ Sperrholz, Lack, Acrylfarbe, Schrauben zerlegbar Mein Ziel war es, eine Skulptur zu schaffen, welche Leichtigkeit und Dynamik ausdrückt und ein Gefühl von Freiheit vermittelt. 
Die einzelnen Streifen fliegen förmlich in die Mitte (Quadrat) und inter- agieren formal und farblich. FF ist das Kürzel für „Farbe & Form”. Hier liegt der Focus auf die durch das Tageslicht projizierten Farben und Farbmischungen, welche durch Tageszeit und Wetterlage immer in neuem Licht erscheinen. Je nach Beschaffenheit des Hintergrundes erscheinen die Farben fast so klar wie bei färbigen Glasfenstern, da es sich um gebrochenes Licht handelt. Das Tageslicht trifft auf die Wand und wird von dort auf die bemalte Rückseite der Skulptur/Installation geworfen, wodurch die Farbe an die Wand projiziert und für den Betrachter sichtbar wird. Sich überlagernde Farbprojektionen ergeben Farbmischungen.
Alexander Lorenz, Wood, Light
The Embassy of Doggerland
The installation comprised 8 architectural models on tables of 100 x 100 x 100cm, with each table lit by a single work light with a daylight LED bulb. The entrance into the space was through a structure based on official buildings, and drawing on the previous project Embassy. The Embassy of Doggerland was a metaphor for the fragility of settlement, for the point where humanity went from hunter/gatherers to settled farmers, a symbol for contemporary capitalism and the resulting heating world. The models are of concrete buildings that exist between military infrastructure and industrial ruin, structures designed with a purpose that is no longer discernible. The architecture reflects memories of edge-lands; in the UK around the River Mersey towards the industrial centre of Widnes; and in Taiwan the coast around Taoyuan Airport. These sites are unfixed in time, seemingly as if ghosts from a future catastrophe. Dimensions are for each model/table
Duncan Mountford, Wood, Mixed Media
The Chamber of Uncanny Objects
A site-specific work in National Taiwan University that used the discarded objects from the University (ranging from technical equipment to cabinets from the Japanese colonial era) to produce a 'museum'. The aim was to open up a dialogue over what survives as historically important trace and what is discarded, and to play with ideas of presentation that indicates the value of an object. Extra details from the original proposal: The collected object The nature of a collection is predicated on pre-existing conditions that lay out the parameters of he collection. For this project there are a number of conditions that govern the collection. Primary is the status of the objects to be collected as ‘singular’, that is that they provoke a reaction of questioning (the concept of curiosity is central here). This status of the objects as ‘singular’ is in opposition to the objects in a museum collection, as these are typical – that is that they are of an order that enables the object to stand for all the others of its class (hence museums are educational tools in that they contain things that are examples or reference a specific history). The objects to be collected can also be ‘quotidian’, everyday objects that in the context of their normal function excite little interest. Divorced from this context and placed in the context of the cabinet, such objects will obtain the status of the singular. In addition the objects will be provided with ‘labels’ that reinforce this ‘singularity’, allowing the production of multiple poetic narratives that spiral out from the object. A second parameter that will govern the objects is the practical one of dimensions. There will be maximum dimensions for the objects (which will aid in the status of the objects as fragments), with the flexibility of the design of the cabinet (or of the cabinets that will contain the objects within the overall cabinet framework) enabling objects of different dimensions to be accommodated. Maximum size of objects will be approximately 100cm (height) by 75cm by 75cm. A third parameter for the objects will be based on sourcing them from different disciplines (knowledge areas) in the University, so that the collection retains the concept of curiosity as central (in distinction to attempting an overview of one area of knowledge). The objects will come from various sources, with one emphasis being on things that are disregarded or are now stored (due to technological changes; changes in how knowledge is discovered; changes in the means used to disseminate knowledge), another being on elevating the everyday to the status of the object of wonder. The students will therefore play a crucial part in the making of the work, being collaborators whose input will be important. They will explore the University, negotiate with staff to explore normally locked storage areas, recognise in objects the poetic possibilities. They will map the University as a series of connections that result from these processes. A central component of this part of the project will be the laying out of the ideas to the students, via a series of illustrated talks. The talks will focus on topics central to the overall project – the history of cabinets of curiosities, museums, and the connections of these forms to art practice and theory (with reference ranging from Surrealism to the Pitt Rivers Museum and the Museum of Jurassic Technology for example), various ways in which collections can be utilised in contemporary art, and the relationships between art and science. The methods used to display the objects in the cabinets will reinforce the concepts of singularity, and will reference a variety of means and methods of presentation. This will range from the use of magnifying lenses to direct the focus onto one part of an object (and fragment the overall affect); the placing of disparate objects in the space of the same cabinet (playing on the accidental poetry of such encounters – ‘as beautiful as the chance encounter of an umbrella and a sewing machine on a dissecting table’ ); the use of lights within the cabinets to emphasise the reliquary references; the use of materials such as linen in the interior of the cabinets. The objects will therefore not be displayed in a ‘museum-like manner’, but in contexts that add other readings/narratives. This will also be take place in the individual cabinets, with multiples of objects producing narratives. The total cabinet structure itself is also an artwork, and not solely a means of display. It will be designed and constructed as an artwork, with the enclosed central space producing an area of multiple lights and reflections on the windows of the multiple interior cabinets. The “books of utopias” are an integral part of the project, for, if the objects in the cabinet produce a dream-like series of connections (in the best surrealist sense), then these utopias are the dreams of what might be. All of the elements relate to the wider questing that lies at the heart of the ideal of the University (whether a specific university or in general). The project is therefore site-specific, in that it could take place in any other type of venue. Only a university produces such connections of different knowledge areas, and only this University will produce this network of connections (objects, utopias) from this very specific set of people.
Duncan Mountford, Wood, Mixed Media
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
Fog 4 – Salix.Alba
Material: fog, light Location: Cologne, Germany Size: 10x15x25m Year: 2018 Photo: © Mandy Göhler
Judith Mann, Natural materials, Mixed Media
"a woman´s life"
Keramik, Rakugebrannt Einzeln gebrannte Teile, ineinander verschieb- und stapelbar, die kleinen Figuren versinnbildlichen-die ziehenden und zerrenden Sorgen, Ängste und Regeln, von denen man sich verformen lässt.
Lisi Deutsch, Ceramics
Kinetische Wandobjekte KWO-FP
Version 01-04 Edelstahl, Messing, dichroitisches Glas, Mikrokugellager, Holz Metallkorpus 22 x 22 x 13 cm, Tableau 80 x 80 x 2cm Limitierung je Version 20 Stück Nominiert für den Staatspreis des Kunsthandwerks Nordrhein-Westfalen 2021 Publikumspreis der MANUFACTUM Ausstellung 2021
Michael Berger, Metal, Glass
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
A work for LAND ART MONGOLIA 2018, 5TH BIENNAL LAM 360°, in the steppe of Khentii Aimag, near Murun Sum village, with exhibit in Ulaan Bator Art National Gallery. (from exhibition catalog): As an artist and architect focused on landscape, Michele Giacobino is concerned about the land, the ways in which humans use it, and in particular the question of which humans decide how the land is to be used. In this work for Land Art Mongolia 2018, the purely visual association between the green rolling grasslands of Mongolia and the game of golf is straightforward. But this artwork is not about golf as a sport, or about the enormous areas of land, and water resources, devoted to golf courses around the world. The title Club refers instead to the ‘club’ of G20 nations (20 of the nations with ‘developed’ or more powerful economies) whose attitudes largely determine the use of natural resources – including the land – around the world. So, in Club, the use of the flags of the twenty nations refers to he globalized culture of the G20. As Giacobino points out, the homogeneity of globalized culture leads people to seek out the unusual, ‘exotic’ or ‘undeveloped’, adjectives often applied to Mongolia. Since there are also artists from almost 20 nations (not G20) in this edition of Land Art Mongolia, come to experience the land and its people, Club can also be understood as a reflection on the artists and Biennial workshop. Flags are an ambiguous device, of course, referring not simply to the marker of the golfer’s ambition, but also to the territorial ambition and claims of nation states to possess the land. Giacobino’s artwork was present in the landscape for only a few days, and the artist was careful to return the soil to the places from which it had been displaced. Many thanks to Lewis Biggs
Michele Giacobino, Metal, Textile
FF 6,7 - 60cm
H 60 x B 7 cm 5 cm distance plastic, varnish, acrylic paint The wafer-thin strips hanging loosely on the wall and moving in the current of the air are pendent and emblematic of the fleetingness and immateriality of light. The wooden/plastic strips hang on a nail 5/12 cm in front of the wall. Their number and their distance from each other depends on the spatial conditions. The individual strips are to be hung individually and and/or freely combinable in color and number. FF 6 The strip has the primary colors painted on the back. Where they overlap, secondary colors emerge in the projection onto the wall. Together, they produce a color spectrum that is contained in daylight. _____________________________ H 60 x B 7 cm 5 cm Abstand zur Wand Kunststoff, Lack, Acrylfarbe Die hauchdünnen, locker an der Wand hängenden und sich im Luftstrom bewegenden Streifen sind Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Die Holz-/Kunststoffstreifen hängen jeweils an einem Nagel 5/12 cm vor der Wand. Ihre Anzahl und ihr Abstand voneinander hängt von den räumlichen Gegebenheiten ab. Die Streifen sind einzeln hängbar und/oder frei kombinierbar in Farbe und Anzahl. FF 6 Der Streifen hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen in der Projektion auf die Wand Sekundärfarben. Zusammen ergeben sie einen Farbspektrum, welches im Tageslicht enthalten ist.
Alexander Lorenz, Plastics, Synthetic resin more...
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