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  www.nurus.com  
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Die CP Lounge wurde mit dem Verständnis entworfen, dass eine konstante Linie die einfachste Form im Raum darstellt. Die Designdetails sind Ausdruck von Geschwindigkeit und Handwerkskunst.
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CP Lounge, which was designed with the understanding that a continuous line in space reaches simplicity, expresses speed and craftsmanship in its design details. Transparent looking CP Lounge impresses its user with its hand stitched leather and stitching details.
  12lessons.mcconnellfoundation.ca  
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Rauhes Holz, ehrliche, heimische Materialien und liebevolle Details wie das Bergwiesenheu an der Decke sind Ausdruck von Naturverbundenheit und spiegeln sich auch in den zwölf Chalets in steiler Hanglage sowie in beiden Suiten wider.
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Rough wood, honest local materials and loving details such as the mountain meadow hay on the ceiling are an expression of the nature of nature and are reflected in the twelve chalets in a steep slope as in both suites. The interior harmonizes with the beautiful landscape and is a tribute to the neighboring Heustadl of the new mountain village.
  atoll.pt  
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Die 6 Doppelzimmer, zusätzlich zu der Suite Pension, in der Junior-Suiten und Superior Suiten, insgesamt 24 Betten, sind Ausdruck von Komfort und Raffinesse in jedem Detail und sind alle mit Whirlpool, Sat-TV, CD-und DVD-Player (auf Anfrage), Telefon, Minibar, Klimaanlage und Safe.
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The 6 double rooms, in addition to the suite guesthouse, in the junior suites and superior suites, totaling 24 beds, are an expression of comfort and sophistication in every detail and are all equipped with Jacuzzi tub, satellite TV, CD and DVD player (on request), telephone, mini bar, air conditioning and safe.
  lina.kg  
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Lassen Sie sich von feinen Linien und frischem Design überzeugen. Konservatives Gelbgold mit modernem Design verleiht den Trauringen zeitlosen Look. Geschliffene Kristalle und Gravuren sind Ausdruck von Einzigartigkeit.
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Wedding rings and yellow gold simply belong together. This is an example of eternal classics characterized by timeless fine lines and fresh design. Conservative yellow gold combined with modernity results into a contemporary look. Crystals and engravings help to express the uniqueness and originality of the whole collection.
  www.hotelstmichael.it  
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Gleichsam offenbart diese symbolische Form auch eine grundlegende Spannung zwischen Versicherheitlichungs- und Politisierungsdynamiken von gender und Menschenrechten vor dem Hintergrund einer Begründung des Afghanistaneinsatzes. Solche Bilder, so das abschließende Ergebnis, sind Ausdruck von Sicherheitskultur und sollten eine stärkere Beachtung in der politikwissenschaftlichen Sicherheitsforschung finden.
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Referring to the recent 'visual turn' in Critical Security Studies, the aim of this article by Gabi Schlag and Axel Heck is threefold. First, by taking the concept of visual securitization one step further, we intend to theorize the image as an iconic act understood as an act of showing and seeing. This turn to the performativity of the visual directs our attention to the securitizing power of images. Second, this article addresses the methodological challenges of analysing images and introduces an iconological approach. Iconology enables the systematic interpretation of images as images by also taking their social embeddedness into account. In the third part of this article we apply this theoretical and methodological framework to analyse a cover of the TIME magazine published in summer 2010. The cover shows a young Afghan woman whose ears and nose were cut off accompanied by the headline: 'What happens if we leave Afghanistan'. This cover image not only provoked a heated debate in the USA about the (ab)use of images in order to legitimize the continuity of the war in Afghanistan, but shows how gender and the body are visually securitized.
  www.db-artmag.de  
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"Das Foto hatte die Unterzeile: Ich brauche immer eine Wand hinter mir." Wände, das wurde der 1965 in Venedig geborenen Bildhauerin schnell klar, sind Ausdruck von Herrschaft. Sie schützen vor Eindringlingen, mit ihnen kann man Festungen errichten, sie dienen aber auch als einschüchternde Zeichen, gerade in der Architektur der Moderne.
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At some point, Monica Bonvicini picks up one of the robust industrial chains and plays with it. It makes a high-pitched clinking sound, like coins jangling in a pants pocket. “I’m always surprised by the sound,” the Berlin-based artist says as she continues to rattle the shiny silver chain, “it varies depending on the size. Sometimes it sounds dull and heavy to me, as though I were knocking on a hollow wall.” She picks up a particularly massive chain and lets it drop to the floor. It makes a raw, clashing sound, as dissonant as the noise of a construction site. Which is also something Bonvicini has experience with. Throughout the nineties, almost all of her works addressed architecture, particularly male architectural fantasies of total power. “That began early on, with a photograph of Mies van der Rohe that shows him straddling a chair,” Bonvicini explains. “The photograph’s caption was: ‘I always need a wall behind me.’” Walls – that soon became clear to the sculptor, who was born in 1965 in Venice – are an expression of power. They protect against intruders, can form fortresses, but they also serve as intimidating signs, particularly in modernist architecture. Skyscrapers of glass and steel, marveled at because of their monumentality – while the powerful withdraw to their interiors to escape from view.
  db-artmag.de  
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"Das Foto hatte die Unterzeile: Ich brauche immer eine Wand hinter mir." Wände, das wurde der 1965 in Venedig geborenen Bildhauerin schnell klar, sind Ausdruck von Herrschaft. Sie schützen vor Eindringlingen, mit ihnen kann man Festungen errichten, sie dienen aber auch als einschüchternde Zeichen, gerade in der Architektur der Moderne.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
At some point, Monica Bonvicini picks up one of the robust industrial chains and plays with it. It makes a high-pitched clinking sound, like coins jangling in a pants pocket. “I’m always surprised by the sound,” the Berlin-based artist says as she continues to rattle the shiny silver chain, “it varies depending on the size. Sometimes it sounds dull and heavy to me, as though I were knocking on a hollow wall.” She picks up a particularly massive chain and lets it drop to the floor. It makes a raw, clashing sound, as dissonant as the noise of a construction site. Which is also something Bonvicini has experience with. Throughout the nineties, almost all of her works addressed architecture, particularly male architectural fantasies of total power. “That began early on, with a photograph of Mies van der Rohe that shows him straddling a chair,” Bonvicini explains. “The photograph’s caption was: ‘I always need a wall behind me.’” Walls – that soon became clear to the sculptor, who was born in 1965 in Venice – are an expression of power. They protect against intruders, can form fortresses, but they also serve as intimidating signs, particularly in modernist architecture. Skyscrapers of glass and steel, marveled at because of their monumentality – while the powerful withdraw to their interiors to escape from view.
  db-artmag.com  
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"Das Foto hatte die Unterzeile: Ich brauche immer eine Wand hinter mir." Wände, das wurde der 1965 in Venedig geborenen Bildhauerin schnell klar, sind Ausdruck von Herrschaft. Sie schützen vor Eindringlingen, mit ihnen kann man Festungen errichten, sie dienen aber auch als einschüchternde Zeichen, gerade in der Architektur der Moderne.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
At some point, Monica Bonvicini picks up one of the robust industrial chains and plays with it. It makes a high-pitched clinking sound, like coins jangling in a pants pocket. “I’m always surprised by the sound,” the Berlin-based artist says as she continues to rattle the shiny silver chain, “it varies depending on the size. Sometimes it sounds dull and heavy to me, as though I were knocking on a hollow wall.” She picks up a particularly massive chain and lets it drop to the floor. It makes a raw, clashing sound, as dissonant as the noise of a construction site. Which is also something Bonvicini has experience with. Throughout the nineties, almost all of her works addressed architecture, particularly male architectural fantasies of total power. “That began early on, with a photograph of Mies van der Rohe that shows him straddling a chair,” Bonvicini explains. “The photograph’s caption was: ‘I always need a wall behind me.’” Walls – that soon became clear to the sculptor, who was born in 1965 in Venice – are an expression of power. They protect against intruders, can form fortresses, but they also serve as intimidating signs, particularly in modernist architecture. Skyscrapers of glass and steel, marveled at because of their monumentality – while the powerful withdraw to their interiors to escape from view.
  www.db-artmag.com  
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"Das Foto hatte die Unterzeile: Ich brauche immer eine Wand hinter mir." Wände, das wurde der 1965 in Venedig geborenen Bildhauerin schnell klar, sind Ausdruck von Herrschaft. Sie schützen vor Eindringlingen, mit ihnen kann man Festungen errichten, sie dienen aber auch als einschüchternde Zeichen, gerade in der Architektur der Moderne.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
At some point, Monica Bonvicini picks up one of the robust industrial chains and plays with it. It makes a high-pitched clinking sound, like coins jangling in a pants pocket. “I’m always surprised by the sound,” the Berlin-based artist says as she continues to rattle the shiny silver chain, “it varies depending on the size. Sometimes it sounds dull and heavy to me, as though I were knocking on a hollow wall.” She picks up a particularly massive chain and lets it drop to the floor. It makes a raw, clashing sound, as dissonant as the noise of a construction site. Which is also something Bonvicini has experience with. Throughout the nineties, almost all of her works addressed architecture, particularly male architectural fantasies of total power. “That began early on, with a photograph of Mies van der Rohe that shows him straddling a chair,” Bonvicini explains. “The photograph’s caption was: ‘I always need a wall behind me.’” Walls – that soon became clear to the sculptor, who was born in 1965 in Venice – are an expression of power. They protect against intruders, can form fortresses, but they also serve as intimidating signs, particularly in modernist architecture. Skyscrapers of glass and steel, marveled at because of their monumentality – while the powerful withdraw to their interiors to escape from view.