ragen – -Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot 8 Results  www.qcplannedgiving.ca
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Bekannt wurden sie mit erstklassig ausgeführten Glasfaser- und Kunstharzskulpturen von nackten Kindern in Nike-Turnschuhen, die an den unwahrscheinlichsten Stellen mit einander verwachsen sind und denen an noch unwahrscheinlicheren Stellen Geschlechtsteile aus dem Körper ragen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
The pillars of their work are shock effects and corny jokes, and their most important aesthetic strategy is to simply lower the boom. They made a name for themselves with first-rate fiberglass and resin sculptures of naked children wearing Nike tennis shoes who are joined together in the most improbable places and from whose bodies genitals jut out in even more improbable places. These sculptures bear titles such as Fuck Face (1994) and Two-faced Cunt (1995). Other works depict decomposing skeletons covered with flies, worms, and snakes, inspired by Goya's drawing cycle Los desastres de la Guerra (1810-1820). That the Chapman's additionally auctioned off two volumes from 1937 with original editions of these etchings and adorned them with Mickey Mouse faces, insect antennae, and swastikas, caused an outrage. The list of affronts, obscenities, and cynicisms in the Chapmans' extensive work goes on and on.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Immer wieder blitzen Kameras und Fotohandys. Die rund eine Tonne schwere Metallröhre muss auf acht kleinen Metallzapfen platziert werden, die aus dem Betonfundament ragen. Das in sich gedrehte, neun Meter lange Objekt so zu platzieren, dass die Löcher in seiner Bodenplatte passgenau auf die Zapfen aufgesetzt werden können, ist nicht leicht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
This evening, it’s precision work on Tauentzienstrasse. Spotlights bathe the construction site in bright light as the last section of the sculpture Berlin is slowly lowered by a crane. A crowd of passersby watches the rebuilding of one of the capital’s trademarks. Camera and cell phone cameras flash everywhere as the heavy metal tube, which weighs around a ton, is placed on eight small metal pins sticking out of the cement foundation. It’s no easy task to place the thirty-foot object in such a way that the holes in its base plate fit perfectly onto the pins. The distance to the already installed section of the work has to be checked constantly. Shortly after 6 p.m., the work is complete: the last of the four tubes is in place, and the sculpture is back in its original location diagonally opposite Europa Center. It was the second elaborate move of a work of art from the Deutsche Bank Collection this year. In September, Max Bill’s monumental sculpture Continuity(1986) was erected on the new green next to the Deutsche Bank Towers in Frankfurt.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Auf dem Parkplatz davor ein weißer Pickup in der unbarmherzigen Mittagssonne. Eine einsame Palme und ein Flaggenmast mit schlaff herabhängendem Sternenbanner ragen in die Höhe. Es ist ein typisch amerikanisches Motiv, das Ralph Goings auf seinem 1970 entstandenen Gemälde McDonalds Pickup festgehalten hat.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
A McDonalds branch on a highway somewhere in the American South; in a parking lot out front, a white pickup truck in the merciless noon sun. Projecting vertically are a lonely palm tree and a flagpole with the Stars and Stripes hanging limp. It's a typical American motif that Ralph Goings depicted in his painting from 1970 titled McDonalds Pickup. Yet despite this, his hyperrealist work seems strangely ambiguous: not a single person can be seen, either in the parking lot or in the fast-food restaurant. Not a single car on the street, not even a discarded hamburger wrapping. The square format shows a purified, nearly clinical version of reality and offers up the McDonald's branch as a symbol for a thoroughly homogenized American society.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Ein surreales Szenario auf dem Londoner Trafalgar Square: rund um die Nelson-Säule liegen riesige Baumstümpfe. Wie Nervenenden ragen ihre weit verzweigten Wurzeln in die Luft. Ob man sie nun als Skulpturen betrachtet oder als Symbole für die rasant fortschreitende Zerstörung der Natur – kaum ein Passant kann sich dieser Installation entziehen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
A surreal scenario on Trafalgar Square in London: large tree stumps are spread out around Nelson’s Column. Like nerve endings, their widely ramified roots protrude into the air. Whether they are viewed as sculptures or as symbols for the rapidly progressing destruction of nature – passersby are compelled to take note of the installation. Angela Palmer called her project Ghost Forest. The British artist couldn’t have found a more apt title for her project, whose main sponsor is Deutsche Bank. The ten tree stumps, which stem from a rainforest in Ghana, indeed look like ghosts, like the spirits of giant trees that once rose as high as Nelson’s Column only to end up as raw material for cabinets, flooring or coffins.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Ihre ersten Einzelausstellungen 2006 im New Yorker PS1 und drei Jahre später im legendären The Kitchen kommen noch ganz ohne menschliche Anwesenheit aus. Torten landen statt in Gesichtern an einer Stellwand, in der Mitte des Raums ragen ein paar verlorene Mikrofonständer in die Höhe.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
Slapstick and the repertoire of iconic comedians were the raw materials of Rafferty's work in the early years of her career. Her first solo shows - at New York's PS 1 in 2006, and then at The Kitchen three years later - strip human presence down to the barest sculptural elements: there are pies in the face (without the faces); cartoon images of egg splatter on the wall; and unmanned microphones planted in the middle of the gallery, like palm trees in the desert. The work is wry and conceptual, dark and funny: evocative of Marcel Duchamp on one level, Andy Kaufman on another. The rare piece from this era that does feature a person - Rafferty herself - is De/Feat (2005), a video in which the artist, goofing on Houdini and mental institutions, attempts to put on a straitjacket without any assistance.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Was auf den ersten Blick wie eine Reminiszenz an das klassische Technicolor-Kino oder Werbe-Billboards der 50-er Jahre wirkt, entpuppt sich nach und nach als fast hypnotische Inszenierung: Auch ein lebendiges Pferd und ausgestopfte Hirsche haben sich an den Strand verirrt. Und aus dem Sand ragen Scheiben aus buntem Glas, in denen immer wieder verzerrte Spiegelbilder der jungen Frauen zu sehen sind.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
Five young women move through an artificial beach landscape like sleepwalkers. They splash in the water, strike pin-up poses, and continually make eye contact with the viewer. What at first glance seems to allude to classic 50's Technicolor cinema or billboards, gradually reveals itself to be hypnotic and puzzling staging. A live horse and stuffed stags have also wandered onto the beach. And rising from the sand are panes of colorful glass in which distorted mirror images of the young women can be seen repeatedly. Yang Fudong called his most recent work a "mirage," and indeed The Coloured Sky: New Women II is both real and unreal, nostalgic and futurist. Like all of the films of perhaps the most important Chinese video artist, to whom a whole floor of the Deutsche Bank Towers in Frankfurt is devoted, The Coloured Sky defies interpretation. But the play with seeing and being seen can certainly be understood as commentary on the ideal female image, and not only in China. Young, beautiful, docile - Yang's actresses are more like coveted luxury items than real personalities.
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Nur langsam erkennt man das filigrane, auf eine Plastikleinwand collagierte Motiv: eine einbeinige, sich krümmende Cyborg-Frau, der statt einer Nase Arme aus dem Gesicht ragen, während ihre Gliedmaßen aus Motorrädern zusammensetzt sind.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
Upon entering Wangechi Mutu’s studio, one immediately feels that overwhelming sensation of opening a box with an impossible jigsaw puzzle. Cutouts from magazines, mostly of female body parts, litter the space like trading tickets on a stock exchange floor. Animal hides hang from the wall less than sportingly and an Affalo horn dangles from a hook, its sheen somehow rendered worn-out by the unrolled sheets of iridescent Mylar stretching along the tables and floors. It’s a veritable mess of images, objects, and materials. But then, one of Mutu’s near-finished works literally glares out from the wall where it is hung, and a consummation, although equally puzzling, occurs: a one-legged, contorted cyborg-woman, with arms for a nose and motorcycles for limbs, rivets out from a plastic “canvas.”
  Deutsche Bank - ArtMag ...  
Show textShow cached sourceOpen source URL
Im Kellergeschoss türmen sich alte Pulte. Einigen von ihnen hat der Künstler so lange Beine verpasst, dass sie hoch durch das Treppenhaus in die oberen Etagen ragen. Es sieht aus wie nach einem Bombeneinschlag.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
ABETARE are the school booklets that every child in Kosovo knows and that Halilaj grew up with. The film showing the destruction of the village school is repeatedly interrupted by book pages with idealized illustrations, letters, and writing exercises, like a foil that no longer matches reality. For his installation at the Kölnischer Kunstverein, the artist created a different kind of alphabet out of these overlapping levels. He used thin steel rods to reconstruct, on a much larger scale, the doodles, drawings, and comments covering the furniture and the classroom, which in the film he appraises together with the children. Three dimensionally, these giant scribbles, hearts, stars, machine guns, birds, and insignias like KFOR and UCK pervaded the sun-flooded postwar modern building. They were concentrated on the ceiling, encircled doorframes, clung to banisters, cast shadows, and created mirror images. In the basement, old desks were piled on top of one another. The artist gave some of them legs so long that they rise up through the stairwell to the upper floors. It looked like the aftermath of a bombing. With his intervention, Halilaj filled the museum with these scrawls, creating a direct, semiotic experience. Thinking of A Lover's Discourse: Fragments, the famous treatise by the poststructuralist and semiotic theorist Roland Barthes, one could say that Halilaj brought together something like fragments of a language of war and conflict - all the standards and constraints, the clichés and gender roles children are confronted with from a very early age. In addition, the installation has an imaginative and poetic aspect that cannot be pinned down, that flutters lightly like a butterfly, and from a position of vulnerability produces something new and original.