Anna Maria Bieniek

WE - About Us

„We“ ist eine geometrisch abstrahierte Darstellung unseres „natürlichen“ zwischenmenschlichen Verhaltens. Ein vollkommender Kreis – unterbrochen –
– eingefroren – kurz bevor die Vollkommenheit erreicht wurde. Eine Reflexion der menschlichen Beziehungen, nicht nur auf sexueller Ebene, sondern basierend auf den biologischen und universellen Gesetzmäßigkeiten und urhaften Gedanken des Daseins. Vor Milliarden Jahren waren wir beides, Mann und Frau in einem. Heute sind wir körperlich getrennt aber der Aspekt der Einheit drängt uns unterbewusst dazu uns zu verbinden. Nicht nur in durch den sexuellen Akt, sondern auch in unserem unterbewussten und spirituellen Dasein. Weil wir alle aus der gleichen Materie kommen. Von Milliarden von Jahren waren wir eins. Wir hatten keine getrennten Geschlechtsorgane. Wir waren verbunden und brauchen niemanden um uns zu vermengen. Vielleicht ist aber auch gerade deswegen dieser Drang heute auch so wichtig, weil es uns das überleben sichert.

Es ist eine Idee (Platon) über einem Gesetz. Ein Bild des Bildes. Eine Unvollkommenheit eines vollkommenen Zustandes. Die Notwendigkeit uns zu verbinden ist gleichzeitig erreicht (durch Eingrenzung) sowie unmöglich durchzuführen. Es ist eine Analogie zum Ying und Yang, zum Licht und Schatten, Kälte und Wärme, Mann und Frau (We/Wir) die sich einander entgegengesetzten und dennoch aufeinander bezogene duale Kräfte, die sich nicht bekämpfen, sondern ergänzen und spiegeln. Die Skulptur wird durch ein leichtes Anstoßen von der Seite in Bewegung gebracht. Die Bewegung symbolisiert die relative rhythmische Wechselwirkung zwischen zwei „rivalisierenden“ und dennoch zusammengehörigen „Dingen“. Ein Paradox – Zwei Gegensätze geschlossen in einer Gesamtheit durch einen ewigen Kreislauf. Ein Symbol der gegenseitigen Begrenzung. Ein ständiger Versuch.

FACTSHEET:

Dimensions : 90 cm x 22 cm x 90 cm (Height, Width, Depth)
Year : 2019
Material : Ceramics, Stone, Clay, Plaster, Ice, Plastics, Glass
Technique : carved, Ceramics
Style : geometric, symbolic, surreal, social, contemporary, modern

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THE GARDENER
Following from Der KUSS, this piece further develops sculpture’s integration and unification with nature.The Gardener is even lighter and more transparent than ‘Der Kuss’ yet at the same time is also dynamic and powerful. The woman bends to look at the jasmine which grows along and within her leg, and beyond to the roots where its journey inside begins. The effect of the plant climbing within is a ‘Cul de Paris’, a 19th century skirt.
Janine von thungen, Bronze, Others
Elefant / Elephant
Auf Amboss getriebene Eisendreiecke verschweißt, gerostet und geölt. Iron triangle formed on anvil - welded to sculpture - rusted and oiled
Kian Lorenz, Metal
The delusion
Als unentrinnbare Verstrickung drückt die Gnadenlosigkeit von Schmerz, Verzweiflung, Hoffnung und Sehnsucht existenzielle Not aus. In diesem Werk versuchte der Künstler sich aus den Bahnen vom reinen Expressionismus zu distanzieren und Narratives Figuratives ins Leben zu rufen. Dem Betrachter wird das Verborgene ohne Distanz vor Auge geführt, was fernab jeglicher Interpretation erlebt werden kann, sozusagen als Spiegel vom eigenen und kollektiven Trauma.
Marcel Börlin, Bronze
EX VOTO - YES MAN
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. This votive sculpture is against the yes men not rarely it is an amulet against the yes men that unfortunately we often have to bear.
Alessandro Pongan, Bronze, Metal
Schlechte Nachricht / Bad News
A. Rimpel: 2017 Palazzo Mora Venedig / Kubismus
Andreas Rimpel, Bronze, Plaster
PRONO cubic
Bronze lost wax casting, black patina.
Alessandro Pongan, Bronze, Metal
REACHING TO THE STARS
6 Exemplare limitiert, nummeriert handpatiniert, handpoliert und signiert
Marcel Börlin, Metal, Steel
artwork.7
Lindenwood with pigments and natural resin.
Victor Mangeng, Wood, Others
Relationships, a Work in Progress
Two parts of one broken piece of Staturio marble found buried in the sand of a Danish beach. Finding the relationships and connections between them I have brought them back together as part of a lifelong pursuit finding ways to deeply connect and relate. to myself, to others, to the world.
Robin Krepakevich, Marble, Stone
PRONO - Despite Everything
Despite Everything is an experimental piece made with concretized sand. The sculpture can virtually be produced in large scale. My archetype Prono is shown here like a mountain carved out of deep canyons and eroded by time. My intention was to bring back the essence of our self after the passage of life events.
Alessandro Pongan, Others, Synthetic resin
EX VOTO I - Visio
Votive sculpture dedicated to the Vision. EX VOTO is an in progress cycle of digital sculpture that sometimes reaches the physical state through my sculptures, bas-reliefs, graphics and video productions. They are votive figures echoing those that can be seen in the ancient baroque churches placed by the faithful as a sign of gratitude for the grace. I will fine art print in limited series. Printed on Hahnemühle - Photo Rag Bright White 310 g/m2
Alessandro Pongan, Paper
Gemeinschaftsskulptur Sitzsteine
Partizipatives Bildhauerprojekt für den Öffentlichen Raum
Birgit Cauer, Stone
EX VOTO II - Fortuna Adversa, Fortuna Propitia
EX VOTO II - FORTUNA PROPITIA, FORTUNA ADVERSA EX VOTO is a cycle of works in progress that sometimes reaches the physical state through my sculptures, bas-reliefs, graphics and video productions. 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. I will fine art print in limited series. Printed on Hahnemühle - Photo Rag Bright White 310 g/m2
Alessandro Pongan, Paper
Prometheus - Epimetheus
Prometheus is the well-known Titan from the Greek Mythology who stole fire from heaven for the benefit of mankind. He is the active maker and his name means “fore-thinker”, but for his famous deed he was heavily punished by the gods. His brother Epimetheus is far less-known. The “after-thinker” is ill-reputed for his hindsight and probably suffered a lot from this reputation. While Prometheus is characterized as ingenious and clever, Epimetheus is depicted as foolish. As a pair they strive for the possible and the feasible in this procumbent but dynamic sculpture. cedar tree; one piece; untreaded surface Prometheus ist der bekannte Titan aus der griechischen Mythologie, aktiver Macher und Feuerbringer der Menschheit. Er trägt den Namen «der Vorausdenkende»; für seine berühmte Tat wurde er allerdings von den Göttern fürchterlich bestraft. Sein Bruder Epimetheus ist praktisch unbekannt. Als ewiger Zweifler, «der danach Denkende», hat er einen schlechten Ruf und litt sicher sein Leben lang unter dieser «Charakterschwäche». In der liegenden Holzskulptur loten die beiden Brüder als polares Paar das Mögliche und Machbare aus. Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
Erwachen
Awakening Over 90 years hidden inside the stem the moist heart wood of the walnut surprisingly shows a purple-eggplant colour when cut by the carving knife; only seconds after the colour has changed to its ordinary walnut-brown. This stupendous effect has been inspiration for the coloration of the inner part of the sculpture which branches off the main body in the lower half and nestles in a bowl like structure in the upper zone again. walnut, made from one piece; purple-eggplant translucent varnish; walnut pedestal Über 90 Jahre im Innern verborgen scheint das feuchte Kernholz des Nussbaumes beim Anschneiden mit dem Schnitzeisen unerwartet blauviolett auf, nach wenigen Sekunden wandelt es sich zum gewohnten Nussholz-Dunkelbraun. Dieser überraschende Effekt stand Pate für die Farbgebung des inneren Teils der Skulptur, die sich in der unteren Hälfte vom Hauptkörper löst, um sich im oberen Bereich wieder in eine Schalenform hineinzuschmiegen. Nussbaum massiv; aus einem Stück gearbeitet / partiell blauviolett lasiert; mit Nussbaum-Sockel
Klemens Pasoldt, Wood
Trias (Ameno)
Like a fossil dug from Triassic sea deposits; old, quiet, calm, wise, but the three parts find together in tension as they want to move or struggle for new positions. «One» means undivided, entity; «two» means divided, polarity and «three» («tri»; Greek prefix for threefold) means completeness, perfection which is only achieved by moving the antagonism. As bowl-like structures the parts are open for new contents. cedar tree; made from one piece; untreaded surface Ein Fossil aus triadischen Meeresablagerungen; alt, ruhig, gelassen, weise, und doch finden hier drei Teile in einer Spannung zueinander, als wollten sie sich fortbewegen – oder ringen miteinander um neue Positionen. «Eins» ist das Ungeschiedene, die Einheit; «zwei» steht für das Geteilte, die Polarität und «drei» («tri»; griech. Präfix für dreifach) ist die Vollständigkeit, die Geschlossenheit, die durch das Bewegen der Gegensätze erreicht wird. Als Schalenformen ohne Inhalt sind die Teile offen für Neues. Zedernholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
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
Schwanger / Pregnant Woman
Andreas Rimpel, Gips-Torso, Kubismus
Andreas Rimpel, Clay, Plaster
Standing at the Crossroads
Two standing organic crosses touching each other at the fringes only, not even the inner limb connects the bodies. Instable equilibrium; dancing, struggling, delighted sliding, falling; ceaseless quest for balance. However, at the crossroads you have to make up your mind. Elm tree; made from one piece; untreated surface Zwei stehende, organische Kreuze, zusammengehalten nur an ihren äusseren Rändern, auch der innere Holm ist nicht durchgehend. Labiles Gleichgewicht; tanzen, ringen, entrückt gleiten, fallen; unaufhörliche Suche nach der Balance. Aber an der Kreuzung muss ein Entscheid fallen. Ulmenholz massiv; aus einem Stück gearbeitet / unbehandelt
Klemens Pasoldt, Wood
Black widow
Ein Rätsel. Erhaben und enigmatisch gibt diese Skulptur keine vorgefertigten Antworten, sondern lässt dem Betrachter Raum für Empfindungen und eigene Interpretationen.
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artwork.14
serie in pine wood carved and burned
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The Mirror
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Jaco van der Vaart, Metal
Fly bird, fly
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Margarete Adler, Plastics, Synthetic resin
MENSCHEN (Serie)
Holz gesägt und gefeuert | ca. 180 cm | 2016 – 2018
Rendel Freude, Wood, Metal
Sommerkälte
lebensgroße Bronze Frau mit Kleid
Susanne Kraißer, Bronze, Metal
Bestial bestiary
A series of showcases in which The balance is explored on what is considered decent and proper.
Bert Poot, Mixed Media
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Blauer Tropfen - Blue Drop
blue Drop - Lime wood with lapislazuli pigment
Markus Brinker, Wood, Natural materials
Changing announcement
Kinetische Skulptur zum aufziehen Metall, Draht, PE-Schläuche, Sicherheitsgurt, Öl Diese Skulptur gewann an der Skulptur Biennale in Astana, Kasachstan im Jahr 2017, den zweiten Preis!
Bernhard Jordi, Metal, Plastics
Wohlgefallen über Knickbein
Kinetische Skulptur zum kurbeln 2011 Metall, Draht, Blech
Bernhard Jordi, Metal, Steel
Arctic
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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
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Harry Schumacher, Performance, Installation
Gelbton
Gelbton Kinetische Skulptur zum aufziehen
Bernhard Jordi, Metal, Steel
DR 4 - “no-body”
Nach der “Venus de Milo” (Louvre). DR ist das Kürzel für “Doppel Reflexion”. Reflexion wird im doppelten Wortsinn verwendet: zum einen als reale Reflexion der Farbe durch das Licht und zum anderen als intellektuelle Reflexion - nicht ohne Ironie! In Anlehnung an Rene Magrits Bild „Ceci n’est pas une pipe.“ - “ Das ist keine Pfeife.”, ist dies hier im doppelten Wortsinn “no body” oder “nobody”. Es ist eben das was es ist und darüber hinaus all das, was man damit verbindet oder auch nicht. Alle notwendigen Utensilien sowie Montageanleitungen sind im Paket beigelegt. _______________________________ Inspired by the shape of the “Venus de Milo” (Louvre). 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 - not without irony! Based on Rene Magrit's picture “Ceci n’est pas une pipe.” - “This is not a pipe.”, the sculpture plays with the double sense of the word “no body” or “nobody”. It is what it is and beyond that everything that is associated with it or not. All necessary utensils and assembly instructions are included in the package.
Alexander Lorenz, Wood, Mixed Media
Sesamo -
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Janine von thungen, Metal, Installation
Little speech
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Bernhard Jordi, Metal, Others
Fog 2 – Salix.Alba
Material: willow, wire, lights, fog
Judith Mann, Mixed Media, Natural materials
Singener Kapitell
Stadthalle Singen a. Htwl., Eisenguss, Beton
Markus Daum, Concrete, Metal
Sibyllen
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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
Space Station (Station 3)
An installation of corridors, doorways, flashing lights and sound - a low rumble and a voice intoning a series of numbers. There are numerous ideas, both visual and conceptual, that form the basis for this particular work, with the dialogue between the initial ideas and the changing construction of the work producing further elements within the overall structure, and initiating further ideas to follow. The work can be seen to mirror its own creation, taking on a life of its own. As if it was not an act of construction, but the result of the uncovering of a pre-existing site. The starting point was science-fiction, not the bright shiny science fiction of the contemporary media, but the science-fiction of television programmes of 1960’s UK, where the black and white images allowed room for imagination. As a child the imagery of these programmes affected my view of the city of my birth, where all strange corridors and abandoned buildings became infused with the possibilities of something unexpected, and a small room could be the entrance to another world. My love of science-fiction writing was engendered at this time, especially of those works that take as their subject the psychological effects of the Anthropocene. A further idea referenced in the installation is the idea (rather than the actuality) of the space-station, and speculation on how anyone could cope with an existence forever contained within an endless interior. Maybe memory would begin to take over, and the ghosts of the past would materialise in the corridors. Such contained interiors are spaces that become divorced from connection to anything except what is within, and there is here a connection to Earth bound contained interiors. A specific film is referenced here, but I will leave you to guess which one… The installation, by the fact that it is a space of corridors, proposes an unstated series of narratives. Installations are in this way akin to theatrical events. However, in the case of the installation, the audience become the actors in narratives of their own imagining. The installation was first exhibited at SeeArt Taipei, and then extended for the Formosa Sculpture Biennial in Kaohsiung Taiwan.
Duncan Mountford, Wood, Mixed Media
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
The Embassy of Doggerland
The installation comprised 8 architectural models on tables of 100 x 100 x 100cm, with each table lit by a single work light with a daylight LED bulb. The entrance into the space was through a structure based on official buildings, and drawing on the previous project Embassy. The Embassy of Doggerland was a metaphor for the fragility of settlement, for the point where humanity went from hunter/gatherers to settled farmers, a symbol for contemporary capitalism and the resulting heating world. The models are of concrete buildings that exist between military infrastructure and industrial ruin, structures designed with a purpose that is no longer discernible. The architecture reflects memories of edge-lands; in the UK around the River Mersey towards the industrial centre of Widnes; and in Taiwan the coast around Taoyuan Airport. These sites are unfixed in time, seemingly as if ghosts from a future catastrophe. Dimensions are for each model/table
Duncan Mountford, Wood, Mixed Media
The Chamber of Uncanny Objects
A site-specific work in National Taiwan University that used the discarded objects from the University (ranging from technical equipment to cabinets from the Japanese colonial era) to produce a 'museum'. The aim was to open up a dialogue over what survives as historically important trace and what is discarded, and to play with ideas of presentation that indicates the value of an object. Extra details from the original proposal: The collected object The nature of a collection is predicated on pre-existing conditions that lay out the parameters of he collection. For this project there are a number of conditions that govern the collection. Primary is the status of the objects to be collected as ‘singular’, that is that they provoke a reaction of questioning (the concept of curiosity is central here). This status of the objects as ‘singular’ is in opposition to the objects in a museum collection, as these are typical – that is that they are of an order that enables the object to stand for all the others of its class (hence museums are educational tools in that they contain things that are examples or reference a specific history). The objects to be collected can also be ‘quotidian’, everyday objects that in the context of their normal function excite little interest. Divorced from this context and placed in the context of the cabinet, such objects will obtain the status of the singular. In addition the objects will be provided with ‘labels’ that reinforce this ‘singularity’, allowing the production of multiple poetic narratives that spiral out from the object. A second parameter that will govern the objects is the practical one of dimensions. There will be maximum dimensions for the objects (which will aid in the status of the objects as fragments), with the flexibility of the design of the cabinet (or of the cabinets that will contain the objects within the overall cabinet framework) enabling objects of different dimensions to be accommodated. Maximum size of objects will be approximately 100cm (height) by 75cm by 75cm. A third parameter for the objects will be based on sourcing them from different disciplines (knowledge areas) in the University, so that the collection retains the concept of curiosity as central (in distinction to attempting an overview of one area of knowledge). The objects will come from various sources, with one emphasis being on things that are disregarded or are now stored (due to technological changes; changes in how knowledge is discovered; changes in the means used to disseminate knowledge), another being on elevating the everyday to the status of the object of wonder. The students will therefore play a crucial part in the making of the work, being collaborators whose input will be important. They will explore the University, negotiate with staff to explore normally locked storage areas, recognise in objects the poetic possibilities. They will map the University as a series of connections that result from these processes. A central component of this part of the project will be the laying out of the ideas to the students, via a series of illustrated talks. The talks will focus on topics central to the overall project – the history of cabinets of curiosities, museums, and the connections of these forms to art practice and theory (with reference ranging from Surrealism to the Pitt Rivers Museum and the Museum of Jurassic Technology for example), various ways in which collections can be utilised in contemporary art, and the relationships between art and science. The methods used to display the objects in the cabinets will reinforce the concepts of singularity, and will reference a variety of means and methods of presentation. This will range from the use of magnifying lenses to direct the focus onto one part of an object (and fragment the overall affect); the placing of disparate objects in the space of the same cabinet (playing on the accidental poetry of such encounters – ‘as beautiful as the chance encounter of an umbrella and a sewing machine on a dissecting table’ ); the use of lights within the cabinets to emphasise the reliquary references; the use of materials such as linen in the interior of the cabinets. The objects will therefore not be displayed in a ‘museum-like manner’, but in contexts that add other readings/narratives. This will also be take place in the individual cabinets, with multiples of objects producing narratives. The total cabinet structure itself is also an artwork, and not solely a means of display. It will be designed and constructed as an artwork, with the enclosed central space producing an area of multiple lights and reflections on the windows of the multiple interior cabinets. The “books of utopias” are an integral part of the project, for, if the objects in the cabinet produce a dream-like series of connections (in the best surrealist sense), then these utopias are the dreams of what might be. All of the elements relate to the wider questing that lies at the heart of the ideal of the University (whether a specific university or in general). The project is therefore site-specific, in that it could take place in any other type of venue. Only a university produces such connections of different knowledge areas, and only this University will produce this network of connections (objects, utopias) from this very specific set of people.
Duncan Mountford, Wood, Mixed Media
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
Material: fog, light Location: Cologne, Germany Size: 10x15x25m Year: 2018 Photo: © Mandy Göhler
Judith Mann, Natural materials, Mixed Media
"a woman´s life"
Keramik, Rakugebrannt Einzeln gebrannte Teile, ineinander verschieb- und stapelbar, die kleinen Figuren versinnbildlichen-die ziehenden und zerrenden Sorgen, Ängste und Regeln, von denen man sich verformen lässt.
Lisi Deutsch, Ceramics
Kinetische Wandobjekte KWO-FP
Version 01-04 Edelstahl, Messing, dichroitisches Glas, Mikrokugellager, Holz Metallkorpus 22 x 22 x 13 cm, Tableau 80 x 80 x 2cm Limitierung je Version 20 Stück Nominiert für den Staatspreis des Kunsthandwerks Nordrhein-Westfalen 2021 Publikumspreis der MANUFACTUM Ausstellung 2021
Michael Berger, Metal, Glass
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
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