Raschi Küng

Silberblatt

CUBE aus MDF, bemalt und bedruckt. Veredelt mit 2K Kunstharzlack. Steht auf Ecke oder kann in einen Rahmen für die Wand montiert werden.

FACTSHEET:

Dimensions : 10 cm x 10 cm x 10 cm (Height, Width, Depth)
Weight : 0.2 kg
Year : 2016
Material : Wood, Mixed Media, Synthetic resin
Technique : Casting
Style : modern, contemporary, Pop-Art

Raschi Küng

Die einfachste Form ist wohl der Würfel. Da ich klare Formen liebe, ist der CUBE mit seinen sechs Seiten ideal für mich. Sechs individuelle Bilder. Anfänglich klein und aus MDF (verleimte dichte Holzplatte), später grösser aus Dibond (Alu Verbundplatte), experimentiere ich mich durch die Materialität. Aktuelle Versuche mit Plexiglas scheinen zu gelingen.

Mein Hauptwerk ist aber die bildende Kunst. Malerei sowie präapplikative Drucktechnik, bei welcher ich Malerei oder das Vergolder Handwerk mit Siebdruck oder Giclée Print kombiniere.

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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
Power of Universe
Aus einem belgischen Granitblock ist dieses "monumentale" Werk heraus gearbeitet. Es soll Kraft, Bewegung, Unentdecktes, Verletzliches, aber auch Energiegeladenes mit Emotionalem verbinden und symbolisieren. Durch einen Fingertipp lässt sich der Stein in Rotation versetzen.
Stefan Kresser, Wood, Metal
Aufbruch
In Zeiten wie diesen ( … Corona) wollte ich mit dieser Skulptur einen Neustart, einen Aufbruch darstellen. Mit einer geschwungenen Aufwärtsbewegung soll sie Kraft und Mut geben, auch wenn sie durch Kerben und Durchbrüchen gezeichnet ist.
Stefan Kresser, Stone, Light
Silberblatt
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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
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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.
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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
Madonna with a golden earring
Precisely glued and composed pieces of wood, wax, gilding.
Miłosz Płonka, 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.
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Blue man
Patinated and polychrome stucco, internal light.
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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
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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
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'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
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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
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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
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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
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"Geometrie und Zahlen" 19 von 37
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