- IDeA-publications — English
- Die psychoanalytische Erklärung der Entstehung des Fremden (German Edition)
- Wittenberger Gerhard
The starting point for his artistic works is mostly found in objects and scenarios from his personal and more general social environment which he then transforms into works of art through modifications, changes of perspective, or contrasting juxtapositions that appeal powerfully to all the senses. Despite being created at different times, both pieces share a point of origin that is closely connected to a personal experience of the artist.
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This confusion was based on a certain similarity between the two and prompted Alex Da Corte to begin working with the idea of the world-famous musician, who had been repeatedly criticized in the past for glorifying violence and being hostile towards homosexuals and women, and his Slim Shady alter ego. He was interested in the question of what makes up Eminem as a person, what psychology is involved, and how he would behave in a private environment.
Eminem is portrayed by Alex Da Corte more as a human being than as an inaccessible and invincible celebrity, whereby the casual but nevertheless noticeable placement of a package of Cinnamon Life with the image of an African American boy on it also expands on socio-political aspects. The first film shows the musician in a setting divided into two areas: Its clear-cut, uniformly red and yellow tones is reminiscent of a pop version of Ellsworth Kelly or Blinky Palermo.
In the almost eleven-minute sequence, the protagonist is busy untangling a chaotic bunch of old Playstation controllers and then arranging them neatly on a table-like base. For Alex Da Corte, the action functions as an allegory of fear, power, and control, whereby the banality of the scene once again breaks away from the general image of Eminem. Accompanied by atmospheric sounds, the film shows how the musician smokes cannabis with homemade pipes and bongs. It is surprising how perfectly, artistically, and humorously the smoking devices are made from various everyday objects, and without losing their functionality.
In the course of the consumption, the smoker appears to fall into a trance-like state that is accompanied by a deep laugh and intense cough that seems to trace back to a lack of routine.
IDeA-publications — English
Eminem, as depicted by Da Corte, stands in front of a grey background and is busy coloring his hair by rubbing yellow mustard into it while accompanied by ambiguous sounds and tones. As the film progresses, he puts on a paper crown from a fast-food restaurant, which is then repeatedly rubbed with the condiment although it already shows clear traces of the treatment.
This symbol of power, which is particularly popular in hip hop culture, is thus not only associated with the excesses of consumer society, but is also questioned with palpable humor. It can hardly come as a surprise in this context that the rapper seems to increasingly lose his mind towards the end of the sequence. After all, a symbol of power like a crown is always associated with the fear of losing power, while fast-food chains often stand for seductive illusions.
It is not just the sculptural presence of the films that becomes overwhelming, but also the picturesque installation that melts somewhere between Pop Art and Surrealism into an intoxicating gesamtkunstwerk that evokes memories of nightmares just as much as those of Disneyland. Exhibition: Cut-Up and Wolfgang Tillmans , Clark , A People Mover Evening , Performance by Gerrit Frohne-Brinkmann , A presentation of Alexey Vanushkin , 9.
Performance by Luzie Meyer , At the same time, his works are usually the result of extensive and time-consuming research, which Costa carries out wherever he is staying at the moment. He is interested in ethnological, sociological and historical developments and phenomena, and he makes these the subject matter of his works, but without employing the precise practices of scholars.
For Costa the different themes and lines of enquiry serve, to a certain extent, as a vehicle for his poetic and not infrequently humorous articulations, which he forms out of the found pieces, mementoes and objects from the given explorations and investigations. Talia Chetrit Showcaller February — March The photographic work of Talia Chetrit B. Her work includes self-portraits, portraits of family members, lovers, and friends, nudes, still lifes, and cityscapes that continuously reveal various intentional references to art history.
Chetrit occasionally draws from photographs taken during her youth and re-contextualizes these images by inserting them into her current practice through a selective editing process. Regardless of the respective subject matter or approach to the development of each image, her interest resides in researching and disclosing the basic social, conceptual, and technical conditions of the genre of photography.
As a result, her work is imbued with the desire to control the physical and historical limitations of the camera, to follow its manipulative potential, and to call the relationship between the photographer and the image into question. The presentation includes an extensive series of pictures titled Streets, which depict lively and inhabited views of New York City.
Through the use of tight cropping of grainy negatives, the city and its people become an unknowing and abstracted network of bodies over which Chetrit can command her own manipulated narratives. In the context of the exhibition, this series of works is juxtaposed with photographs that convey an alternative perspective, and instead instill a pronounced sense of intimacy through the conspicuous disclosure of private moments.
A large-format diptych, for example, depicts the artist and her partner having sex. Talia Chetrit was born in Washington D. In drawings, collages, performances, video works, and installations, she exposes the present day as a confusing thicket of surfaces that can hardly be penetrated as ever more layers open up.
The performance will take place in English. Please note that the event will be filmed. Free for members. With the kind support of:. Wednesday June 20, , 7pm.http://outer-edge-design.com/components/plus/861-smartphone-spy-tool.php
Die psychoanalytische Erklärung der Entstehung des Fremden (German Edition)
His installations, sculptures, and performances trace attractions, shows, and popular performance formats by using their outward look, effects, and mechanisms while undermining them at the same time. His interest here lies in the immediate entertainment value that he extracts from illusion, magic, and film as well as the natural sciences and carries over into the visual arts. One of his installations, for example, borrowed mummies from a film prop house that appeared almost animated and defenseless in an art space, but also revealed their extreme artificiality upon closer inspection.
Personal memories and public images of the two entertainers meld together in a performance that allows their self-constructed myth to be experienced on another unreliable narrative level. The performance will take place in German. Starting with images and texts gleaned from pop culture, advertising, and literature as well as personal materials, Alexey Vanushkin explores existential themes such as the pursuit of meaning and happiness in his film works and installations. In the work W. The film Alphabet , in contrast, uses found visual material to illustrate a sequence of ideas and seems to catalogue the tragedy of human coexistence.
The works oscillate between touching, almost kitschy moments and a dry, detached confrontation with the shallows and absurdity of life. They are, at first glance, as seductive as the media environment. Having said that, they continually return viewers to their own privileged points of view that have been shaped by societally ideal images.
Born in Russia in , Vanushkin will give a general introduction to his practice based on his film works. WED Kindly supported by. Henning Fehr b. In them, they investigate the places and spheres that constitute social identities and with which utopian promises connect on the margins of our capitalist world: the art market, cultural institutions such as museums, or even techno clubs and music festivals. Engaging in the slow rhythm of the films, one perceives the nuanced complexity of the social constructs that are associated with the different phenomena.
The performance will take place in German and English. March 11am until 6pm. The play will take place in German. For example, abandoned architectural structures or cultivated landscapes are scanned by means of a camera and then slowly revealed in her films in the form of rhythmic sequences. With the places she shows, Schulze explores the failed utopias of modernism as well as the relationship between man and nature. She examines social developments both past and present using the latest media technology, such as drones, as well as visual formulas and pictorial traditions drawn from landscape painting or comics.
The lecture will take place in German. Wednesday, November 15, , 7pm high-density Lecture of the artist Thomas Wachholz. His works are imbued with conceptual thought and particularly emphasize both the significance and necessity of personal choice and social interaction.
For each of his groups of works, he defines a set of rules that describes processes within which materials, substances, or participants respond to each other. For example, he rubs off the color of a printed banner, creates a drawing by means of lighting matches, or has a billboard continuously rehung. Even though the linear production processes may seem unromantic, it is precisely in this that the poetry of the works lies.
There is no going back in its process — Wachholz, however, sounds out the depths within the conditions that have been imposed upon it. In this way, the subjective is absorbed into the works and becomes perceptible in details and nuances. Event: Studio Visit. Heads , His artistic work — now an integral part of the international scene — has been characterized since the beginning by an analytical acumen that is generally broken by a humorous tone. In his wall works, drawings, sculptures, photographs, and films, he explores the concept of the original as well as the cult of the personality that dominates the art world, or aspects of homage and reference.
Time and time again, he shows in the gaps opened up by his rewritings, transformations and shifts that the personal is also a motor of artistic production. In the lecture One Year , the British artist will speak about his work with a special focus given to works produced over the last twelve months.
The lecture will take place in English. Wednesday, Oct. Their forms appear aesthetically reduced in the context of an art space, perhaps even elegant.
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Since the objects point to their surroundings, they deliver formal references to minimal art. As post-minimalist implementations, however, they cast shadows back to their places of use. The relationship between object and viewer, the human body and technology, is re-experienced through its psychological, emotional dimension. Matthias Sohr will guide visitors through his installation as part of the Aus- und Vortragen event, which is curated by Juliane Duft.
We would also like to point out that the event space is not barrier-free. Please let us know in advance if we can support you in your visit in this respect. With the kind support of: This event is also supported by:. Eine Besonderheit des kap ist sein Teilnehmerkreis. One of his central themes is identity as the existential foundation of the individual, which is generated by social and anti-social codes.
His creative process is, therefore, anything but scientific or coolly calculated — Jamie follows a spontaneous, psychologically inspired search for form, the result of which is deeply personal while giving off an archaic, primitive atmosphere at the same time.
It is about states of being and consciousness instead of concrete connections of meaning. The group Smiling Disease consists of large-format wooden masks in the tradition of the Austrian Alpine region of Bad Gastein. Ceramics on metal pedestals are shown in the second room, ghostly figures hand-produced by the artist that intertwine with the organic flow of the plinth forms in the third room.
The direct, powerful treatment of the clay, the pulsating variety of form, and the elaborate glazing all allow the figures to lead a life of their own like alien beings in the room. A series of ceramic masks hangs on the walls, their interiors presenting as peculiar, hollow faces, like monotypes that evoke a variety of floral and figurative associations. MI Sam Anderson was born in Los Angeles in In the recent past she has developed a body of work in which she examines the existential conditions of human life on the basis of her own biography and stories from her social milieu.
Her artistic practice is focused on sculpture and installation, although she also makes films at regular intervals. The works of the artist, who now lives in New York, additionally range from narrative visual creations to almost indecipherable and therefore seemingly abstract formulations. The found animal skeletons, which are also a part of her repertoire and transfer another dimension of reality into her work, are to be situated between these two extremes: the unambiguously narrative sculptures and the scarcely interpretable arrangements.
The works are designed to play with proportions and, in this context, the surrounding architecture serves to indicate scale.