kr – Traduction – Dictionnaire Keybot

Spacer TTN Translation Network TTN TTN Login Deutsch English Spacer Help
Langues sources Langues cibles
Keybot 4 Résultats  zoozooanimalpornsex.com
  - = Alma : KristÄ«ne Ku...  
Montrer texteMontrer source en cacheMontrer URL avec texte source
" Ieskats krājumā 1" Latvijas Laikmetīgās mākslas muzeja projekts kim (2009)
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir galerija-alma.lv comme domaine prioritaire
Insight into Collection 1 – the kim? pilot project of the Latvian Museum of Contemporary Art (2009)
  - = Alma : MÅ«su laika ...  
Montrer texteMontrer source en cacheMontrer URL avec texte source
Tradicionālā uztvere ikonā meklē dziļus garīgus kontaktus un ikviens elements – krāsa, gaisma, žests, skatiens – tiek traktēts kā zīme . „Mūsdienu ikonas” , savukārt, ir pielāgotas darboties masu kultūras tēlu troksnī, brīžam pazaudējot saiti ar avotu un atjēdzoties negausīgas manipulācijas līdzekļa statusā.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir galerija-alma.lv comme domaine prioritaire
The power and influence of a cult object is unpredictable. Indeed, objects of worship themselves are not particularly limited by their meaning today. As often as not, the feed on people’s desire to be beautiful, heroic, popular, sexy, loved, etc. The interest displayed by artists, on the other hand, seems inclined to reflect on the situation, freely creating provocative visions that speak to the viewer.
  - = Alma : Barbara Gail...  
Montrer texteMontrer source en cacheMontrer URL avec texte source
Barbara izvairās, izsargājas no gleznieciskās faktūras, dodot priekšroku tekstūrai, krāsā viņa akcentē gaismas sākotni, saglabājot pigmenta pašvērtību, paturot tā « skanējumu », nevis materialitāti. Barbaras darbu materialitāte ir pārradīta, citāda – tā ir dzīvas būtnes materialitāte… Un, tajā pat laikā, jautājums par materialitāti atkāpjas otrajā plānā : daudz būtiskāka ir dzīve tam, ko māksliniece radījusi un ko grūti nosaukt par gleznu tradicionālā izpratnē.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir galerija-alma.lv comme domaine prioritaire
Barbara avoids a painterly approach, favouring texture instead; while emphasising the origin of colour in light and retaining the self-sufficient value of pigment, she preserves its “sound” but not its materiality. The materiality of Barbara’s works is recreated; it is different - like the materiality of a living organism… At the same time, the question of materiality recedes into the background; much more important is the life of that which Barbara has created and which would be difficult to call a painting in the traditional sense. It is life and interaction with us as spectators. The suggestive character of the works is so strong that they put us in a state of sustained contemplation and meditation. Barbara’s works appear to stand openly before the viewer yet at the same time they are closed in their autonomous existence. There is no open expression or narrative. It seems that we are contemplating some kind of living organisms, bodies with healed scars and opalescent skin… It is no longer either salient painting or still life but salient life – life created by the artist.
  - = Alma =  
Montrer texteMontrer source en cacheMontrer URL avec texte source
Zane Tuča, šķiet, izjūt tuvību ar Kittelsenu gan noskaņas, gan formas un it kā pieklusinātās krāsu izjūtas ziņā. Pacietīgi gleznotie laukumi nemanāmi saplūst ar zīmuļa grafīta filigrānajiem nospiedumiem.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir galerija-alma.lv comme domaine prioritaire
It seems as if Zane Tuča feels an affinity to Kittelsen in terms of moods, forms and an ostensibly understated felicity for colour. Painstakingly painted fields imperceptibly meld with the deft impressions of graphite pencil. Something of the aforementioned anxieties also exists in her art, while the indeterminate nature of the works makes gazing at them intriguing. She is deliberately flirtatious through spookiness, without every trying to consciously conjure up, so to speak, an “atmospheric mood” in her works. It is not clear what these works conceal, and it is the realization of this fact that gives them their magnetic power. Ambiguity elicits psychological alarm that is, at once, both depressing and captivating, because one is presented with opportunities to begin to analyse one’s own state of mind.