Berndt Schweizer

Belladonna

MOSAIKKUNST von Irene Magdalena Orecher
Atropa belladonna - die Schwarze Tollkirsche ... Höhe 2 m ...seit der Antike medizinisch genutzt, gehört das Nachtschattengewächs zu den gefährlichsten Giftpflanzen unseres Lebensraumes ( "atropos"= griech. "unabwendbar", in der griech. Mythologie eine Schicksalsgöttin, die den Lebensfaden abschneidet). Die pupillenerweiternde Wirkung des Beerenwirkstoffes Hyoscyamin prägte im Italien der Renaissance den Namen "bella donna" (ital. "schöne Frau"). Ähnlich einer DNS-Doppelhelix schraubt sich ein "neues Wesen" empor: halb Pflanze, halb Frau - wie auch die Skulptur "Brandung" Symbol für Dualität, Spannung und Polarität im Leben, für Schönheit und Verderben, Leben und Tod.
Ein werk von MosaicMetalArt

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Dimensions : 110 cm x 110 cm x 200 cm (Height, Width, Depth)
Weight : 460 kg
Year : 2007
Material : Glass, Ceramics, Steel, Concrete, Natural materials
Style : modern, figurative, contemporary, poetic
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Berndt Schweizer

Gemeinsam ist uns die Unabhängigkeit von Strömungen der Zeitgenössischen Kunst und die Bedeutung handwerklichen Könnens bei der Ausführung der künstlerischen Aussage. In unseren Werkstätten entstehen Skulpturen, Metallkunst, Mosaikkunst und Malerei. Ungewöhnliche Kombinationen von Material und Handwerk, aber auch die enge Zusammenarbeit mit Spezialisten verschiedenster Art ermöglichen für außergewöhnliche Wünsche individuelle Lösungen – von der Idee über den Entwurf bis zur Montage vor Ort.

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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
Legacy
As humans we are part of nature, which feeds us literally. In spite of that we often place ourselves above and we think we have the right to use nature as it pleases us. Nature develops through time, people who try to hold on to their acquired values are standing still.
Harry Schumacher, Wood, Textile
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
Wonder
In this sculpture heads are out and wonder. They have ears and their eyes are wide open in the overwhelming feeling of reverence and admiration. They are experiencing and understanding the unknown. They are in the state of admiring something beautiful, remarkable or unfamiliar.
Mehnoush Modonpour, Clay
Mother
A manifestation of the bond between humans, and that we are what we have received from our mothers through generations. The attachment of mankind shown as the umbilical cord, symbolizes our attachment to our background and past generations; wanted or unwanted. Worshiping the symbol of Mother that is the source of all.
Mehnoush Modonpour, Clay
United People
Human beings are members of a whole, In creation of one essence and soul. If one member is afflicted with pain, Other members uneasy will remain. If you’ve no sympathy for human pain, The name of human you cannot retain! a poem by “Saadi”
Mehnoush Modonpour, Clay
Connected
A link between human and their past, surrounding, tradition, condition and situation is described in this sculpture. The Umbilical Cord is what is binding the figures to each other. Their bodies are formed by the many faces together. Those faces are representing history, tradition, culture. One figure is in the support status that is firmly attached to the history and tradition. The other figure is in the state of flight and going forward, but, he’s attached with the Umbilical Cord and those many faces.
Mehnoush Modonpour, Clay
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
Unrevealedness: Industry of Creativity
Installation in brass, glass, wool, industrial meters etc. photo: Jan Wilms detail. blown glass photo: Dan Foerster
Alexandra Bremers, Bronze, Metal
Langraum mit Kreuz
Liegen oder Stehen, Leere oder Fülle; Ruhe oder Bewegung; lebendige Entscheide fallen in der Grauzone zwischen den abstrakten Polen des Denkens. Lindenholz; aus einem Stück gearbeitet / weiss lasiert
Klemens Pasoldt, Wood
Silberblatt
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Wood, Mixed Media
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
CUBE Rijik Museum
CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.
Raschi Küng, Wood, Synthetic resin
torso animal
Diese Arbeit entstand aus der Verknüpfung der Idee der "animalen Formen" und dem Konzept "Interface". Dieses Stück war die Grundlage für weitere, ähnliche Arbeiten.
Daniel Priese, Stone
Defence
The work "Defence" exists of vertebras forming a closed circle. It is the evolution of the human spine into a non-flexible backbone. It should be inevitable if the human race continues in the direction it is going. What kind of creature could live with this kind of spine is left to the imagination. It could be the last configuration before extinction.
Harry Schumacher, Mixed Media, Wood
Awareness
Three times the same muscle structure, two up and one upside down. Tough becomes vulnerable. The triptych is connected by wires. For the Kunstschouw the prices are reduced.
Harry Schumacher, Mixed Media, Synthetic resin
Composure
A pillow is stuck in a branch, the features of a face appear like the pillow is suffocating someone. Maybe the extinction of mankind would mean the survival of the planet.
Harry Schumacher, Wood, Textile
Education
This work exists of a blackboard taken out of context. The void in the frame of the blackboard is fixed in an amateuristic way, providing some stability for now. The sentence “Have we not learned anything yet” stands for making the same mistakes, over and over. Short term solutions and the lack of a long term vision. The branch needs blood by transfusion to survive.
Harry Schumacher, Wood, Mixed Media
Against All Odds
For the sculpture garden Ravesteyn a site specific work has been made. In memory of all the perished refugees at see a work about the dangerous journey. For a lot of people it is not a choice, but a way of survival. The work exists of a small boat with a proportional huge figurehead to enforce a save journey. No woodcarving but an original tree to hold on to life itself. The boat is connected with the tree by bandages, with fists as a variation on the Hamsa (protection) with Nazar (evil eye). The Hamsa are not suited for the weather influences and will drown.
Harry Schumacher, Wood, Installation
Content
The branch is just a hollow shell. On the back a structure wraps around it. Something can be added to acquire content.
Harry Schumacher, Wood, Mixed Media
Riverdelta
Harry Schumacher was invited for a symposium in Trstenice in the Czech Republic. The village stretches along a small, partly dry river in an oblong valley. The East/West trade route that should have gone through the village is the starting point of the artwork. In a graphic sense a trade route is the connection in two directions between two points. The work consists of two V-shaped riverdelta's like two turned away arrows, which only touch in one place. In a riverdelta the water searches its way from high to low. The liquid in the artwork flows against the current. The area is the center of water flowing in two opposite directions, to the Baltic Sea and to the Black Sea. The map forms the Czech Republic, still struggling between East and West. I choose to make the work of art on location and made every day the trip through the village with a trolley to get into contact with the people as a part of the artwork.
Harry Schumacher, Installation, Natural materials
'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
PRONO TOTEM
The sculpture was selected for the art prize “PREMIO ARTE 2018” Curated by Cairo Editore. Mention of honor and Exhibition between the 40 finalistis in 4 categories. Work published in the Catalogo dell’Arte Moderna 2018, Giorgio Mondadori. 1/7
Alessandro Pongan, Bronze, Metal
Ignorance #3
This is a combination of both showing ignorance as heads that are in the box, and some boxes are almost open and heads are about to come out from the dark. They are all connected.
Mehnoush Modonpour, Clay
Ignorance #4
In this sculpture heads are out from the dark (boxes that are shown in previous sculptures) but they don’t have ears and their eyes are not open therefore they can’t hear nor see.
Mehnoush Modonpour, Clay
The Dance
This is man’s spiritual ascent to perfection through the mind and love. One’s mystical journey. Deserting the ego, and dancing toward the truth and pure love. Reaching maturity and perfection to serve the whole creation. The dance of true happiness of overcoming lust and finding freedom within.
Mehnoush Modonpour, Clay
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
Belief
[Belief is; “an acceptance that something exists or is true, especially one without proof”.] We are all born in a family/society/country that mostly a strong belief is inherited generations after generations. One’s life is based on the set of rules through those beliefs, that is governing one’s behaviours. *Are one’s questioning his/her awareness of what is shaped one’s mind as “belief”? *Are one’s questioning the root of all beliefs? *How can he/she measure one’s belief is profound? *Do one’s have the power to change it if authorized? *Is one’s belief brings true knowledge so he/she can find happiness?
Mehnoush Modonpour, Clay
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
Survival
There are periods or moments of pressure in everybody’s lifetime to the extreme that one would wish it no longer existed. These are the moments in life where one would feel desperate, uncertain or unbalanced because of the unusual sets of events. In this sculpture, I portrayed an individual that is under that pressure (feet on top of a head) but he/she is trying to survive (head is half buried). In these periods one needs to make more effort, have extra support or have faith (the hand supporting the head) to overcome the situation because of one’s survival instinct. This shows the battles one faces in day-to-day life.
Mehnoush Modonpour, Clay
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
foghorns
Erfurt Verwaltungszentrum Steigerwald Betonwerkstein, am Ort hergestellt, Oberflächen bearbeitet Nebelhörner sind Zeichengeber und Orientierungshilfe auf See oder an der Küste, wenn Sichtmöglichkeiten eingeschränkt sind und gewöhnliche Orientierungsmöglichkeiten ausfallen. Im übertragenden Sinne könnten Nebelhörner auch an Land nützliche Orientierungshilfen sein. Eine Erweiterung dieser Übertragung wird durch die Vielzahl der an einem Ort versammelten Nebelhörner angeboten, wie etwa z.B. dem Gedanken einer demokratischen Meinungsbildung als der Summe vieler Orientierungen. Die glatten, vertikalen Flächen, welche die Öffnungen der Ursprungsform (Nebelhorn) ersetzen, erscheinen in ihrer verwandelten Form als Kommunikationsinstrument. Die einzelnen Elemente werden als Individuen wahrgenommen. Die einander zugeordnete Positionierung, jeweils als Kommunikationspartner einerseits, als zugehöriger einer Gruppe andererseits, erzeugen die Atmosphäre eines allgemeinen Kommunikationssystems. Neben den interpretatorischen Aspekten geben die auffällige und eigenwillige Formgebung eines Nebelhorns Anlass für eine erstaunliche Variationsbreite skulpturaler Bearbeitungsmöglichkeiten. Die Wahrnehmung der Formen und des Materials, auch aus rein ästhetischem Blickwinkel, als skulpturale Elemente, sind so gleichwertig möglich. Die quasi aus dem Boden wachsende Form öffnet sich in eine gezielt orientierte glatte Fläche, als Abschluss der Form und als Ankopplung (Interface) an den umgebenen Raum.
Daniel Priese, Concrete
A boy with a Flute
My Artwork bronze sculptura “a boy with a Flute” is figurative. In 1986 won the prestigious competition of Diploma works of Students of sowietunion, Minsk, Belorussia - a first prize, a bronze sculptura “a boy with a Flute”. One ekzemplar is purchased for the national Art fund Georgia. The second was bought in switzerland in private collection.
Irodion Gvelesiani, Bronze
quest, animale form
Im Schaffen von Daniel Priese sind die Positionen von Figürlichkeit und Ungegenständlichkeit ein Kontinuum. Ein Bindeglied zwischen beiden Orientierungen stellen die animalen Formen dar, mit denen sich der Bildhauer seit etwa dem Jahr 2000 beschäftigt. Nur selten ist dabei eine bestimmte Spezies gemeint. In der Regel dient hier lediglich ein organisches Gefüge allgemeinster Art als Ausgangspunkt einer Formentwicklung. Dr. Reimar Lacher
Daniel Priese, Stone
Hello Golem “Magicamuska”
Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Plastics
KING KONG BALLS ASPHALT
Sculpture: Clay on Iron, Wood. Original sculpture on his work table, this sculpture was used to make the mold for my "KingKongballs" in bronze. This sculpture was so beautiful despite the damage caused by the demolding, I decided to consolidate it with resin and keep it. The pieces of asphalt (recovered from a Budapest street under reconstruction) represent our planet in danger. This work is dedicated to our planet and all animals we are destroying.
Denis Defrancesco, Clay, Synthetic resin
THE PINK LADY ( Small Version / Limited Edition of 6)
The Pink Lady Nostalgia. ... C’est une Poupée who says “Yes, yes, yeeessss!..” Who says Amen to whatever may come... A cuddly and consenting Doll... An unabashed doll... The Lady Heroine of all desires... The animated Object of all penchants, all sins... ... Sweetheart, come let us see if the Rose is rose/... A pic to capture that pink ... The wide-open diaphragm... The folds of the crimson robe, under the spotlights exactement... Petals of all colours, but roses are rose in all the gardens of the world, their buds like the diamonds of eternal pleasures... ... A Thousand and One Women... in ONE... The Synthesis is Bold, the Doll pumped up, the combinations multiple, the appearances deceiving...The Stone beneath the Flesh... Hard and cold... A polished and smooth Poupée de Marbre ... A Venus without her Fur... A shaven Sacher-Masoch... Not a hair left of Romanticism... A 2.0 Doll far from The Origin of the World... ... The body calibrated for stereotypical ardours... Unfussy tattoos, curls for artifice, silicone up to the gunwales, seams ready to split: The Pink Lady, Doll of the Quick Fuck… ... We would like her to speak... To pronounce words, sounds other than the conventional onomatopoeia of fawning pleasures... The Mmmm, the Aaaah, or the Ooooh... Letters that would form real words... No: nothing to be done, nothing to be said... ... A voiceless, unsmiling, soulless doll, her slits like bottomless pits, a humourless, joyless Doll... We will never see her heart or her feet, forever sealed in Carrara stone... A non-finito modern Galatea, off-putting her Pygmalion... The sculptor’s dream, his Ladies of yesteryear, his Marys full of grace and virtue, the Roses in bloom of his lost youth...
Denis Defrancesco, Stone, Marble
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