pappmaschee – English Translation – Keybot Dictionary

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  7 Hits www.italia.it  
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Die Umzüge der Motivwagen, traditionell von den Meistern aus Fano aus Pappmaschee realisiert, beenden ihre Strecke mit einer wirklich beeindruckenden Runde, die der „Luminara“, ein großes Farben- und Lichtfest.
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The parade of Carnival floats – traditionally made by Fano’s artisans using papier-mache – concludes with an extremely evocative moment: that of the illumination, a gorgeous party filled with lights and colors.
  www.dolomiti.it  
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Der Umzug findet immer am Unsinnigen Donnerstag statt. Die Zussln sind alte Gestalten, die ganz in weiß gekleidet und mit Maschen und Blumen aus Pappmaschee, und tragen Kuhschellen mit sich, die bis zu 20 kg schwer sind!
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Carnival in Prato dello Stelvio is an important social event and an historical reenactment to which only men are allowed to take part. It always takes place on Fat Thursday. The Zussl are ancient characters wearing a white custom adorned with colorful papier mâché ribbons and flowers and many bells that can reach a weight of 20 kg!
  www.coldjet.com  
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Der Wiedergeburt des Aktionismus als „Nichtkunst“ (die aber das Potential hat, Kunst zu werden!), in der Gestalt der Herstellung von Pappmaschee in Form exotischer Früchte und übriger Lebensmittel, die Osmolovskij und sein Umfeld so sehr lieben, allerdings von fremder Hand.
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Our artists represent a return to the early modernist paradigm (what Peter Burger, leftist Hegelian art philosopher, calls aestheticism in his book Theory of Avant-Garde). For example, Gutov says in the manner of Shelling’s romantic art philosophy that the work is an “absolute” and depends “on nothing” (ab-solutum means separate, separated from everything). Congratulations, you’ve invented the wheel! Now, Dima, try to base it on contemporary art in a big academic article, using references—and we’ll see. What was the reason for this irresponsible, pseudo-theoretical idle talk? You can’t just sit on two chairs like that.
  www.italianculture.net  
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Ein wichtiges Datum für die Stadt stellt der 2. Juli dar, wenn die Madonna della Bruna gefeiert wird: diese Statue wird auf einem Wagen aus Pappmaschee zur Prozession gefahren, der bei Erreichen des Stadtzentrums von einer großen Menschenmenge zerstört wird.
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Today the Sassi of Matera are classified by Unesco as part of "Humanity's Worldwide Heritage" and listed among the 395 wonders of the world. Strolling amidst the Sassi, new life can be found in its historic core: in addition to small restaurants, cafés and nightspots, craftsmen's shops and artists' studios have been opened by those drawn to the tufa surroundings and the grottas as a working environment. The maze of the streets and alleyways of the Sassi constantly offer views of the surprisingly beautiful countryside, complete with Romanesque and baroque churches, plus the stately homes of noble families. An important date for the city is July 2nd, when the Madonna della Bruna celebration is held: the statue of the Madonna is paraded to the centre of town on a cart made of paper-maché, at which point a large crowd destroys the cart.
  www.asialiteraryreview.com  
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In der Publikation '7. Glied' schreibt Stephanie Heraeus über Michael Kalmbach: "Mit einer drastischen Figurensprache werden vermeintlich idyllische Szenen aus familiären und kindlichen Zusammenhängen durch extreme Körperlichkeit und dominante Sexualität gebrochen. Im Laufe der letzten 15 Jahre haben sich die Arbeiten verändert; sie sind fragiler und zarter geworden, wirken nicht selten wie ephemere Traumerscheinungen oder Präsentationen des Imaginierten. Der transparente Farbauftrag der oft monumental ausladenden Aquarellzeichnungen vermittelt den Eindruck des Schwerelosen. Auch die aus Pappmaschee geformten Skulpturen schweben zumeist als Mobile oder in der Art von Marionetten im Raum".
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In the publication '7. Glied' Stephanie Heraeus writes on the work of Michael Kalmbach: “With his drastic figural vocabulary, which is sometimes only revealed on closer inspection, supposedly idyllic scenes of family and childhood are broken up by an extreme physicality and overbearing sexuality. Over the course of the past fifteen years his works have altered: they have become more fragile, gentle, and often seem like the ephemeral visions of dreams or imaginary tableaux. The transparent colours of his frequently monumental, sweeping watercolour drawings give them the impression of weightlessness. Some of his paper-m–ché sculptures float like mobiles, while others are like marionettes in space.–€ The sculptural group MOBILE, currently on view at Sammlung Kolumba in Cologne, was the first paper-m–ché work Michael Kalmbach presented at Wohnmaschine in 2002. Part of this floating group is a small boy, a stream pouring out of his mouth. In his new work ZUGSPITZE, created especially for the hall of Loock Galerie, this motif is executed in a freestanding version of six meters height.
  www.qcplannedgiving.ca  
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Die Kritik des Sehens und Schaffens von Bildern als Ausdruck dieses doppelten Bewusstseins - als ob man sich selbst durch viele Augen betrachten würde - ist grundlegend für Gills Ansatz. In ihrer jüngsten, 2015 begonnenen Serie Acts of Appearance initiiert sie eine generationsübergreifende Zusammenarbeit von Pappmaschee-Künstlern der indigenen Bevölkerung der Adivasi.
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In her most recent work, Acts of Appearance (2015-ongoing), she initiates a collaborative process among an intergenerational group of Adivasi papiermâché artists, including Bhagvan Dharma Kadu, Subhas Dharma Kadu, and several others from the Kokana tribe in Maharashtra's Jawhar district. The creation and donning of masks is constituted here as a collective practice, deploying show-and-tell, coaction, and improvisational scripting with the entire village: from the water pump, public hospital, and shopping stalls, to private homes and the bus stop, all of which function as animated backdrops. In virtually re-writing the rules of masquerade in accordance with local festivity, newly imagined mythological role-play, kinship with the animal kingdom, and daily conundrums performed as a civic dramaturgy, the protagonists in Acts of Appearance confront us head on, while embedded within their own communal ties. Gill cautiously maneuvres her return to color within this expressively charged and life-like series of performative photographs while still delving into the realm of the absurd.(3)