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  Deutsche Bank - ArtMag ...  
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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?
  Deutsche Bank - ArtMag ...  
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Um solche "Verstecke" geht es auch in Morales' Aquarell-Serie Undocumented Interventions (2011), die in der Ausstellung The U.S.-Mexico Border: Place, Imagination, and Possibility im Craft & Folk Art Museum, Los Angeles, zu sehen ist. Sie zeigt Menschen, die sich in lebensgroße Spielzeugpuppen, Waschmaschinen oder Lautsprechern zwängen, um von Mexiko in die USA zu gelangen.
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Such "hiding places" are also the subject of Morales' watercolor series Undocumented Interventions (2011), which is part of the exhibition The U.S.-Mexico Border: Place, Imagination, and Possibility at the Craft & Folk Art Museum, Los Angeles. It shows people who squeeze into life-sized toy dolls, washing machines, or loudspeakers to make it to flee to the USA from Mexico. But the show not only reflects the actual situation. It also conjures up the utopia of a common future. Thus, for example, architects Ronald Rael and Virginia San Fratello transform the dividing border fence into a place of exchange, with water reservoirs for migrants, solar collectors for a better energy supply, and a cross-border library.
  Deutsche Bank - ArtMag ...  
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Objektive Maßeinheiten - die Stunden und Minuten, die die Welt und das Leben in ein starres Korsett zwängen - kollidieren mit Emotionen, mit subjektiven Empfindungen, die sich eben gerade nicht exakt messen und berechnen lassen.
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It's remarkable that the work was made for a bank, an institution that one might well view as the embodiment of this concept of time. The clocks that Raqs has installed in the reception area of the new Deutsche Bank building in Birmingham are the kind we're familiar with from hotel lobbies or airports. Lined up in a row, they announce the time in London, Peking, Tokyo, and New York. Here, however, the clocks do not function as mere measuring instruments of time; the numerals on their faces are replaced by words describing an array of emotional states, such as "Anxiety," "Duty," and "Ecstasy." Objective units of measurement-the hours and minutes that have our lives and the world in their firm grip-collide with emotions and subjective sentiments that do not lend themselves to exact measure or calculation. The clock hands also rotate over emotions that have to be suppressed in everyday working life: "Fatigue," for instance, or "Fear." Raqs allows for each of these feelings, distributes them like sober entities across the clocks' faces without ascribing any value to them-although "Epiphany" arrives at the twelfth hour.
  Deutsche Bank - ArtMag ...  
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Seine Vorliebe für das Surreale teilt Magdy mit Eva Kotátková, die auch in der Sammlung Deutsche Bank vertreten ist. Ihre Papierarbeiten und Installationen setzen sich mit gesellschaftlichen Zwängen und Kontrollmechanismen auseinander.
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Yet there are artists who still engage directly with political and historical legacies. A number work in more traditional formats-South Korean Onejoon Che spent his military service as the official photographer for the Seoul Police and Luanda-based Kiluanji Kia Henda documents traces of colonialism, mostly through images, in independent Angola. Basim Magdy's work encompasses drawing, painting, and slide projection. At the Triennial the Egyptian artist (who is one of the four artists who have been interviewed for the exhibition catalogue) is represented with The Dent. The film tells the story of a small anonymous city that dreams of hosting the Olympic Games-a tale of failure that is both funny and melancholic. For The Dent, the artist used a medium on the verge of extinction-16-mm film, whose grainy texture lends the images a unique aesthetic. Additionally he pickled rolls of film in vinegar to produce a different colour on screen. This gives The Dent an almost dream-like quality. Magdy shares his preference for the surreal with Eva Kotátková, who is represented in the Deutsche Bank Collection. Her installations and works on paper address mechanisms of social control.