NOWs: Weltwasserspiegelsenkung by Felix Kiessling

08. April 2017 / Nows

Felix Kiessling: Weltwasserspiegelsenkung Konstanz, Entnahme, 2016

NOWs:

Felix Kiessling: Weltwasserspiegelsenkung Konstanz

Im Rahmen der

Kunstnacht Konstanz Kreuzlingen
Konstanz, Germany

8.4.2017 ab 18 Uhr

Felix Kiessling: Weltwasserspiegelsenkung Konstanz, 2016

Vorheriger Eintrag

NOWs: Good Weather by Julius von Bismarck

19. April - 20. Mai 2017 / Nows ⟶

NOWs: Julius von Bismarck: Good Weather Marlborough Contemporary, New York Marlborough Contemporary presents the second solo exhibition by Julius von Bismarck. Although based in Berlin, this globetrotting artist rarely sits still and has visited four continents, including Antarctica, in the past four months alone. Emerging from recent trips to Colombia, Venezuela and Mexico, this body of work continues von Bismarck’s explorations of the intersection of human beings and the relentless forces of nature. The sculptures, photographs and video included here investigate the territory between our Victorian inclination toward a taming taxonomy and a cruel and chaotic reality. The exhibition as a whole acts as a highly distilled and museologically ordered document of extreme power and violence. Situating the jungle as both a potent symbol of Western fear and a romanticized rainforest ecosystem, von Bismarck creates a visceral tension for his audience. The video entitled Talking to Thunder depicts the artist’s attempts at taming a bolt of lightning. By firing an aluminum rocket (equipped with a grounding wire of braided Kevlar, copper and silver) into a raging storm he is able to complete a circuit of tremendous power between the sky and the ground. The result, captured on video and in still photographs, appears to literally straighten the lightning bolt in its path to the ground. Designed as eventual sculptures, the rockets themselves are included here, lightning-struck relics, loaded with the history of this communion. Like a Colonial scientist, von Bismarck has collected plant species from jungle. Rather than pressing tiny flowers in a notebook, the artist has pressed large plants and entire palm trees into flattened specimens. Heated to a precise 250 degrees in an enormous custom-built oven and a 50-ton hydraulic press, the plants are completely dehydrated without losing their verdant coloration, and squashed astonishingly flat. They are then backed with thin stainless steel to maintain their shape for presentation. NOWs: Julius von Bismarck: Good Weather Marlborough Contemporary, New York Marlborough Contemporary presents the second solo exhibition by Julius von Bismarck. Although based in Berlin, this globetrotting artist rarely sits still and has visited four continents, including Antarctica, in the past four months alone. Emerging from recent trips to Colombia, Venezuela and Mexico, this body of work continues von Bismarck’s explorations of the intersection of human beings and the relentless forces of nature. The sculptures, photographs and video included here investigate the territory between our Victorian inclination toward a taming taxonomy and a cruel and chaotic reality. The exhibition as a whole acts as a highly distilled and museologically ordered document of extreme power and violence. Situating the jungle as both a potent symbol of Western fear and a romanticized rainforest ecosystem, von Bismarck creates a visceral tension for his audience. The video entitled Talking to Thunder depicts the artist’s attempts at taming a bolt of lightning. By firing an aluminum rocket (equipped with a grounding wire of braided Kevlar, copper and silver) into a raging storm he is able to complete a circuit of tremendous power between the sky and the ground. The result, captured on video and in still photographs, appears to literally straighten the lightning bolt in its path to the ground. Designed as eventual sculptures, the rockets themselves are included here, lightning-struck relics, loaded with the history of this communion. Like a Colonial scientist, von Bismarck has collected plant species from jungle. Rather than pressing tiny flowers in a notebook, the artist has pressed large plants and entire palm trees into flattened specimens. Heated to a precise 250 degrees in an enormous custom-built oven and a 50-ton hydraulic press, the plants are completely dehydrated without losing their verdant coloration, and squashed astonishingly flat. They are then backed with thin stainless steel to maintain their shape for presentation.

Nächster Eintrag

NOWs: Evolutionary Urge by Andreas Greiner & Ursula Ströbele

07. April 2017 / Nows ⟶

NOWs: 24 h exhibition at NAVEL, hosted by Jonas Wendelin Evolutionary Urge. 24h Sculpture (Digital / Virtual). brings together artists that work in the field of digital, virtual and immaterial phenomena of sculpture. These sculptural boundaries question the traditional qualities of statue-like properties, its durability, haptique and its anthropomorphic ambitions, which are being scrutinized in favor of temporal, performative and interactive concepts. Alreaday in the 1960s, Herbert W. Franke, one of the most influential pioneers of computer graphics and digital art, sought to expand the boundaries of sculpture towards the virtual space: “Could the computer lead us also in new areas of sculptures? A way to find an answer is to ignore the mentioned conditions for physical realization and try to design not realizable 3D- forms.” The exhibition focuses on works, that align themselves less with tradition but rather with new scientific findings and digital technology, e.g. virtual reality, artificial intelligence, digital image processes, and 3D printing. Evolutionary Urge. 24h Sculpture (Digital / Virtual). shows, how young artists today have further developed the idea of sculpture with these new sculptural tools and how they address contemporary phenomena, such as limited natural resources, the exponential growth of data traffic, which becomes currency itself, and the digitalization of human communication. This also changes the relevant discourse of sculpture. NOWs: 24 h exhibition at NAVEL, hosted by Jonas Wendelin Evolutionary Urge. 24h Sculpture (Digital / Virtual). brings together artists that work in the field of digital, virtual and immaterial phenomena of sculpture. These sculptural boundaries question the traditional qualities of statue-like properties, its durability, haptique and its anthropomorphic ambitions, which are being scrutinized in favor of temporal, performative and interactive concepts. Alreaday in the 1960s, Herbert W. Franke, one of the most influential pioneers of computer graphics and digital art, sought to expand the boundaries of sculpture towards the virtual space: “Could the computer lead us also in new areas of sculptures? A way to find an answer is to ignore the mentioned conditions for physical realization and try to design not realizable 3D- forms.” The exhibition focuses on works, that align themselves less with tradition but rather with new scientific findings and digital technology, e.g. virtual reality, artificial intelligence, digital image processes, and 3D printing. Evolutionary Urge. 24h Sculpture (Digital / Virtual). shows, how young artists today have further developed the idea of sculpture with these new sculptural tools and how they address contemporary phenomena, such as limited natural resources, the exponential growth of data traffic, which becomes currency itself, and the digitalization of human communication. This also changes the relevant discourse of sculpture.

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NOWs: Weltwasserspiegelsenkung by Felix Kiessling

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