Jaco van der Vaart

The Mirror

You can see yourself in the brain parts that are like a mirror and think.

FACTSHEET:

Dimensions : 36 cm x 25 cm x 22 cm (Height, Width, Depth)
Weight : 5 kg
Year : 2016
Material : Metal
Technique : Casting
Style : modern, figurative, contemporary, poetic, symbolic, surreal
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Kijkdoos - looking box
An ordinary box with a fantastic imagined oceanic world inside.
Michelle Gallagher, Ceramics, Ceramics
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
Standing at the Crossroad
Labiles Gleichgewicht; tanzen, ringen, entrückt gleiten, fallen; unaufhörliche Balance zwischen Extremen. Ulmenholz massiv, aus einem Stück gearbeitet / unbehandelt
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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
The Mirror
You can see yourself in the brain parts that are like a mirror and think.
Jaco van der Vaart, Metal
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Wood, Metal
Bestial bestiary
A series of showcases in which The balance is explored on what is considered decent and proper.
Bert Poot, Mixed Media
Changing announcement
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Bernhard Jordi, Metal, Plastics
Wohlgefallen über Knickbein
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Bernhard Jordi, Metal, Steel
Arctic
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
Hierarchy
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
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Bernhard Jordi, Metal, Steel
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
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Little speech
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Material: willow, wire, lights, fog
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Sibyllen
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
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. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=a&bild=3#id3 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video
Alexander Lorenz, Wood, Light
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
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Judith Mann, Natural materials, Mixed Media
kuglschrugl_02_01
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
CLUB
CLUB (2018) (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..
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. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=b&bild=4#id4
Alexander Lorenz, Plastics, Synthetic resin
treePod_02_01
seating furniture material: ply wood pine finish: antique wax polished process: programmed structure, cnc-produced 26 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials
The wiil of matter
Installation of four sculptures made during the Residenze in the Künstlerbahnhof. (Bad Münster am Stein-Ebernburg)
Luciana Arditto, Wood
FF 8,9 - 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 narrow slit in the middle of the stripes lets the particular color appear clearly without any shadows. Its effect is astonishing: Since the eye has no spatial clue as light and shadow, the colored stripes paradoxically appear at the same time as painted and infinitely deep. One has the feeling that space is repealed. 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 8 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. Der schmale Schlitz in der Mitte der Streifen läßt die jeweilige Farbe klar ohne Schattenverlauf erscheinen. Seine Wirkung ist verblüffend: Da das Auge keinen räumlichen Anhaltspunkt, also Licht und Schatten hat, erscheint der farbige Streifen paradoxer Weise gleichzeitig wie aufgemalt und unendlich tief. Man hat das Gefühl die Räumlichkeit sei aufgehoben. 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 8 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. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=c&bild=1#id1 https://youtu.be/_0RdhubU-ME
Alexander Lorenz, Plastics, Synthetic resin
FF 8,9 - 180cm
H 180 x B 21 cm 12 cm distance plywood, 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 narrow slit in the middle of the stripes lets the particular color appear clearly without any shadows. Its effect is astonishing: Since the eye has no spatial clue as light and shadow, the colored stripes paradoxically appear at the same time as painted and infinitely deep. One has the feeling that space is repealed. 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 8 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 180 x B 21 cm 12 cm Abstand zur Wand Sperrholz, 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. Der schmale Schlitz in der Mitte der Streifen läßt die jeweilige Farbe klar ohne Schattenverlauf erscheinen. Seine Wirkung ist verblüffend: Da das Auge keinen räumlichen Anhaltspunkt, also Licht und Schatten hat, erscheint der farbige Streifen paradoxer Weise gleichzeitig wie aufgemalt und unendlich tief. Man hat das Gefühl die Räumlichkeit sei aufgehoben. 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 8 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. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=c&bild=5#id5 https://youtu.be/_0RdhubU-ME
Alexander Lorenz, Wood, Installation
FF 10 - “Farbkreis” - “Color Wheel” - 64cm
FF 10 - “Farbkreis” - “Color Wheel” - 64cm H 64 x B 7 cm 5 cm distance plastic, varnish, acrylic paint Daylight hits the wall and throws it onto the painted back of the sculpture/installation, projecting the color onto the wall and becoming visible to the viewer. The circle has the primary colors painted on the back. Where they overlap, secondary colors emerge. Together they result in a color wheel = color spectrum, which is contained in the daylight. _____________________________ Dm 64 cm 8 Abstand zur Wand Sperrholz, Lack, Acrylfarbe 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. Der Kreis hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen Sekundärfarben. Zusammen ergeben sie einen Frabkreis = Farbspektrum, welches im Tageslicht enthalten ist. https://www.youtube.com/watch?v=KFNMZ6VWb6g http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=4 https://vimeo.com/189933959?utm_source=email&utm_medium=vimeo-cliptranscode-201504&utm_campaign=28749
Alexander Lorenz, Wood, Synthetic resin
FF 11 - Variations
Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise. https://youtu.be/xfZOz_9boVo https://vimeo.com/189926593
Alexander Lorenz, Wood, Synthetic resin
FF 11 -13 - Variations-a
Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise.
Alexander Lorenz, Wood, Synthetic resin
FF 11 -13 - Variations-b
FF 11 -13 - Variations-b Dm 36/64/110 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise. _____________________________ Dm 36/64/110 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles.
Alexander Lorenz, Wood, Synthetic resin
FF 11 -13 - Variations-c
Dm 36/64 5/8/12 distance plywood, varnish, acrylic paint Circle sizes and colors can be combined as desired. The price depends on the size and number of circles. _____________________________ Dm 36/64 5/8/12 Abstand zur Wand Sperrholz, Lack, Acrylfarbe Kreisgrößen und Farben können beliebig kombiniert werden. Der Preis richtet sich nach Größe und Anzahl der Kreise.
Alexander Lorenz, Wood, Synthetic resin
FF 11 -13 - Wall Installations
With these art installations, the wall becomes a canvas. Each wall becomes a free designed light artwork. It is conceivable to design whole flats - private apartments, offices, hospitals, etc - in this way. This is also possible outdoors on facades. Here the material would be made of sheet metal and the colors would be weatherproof. In addition to circles, rectangles and other geometric shapes, the shapes of objects can also be free forms -The imagination knows no limits. _____________________________ Bei diesen Kunst Installaionen wird die Wand zur Leinwand. Jede Wand wird zum frei gestalteten Licht Kunstwerk. Es ist vorstellbar aufeinander folgende Räume - Privatwohnungen, Büros, Spitäler usw - in dieser Art durch zu gestalten. Auch im Außenbereich an Fassaden ist dies möglich. Hier wäre das Material aus Blech und die Farben witterungsbeständig. Die Formen der Objekte können neben Kreisen, Rechtecken und anderen geometrischen Formen auch freie Formen sein - der Fantasie sind keine Grenzen gesetzt. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=6 https://vimeo.com/189933208
Alexander Lorenz, Wood, Synthetic resin
DR 1 - “Achtung - Kunst” - “Warning - Art”
H 53 x W 61 x D 6 cm Hardboard, breakdown triangle, varnish, screws 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. Since the beginning of the 20th century, the concept of art has radically expanded. For example, Duchamp postulated that an object becomes a work of art when it is called art by the observer or artist. Since then, not only the concept of art and art forms have been expanded but also the uncertainty about it - with the public and artists alike. Artists usually admit that privately. As a reference to Duchamp, with a ready-made (breakdown triangle) as a stumbling block, DR 1 ironically asks the question: "Is this art?" _______________________________ DR ist das Kürzel für “Doppel Reflexion”. Reflexion wir im doppelten Wortsinn verwendet: zum einen als physische Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion. Seit Anfang des 20. Jh. hat sich der Kunstbegriff radikal erweitert. So postulierte z.B. Duchamp daß ein Objekt zum Kunstwerk wird, wenn es vom Beobachter oder Künstler als Kunst bezeichnet wird. Seitdem wurden nicht nur Kunstbegriff und Kunstformen erweitert, sondern auch die Unsicherheit darüber - bei Publikum und Künstlern gleichermaßen, wobei letztere dies meist nur hinter vorgehaltener Hand zugeben. Als Verweis auf Duchamp, mit einem Ready Made (Warndreieck) als Stolperstein, stellt DR 1 ironisch die Frage: “Ist das Kunst?” https://youtu.be/gC_LCv_D5DQ
Alexander Lorenz, Wood, Plastics
DR 2 - “STOP”
H 50 x W 50 x D 6 cm Hardboard, plastic, varnish, acrylic paint, metal pipe 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. Since the beginning of the 20th century, the concept of art has radically expanded. For example, Duchamp postulated that an object becomes a work of art when it is called art by the observer or artist. Since then, not only the nconcept of art forms have been expanded but also the uncertainty about it - with the public and artists alike . Artists usually admit that privately. The mirror-inverted writing "ART" symbolizes the position of the observer, who does not look at the appearance of the work of art, but rather stands behind it and asks the fundamental question: "What is art?" _______________________________ H 50 x B 50 x T 6 cm HDF, Kunststoff, Lack, Acrylfarbe, Metallrohr DR ist das Kürzel für “Doppel Reflexion”. Reflexion wir im doppelten Wortsinn verwendet: zum einen als physische Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion. Seit Anfang des 20. Jh. hat sich der Kunstbegriff radikal erweitert. So postulierte z.B. Duchamp daß ein Objekt zum Kunstwerk wird, wenn es vom Beobachter oder Künstler als Kunst bezeichnet wird. Seitdem wurden nicht nur Kunstbegriff und Kunstformen erweitert, sondern auch die Unsicherheit darüber - bei Publikum und Künstlern gleichermaßen, wobei letztere dies meist nur hinter vorgehaltener Hand zugeben. Die spiegelverkehrte Schrift “ART” (Kunst) versinnbildlicht ironisch die Stellung des Betrachters, der nicht die Erscheinung des Kunstwerkes betrachtet, sondern quasi hinter ihm steht und die grundsätzliche Frage stellt: “Was ist Kunst?” https://youtu.be/JDaRLpCJHuo
Alexander Lorenz, Wood, Plastics
FG 9 - “Macht” - “Power”
FG 9 - “Macht” - “Power” Plywood, varnish, acrylic paint, metal dismountable Sperrholz, Lack, Acrylfarbe, Metall Beschläge http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=fg&kat=d http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=7
Alexander Lorenz, Wood, Metal
Feast
Serie, 6 Münder, Originalgröße, Silikon, Echthaar
Lisa Büscher, Mixed Media, Others
Change direction
"When we change the plane, we change direction. There is always a chance to change direction in your mind, in relationships, in actions... you can always look at a different angle from old things. Then the wall becomes the floor, the tower becomes the bridge, the opposition becomes friendship, and the hate becomes love. And if you can change direction, you can change the world." 3 human figures are sitting on the wall of the tower. their eyes are fixed on the sky. we see a change of reality, a turn of the earth’s plane to a wall plane, a change of horizon, a symbol of a change of views, thoughts, actions. figures are welded from metal, painted with black paint. size of each 2x natural.
Konstantin Evdokimov, Metal
Heart of Gold
The bamboo sculpture is inspired by the shape of the Chinese goldnugget, a symbol for wealth and prosperity. Here in the forest of Capriasca wealth can be experienced in an unworldly manner. It's not about money obviously, but the availability of clean air, a forest floor, trees, leaves. It is about life.
Karin van der Molen, Natural materials
Not in my backyard
These industrial shapes get a homely appearance because of being covered in traditional carpets. The carpet designs refer to gardens and plants. At the same time the European landscape/nature as a whole is designed and man made. The artwork plays with the double bind of being dependend on these industrial presences and our loathing of them in the environment.The piece in the end also creates an illusion of being a ritual place. Maybe it could be a place where the dualism as described above can be solved.
Karin van der Molen, Wood, Textile
KRO 001
Kinetisches Raum-Objekt - Titandraht mit Stoffbespannung, Messing, Edelstahl, Kugellager
Michael Berger, Mixed Media, Metal
Kintsugi Coral
KintsugiCoral is inspired by the shape of a piece of coral, but as a coral is built up as a skeleton the sculpture is overgrown with broken pottery. Human culture and a piece of nature have intermingled into a new form of coexistence. The work refers to the coral as an endangered species, under serious pressure of human activities. From this point of view, the pottery ‘suffocates’ the coral. On the other hand it offers a positive view on the ecological drama, because coral and humans are interdependent. The broken pottery refers also to the Japanese art of ‘kintsugi’. It means that by repairing a piece of broken pottery (with gold) it will gain value and meaning. In this case the pottery forms a new whole as a sculpture, a natural growth on the coral shape. The philosophy behind kintsugi, about acceptance of loss and change, can also be applied to the sculpture. Regarding nature and the coral reefs in particular, change is something that has to be dealt with, and repairing the damage is the next step.
Karin van der Molen, Wood, Ceramics
Bubble Forest
"Bubble Forest" was created as a reflection on the ability of plants to produce oxygen. The title forest consists of 18 steel stems/trunks ending with inflorescences/crowns in the form of spherical constructions representing a single air bubble. “Bubble Forest” refers to the terrestrial flora as well as to that known from the bottom of lakes, seas and oceans. Awarded with the Platinum A' Design Award in 2020.
Mirek Struzik, Metal, Light
inlands-dis #3
Werkguppe INLANDS, drawing in space #3, steel, corten, stainless steel
Hans Some, Metal, Installation
Dandelions in San Mateo
"Dandelions" is an installation directly inspired by the sophisticated design of dandelions (Taraxacum officinale) occurring in nature. The concept of this work was preceded by a meticulous analysis of the structure of dandelion seedhead, which in a somewhat simplified form was then transposed to the macro scale. As a result, the delicate floral pattern took on a completely new — half futuristic, half fairy tale — context.
Mirek Struzik, Metal, Steel
I had a dream
Aus einem länglichen Serpentin-Block herausgearbeitet. Mit offenen Augen, offenem Mund - und im Gehirn brodelt es Fantasien! 90 cm,
Stefan Kresser, Stone, Metal
Striptease
Aus einem sehr interessant gewachsenem Zedernbaum ist diese filigrane, tänzerische und anmutige Figur entstanden - gesägt, mit Bildhauer-Eisen bearbeitet, geraspelt, geschliffen, gewachst, poliert, 200 cm,
Stefan Kresser, Wood, Metal
"Familienstamm"
"Family tree" Auftragsarbeit aus Holz. Aus einem Stamm herausgearbeitet.
Guido Hofmann, Wood
Tänzerin
Subfossile Eiche (Mooreiche), 62 cm, Kontraste - steinaltes, hartes und sprödes Eichenholz, geborgen aus einem Moor und geformt zu einer filigranen, anmutigen und eleganten Skulptur, VERKAUFT
Markus Brinker, Wood
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