vorgesetzt wird – English Translation – Keybot Dictionary

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  www.renner-powder.de  
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Wenn Sie aber darüber sehr krank werden und Gewicht verlieren, dann bitten Sie Ihre Pflegeperson, die Verantwortung für das Verhindern der Entgiftungssymptome zu übernehmen. Sie erklären sich sodann bereit, pflichtbewußt alles zu trinken oder einzunehmen, was Ihnen vorgesetzt wird.
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But if you get quite ill and lose weight over it, ask your caregiver to take over the responsibility of preventing detox­symptoms while you agree to dutifully sip, swallow or take whatever is put before you.
  blog.babbel.com  
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” (wörtl. “Gesundheit Ihren Händen”) segnet oder sind irritiert, wenn der Gastgeber mehr als einmal nachfragt, ob man noch etwas haben möchte. Denn der türkische Gastgeber fühlt sich erst dann wohl, wenn der Gast kugelrund ist und alles isst, was ihm vorgesetzt wird.
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Ray: The entire user interface is now much cleaner and clearer and therefore much easier to use. That was important for us. Users should be able to navigate quickly and intuitively on our page. The design is flatter, more modern and I think has also become more aesthetic. And of course there’s a whole new logo! But that is just the beginning. Design is always a fluid process, and we still have a long and exciting road ahead.
  2 Hits db-artmag.de  
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Wenn auch den Betrachter angesichts dieses etwas wächsernen Bildes ein unbestimmtes Unbehagen überfällt, ist das durchaus begründet. Denn das, was wir sehen, ist ganz und gar nicht das, was uns in Wirklichkeit vorgesetzt wird.
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And it’s exactly this impression of authenticity that Gillian Wearing radically puts to the test in her photographic work Self-Portrait as My Father, Bruce Wearing (2003). At first glance, there doesn’t seem to be anything out of the ordinary about the man in Wearing’s portrait; he seems young, but of indeterminate age, a "lad" of the British working class wearing his best, albeit somewhat outdated suit. Wearing’s father doesn’t feel well enough in his jacket and bowtie to look truly elegant. But if the viewer feels vaguely uneasy looking at his waxy complexion, then there’s a reason. Because what we see is not at all what is presented to us in reality. I am another: the person in the picture is actually Wearing herself. With the help of latex, facial prostheses, and artificial hair, the artist created an original portrait of her father in painstaking detail. The ease with which the British artist slips into the skin of others can be seen in other photo works made around the same time as part of her Album Series, for which she posed dressed as her brother, her sister, her uncle, and her mother. When you consider that we’re looking at artificial skin created by professional make-up artists, it becomes clear just how invented this "family resemblance" actually is. For the British artist, the body is a projection surface for both her own and collective memories and yearnings – a social construct that can be manipulated, and that is no more "natural" than the family bond itself.
  2 Hits db-artmag.com  
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Wenn auch den Betrachter angesichts dieses etwas wächsernen Bildes ein unbestimmtes Unbehagen überfällt, ist das durchaus begründet. Denn das, was wir sehen, ist ganz und gar nicht das, was uns in Wirklichkeit vorgesetzt wird.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
And it’s exactly this impression of authenticity that Gillian Wearing radically puts to the test in her photographic work Self-Portrait as My Father, Bruce Wearing (2003). At first glance, there doesn’t seem to be anything out of the ordinary about the man in Wearing’s portrait; he seems young, but of indeterminate age, a "lad" of the British working class wearing his best, albeit somewhat outdated suit. Wearing’s father doesn’t feel well enough in his jacket and bowtie to look truly elegant. But if the viewer feels vaguely uneasy looking at his waxy complexion, then there’s a reason. Because what we see is not at all what is presented to us in reality. I am another: the person in the picture is actually Wearing herself. With the help of latex, facial prostheses, and artificial hair, the artist created an original portrait of her father in painstaking detail. The ease with which the British artist slips into the skin of others can be seen in other photo works made around the same time as part of her Album Series, for which she posed dressed as her brother, her sister, her uncle, and her mother. When you consider that we’re looking at artificial skin created by professional make-up artists, it becomes clear just how invented this "family resemblance" actually is. For the British artist, the body is a projection surface for both her own and collective memories and yearnings – a social construct that can be manipulated, and that is no more "natural" than the family bond itself.
  2 Hits www.db-artmag.de  
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Wenn auch den Betrachter angesichts dieses etwas wächsernen Bildes ein unbestimmtes Unbehagen überfällt, ist das durchaus begründet. Denn das, was wir sehen, ist ganz und gar nicht das, was uns in Wirklichkeit vorgesetzt wird.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
And it’s exactly this impression of authenticity that Gillian Wearing radically puts to the test in her photographic work Self-Portrait as My Father, Bruce Wearing (2003). At first glance, there doesn’t seem to be anything out of the ordinary about the man in Wearing’s portrait; he seems young, but of indeterminate age, a "lad" of the British working class wearing his best, albeit somewhat outdated suit. Wearing’s father doesn’t feel well enough in his jacket and bowtie to look truly elegant. But if the viewer feels vaguely uneasy looking at his waxy complexion, then there’s a reason. Because what we see is not at all what is presented to us in reality. I am another: the person in the picture is actually Wearing herself. With the help of latex, facial prostheses, and artificial hair, the artist created an original portrait of her father in painstaking detail. The ease with which the British artist slips into the skin of others can be seen in other photo works made around the same time as part of her Album Series, for which she posed dressed as her brother, her sister, her uncle, and her mother. When you consider that we’re looking at artificial skin created by professional make-up artists, it becomes clear just how invented this "family resemblance" actually is. For the British artist, the body is a projection surface for both her own and collective memories and yearnings – a social construct that can be manipulated, and that is no more "natural" than the family bond itself.
  2 Hits www.db-artmag.com  
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Wenn auch den Betrachter angesichts dieses etwas wächsernen Bildes ein unbestimmtes Unbehagen überfällt, ist das durchaus begründet. Denn das, was wir sehen, ist ganz und gar nicht das, was uns in Wirklichkeit vorgesetzt wird.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
And it’s exactly this impression of authenticity that Gillian Wearing radically puts to the test in her photographic work Self-Portrait as My Father, Bruce Wearing (2003). At first glance, there doesn’t seem to be anything out of the ordinary about the man in Wearing’s portrait; he seems young, but of indeterminate age, a "lad" of the British working class wearing his best, albeit somewhat outdated suit. Wearing’s father doesn’t feel well enough in his jacket and bowtie to look truly elegant. But if the viewer feels vaguely uneasy looking at his waxy complexion, then there’s a reason. Because what we see is not at all what is presented to us in reality. I am another: the person in the picture is actually Wearing herself. With the help of latex, facial prostheses, and artificial hair, the artist created an original portrait of her father in painstaking detail. The ease with which the British artist slips into the skin of others can be seen in other photo works made around the same time as part of her Album Series, for which she posed dressed as her brother, her sister, her uncle, and her mother. When you consider that we’re looking at artificial skin created by professional make-up artists, it becomes clear just how invented this "family resemblance" actually is. For the British artist, the body is a projection surface for both her own and collective memories and yearnings – a social construct that can be manipulated, and that is no more "natural" than the family bond itself.