Marcel Börlin

Kunstkritik-Preis

Kunstkritik-Preis Arte Binningen 2018
https://www.marcelboerlin.ch/kunstguss/auszeichnung/

FACTSHEET:

Dimensions : 10 cm x 10 cm x 10 cm (Height, Width, Depth)
Weight : 10 kg
Year : 2018
Material : Bronze, Bronze
Technique : Bronze casting
Style : figurative, realistic

Marcel Börlin

Marcel Börlin

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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
Cornucopia
Interior design for a markethal designed by Winny Maas for MVRDV in Rotterdam.
Iris Roskam, Mixed Media, Steel
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
Nest 2
Material: Bronze Size: 19x12x12cm, 0,6kg Year: 2015
Judith Mann, Bronze, Bronze
'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
Nest 3
Material: Bronze Size: 27x14x14cm, 2,1kg Year: 2015
Judith Mann, Bronze, Bronze
Universe 3
Material: Bronze Size: 19x15x15cm, 2,5kg Year: 2016
Judith Mann, Bronze, Mixed Media
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
Universe 4
Material: Bronze Size: 24x14x14cm, 1kg Year: 2017
Judith Mann, Bronze
Universe 7
Material: Bronze Size: 23x14x14cm, 3,1kg Year: 2017
Judith Mann, Bronze, Metal
Arms 5
Material: Bronze Size: 16X16X14cm, 5kg Year: 2017
Judith Mann, Bronze, Metal
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
"Geometrie und Zahlen" 13 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
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
"Geometrie und Zahlen" 14 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
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
"Geometrie und Zahlen" 16 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
ANCESTRY II OR POLIFEMO’S BIVOUAC
“STIRPE II (O IL BIVACCO DI POLIFEMO)” - (“ANCESTRY II OR POLIFEMO’S BIVOUAC”) (2015): My first land art work realized in a farm not so far from my studio, with my hand (and with the help of a tractor 50hp). Work that it was first and foremost a performance lasting several days. It was inspired by the camps of nomadic shepherds, that in my country are disappearing or are being transformed. A little as Polyphemus, who was the last of a long line of ancient giants (and shepherds too). Not only for this reference the fire was so big. The fire shaped roots of trees, staring or removing clay from them, changing their curves, coloring it with a complex scale of greys. Result still remains, farmer loves it, a gigantic natural brazier.
Michele Giacobino, Wood, Stone
"Geometrie und Zahlen" 18 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 19 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
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
"Geometrie und Zahlen" 26 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Kamiyama kintsugi
The sculpture was inspired by the presence of human culture in the mountains and forests of Shikoku, where pilgrims and other travellers left many (sacred) objects over the past centuries. Hundreds of small stone buddhas as well as little offerings in cups and bowls are scattered along the winding mountain paths, as reminders of an old tradition and civilization. The stack of rice bowls refers to these offerings that Japanese people use(d) to give to natural phenomena, such as trees, rivers and mountains. I invited the contemporary inhabitants of Kamiyama to be present on their mountain by contributing some of their own tableware to the sculpture. By using their bowls, cups and plates I want to honour their way of co-existing with the (wild) nature that surrounds the village. By glueing the broken pottery onto the sculpture the porcelain becomes ‘whole’ again, just as happens with 'kintsugi', the Japanese art of repairing broken cups with gold. What was broken gains value and meaning.
Karin van der Molen, Ceramics, Concrete
"Geometrie und Zahlen" 30 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 31 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 32 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 33 von 37
Stil: konktete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 34 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Dreaming the woods II
"Dreaming the woods II" is an installation of wood and silk. The work constructs a route that develops looking upwards alluding to the posture of the body when it faces the sky framed by the trees. The project “Deaming the Woods” talks about the ephemeral experience of standing in front of a tree; the incorporeal experience of remember the nature. The work reflects on the relationship between human beings and nature. It is a work about memory. I seek to reconnect with nature through memory. Remembering the experience of facing the wind, the leaves, the grass… The work is not explicit, everyone will read in it their own memory. Bringing the nature as a memory into the city is the only way to make it present.
Tamara Jacquin, Installation, Wood
"Geometrie und Zahlen" 35 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
Golden Head
Jonas Eideloths Skulpturen aus edlem Marmor vereinen urbane Ausdruckskraft mit klassischer Steinbildhauerei. Die Figuren formen sich aus hartem Stein selbst und brechen aus in Richtung Freiheit. Mit Hammer und Meißel werden die Skulpturen einzeln aus Rohblöcken gearbeitet. Dabei stehen teils rohe Steinflächen im Kontrast zu den fein ausgearbeiteten, weich wirkenden Figuren. Jonas Eideloth stellt mit seinen Skulpturen grundlegende Werte wie Individualismus und Freiheit dar und die Möglichkeit für jeden seinen ganz eigenen Lebensweg zu gehen.
Jonas Eideloth, Stone, Marble
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
Once upon a time… II
Once upon a time … proposes an uncertain vision of the future. Between fragments, the image reconstructs memories sewn together, alluding to the sublime experience of facing the wind, the sun, the earth, the leaves, the forest … common experiences that someday will be nothing more than stories.
Tamara Jacquin, Wood, Metal
Ausbruch
Die Figur formt sich selbst und schiebt sich dabei aus hartem Stein und Urbanem Dreck heraus in die Freiheit.
Jonas Eideloth, Stone, Marble
I just came to see the garden
And he thought, I just came to see the garden. But it had already been eaten by dragons. The installation builds a suspended space where the dialogue between its elements, light, plant, photography and text, generate a soft atmosphere that talks about the link between humans and nature or what is left of it. The work is a dialogue between image and poetry that reveals the conflict between human beings and nature. This assembly of portraits and poetic fragments questions the integration of the being with its surroundings, with the earth, with the stone, with the wind, with the animals, with the plants. The structure builds a temple, a place of refuge and protection for man and his fears. The work is a wink to the first architectures, spaces protecting man from the inclemency of the environment but maintaining the connection with the natural world. The central light bathes the silk strips revealing compositions of photography and poetry that build visual stories that play between the threshold of the real and the dreamlike. The plant rotates slowly under the light. The portraits contemplate the garden from which, one day, we come. Fragments of poems by Alejandra Pizarnik, Carmen Camacho and self-authorship were used for this work.
Tamara Jacquin, Installation, Wood
Denker
Lehnen Sie sich erstmal zurück und werden Sie zum Denker. Vor dem Moment des Handelns steht die Idee, eine Vision. Also, denken Sie sich eine Welt, ganz nach Ihren Wünschen und Vorstellungen.
Jonas Eideloth, Stone, Marble
"Geometrie und Zahlen" 36 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
"Geometrie und Zahlen" 37 von 37
Stil: konkrete Kunst Material: Sandstein Bearbeitung: abgetragen und abgebrochen 100% Handarbeit
Go37Pe, Stone
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