Aufbruch | Reihe

iLlegal housing III. - 2018 in ccoporation with Ien van Wierst, Ses Roquettes, Islas Baleares, Spain
Herbert Hundrich, Natural materials, Synthetic resin

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 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 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. 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=6#id6 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=2
Alexander Lorenz, Wood, Synthetic resin

Installation in glass and rattan photos by the artist and Jan Wilms
Alexandra Bremers, Natural materials, Glass

seating furniture material: ply wood pine finish: antique wax polished / leaf gilded process: programmed structure, cnc-produced 14 pieces on a 3-axis-mill, assembled and polished by hand
Bergit Hillner, Wood, Natural materials

Description in German, English and French - please scroll down Dies ist eine der Skulpturen, die entstand indem der Geist die Hände führte, ohne dem Bewusstsein mitzuteilen, wohin die Reise ging. Am Ende enthüllte die Form den Namen der Skulptur: Pulpo. This is one of the sculptures that was created when the mind guided the hands without telling the consciousness where the journey was going. In the end, the shape revealed the name of the sculpture: Pulpo. Ceci est une des sculptures, créée lorsque l'esprit guidait les mains sans communiquer à la conscience où allait le voyage. Au final, c’est la forme qui donna le nom à la sculpture: Pulpo.
Jens Linnek, Stone, Natural materials

Tischplatte ... zwei prachtvolle Zierkarpfen umrunden sich in unendlich scheinender Detailtiefe. Lindenholz natur, gelasert,
Bergit Hillner, Wood

The connection between human, and the link between human and nature. We are all part of the universe and therefore we are all connected. I portrayed human in the state of togetherness and oneness. One’s actions will affect all other.
Mehnoush Modonpour, Clay

A three-quarter circular structure, the outside roughly finished and with the structures and cabling for the interior elements visible. The inside wall was faced with red linen, and with six cabinets inset in the wall. Each cabinet contained a constructed slide projector (light, metal tube, 35mm slide, mirror), and these threw the image of a single letter into the opposite side of the cabinet. Each letter was from the word 'museum'. The interiors of the cabinets were faced with black linen.
Duncan Mountford, Wood, Textile

Ring ... die kleine Urlaubs-Erinnerung | pure silver, 6 diamonds and the centerpiece is a shel found on a cap verdian beach 2017 (still a nice memory)
Bergit Hillner, Metal, Natural materials

Für den Unterbau meiner Gipsarbeiten arbeite ich teilweise mit verschweißtem Stahl und immer mit Drahtgeflecht. Für den Aufbau verwende ich Alabaster-Gips. Während meiner Arbeit entwickelt die Skulptur eine Stärke und gleichzeitig eine Verletzlichkeit, die unkalkulierbar ist. Diese Widersprüchlichkeit reizt mich. Das greife ich auf, lasse es zu, treibe es weiter auf bis auf die Spitze. Material: Gips, Draht, Leinen Unikate
Helga Kaes, Plaster, Metal

Schmeichelsteine sind von Gestern ... heute gibt es die Hosen-Taschen-Ladys Handlich und zum garantiert Anfassen ... diese kleinen Werke entstehen zwischendurch aus verschiedenseten Materialien und je nach laune in schlank und biegsam, bis üppig weich ...
Bergit Hillner, Wood, Bronze

bronze, stainless steel & steel 2017
Hans Some, Bronze, Metal

die Tasse für den morgentlich riesigen Milchkaffe ... hilft auch am Nachmittag ... warme hände sind inklusieve ... Porzellan glasiert ...
Bergit Hillner, Ceramics, Glass

inspired stones, 2017 copper & stone variable
Hans Some, Stone, Bronze

GOLDEN COAST SERIES Stainless steel & steel, gold leaf 24K
Hans Some, Metal, Steel

There is always someone who goes opposite the crowd. Who is this person? An outcast? A hero?
Grigorio Antipov, Others, Plastics

The forest is a place of transformation. Nature is changing continuously, offering endless possibilities. This funnel offers a place of concentration to receive the unexpected.
Karin van der Molen, Metal, Textile

The collector’s children recited their own names and the sound waves were recorded and represented in hand blown Murano glass tubes. These are set on iron rods which prevent an old tree from collapsing; representing the youth supporting the older generation. The texture of the glass resembles the bark of the trunk; symbolizing the similarities passed down through family. With the different lights of day the unique red colour appears alive; the work changes as the glass fluctuates from flaming bright to glowing warm or fading into darkness.
Janine von thungen, Glass, Glass

Wandskulptur, Corten-Stahl teilweise gerostet, Hohlkörper nahtgeschweißt
Jochen Warth, Steel, Metal

The work is not only dedicated to the love between woman and man, but also of general love. Man should not be alone, he needs another half. Two figures make the circle. The circle is a symbol of perfection.
Irodion Gvelesiani, Stone

from the Vitruvian Man into the insect...
noam ben-jacov, Mixed Media, Textile

Participated the international sculpture biennial “Sculpture by the sea Aarhus 2015”. It became permanent installation in the public square in the city.
Savako, Plastics

LandArt Park und Au Schloss Gleinstaetten, Austria
Marina Bauer, Natural materials

EINS ALLEINE | STAHL | 2019 (Serie Raumspiel) Räume bilden sich durch Linien und Begrenzungen. Linien im Raum, Raum durch Linien - diese Thema begleitete mich während des Schaffungsprozesses dieser Serie. Stahlstäbe werden gebogen, zu neuer Form gebracht, abstrakt, zwei oder mehrere mietender kombiniert, scheint es wie ein Spiel, durch neues Zusammenbringen, Räume zu verändern. Das Spiel macht frei für den künstlerischen Schaffungsprozess. EINS ALLEINE steht für eine Stahlarbeit, die alleine für sich spielerisch, tänzelnd den Raum erkundet. . . . ONE ALONE | STEEL | 2019 (Series Spatial Play) Spaces are formed by lines and boundaries. Lines in space, space through lines - this theme accompanied me during the creation process of this series. Steel rods are bent, brought to new form, abstract, two or more mietender combined, it seems like a game, through new bringing together, change spaces. The game frees up for the artistic process of creation. ONE ALONE stands for a steel work that alone for itself playfully, dancing explores the space.
Heike Weber, Metal, Steel

High density EPS, resin, Vero Metal coat. The Prono Gigantino was first exhibited in 2018 in CONTEXTO, the contemporary art event that invades the city of Edolo (BS), Italy. The sculpture was placed in the main square of the town. Under the artistic direction of Casa Testori, curated by Davide Dall’Ombra, the exhibition questions the GENERATIONS, intended as a place of witness passages, of cultural heritage that are handed down, but also as acts that give life to something new, beautiful and useful for everyone. The heart of the city opens on the ground floor of one of the most beautiful buildings in Edolo, between the Via and the Corte Mottinelli. 12 artists of three generations, with painting, drawing, video art, sculpture and installation, provide an insight into current artistic production. But there are plenty of surprises for three special projects (At the Liberty building near the train station, at the Library, ex Casa del Fascio and at the old prisons), to finish with two environmental works: near the Town Hall and the Church. The EPS/resin sculpture is a 1:1 model for a bronze sculpture made upon request.
Alessandro Pongan, Metal, Plastics

Serie: Pulp-Fiction Pappmache Nur bedingt für den Aussenbereich geeignet.
Regine Jonas, Natural materials, Paper

STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Durch Biegen der Stahlstäbe entstehen Raumlinien, drei Raumlinien ergeben ein Ganzes. Ein Spiel mit Raum und Dimension. . STAHL | DREIKLANG (Serie Raumspiel) | 2019 | ca. 30 x 40 x 45 cm Bending the steel bars creates spatial lines, three spatial lines make a whole. A game with space and dimension.
Heike Weber, Metal, Steel

“Oto” and “Togen” have permanently been installed at Sculpture Park Billund, Denmark. My studio is at the foot of a mountain that is full of nature. I wished that there should be some spirit-like presence among the surroundings of plants, insects, bird’s voice and fresh air, the sculptures that took shape from that wish, I named them golems.
Savako, Plastics

Keramik | 2021 | gebrannt | glasiert | 13 x 14 x 26 cm . Ceramic | 2021 | fired | glaced | 13 x 14 x 26 cm
Heike Weber, Ceramics, Clay

Forests, fields, rivers and the sky: nature’s most important feature is it’s openess. There are no boundaries, we can disappear in it. Even seemingly impenetrable forests or labyrinthical footpaths open their ways to us if we carefully listen to their language. Nature may feel like an impenetrable knot, a place too difficult to understand. It did to me for a long time, as I was born and raised as a city girl. The digital age only added to that feeling of alienation. But breathing the fresh air and hearing the leaves rustle, I envisioned an open knot sculpture, woven as lace with willow. It is open from the top to the bottom , letting the sky in and move through the tube to the earth.
Karin van der Molen, Natural materials, Metal

In the south of Sweden there are still many gravehills of the bronze age and rockcarvings that may be even older. The sun was worshipped, it was depicted as the so called Sun Cross. The landscape is changed nowadays in a functional way, it can be a nature reserve or used for (industrial) farming or tourism. In many places pipelines criss cross countries to supply fuel for our energy needs. I used the graphic quality of these pipelines, popping in and out of the ground, to depict ways of human traces in the landscape. Seen from the center of the otherwise randomly installed pipes the prehistoric sign of the Sun Cross appears, as a reminder of a different view on the earth that we inhabit.
Karin van der Molen, Natural materials, Metal

Installation invites to get deeper into a concept of layer itself. Whether it is an institutional layer, a cultural or social one. The title becomes a reference to a field of layers. It is provocative and manipulative. Practically the installation is made out of four layers: the first one- the space itself, which remained untouched( I didn't move a piece that was left in the room so the broken armchair, the electrical panel, holes in the wall appear ), second one- layer of plaster which gently covers the layer under it in a form of a playground, the third layer- the line that is made of a paint which used for marking the roads for transport and last one- the marks of visitors which in time changes depending on visitors who are leaving their traces on the white paint of floor and walls. Title stops counting those layers after the fourth one, but if we get deeper we can see many more (example - the layer of knowledge which is necessary to read the work, the layer of spacial and general sensitivity, the layer of individual experience and so on)
Ūla Šukytė, Mixed Media, Others

This is not a pipe, to paraphrase Magritte, but the sculpture suggests the existence of a pipeline across the river. Pipelines are abundant in our world and even if they disturb the landscape they are eventually accepted as a new kind of nature.
Karin van der Molen, Natural materials

When thinking we are hardly aware of the environment, we are closed in our mindbubble. When you put your head in this coconut fibre sculpture, the world is dark, soft and lonesome.
Karin van der Molen, Natural materials, Metal

This old villa needed to be connected to the botanical garden that encloses it. I moved the old furniture and it started to flow as a waterfall down into the garden, returning to nature.
Karin van der Molen, Wood, Installation

The King and the Jester - like human beings they stand face to each other leaving a gap for visitors to slip through and immediately feel in a tense situation between two extremes: King – Jester, dominant – serving, strong – weak, good – bad. Alternatively, visitors can place right behind the figure so as to put on the mask as an actor and to see its opposition through the restricted sight of the mask. If you dare to act as the King you are forced to see the Jester’s freedom and informality, if you slip in the role of the Jester you will be remembered at the King’s rules. Due to tallness and reflective potential the installation is for men only. beechwood (bit-technique), coloured translucent varnish; epoxy resin; carbon fibre laminate; steel Wer in die Maske des Königs schlüpft, wird sein Gegenüber sehen, den Narren. Und wer meint, in die Rolle des Narren hineingeboren zu sein, darf sich auch einmal als König fühlen, wenn er es wagt, durch den engen Sehschlitz seiner Maske zu schauen. Steht man dagegen zwischen den Figuren, findet man sich unmittelbar in einer angespannten Situation zwischen zwei Extremen wider: König – Narr, dominant – dienend, stark – schwach; gut – böse. Wofür entscheide ich mich? Entsprechend der Grösse der Figuren, der Höhe der Sehschlitze und dem Reflektionspotenzial ist die Installation für Männer gedacht. Buche - Holzaufbau und Carbonlaminat / unterschiedlich farbige Lasuren; Stahl
Klemens Pasoldt, Wood, Synthetic resin

Everything changes always, but now nature is forced to adapt to unforeseen circumstances. This 'skin' is put on a frame as the Inuit do traditionally after their bear hunt.This feathered polarbear skin raises questions about tradition versus modernity, change and loss in the natural world.
Karin van der Molen, Natural materials, Textile

Vanitas objects are an old symbolic in the arts of the inevitability of death and the transience and vanity of earthly achievements and pleasures. This feathered skull is fixed to a transparant boat, ready to cross the waters, may also be seen as a tribute to the beauty of life.
Karin van der Molen, Natural materials

Unicorn – sacrificial lamb A start-up venture with a value of over one billion US-dollars at the initial public offer at the stock market is called a “Unicorn”. Does it create winners only? What is the sacrifice a spiritual society offers to an economy strongly focussed on materialistic aspects only? Anyway, a momentum of polarity; chase upward – fall down; climb the steps – slip back. Moreover, the installation offers other extremes; the columnar carcass of the ladder – the voluminous black vessel; usable – receptive; functional – spiritual. beechwood (bit-technique), coloured translucent varnish; epoxy resin; carbon fibre laminate; ladder; gloves "Unicorn" (das Einhorn) ist ein Startup-Unternehmen, welches an der Börse mit einer Milliarde US-Dollar durchstartet. Gibt es dabei immer nur Gewinner? Wir gross ist das Opfer, welches wir als Gesellschaft geistig-seelisch für unsere materiell orientierte Wirtschaft bringen? Auf alle Fälle ein polarer Bewegungsimpuls; steigend – fallend; nach oben und nach unten. Die Installation hält noch andere polare Elemente bereits; das stengelige Gerippe der Leiter – das geräumige schwarze Gefäss; nutzbar – empfänglich; funktional – geistig. Buche - Holzaufbau und Carbonlaminat / orangefarbige Lasur; Leiter; Handschuhe
Klemens Pasoldt, Installation, Wood

Little Warden His copper crook is an antenna to the transcendent; in his ultramarine blue shield space does reflect; he does not really meet the ground. elm tree and copper bar; ultramarine varnish; steel plate Sein Kupferstab ist seine Antenne zum Überirdischen; sein blauer Schild spiegelt den Raum; wirklich verbunden mit der Erde ist er nicht. Ulmenholz mit Kupferstab; ultramarinblaue Lasur
Klemens Pasoldt, Wood, Mixed Media

Fragments of china porcelain form this funnel into Yu Lei mountain, an artpiece along the historic tea trade trail. At first sight it can be read as a tribute to the ancient culture, that is still feeding our culture today. Patterns of blue and white porcelain in the sculpture tell us about yin and yang balance, values that are still able to inspire us beyond the challenges of modern life. At closer look you will find also pieces of porcelain coming from European countries. As happens in this sculpture, our cultures get closer and eventually we are influenced and inspired by one another. At the bottom of the funnel there is the drain, to let the rainwater out of the sculpture. The drain pipe also tells us to cherish our fundaments, and not let them be washed away.
Karin van der Molen, Ceramics, Concrete

Centering It all tends towards the centre where you find space, silence and rest – a stop for contemplation. Lumber of beech tree, glued and plugged; numerous layers of blue translucent varnish Alles führt in die Mitte, dort ist der Raum, die Ruhe und der Ort der Einkehr. Buchenkantholz verleimt und verdübelt; mit mehreren transparenten Schichten blau eingefärbt.
Klemens Pasoldt, Wood

SERIE: Pulp_Fiktion_Skulpturen Pappmache Nur bedingt für den Aussenbereich geeignet
Regine Jonas, Synthetic resin, Paper

Quiet rebel The quiet rebel is not a quiet assistant. Despite of his rigid helplessness he tends to be an actor – certainly not a victim. The one who has ear openings is able to hear – can record. Where does all the knowledge accumulate? Does it condense to certainty? Moreover, the one who has a mouth opening is able to utter – can take part in decision-making. Is this true? Do people listen? The inner fervour subtly shines through the thin skin. Between his tiny bits you notice the mastic of confidence which is supposed to hold all parts together - or is it mere black desperateness? Of course, what remains is his inside blankness - awesome and sheltered void - no disturbance. Exempt from thousands of constraints, needs and physical things it offers a possibility to get oriented - to find the essential - to become what must be - quiet rebel. beechwood (bit-technique), fuchsia translucent varnish; epoxy resin; fibre laminate Stiller Rebell ist kein stiller Helfer. In seiner starren Hilflosigkeit will er Täter sein - kein Opfer. Wer Ohrenöffnungen hat kann hören - aufnehmen. Wohin fällt all das Wissen? Verdichtet es sich zur Gewissheit? Und wer eine Mundöffnung hat kann sich äussern - mitbestimmen. Ist dem wirklich so? Wird zugehört? Schmerzlich schimmert das innere Feuer durch die dünne Haut. Zwischen den Teilchen der Kit aus Zuversicht, der alles zusammenhält - oder ist es schwarze Hoffnungslosigkeit? Gewiss, ihm bleibt die Leere im Innern – grossartige, umhüllte Leere - kein Inhalt. Die Möglichkeit befreit von tausend Zwängen, Müssen und Dingen sich zu ordnen - sich zu finden - zu werden, was sein muss - stiller Rebell. Buche - Holzaufbau und Laminat / magentafarbene Lasur
Klemens Pasoldt, Wood, Synthetic resin

A huge hollow hayball is suspended in the citypark of Kiev, offering a place to be alone and isolated in a natural surrounding. Just the smell of the grass, the feel of the hay and a view towards the sky.
Karin van der Molen, Natural materials, Metal

This corten steel sculpture is inspired by the real existing plant Colletia Paradoxa, consisting of little airplane wings. It is a prickly plant and so are airplanes in our world, very convenient but displaying inconvenient effects on nature.
Karin van der Molen, Metal

inlands #1 2017 steel & stainless steel
Hans Some, Metal, Steel

interactive sculptural installation by Marina Bauer, 3 sandboxes with cement casts of objects, photos and texts
Marina Bauer, Installation

Tsunami Paradiso Canto II. Life-size silhouettes of figures fleeing from the Tsunami are cast in thin iron. These shadows are inscribed with the names of the thousands who lost their lives in the disaster. As these figures are touched by the viewer and sway in the wind, they become the runners between this world and the next. The flatness of the figures was inspired by the distinctly flat, rather than ‘fleshy’ Adam in Paradise from Massaccio’s Adam and Eve. In 2008 the first set of sculptures was realised in bronze rather than iron. The engraved text is from Dante Aligheri’s Paradise, Canto II. The full text is only visible if you read the letters written in the air between the sculptures. This specific passage links the events of the Tsunami disaster with Paradise in a more profound way. In Canto II the idealised and beloved Beatrice takes the author through Paradise.
Janine von thungen, Bronze

Border + Lines. 2021 als ich Kind war, habe ich gezeichnet um die Welt zu verstehen. Jahre später .. um die Welt zu verändern.
Herbert Hundrich, Paper, Others