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  • and the Royal Academy for Fine Arts in Antwerp In addition to being an independent artist he was also a professor of etching and computer art and a professeur d honneur at the Royal Institute for the Visual Arts RHOK in Brussels prints animation videos and graphite respectively graphite chalk paintings of surprising strength He received many prices among them the Singer Friden Price for Monumental Paintings the renowned Pro

    Original URL path: http://www.art-in-society.de/AS7/LP/OnLUC.shtml (2016-04-25)
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  • A Small Selection from Luc Piron's 'Figurenfeld' Series - ------------------------------------------------------------------
    A Small Selection from Luc Piron s Figurenfeld Series 016 6 044 3 044 4 044 5 049 1 049 3 049 5

    Original URL path: http://www.art-in-society.de/AS7/Figfield/Figfield.shtml (2016-04-25)
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  • Exploring forms, structures, colors, black & white: Luc Piron's More Recent Work - -----------------------------------------------------
    much more distanced look became necessary Every added blackness that was confronting the viewer so strongly in such structural clarity was asking to be perceived in relation In relation to what was seen of the landscape the sculptures and in relation to what was no longer seen Standing no lying or being simply present in front of part of the digitally metamorphosed photo a part that was no longer visible it was posing a question It was asking us to pose questions to take a step back to pause to reflect It was also producing a contrast no doubt to the finely grained or coarser structure the distributions of light and shade of emptiness and fullness of the manipulated photo At the time Luc Piron wrote The works that form the Figurenfeld series depart from photographs taken on location Then the photographic material was digitally manipulated The soft hues of the sunlit landscape of which the Wünsche Mitterecker sculptures are an integral part are preserved and transported by the filmed material They contrast with black very abstract strictly geometric and in a way architectonic shapes The effect is a sort of Verfremdung that undermines or negates the mere illusionistic reduplication of the visited place An enigmatic element is introduced in that the photographic structures are frequently hidden or partly hidden by the black elements at random The relationship between the elements in black dynamizes space But black may also stand for grief for the dark unknown the black box of time and past suffering and memories hidden inside surviving bodies or taken to the grave by those who have died These words say what has to be said about the figure field series better than I could have done it now The figure field computer prints were in fact most of them at least I take it the result of a montage Combining as we saw photos digitally changed on a computer with another layer the black shapes of the geometric forms mentioned And these forms were added by way of the lithographic printing press Luc is not only a fine computer artist but also an expert printer he taught both etching and computer art for many years notably at the Rijks Hoger Konstonderwijs the Royal Art Academy in Brussels and he received many prizes for his outstanding and magnificent work notably the Pro Civitate Prize for Graphic Arts and the Belgian State Prize for Graphic Arts A more recent series of works the various Hortus series mixes or more precisely combines two media as well largely black chalk graphite paintings and computer prints contrasting and fusing them at the same time As Luc notes the digital prints and paintings of the Hortus Rosa series depart from a copperplate engraving by Basilius Besler done in 1613 that shows a variety of roses The computer manipulated prints constitute a sequence of ever new metamorphoses of the roses engraved and printed by Besler As in the case of the figure field series

    Original URL path: http://www.art-in-society.de/AS7/LP/JW-LucPiron.shtml (2016-04-25)
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  • Works of Greet and Luc at the Hangaar
    produce echos resonating in a world of white spaces a world of silence 3 a dyptich a tryptich black white black white white gray gray and white Minimalistic is that how to describe these works a research into again and again new sizes variations that concern the distribution of non colors black white grays the eyes reading them relate Does it takes all of eternity does it take less than a second to comprehend to encompass ALL in its entirety narrow black area Look there it s no more than a thin stripe confronting wide white spaces bordered again by narrow or wider grays grays that give way to white curved forms their greens rounded by shadows exist serenely magical presence of female touch 13 the music of objects in space this not any space a world of white walls light from on high a gray floor a cube revealing 3 of its sides one of them showing us a darker white the other a muted white the top one is the lightest three greenish objects a pair of small bowls not equal in size a large vase form a bridge stretching across emptiness their greens varied by the light

    Original URL path: http://www.art-in-society.de/AS7/LP/HP/Greet-Luc.shtml (2016-04-25)
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  • Finanzamt Essen Ost Es gelten die entsprechenden Bestimmungen über die steuerliche Absetzbarkeit von Spenden Spenden helfen Ebenso hoffentlich unterstützende schriftliche und telefonische Äußerungen gerichtet an die für die Kulturförderung in Essen politisch Verantwortlichen SUPPORT THE ATELIERHAUS ALTE SCHULE ESSEN A CENTER FOR ART THE MEDIA COMMUNICATION Postal address Kunstraum Alte Schule e V Aebtissinsteig 6 D 45276 Essen Steele Germany e mail Doris Schoettler Boll t online de Internet homepage

    Original URL path: http://www.art-in-society.de/AS7/Call.shtml (2016-04-25)
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  • The Atelier House for Art Media & Communication
    continued till well after midnight when the last participants left for home We take Werner Ruzicka s presence at this center for media and communication in Essen as a strong indication that the director of the renowned German festival of documentary cinema the Duisburger Filmwoche cherishs the lovely atmosphere and critical debates at the center It was here that he gave a talk entitled Duisburger Dramaturgien Duisburger Diskurse Duisburg dramaturgies Duisburg discourses an analysis of dramaturgical strategies and filmic discourses recognizable today in works shown at the festival which tries to focus especially not so much on documentations done for television but on documentary cinema as a form of art This is not the place to recapitulate debates and reconstitute theoretical and aesthetic contexts In the splintering additive way of a casual look back we just want to recall some highlights to give the reader an impression what the Atelierhaus was and is all about The poet Nicolas Born for instance was at the center of attention when two people very familiar with his work Martina Meister 6 and Dirk Hallenberger 7 concentrated on different aspects of his work A film done by Volker Schloendorf and based on a novel by Nicolas Born was shown and discussed as well We also remember Urs Jaeggi the well known artist and novelist arriving from Berlin especially for a poetry reading and D E Sattler the poet and editor of a challenging and tremendously important new critical edition of the collected works of Hoelderlin who came to talk about his experience and concerns as an editor Let s briefly mention Inge Morgenroth s Friederike Beck s and Rike Felka s contributions centered on the life and work of the artist Unica Zuern a woman who would have been the central figure played by Hanna Schygulla in Fassbinder s unrealized film project Der Mann im Jasmin had the filmmaker not died prematurely in 1982 Or Birgit Kaeufer s discussion of art works by Hans Bellmer Pierre Molinier und Cindy Sherman Among those who often on several occasions came to the Atelierhaus to share and debate their reflections on the visual arts and their significance we must also mention Gerhard Plumpe 8 Niels Werber 9 Juergen Link 10 and Juergen Frese 11 It may appear as fascinating to the reader as it does to us that the Atelierhaus fuer Kunst Medien und Kommunikation located in a former elementary school building at Aebtissinsteig 6 in Essen the next Cultural Capital of Europe 12 is frequented by an audience that comprises both people from the Essen Steele neighborhood and others who arrive from a considerable number of cities in the Ruhr district It is a questioning curious audience many taking a considerable interest in active participation in the debate following lectures and or art presentations There are housewifes workers pensioners the old and the young those from the world of academia and those who engage in art in poetry in film making We love this mixture this

    Original URL path: http://www.art-in-society.de/AS7/AH1/art-ho%281%29.htm (2016-04-25)
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  • Putting A Vital Art Center in Jeopardy? - ---------------------------------------------------------------------------------------------
    administration have again and again targeted fror demolition in order to enable them to sell the property to a developer People from the neighborhood as well as artists film makers poets have gravitated to this center of civic and artistic activities Since 1999 Doris Schoettler Boll has attracted noteworthy artists and art critics people from academia and people with a practical involvement in the arts who have come to talk about and show their artistic work The Atelier House homepage mentions her important series of projects called Persons Projects Perspectives and informs in great detail about these activities Recently the city of Essen the future Cultural Capital of Europe has shown in increased inclination to shed responsibility for the Atelier House it owns Probably the treasurer considers the cost of maintaining the building in reasonably good shape as too much of a burden even though only very minor sums are at stake The department of the city entrusted with the administration and if possible sale of city owned properties seems to be keen to sell and realize a profit Although there are those within the city administration who care for the arts and who highly value the cultural contribution of publicly engaged artists like Doris Schoettler Boll the future of the Atelier House seems to be at risk Chances are that a compromise will be suggested a privatization of the building and a so called guarantee that some sort of cultural activities would still find room on its premises As the advocates of privatization also seem to advocate a hefty reduction if not an almost complete end of subsidies to art houses to artists and for exhibitions and other events connected with the arts or featuring the arts this would mean the end of the Atelier House as we now

    Original URL path: http://www.art-in-society.de/AS7/AH1/art-hou%282%29.htm (2016-04-25)
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  • Doris Schoettler-Boll: Artist of Deconstruction - ------------------------------------------------------------------------
    fügt sie hinzu was heute als Bilderflut bezeichnet wird rebelliert oder einfach widerständig ist also nach den Dispositiven und Ursachen fragt so geschieht das auch im Zuge einer Suche nach den Effekten von denen die Ursachen oft im Dunkel bleiben Aber das ist nicht bewußt präsent nicht im Arbeitsprozeß selber Zuerst ist das Leben Ich öffne morgens meine Augen und ich sehe keinen Text ich sehe ein Bild Dabei verzichtet sie auf jede emphatische Inthronisierung jeden expliziten Bezug auf ein Subjekt Sie schreibt im Blick auf ihre Collage Montage Arbeit Ich verzichte auf subjektive Spuren im Sinne von malerischen oder zeichnerischen Eingriffen Die Stiftung einer neuen Totalität und sei es durch die Identität der Künstlerin könnte die Subversion und das Begehren entschärfen verharmlosen Die subjektive Spur der Subjekteffekt verläuft nur in der Dekonstruktion in der Arbeit der Differenz im Prozeß der Ent Identifizierung Was auch bedeutet daß das was zu sehen ist mehr ist als meins Oder Wo ich war soll Es werden Wenn sie auch den Begriff der Dekonstruktion von Derrida entwendet hat so war ihr auch das Denken von Lacan ein verwandtes die Psychoanalyse hat immer für sie eine Bedeutung gehabt Und ohne diese zu bebildern stellt sie in in Rechnung was Lacan sagte Verraten können wir nur unser Begehren In der Reflexion über ihre Arbeit wird ihr das deutlich Ich verzichte auf subjektive Spuren Und es gilt immer noch in jenem mehrdeutigen Sinne wo ich war soll es werden Soll nicht nur das ES soll auch das ICH werden als eines daß seinen konstitutiven Bedingungen seiner Geschichte daß auch den Anteilen des Vorbewußten nachspürt Damit eröffnet sich offenbar auch eine Brücke zum gesellschaftlichen Kontext der Situiertheit des künstlerischen Prozesses Was sie bei Farocki fasziniert ist daß er versucht nicht von den Subjekten auszugehen sondern von den gesellschaftlichen Strukturen die der Grund der Ausgangs und Bezugspunkt sind für die sichtbaren Verhaltensweisen Und es geht ihr ganz wie Farockt darum für diese Relation Bilder zu er finden Bilder die auch verdeutlichen durch welche gesellschaftlichen Mechanismen die Verhaltensweisen hervorgerufen sind Wenn ihr das gelingt so nie im Sinne einer bruchlosen gleichsam naturalistischen Spiegelung Sondern vielmehr indem sie Untergründiges Spannungen anklingen läßt D E Sattler spricht daher auch von dem Dazwischen der ZWISCHENZEIT die in ihren Arbeiten anklingt Der dargestellte Moment war nie noch wird er sein Das gilt auch für den Raum er ist und ist nicht Wir befinden uns demnach was dringend der Erklärung bedarf in einer besonderen Zeit und einem besonderen Raum weder innerhalb noch gänzlich außerhalb von Raum und Zeit Es ist die camera obscura vermittels derer sich der Traum am Tage einnistet Der seltsame Ort an dem das geschieht ist der Zwischenraum Fragt man die Künstlerinnen nach ihren Themen so entgegnet sie das Thema ihrer Arbeiten ergebe sich wenn überhaupt erst im Nachhinein Sie zitiert aber auch Pierre Macherey der sie mit ihren Arbeiten konfrontiert daran erinnert habe es sei nicht einfach nur der Schaffensprozeß sondern das Bild selbst das Ereignischarakter habe Für Klaus Honnef spürt

    Original URL path: http://www.art-in-society.de/AS7/AH1/Wfels-DSB.shtml (2016-04-25)
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