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  • newArt-in-Society-form
    ook voor Asparagus 3 Ondanks het verschil komt het mij over als een echo van de Hortus werken hoewel het eerder een vervolg is op het exploratieproces dat ik toen gezien heb Een verder nog meer radicaal zoeken of een nieuwe poging om nog dieper te peilen nog meer binnen te dringen in de geheimen van de realiteit en de mysterieuze taal van vormen kleuren visuele verbanden Hoewel we opnieuw de basisstrategie zien de combinatie van een digitale print en als tegenbeeld een schilderij is de concrete visuele realisatie ervan meer complex we krijgen in dit werk in plaats van een zwart geverfde ruimte twee witte met krijt geschilderde ruimtes of gebieden of panelen Schilderijen die mentaal overkomen als puur wit als een leegte die stilte oproept telkens onze ogen ze strelen in een ritme enkel onderbroken door de afbeelding er tussen in Hun concrete fysieke witheid wisselt echter af met de witheid van twee andere panelen die niet monochroom zijn EÈn ervan is een schilderij de andere een digitale print In het ene geval het paneel links met andere woorden de digitale print zien we zowel minutieuze spatten als clusters van zwart en kleuren binnenin het witte oppervlak het zijn net muzieknoten op een wit muziekblad In het andere geval het geschilderde paneel tussen twee witte monochrome schilderijen krijgen we tere schakeringen van zachte bijna transparante kleuren Voor mij leken deze schakeringen op het vluchtige rood van een kus of een vingerafdruk Net zoals het onbereikbare veraf blauw van de lucht Zoals de oranje kleur van een vleugel van een vlinder die al verdwenen is en enkel nog een oranje spoor in onze herinnering heeft achtergelaten Of is het de bijna zwakke oranje gloed van een vlam het vlammende oranje van de zon gezien achter gesloten oogleden Maar dan nog teerder nog brozer meer ontwijkend en vluchtiger Andere kleuren en hun gecombineerde verschijning in het midden van een wit oppervlak deden aan een ander beeldend kunstenaar denken aan de kleuren van een glasraam in een kerk Misschien de kleuren van de glasramen van Gerhard Richter in Keulen Ik kan me enkel afvragen of er nog andere meer betoverende parallellen zijn In tegenstelling tot de zachte en vluchtige karakteristieken van de verschijning van dit non monochroom paneel dat geflankeerd wordt door een monochrome witheid vertoont het andere non monochrome paneel met zijn minutieuze spatten als clusters van zwart en kleuren binnenin het witte oppervlak patronen van een afdruk geproduceerd door een machine eerder dan geschilderde kleuren Zonder twijfel is het startpunt hier zij het direct of indirect een afbeelding uit het hierboven vermelde gereproduceerde boek Misschien is Luc begonnen op basis van het resultaat van een transformatie proces of transformatie processen die hem naar een werk van de vroegere Hortus serie heeft geleid Hij is misschien terug opnieuw begonnen op basis van een afbeelding uit een boek Het is duidelijk dat vergrootte Xerox kopie Î n van een plaat dat in het boek gereproduceerd werd hele grove deformaties aanbrengen aan

    Original URL path: http://www.art-in-society.de/AS8/Asparagus3-Dutch.htm (2016-04-25)
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  • A Poem On A Sculpture by Vincent Halflants - ---------------------------------------------------------------
    called Guernica it is called Coventry Oradour it is called Nanjing Dresden it carries the forgotten names Of more than four hundred Places in the Ukrainian landscape where they burned killed extinguished Whatever was found alive But today it was the figure of a man In a hospital The frozen corpse on a stretcher That was exhibited in front of our eyes Lying there lying on that stretcher A stretcher

    Original URL path: http://www.art-in-society.de/AS8/VHalflants_sculpt.html (2016-04-25)
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  • Dessins - Textes 1988 - 2002, par Francis Schmetz (2005)
    zu tragen scheint in der Darstellung 0016 A simple line Suggesting a man or woman sitting and thinking And JUXTAPOSED Three solid BLOCKS OF COLOR rectangular shapes with rounded corners placed into the whiteness of the space like three sounds of a hammer like the sounds of a bell tolling its hammer hammering against bell shaped bronze The color of the human being s outline the color of the three solid shapes is very nearly bronze color Three lines are typed onto the paper each line finds its concluding SOUND SAYING THIS IS WHAT IT IS LIKE In the three solid rectangles the three shapes of color OF BRONZE COLOR The first line SAYS I walk along this Sunday Ich gehe den Sonntag entlang The second says you have always misused it art Th Bernhard ihr habt sie immer mißbraucht die Kunst the third says don t kind yourself about this da mache man sich nichts vor The leaf is signed 1302201 F S What more can you say 0015 Ein Blatt aus dem kleinen karierten Notizbuch Mit Wasserfarbe in leichtem Graugrünbeige von verwischtem rötlichen Staub überschattet ist ein Schemel oder Tischchen zu Papier gebracht Eine Hand hat daneben auch darüber geschrieben Schlafen aufwachen Essen Trinken Sich waschen Einkaufen Schmerzen jemand kommt nicht Denken Das ganze Leben eines Menschen an einem Tag sein Innen und außen Ein Gesamtkunstwerk Was Das Leben Das Blatt im Notizbuch das es festhält als verblichene noch bleibende Spur 0027 Aus der Erde heraus so zart aufsteigend so ephemerisch verwundbar wurzelnder Stengel sich entfaltendes entfaltetes Blatt So ist jedes Sein auch meins deines verwundbar sich erhebend fortwachsend aus dem verwundbaren starken Ursprung dem Anfang seiner empfangenen geschuldeten Energie Um das Blatt zu öffnen oder nicht das Blatt das Blatt das der Künstler beschrieb mit dem rötlich bräunlich rötlichen Stift mit der Bewegung der Hand sie die den Stift führt geleitet von der Kraft eines Anfangs eines immerwährenden neuen Beginns 0020 schwarzer Halbmond des Fragments eines zerbrochenen Rads schwarzer Halbmond einer Sichel ohne Schärfe ohne Spitze schwarzer Halbmond von dem die Energie entströmt schwarzes Licht schwarzer Wind in die Leere des unendlichen Papiers seiner Papierfarbe Unmerklich fast setzt sich die Sichel fort zum Schwert zum Kreuz zum abgebrochenen Schwert zum abgebrochenen Kreuz ein Kraftfeld verbindet sie Sichel und Schwert Halbmond und Kreuz ein Kraftfeld des Schmerzes ein Kraftfeld des Konflikt ein Kraftfeld der zerbrochenen Einheit Chère Mère lese ich Liebe Mutter ich b je s es bricht ab es endet in Stille weißes Papier Nichts irgendwo steht noch ein nach für ein Datum abgekürzte Signatur die Worte Cruauté Souffrance Grausamkeit Leiden Ein fast silberner Punkt erscheint in der Weite wie ein ferner Mond ein Punkt des Bezugs für die ferne Kraftlinien verströmende Sichel Cruauté Souffrance Chère Mère je s ein Geworfener in die Welt aus der Du schwandst in die Du mich entließt Energie Kraftlinien Stürme in uns um uns Soviel Unbegriffnes soviel Gewalt soviel Zerbrechen der Dinge der Träume und träumenden Träumer soviel das ich zerbrach

    Original URL path: http://www.art-in-society.de/AS8/FSchmetz.html (2016-04-25)
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  • newArt-in-Society-form
    Bas that were ruled by the Habsburg dynasty since the days of Charles Quinze the so called Low Countries or Netherlands which included Belgium at the time Els Patoor mentions that it is a gravure by Merian done in 1627 The second is of unidentified and at least for me unidentifiable origin It is a dense somewhat repetitive structure perhaps a detail that was in a different context depicting parts of a sky or of a water surface It seems in other words like a blown up greatly enlarged segment of an image And the animal I found on a postcard one of these cards that depict fossiles and that can be found there in Eichstaett It s not the archeopterix I have probably emphasized its expression and neglected scientific precision Els Patoor That we see an ossified fossile the trace left by an animal that died at a time when man had not yet made his appearance on earth is immediately perceived What is not immediately perceived is the accidental casual discovery of a trivial object the postcard and how like the startling objects singled out by surrealist artists in the 1930s 40s and 50s it propelled something And thus unleashed a creative impulse in the artist Els Patoor that instinctively made her integrate this image in the course of a work process that consciously or not relied on combination on montage without blurring the boundaries of the combined images as major Hollywood filmmakers in opposition to Eisenstein always tended to do It is quite true that overpainting in a mixed media work could have amounted to a similar camouflage of the combinatory approach that integrates basically heterogenous material Perhaps it is the increasing preponderance of black in the lower part of the middle segment and the entirely black background in front of which the fossil stands out which help blur the line of contact between middle and lower image to some degree But that three distinct layers or strata that owe their existence to three different image sources exist in this work is clearly recognized Is there a significance inscribed in this recognizable existence of layers I think yes it is indeed meaningful I tend to read the urbs the bird s eyes view of a town embedded in a landscape as a metaphor for a world a human universe as Charles Olson called it a representation of our society or rather in a global context our societies our contemporary threatened existence The middle section the largest of the three sections suggests quite concretely depth I read it as the underground the subsoil that is and I read its graphic structure as a representation of geological layers Very deep down in the deepest darkest inside of the earth the underground or subsoil the animal seems to be at work opening its jaws spreading its wings or spreading out its arms as if ready to surge upward into the open air Read metaphorically it embodies all the looming quite

    Original URL path: http://www.art-in-society.de/AS8/EP/Patoor.html (2016-04-25)
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  • newArt-in-Society-form
    shouting at us minimalist art works like your s let us breathe quietly look closely listen to the sensations inside us that are caused by what we see the fine structures of a work for instance that seems abstract and simple of simple beauty at first sight and that has such infinite richness of almost organic forms which become visible as you perceive it more and more noticing its variations

    Original URL path: http://www.art-in-society.de/AS8/Coeckelberghs.html (2016-04-25)
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  • newArt-in-Society-form
    in our eyes our brain images of nature that hold or include inside them again images of nature An irritation is produced that makes us more aware of the fact that seeing real nature already presupposes a rapport a relationship between her or him who sees and whatever is seen And it is this rapport that is doubled or complicated by the intervention of the artist It could be argued that a billboard placed next to an American Inter State highway would do the same to us Usually however the ordinary billboard is not noted as an aesthetic object as such a purpose is known to be absent and the landscape surrounding it is seen as accidental and of no relevance with regard to the billboard We abstract from many of the billboard s sensual qualities in order to consciouly or more often preconsciously concentrate on its function its message We disregard the surrounding landscape when we note the message because the landscape is known as something not functionally related to that message In Delphine Coindet s installation the fact that nature relates to nature that the images placed inside real nature show visual quotations of photographic landscape fragments results in a montage The inserted photos are recognized as aesthetic objects but the landscape they are placed in receives a new heightened attention as well In fact it becomes part of the aesthetic object part of the installation It is read as something aesthetic too Somewhere in an art magazine I have recently seen a photo of an American landscape that included a billboard On the billboard I saw nothing but a landscape Both the real landscape represented in the photo and the photographed landscape inserted by way of the billboard in the art magazine photo showed characteristics typical of

    Original URL path: http://www.art-in-society.de/AS8/sp/Coindet_01.html (2016-04-25)
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  • Lionel Estère's Installation LANGE BOS at SPEELHOVEN 02 - -----------------------------------------------------------------------
    of dark and light areas the dark interspaces between the trees and the light stroked tree trunks as well as the whitish bush A dreamlike impression of nature near at hand is created in the case of the bush and adjacent trees whereas the trees further away recede into the black night The bush with its long and straight stem and the blossom s is highlighted especially in an almost fairytale way as if it was a little child among a number of adults that receives all the attention Or a princess or prince standing in her or his own lonely and vulnerable way among the courtiers in the king s palace The observer knows that it is the presence of light flowing from the technical apparatus installed close to the soil at the edge of the forest that is transforming everything And yet the metal frames from which this light is flowing could strike an audience like mythical flying objects intruding from another world Insofar there exists more than a starkness or intensity inscribed in the contrast of and transitions between light and darkness that we discover Being technically produced the light that pervades and affects the natural darkness of night flows from these metallic things we see that must not be forgotten because as technical objects they enter into the visual equation they are seens and they are obviously matter processed and formed and installed by man set against the growing blooming blossoming elements of nature At the time of darkness someone presumably the artist has placed the strangely out of place therefore strange objects inside nature which is thus confronted with the difference and strangeness of these objects but which by the artifical light these objects emit has has already taken on a strange appearance itself It

    Original URL path: http://www.art-in-society.de/AS8/sp/Estere_02.html (2016-04-25)
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  • Drifting / Dérive: The SPEELHOVEN 03 exhibition - -------------------------------------------------------------------------------------------------
    by the cyclus of life and death in nature de kracht die uitgaat Nature in other words was not seen in a romanticizing way as harmless Apparently it is something raw Our part in it seems to be most terribly obvious in our own mortality Is art therefore stylized as a civilizing antidote as an embodiment of culture the cooked the made the produced the constructed The conceptualized as against the raw Is the artist tempted to seek permanence some sort of survival in the concept the invention the idea of a work of art juxtaposed or placed against the awareness of his frail body But then aren t the works of the artists shown here whether conceptual or not often in themselves tender frail revealing no more than a fleeting presence exposed to the onslaught of time and natural forces Fleeting drifting material shapes forms colors All but permanent objects and installations Lambrecht was right in claiming that a need continues to exist for artists to break with conventionalities and this was clear for long in much of the 20th and in this young 21st century regardless of any fashionable reference to these modern and highly informational and formatted times In deze moderne en hoog geinformatiseerde en geformatteerde tijden is het ondenkbaar dat een kunstenaar zich nog beroept op 19e eeuwse recepten we read and looking at the works of the artists he introduced to us it seems inevitable that I ask myself was he having in mind artists who in obvious opposition to dated concepts of art longed for everything that was perhaps playfully anarchic Daniel Spoerri s oeuvre had projected such a tendency and the oeuvre of Robert Filliou It is enough to think of his tongue in cheek faintly Surrealist Parisian cityscapes The Arc de Triomphe

    Original URL path: http://www.art-in-society.de/AS8/sp/intro-Speelhoven_03.html (2016-04-25)
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