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Keybot 11 Results  www.kw-berlin.de
  Ghada Amer – Programm -...  
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Aus der Ferne betrachtet wirken Ghada Amers Bilder wie abstrakte Netzwerke aus feinen Fäden, gestickt auf einfarbigen oder in leuchtenden Farben gemalten Hintergründen. Erst beim Näherkommen erkennt der Betrachter, daß sich hinter den wie zufällig dahin geworfen wirkenden Fäden und Farben eine Wiederholung expliziter Motive verbirgt: Frauen im Akt der Selbstbefriedigung oder sich gegenseitig streichelnd - Motive ungehemmter Sexualität und Sinnlichkeit.
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From a distance Ghada Amer's paintings appear like abstract webs of threads on monochrome or luminously painted backgrounds. Only when coming closer the spectator realises that the apparently casually arranged threads and colours are composed of the repetition of explicit motives of unrestrained female sensuality: images of women caressing themselves taken from cheesy magazines.
  Running out of history ...  
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RUNNING OUT OF HISTORY ist eine neue Videoarbeit der israelischen Künstlerin Michal Helfman, in deren Zentrum zwei Gespräche der Aktivistin G. stehen. Die Israelin ist Gründerin und Leiterin einer NGO, die Bürgerinnen und Bürger in Krisenregionen humanitär versorgt.
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RUNNING OUT OF HISTORY is a new fictional video work by Israeli artist Michal Helfman. It features two sets of dialogs that revolve around the activist G., an Israeli woman who is the founder and head of a NGO which provides humanitarian aid to populations in crisis. During the last four years the NGO has been smuggling humanitarian aid to the besieged population in Syria. The work examines the concept of “smuggling” as both a concrete activist tool and as a metaphor for the artistic act, which constantly traces alternative paths within existing orders.
  ... 5 minutes later – P...  
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Dabei ist die Beobachtung des Entstehungsprozesses durchaus eine Möglichkeit, zu verstehen, was Kunst überhaupt ist und sein kann. Unser Wissen über diesen Akt beeinflusst maßgeblich unser Verständnis von Kunst und ihrem Stellenwert.
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The awareness that the artists became creative upon invitation, in turn, focuses viewers' attention on the process of artistic creation. Taking a closer look at the creative process from which a work of art emerges helps us understand what art really is or can be. What we know about the creative act greatly influences our understanding of art and the status we accord it.
  BERLIN SAGT DANKE – Pro...  
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RUNNING OUT OF HISTORY (2016) ist eine neue Videoarbeit der israelischen Künstlerin Michal Helfman, in deren Zentrum zwei Gespräche der Aktivistin G. stehen. Die Israelin ist Gründerin und Leiterin einer NGO, die Bürgerinnen und Bürger in Krisenregionen humanitär versorgt.
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RUNNING OUT OF HISTORY (2016) is a new video work by Israeli artist Michal Helfman. It features two sets of dialogs that revolve around the activist G., an Israeli woman who is the founder and head of an NGO which provides humanitarian aid to populations in crisis. During the last four years the NGO has been smuggling humanitarian aid to the besieged population in Syria. Helfman’s work examines the concept of smuggling as both a concrete activist tool and as a metaphor for the artistic act, which constantly traces alternative paths within existing orders.
  ical  
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Dabei ist die Beobachtung des Entstehungsproze sses durchaus eine Möglichkeit\, zu verstehen\, was Kunst überhaupt ist un d sein kann. Unser Wissen über diesen Akt beeinflusst maßgeblich unser Ver ständnis von Kunst und ihrem Stellenwert.
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\n\nThe awareness that the artists became creative upon invitation\, in turn\, focuses viewers' atte ntion on the process of artistic creation. Taking a closer look at the cre ative process from which a work of art emerges helps us understand what ar t really is or can be. What we know about the creative act greatly influen ces our understanding of art and the status we accord it.
  RIGGED – Programm - KW ...  
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So, wie digitale Bilder zu unseren Doubles werden – teure aber unbezahlte Figuren, die in unserem Auftrag handeln – wird die Arbeit, die zu solchen Formen der Produktion gehört, neu als Akt des Rückzugs fokussiert.
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Cooper is interested in the fictional spaces of universally understood advertising images, tests our experience of them and relationship to them and thus openly questions our conceptions of gender and labor they collectively generate. RIGGED explores new possible connections between bodies and images, and presents tensions between presence and invisibility. As digital images become our body doubles – expensive yet unpaid figures performing on our behalf – the labor inherent in these modes of production becomes re-focused in an economy of withdrawal. Our own bodies use a strategy of refusal; and camouflage as a technique of survival.