werks – -Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot 4 Results  seoulsolution.kr
  form.de  
Show textShow cached sourceOpen source URL
Für mich ist es wichtig, dass die Objekte innerhalb eines Werks auf verschiedenen Ebenen miteinander verknüpft sind, zu denen nicht nur Begriffe wie Farben und Formen gehören, sondern eben auch, dass sie für sich selbst stehen können, wenn es um Qualitätsmerkmale wie Herkunft und Zeitgeist geht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine form.de as primary domain
It is important for me that the objects within each work are connected on several levels, that not only the notions of colour and shape add up, but that the objects also make sense between themselves when it comes to qualities such as origin and spirit of time. So depending on the characteristics of the current situation, I search for objects to fit this specific context.
  form.de  
Show textShow cached sourceOpen source URL
Es ist immer noch wichtig für mich, dass die Elemente innerhalb eines jeden Werks nicht mehr in der Art und Weise zugänglich sind, wie wir sie kennen, damit wir eben mehr oder weniger dazu gezwungen werden, sie mit anderen Augen zu sehen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine form.de as primary domain
When I first started using ordinary items in my work I wanted to separate the objects from their function by taking them out of their “normal” context so that they become solely elements of colour and shape – to put them to zero. It is still important to me that the items hidden within each work aren’t accessible the way we are used to, since this more or less forces us to look at them differently.
  form.de  
Show textShow cached sourceOpen source URL
Seit ich Gegenstände verwende, die ursprünglich von jemand anderem entwickelt wurden, indem ich sie auf eine andere Weise nutze als sie ursprünglich gedacht waren, spielt das Thema Upcycling für meinen Arbeitsprozess eine Rolle. Dennoch verbringe ich während des Produktionsprozesses keine Zeit damit, darüber nachzudenken, ob die Qualität oder der Wert des fertigen Werks zu dem Vorangegangenen notwendigerweise gestiegen ist.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine form.de as primary domain
Most of the things I use aren’t useless, but unwanted. Things that could still have been part of peoples’ life if they didn’t choose to get rid of them. But since I use objects that originally were produced by someone else, by just combining them in a different way than they originally were meant to, I guess there is no way around that upcycling does play a role for my working process. But I don’t spend time during the production process thinking about weather the quality or value of the finished work necessarily will increase compared to where I started. My aim is to alter the items I use in a way so that I can present something new. Something different.
  form.de  
Show textShow cached sourceOpen source URL
1968 entstand eine Ausstellung, die das Werk van Doesburgs in expliziter Weise beleuchtete: Zum ersten Mal wurde über seine Malerei hinaus ein Fokus auf seine theoretischen Ansätze und seine Zukunftsvisionen gelegt. Diese Ausstellung veränderte die Wahrnehmung van Doesburgs Werks, das bis dahin von der Popularität des Malers Piet Mondrian überschattet wurde.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine form.de as primary domain
De Stijl was founded in 1917 and was a group of painters, architects, and designers. A magazine by the same name was established in parallel with the group. The group’s typical language of form is geometric-abstract and very reduced; it admits to purism and functionality. Theo van Doesburg, a theoretician, painter and architect, was one of the founding members and the van Abbe Museum has a special relationship with him. In 1968, an exhibition was staged that explicitly illuminated van Doesburg’s work. For the first time, in addition to his painting, a focus was placed on his theoretical approaches and his visions of the future. This exhibition altered people’s perceptions of van Doesburg’s work, which up until that time had been overshadowed by the popularity of the painter, Piet Mondrian. The centenary celebration is now being used to revive van Doesburg’s work. At the centre of the exhibition is a model of Ciné-dancing, a cinema in Strassburg’s Aubette building which came about within the context of a conversion in 1927 and was designed by Theo van Doesburg. This model symbolised the seamless connection between painting and space, and gives an insight into van Doesburg’s architectural creativity.