Alexander Lorenz

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 One has the feeling that space is repealed.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

FACTSHEET:

Dimensions : 180 cm x 262 cm x 12 cm (Height, Width, Depth)
Weight : 2 kg
Year : 2016
Material : Wood, Installation, Synthetic resin, Light
Style : modern, abstract, contemporary, poetic, Light art

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kuglschrugl_02_01
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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
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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
Dm 64cm 8cm distance HDF, varnish, acrylic paint edition of 15 pieces 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. With these, the entire color spectrum is displayed and the round shape creates a color wheel. The black on the front, as the absence of color, contrasts with all the colors of the background. The immateriality of light and its colored reflexions is met by the very thin, almost intangible circle, the edges of which are beveled to make it vanishingly thin and hardly perceptible as a body. _____________________________ Dm 64 cm 8cm Abstand zur Wand HDF, Lack, Acrylfarbe Auflage von 15 Stk 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 & Magenta aufgemalt. Wo sie sich überlappen entstehen Sekundärfarben. Mit diesen wird das gesamte Farbspektrum abgebildet uns durch die runde Form entsteht ein Farbkreis. Das Schwarz der Vorderseite steht als Absenz von Farbe im Kontrast zu allen Farben des Hintergrundes. Der Immaterialität des Lichts und seiner färbigen Lichtbrechungen kommt der sehr dünne, beinahe nicht greifbare Kreis entgegen, dessen Kanten schräg abgefast sind, um ihn verschwindend dünn und als Körper kaum wahrnehmbar zu machen. 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
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FF 10 - “Farbkreis” - “Color Wheel” - 110cm
Dm 110cm 12cm distance HDF, varnish, acrylic paint edition of 15 pieces 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. With these, the entire color spectrum is displayed and the round shape creates a color wheel. The black on the front, as the absence of color, contrasts with all the colors of the background. The immateriality of light and its colored reflexions is met by the very thin, almost intangible circle, the edges of which are beveled to make it vanishingly thin and hardly perceptible as a body. _____________________________ Dm 110cm 12cm Abstand zur Wand HDF, Lack, Akrylfarbe Auflage von 15 Stk 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 & Magenta aufgemalt. Wo sie sich überlappen entstehen Sekundärfarben. Mit diesen wird das gesamte Farbspektrum abgebildet uns durch die runde Form entsteht ein Farbkreis. Das Schwarz der Vorderseite steht als Absenz von Farbe im Kontrast zu allen Farben des Hintergrundes. Der Immaterialität des Lichts und seiner färbigen Lichtbrechungen kommt der sehr dünne, beinahe nicht greifbare Kreis entgegen, dessen Kanten schräg abgefast sind, um ihn verschwindend dünn und als Körper kaum wahrnehmbar zu machen. 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
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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
Leben
Leben, Bronze, ca. 33 x 116 x 24 cm, 2019
Dagmar Vogt, Bronze, Bronze
Pina
Pina, Bronze, ca. 100 cm x 60 cm x 120 cm, 2021
Dagmar Vogt, Bronze, Bronze
Encounter with Ourselves
interactive sculptural installation by Marina Bauer, 6 gypsum board construction boxes
Marina Bauer, Installation
Feast
Serie, 6 Münder, Originalgröße, Silikon, Echthaar
Lisa Büscher, Mixed Media, Others
Insieme
The feeling of being alone even being together is a constant on my work. the two figures are the same and together slightly separate and slightly delayed expressing the solitude that can exist sharing a same existance. They are together no doubt but not really related, looking to the front in different moments expressing the diificulties of really sharing the future together
CRISTIAN DIEZ SANCHEZ, Wood, Wood
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
So ist das Leben
Dieser Nussholz-Stamm mit einer Astgabelung war einst richtig mächtig und ca. 70kg schwer. Hier wollte ich eine Skulptur schaffen, die durchgehend ein Band vom Ursprung zieht mit Windungen, Richtungsänderungen und Kurven, bis hin wieder zum Ursprung zurück - eben das Leben! bearbeitet mit Sägen, Bildhauereisen, Raspeln, Schleifpapier, gewachst, poliert, 130 cm
Stefan Kresser, Wood
Introverts
interactive sculptural-multimedia installation by Marina Bauer
Marina Bauer, Mixed Media, Installation
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
DAS NEUE AUS DEM ALTEN
SERIE: Pulp-Fiktion Skulpturen Pappmache/ Zementsockel
Regine Jonas, Paper, 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
Dead Dream
"Dead Dream" are excerpts from a life journey. The start of life, the discovery of desires and longings. In this case, the dream of sailing the seas of this world. But everyday life is harsh and the after-work exhaustion makes the dream slowly rot. Passive in front of the telly fits better. Maybe tomorrow or next week. Or later, when I retire. A seemingly chaotic framework of life, which clearly strives upwards, along the vertical scale, in order to finally reach a certain minimum standard (horizontal line).
Weibach2, Wood, Metal
Cling
"Cling" is the representation of a relationship and its end. Fragments of actions, hopes and events. A rotten bridge, a broken connection. Perhaps the relationship with other people or common interests. Attached on one side, a facade. Maintaining the beautiful appearance. Constructed order, cleanliness, radiance, an ideal world. A line runs through this facade. A principle, an orientation, a norm? Come what may, hold on to her. The opening with the bare pipes is the still recent point of separation of the exiting partner. The reflective sphere, the ego of the abandoned.
Weibach2, Metal, Mixed Media
DOOR TO HEAVEN
SERIE: Pulp-Fiktion Pappmache Nur bedingt für den Aussenbereich nutzbar
Regine Jonas, Others, Natural materials
DÉJEUNER SUR L’HERBE. 2021
Kultursommer / Neustart. Daniela Melzig, Frühstück im Grünen / “Le déjeuner sur l’herbe” 2021 / Parchim. Alter Friedhof 2020 + 2021 wurden und sind immer noch beherrscht von der Corona Pandemie. Dennoch, die Pandemie ist ruhiger geworden. Die Ansteckungsgefahren zumindest im europäischen Raum gesunken und scheint auch durch die zunehmende Anzahl der Geimpften und konzentrierten Tests beherrschbarer, überschaubarer geworden. Natürlich stellt sich für schon lange die Frage, wie lässt sich diese Pandemie mit künstlerischen Mitteln erfassen. Dazu habe ich einige themenbezogene Aktionen und Projekte realisiert, die sehr wichtig waren und immer noch nicht an Bedeutung verloren haben. Trotzdem muss ich feststellen, diese Ausstellungen haben immer nur einen Teil des Geschehens erfasst und beschrieben. Irgendwann in den letzte Monaten habe ich festgestellt, diese Pandemie ist viel zu vielschichtig, zu breit gefächert um sie auf einzelne Erscheinungsformen eingrenzen zu können. Diese Pandemie ist gegenwärtig. Überall und am meisten dort wo Mensch sie nicht vermutet hätte, im engsten, persönlichen Freundes und Familienkreis. Der sonst so gutgemeinte, schützende Arm wird zur Gefahrenquelle, die menschliche Nähe zum Tanz auf dem Vulkan, zum feinen Rand, der uns vom Absturz trennt. Jetzt geht es um die grund-sätzlichen Fragen menschlicher Existenz. Was machen wir wo in welchem Raum. Raum zum Reden, Raum zum Hören und Raum zum Gestalten. Das ist genau das, was fehlt – in diesen Monaten der Corona Pandemie. Zurückgeworfen nur auf uns selbst und gleichzeitig in größter Abhängigkeit zu der Welt und zu dem, was mit uns geschieht. Mit diesen Betrachtungen berühre ich den sozialen, den zwischenmenschlichen Aspekt. Den Punkt, an dem der Mensch den Menschen vermisst. Pampin im July 2021
Herbert Hundrich, Mixed Media, Natural materials
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
Ghost Library
At the back of the gallery space, atop a 200cm high wall, is an empty library. Occasionally the lights behind the doors flicker on, as if someone is passing unseen in unknown corridors. The only light aside from this comes from the two fire exit signs, that cast a grenn glow over the abandoned space. There is no access to this library, its knowledge is forgotten.
Duncan Mountford, Installation, Mixed Media
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
Engel
Engel üben auf mich eine Faszination aus. Deshalb habe ich unterschiedliche Materialien und Hölzer ausgewählt.
Eisenzwerg, Wood, Metal
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
EX VOTO - Brain Drain
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. The installation is composed by a body, which quotes Auguste Rodin's "Le Penseur", a chromed brain on the verge of soaring and a video projection representing a journey inside the brain itself. The work is a votive sculpture about the genius and imagination.
Alessandro Pongan, Metal, Wood
"Familienstamm"
"Family tree" Auftragsarbeit aus Holz. Aus einem Stamm herausgearbeitet.
Guido Hofmann, Wood
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