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Keybot 5 Ergebnisse  db-artmag.com
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Doch diese lustvolle Betonung von Oberflächen ist für Boris Hohmeyer im Art -Kunstmagazin mehr als ein Maskenspiel: "Yanagis Aufnahmen sind ebenso perfekt gestylt wie die allgegenwärtigen Werbefotos, die junge Mädchen zu den Uniform-Zwängen der Markenkleidung verführen sollen. Aber sie propagieren statt dessen Selbstvertrauen, Individualismus und einen wachen Geist".
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The artist has attracted quite a bit of attention in her home country, as well; the Japanese art magazine ART iT featured Yanagi in a portrait that particularly praises her "obsession with detail." Yet for Boris Hohmeyer of Art magazine, this luscious attention to surface is more than just a masquerade: "Yanagi's photographs are every bit as perfectly styled as the ubiquitous advertising photos designed to seduce young girls into the uniform constrictions of brand-name clothing. Instead, they propagate self-confidence, individualism, and an alert spirit." Frank Kallensee from the Märkische Allgemeine Zeitung sees things similarly; Yanagi's "message" couldn't be any more "true to feeling: it makes a strong case for coming of age, individualism, and intellectual flexibility."
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Im Jahr 1963 stellen die beiden gemeinsam unter dem Titel Architektur in der Galerie nächst St. Stephan aus: Hollein und er beschäftigen sich mit utopischen architektonischen Entwürfen, sie setzen der gewachsenen Kleinteiligkeit der Stadt eine modernistische Großvision aus Beton entgegen, und erklären die Architektur für "befreit von den Zwängen des Bauens."
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In the sixties, after studying at the Hochschule für Architektur in Vienna, he worked with his friend, the internationally renowned architect Hans Hollein, on a new concept of architecture. In 1963, the two exhibited together at the Galerie nächst St. Stephan under the title Architecture. Hollein and he explored utopian architectonic designs; they countered the growing subdivision of the city with a larger modernist vision made from cement, declaring architecture "freed from the constraints of building." This statement can easily be extended to the TV helmet if one were to view it not merely as a blinding device, but conversely as a free-thinking extension of space: who needs four walls when you can have the whole world?
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Die instinktive Reaktion bei ihrer Betrachtung dürfte eher das Bedürfnis sein, aus den Zwängen der Gefängnis- und Krankenhausmauern auszubrechen, und damit gleichzeitig die eigenen inneren Mauern zu überwinden.
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Do we "fall into" these pictures? My instinct is a desire to break out from the limitations of these prison and hospital walls, to force my way out of my own imprisoning mental walls. Yass has pushed us in there; we did not just fall. It is the blurring between the mental architecture and the rudimentary structures she depicts that dumps us there. She works further on us with the viral infection, the anxiety she injects into the image.
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Er begann die fotografischen Vorlagen zu rastern und in vergrößertem Maßstab, Quadrat für Quadrat auf die Bildfläche zu übertragen. Diese Übernahme bereits vorhandener Darstellungen befreite ihn zunächst von den Zwängen der Bilderfindung, Komposition und Bildhierarchie.
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In his search for visual motifs, Artschwager let his eye and thoughts drift over the ob-jects in his everyday environment; he began using images that he'd encountered by chance. He discovered the motif of the Seated Group, for instance, in a newspaper belonging to a carpenter's apprentice.(7) Along with figures and portraits, we can find examples of almost every type of image, from architectural views and interiors to landscapes and still lives often deriving from newspaper photographs. He began using a grid to enlarge the photographic images, transferring them square by square onto the picture's surface. This appropriation of already existing imagery freed him from the constraints of image finding, composition, and pictorial hierarchy.
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Die Menschen, die sich darin bewegen, vollziehen merkwürdige Handlungen. Ihre Körper unterliegen den Zwängen fetischartiger Bekleidung, deren endgültiger Sinn sich nicht erschließt. Markus Schinwalds Filme, Fotos und Installationen sind betörend schön und unheimlich zugleich.
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Marionettes, bodies, clothes, prostheses. The props are borrowed from the theater. Unreal scenes take place in hotel rooms that seem strangely lifeless. The people moving in them perform strange acts, their bodies bound by the constraints of fetish-like clothing whose ultimate meaning remains obscure. Markus Schinwald’s films, photos, and installations are both bewitchingly beautiful and uncanny. And they’ve brought him, almost imperceptibly, to the forefront of the international art scene. The artist, who was born in 1973 in Salzburg, transfers mental states into their physical equivalent. Yet when the human body no longer suffices to plumb the depths of the psyche, marionettes take its place. Then the world is understood as a stage upon which odd stories are played out that always strive for one thing: to open a psychologically charged inner world to the outside.