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Keybot 3 Résultats  www.qcplannedgiving.ca  Page 3
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Sie "verunsichern unseren Blick auf die Realität, die angeblich alternativlose. (.) So ruft Magdy Imaginationen wach, lässt Bilder entstehen, die tage-, wochenlang im Gedächtnis bleiben, weiterarbeiten, sich selbständig machen."
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"The Egyptian artist positions himself as an admonisher, although this can be overlooked given the light flow of his paintings," writes Nicola Kuhn in Tagesspiegel. "Everyone feels immediately that something is very wrong in this century of new beginnings." And Jochen Stöckmann from Deutschlandradio Kultur stresses the lasting impact of Magdy's image-text combinations. They "unsettle our view of reality, a reality that is supposedly devoid of alternatives. (.) Thus Magdy stokes the imagination, creates images that stick in memory for days or even weeks, that continue to have an impact, that take on a life of their own."
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Ähnlich gruselig-grau sieht es momentan auch an der Hauptwache aus. Herbert Baglione arbeitet hier auf einer Wanderbaustelle mitten auf dem Platz. Hinter den Absperrungen sieht man lang gezogene Gestalten, die sich geisterhaft ineinander verschlingen.
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Things are similarly gray and creepy on at the Hauptwache, where Herbert Baglione is working on a mobile construction site in the middle of the square. Behind the barriers you can see long ghostly figures intertwined with one another. Yesterday, this looked like a black-and-white version of Munch's scream, but today two light-blue spirits have been added, and one of them now sports a white skeleton. Passersby stop and photograph the figures with their cell phones. They know that this is something more than the naïve chalk drawings below at the entrance to the subway. This is art. And so with the Brazilian street artists the Schirn is achieving what urban researchers long for: residents walking through their city with open eyes, perceiving the space in which they move in every day oblivious to their surroundings in an alert, critical way. At the same time, the wide range of techniques and styles used in the exhibition project illustrate why the Brazilian street art scene is one of the most exciting in the world.
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Der Code kann immer nur einmal verwendet werden, er gilt als unentschlüsselbar. Genauso verhält es sich mit Scheibitz' Arbeiten. Zwar rufen sie Erinnerungen an Bilder und Zeichen wach, die wir alle kennen. Aber entschlüsseln können wir sie nicht.
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This process results in works such as the large painting One-Time Pad, which, like most of the works on exhibit, was finished this year. Forms that look like letters of the alphabet are arrayed close to one another: a gray-yellow bar, a gray "n"; at the upper edge, white spots float like clouds in front of a blue background. Anyone who is trying to find a meaning or even a history behind this should think about the title, One-Time Pad, which is also the name of the exhibition. One-time pad is a type of encryption employed predominantly in diplomatic and military circles. The code can only be used once; it is considered indecipherable. The same is true of Scheibitz' works. Although they conjure up memories of images and signs we all know, we cannot decipher them. It is like a déjà-vu experience, where we perceive something to be real for a moment but cannot pin it down as a real event. "Today people expect everything to be made plausible. They stand in front of art wearing headphones and want to hear an explanation. But that doesn't work with my art," says Scheibitz.