werks – -Translation – Keybot Dictionary

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Im Zentrum des Werks von Julie Mehretu stehen drängende Themen wie Migration oder der rasante Wandel der Städte. Für das Deutsche Guggenheim hat sie die Auftragsarbeit "Grey Area" realisiert, einen siebenteiligen Gemäldezyklus, der sich mit urbaner Architektur, Krieg, Zerstörung und nicht zuletzt ihren Eindrücken von Berlin auseinandersetzt.

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Julie Mehretu's work focuses on urgent themes such as migration and the rapid changes the world's cities are currently undergoing. Mehretu has created the commissioned work "Grey Area" for the Deutsche Guggenheim, a seven-part painting series that investigates urban architecture, war, destruction, and not least her own personal impressions of Berlin. The press has reacted enthusiastically to Mehretu's work, which is multi-layered in the truest sense of the word.

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Parallel zu seiner Installationen "Zu Hilfe, zu Hilfe " in der Berliner Neuen Nationalgalerie unternimmt das Deutsche Guggenheim mit "ICH NICHT/ENDUROS" eine aktuelle Bestandsaufnahme des Werks von Imi Knoebel.

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Parallel to his installations "Zu Hilfe, zu Hilfe " at the Neue Nationalgalerie in Berlin, the Deutsche Guggenheim also takes stock of Imi Knoebel's current work in "ICH NICHT/ENDUROS." The two-part exhibition first presents new wall and spatial works, followed by over 200 works on paper from the Deutsche Bank Collection. The press celebrates Knoebel as a "mythical icon of West German art history."

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Anfangs vom Surrealismus und Informel beeinflusst, löst sich die 1919 geborene Östereicherin vollkommen von stilistischen Vorbildern und entwickelt eine ganz eigene künstlerische Sprache. In ihren kraftvollen Gemälden stellt sie als eine der ersten Künstlerinnen den weiblichen Körper ins Zentrum ihres Werks und wird so zum Vorbild für nachfolgende Generationen.

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Body-awareness painting - that's what Maria Lassnig calls the self-portraits, portraits, and still lifes in which she depicts bodily sensations. Initially influenced by Surrealism and Informel, the Austrian artist, who was born in 1919, completely divorced herself from stylistic models and developed her own artistic language. In her powerful paintings she was one of the first women artists to put the female body at the center of her work and thus became a model for subsequent generations. Brigitte Werneburg visited Maria Lassnig, several of whose works are included in the Deutsche Bank Collection, in her studio in Vienna.

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Es führt kein Weg daran vorbei. Die Schärfe, ja geradezu die Gemeinheit, mit der so ein Brenner-Satz unsere gedanklichen Alltagsmontagen aufspießt, ist ein zentraler Moment ihres Werks. Ein typischer Brenner-Satz geht so: "Sie beten jeden Tag. Dafür, dass sie gesund bleiben und dass das Auto fährt."

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When it's a matter of writing about Birgit Brenner and her art, it's essential to begin with a typical Brenner sentence. There's just no getting around it. The acuity and even cruelty in the way a Brenner sentence pierces our mental montages of everyday life is a key feature of her work. A typical Brenner sentence, for instance, sounds like this: "They pray every day. To remain healthy and make sure the car starts." And it's true: we're constantly demoting the value of our most prized possession, health, to the level of an ordinary consumerist product. In everyday life, the body is seen as a mere car, and both should please, please go on working.

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Dramatische Ereignisse stehen im Zentrum von Sikanders künstlerischer Arbeit. Gleichzeitig wird ihr Werks von einem großen Sinn für Humor geprägt. Ihre Allegorien lassen historische Ereignisse zu bizarren Geschichten mutieren.

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Cataclysmic events are the lifeblood of Sikander's visual language, and yet, there is great humor in her work. At times, her odd-ball use of allegory and vaudevillian drama turn history into a quixotic narrative. But narrative is not her stopping point. As I learned from the artist in her Midtown New York studio, what she's most "interested in is how flux can open the dialogue between cultural and political boundaries."

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Auch Memory, sein ambitioniertes Projekt für das Deutsche Guggenheim, unternimmt eine solche Intervention in den Ausstellungsraum, die eine vollständige Betrachtung des Werks verhindert. So provoziert die Arbeit eine neue Art, den Raum wahrzunehmen.

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His ambitious project for the Deutsche Guggenheim also undertakes an intervention in the exhibition space that prevents a total view of the work. Memory provokes one to view the space in a new way. The artist himself describes this process as the creation of a "mental sculpture," for viewers have to amalgamate different remembered impressions of the enigmatic work into a whole. Like Phoebe Washburn's unusual "glass factory" Regulated Fool's Milk Meadow (2007) and Bill Viola's digital "prayer chapel" Going Forth By Day (2002), Kapoor's Memory also transforms the Berlin exhibition hall in a radical way. Under the auspices of the Guggenheim Museum's Asian Art Initiative, the sculpture will also be on view at New York's Solomon R. Guggenheim Museum in 2009.

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Die Collagen, Zeichnungen, Fotografien und Druckgrafiken, die jetzt in der New Yorker 60 Wall Gallery zu sehen sind, können so einen umfassenden Einblick in die Entwicklung eines Werks bieten, das den Betrachter immer wieder überrascht und gerade bei Künstlern der jungen Generation auf starkes Interesse stößt.

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The Deutsche Bank Collection has been purchasing works by Imi Knoebel for over 25 years. The number has reached over 1,000 individual pieces today. The collages, drawings, photographs, and prints now on show at the 60 Wall Gallery in New York offer insight into the development of an oeuvre so comprehensive that it surprises the viewer again and again and attracts great interest particularly among artists of a younger generation. At the same time, the show focuses on a medium that has stood at the center of the bank’s collecting activities since the very beginning—paper.

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Auch Memory, sein ambitioniertes Projekt für das Deutsche Guggenheim, unternimmt eine solche Intervention in den Ausstellungsraum, die eine vollständige Betrachtung des Werks verhindert. So provoziert die Arbeit eine neue Art, den Raum wahrzunehmen.

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His ambitious project for the Deutsche Guggenheim also undertakes an intervention in the exhibition space that prevents a total view of the work. Memory provokes one to view the space in a new way. The artist himself describes this process as the creation of a "mental sculpture," for viewers have to amalgamate different remembered impressions of the enigmatic work into a whole. Like Phoebe Washburn's unusual "glass factory" Regulated Fool's Milk Meadow (2007) and Bill Viola's digital "prayer chapel" Going Forth By Day (2002), Kapoor's Memory also transforms the Berlin exhibition hall in a radical way. Under the auspices of the Guggenheim Museum's Asian Art Initiative, the sculpture will also be on view at New York's Solomon R. Guggenheim Museum in 2009.

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Dabei sind die Säulen ihres Werks Schock und Kalauer, die wichtigste ästhetische Strategie die des Einfach-Draufhauens. Bekannt wurden sie mit erstklassig ausgeführten Glasfaser- und Kunstharzskulpturen von nackten Kindern in Nike-Turnschuhen, die an den unwahrscheinlichsten Stellen mit einander verwachsen sind und denen an noch unwahrscheinlicheren Stellen Geschlechtsteile aus dem Körper ragen.

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The pillars of their work are shock effects and corny jokes, and their most important aesthetic strategy is to simply lower the boom. They made a name for themselves with first-rate fiberglass and resin sculptures of naked children wearing Nike tennis shoes who are joined together in the most improbable places and from whose bodies genitals jut out in even more improbable places. These sculptures bear titles such as Fuck Face (1994) and Two-faced Cunt (1995). Other works depict decomposing skeletons covered with flies, worms, and snakes, inspired by Goya's drawing cycle Los desastres de la Guerra (1810-1820). That the Chapman's additionally auctioned off two volumes from 1937 with original editions of these etchings and adorned them with Mickey Mouse faces, insect antennae, and swastikas, caused an outrage. The list of affronts, obscenities, and cynicisms in the Chapmans' extensive work goes on and on.

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Konsequent wie kein anderer deutscher Künstler der Gegenwart lotet Imi Knoebel die Möglichkeiten der gegenstandslosen Kunst aus. Die Entwicklung seines abstrakten Werks wurde lange vor allem im Zusammenhang mit Kasimir Malewitsch diskutiert.

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Imi Knoebel has consistently explored the possibilities of nonfigurative art more than any other contemporary German artist. The development of his abstract work has been long discussed in connection with Kazimir Malevich. Imi Knoebel – Fishing. Deutsche Bank Collection and New Works, the current exhibition at the Gemeentemuseum Den Haag, views the work of the artist (born in 1940) from a new perspective – Knoebel’s engagement with Piet Mondrian’s artistic vocabulary. The Gemeentemuseum has the world’s leading collection of works by the Dutch Painter, whose dynamic compositions in the primary colors red, blue and yellow had a strong impact on Knoebel. Around 100 of his paintings, drawings, collages and photographic works from the Deutsche Bank Collection form the basis of the show. They are supplemented by current works that the artist provided for Fishing.

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"Im Film taucht dieser Moment am Ende auf und dauert 90 Sekunden. Wir wollten sehen, was passiert, wenn man diesen Moment weiter ausdehnt", erläutert Eshun und lässt dabei durchblicken, wie wandlungsfähig und immer weiter fortführbar die Arbeit der Gruppe ist. "So ist das ganze Projekt für Frankfurt ein Weg, die unterschiedlichen Ebenen und Recherchestränge unseres Werks zusammenzubringen, bevor wir im April mit einem neuen Zyklus von Filmen beginnen."

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Speaking to Kodwo Eshun about the Otolith Group’s three-day takeover of Deutsche Bank’s Globe. For Frankfurt and the World, it’s clear that such a multi-platform event involving films, performances, talks and audio-visual works merely mirrors their already multidisciplinary practice. Indeed, the programme’s overarching title, A Sunken Trembling, Recalled Dimly is borrowed from their current retrospective, Thoughtform at MACBA in Barcelona (until 29 May), where it is the fictional title of a real drawing by Anjalika Sagar’s father – who also features in the final part of the trilogy, Otolith III, in which he sketches an alien in the year 2015. "We wanted to find out what would happen if we continued this moment beyond those 90 seconds at the end of that film," explains Eshun of the Otolith Group’s seamlessly morphing and evolving set of enquiries, "so the whole Frankfurt project is a way of folding in the layers of our work and the various strands of research we are undertaking before we start to shoot a new cycle of films in April."

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Während Smith den weiblichen Körper, Schmerz und Vergänglichkeit ins Zentrum ihres vor allem skulpturalen Werks stellt, untersucht Weems in ihren Fotografien, Filmen und Installationen die Rolle der afroamerikanischen Community in der amerikanischen Geschichte.

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Kiki Smith and Carrie Mae Weems, two important women artists, also received the distinction. They represent important tendencies in U.S. art, investigating gender roles and ethnic identity. While Smith puts the female body, pain, and ephemerality at the center of her sculptural work, in her photographs, films, and installations Weems explores the role of the African-American community in American history. The former unionist satirizes old and new stereotypes to drive cultural and social processes of change.

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"Über alle Medien hinweg setzt sich ein großer Teil meines visuellen Werks mit dem Begriff 'junglee' auseinander – was 'wild' oder wörtlich übersetzt 'aus dem Dschungel stammend' bedeutet", erklärt die Künstlerin in einem Interview mit der Dichterin Louise Bak.

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The Rebel Queen of Jhansi embodies a counter-model to the conservative Hindu female image. In an advertising copy of a comic on her life it is specifically stressed that "she was not aggressive by nature and it was only when the British threatened to annex her small kingdom that she took up arms." For Ganesh, however, Rani is interesting precisely because of her aggressive potential, for the paintings, drawings, wall pieces, and films of the artist, who was born in Brooklyn, New York in 1975, can be understood as a single, ongoing examination of the theme of female strength. "Much of my visual vocabulary across media engages the term 'junglee'-meaning savage or literally 'of the jungle,'" the artist explains in an interview with the poet Louise Bak, "an old colonial Indian idiom used to describe women who were perceived as defiant or transgressing social norms.( ) The junglee's defiance of patriarchal authority makes her a savage. I think the idea of an 'untame woman' functions as both a seductive and repellent category."

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"Wir haben die Szenen in den Höhlen an der Küste von Cornwall und auf hoher See gedreht und sie mit Turners umstrittenen, 1840 entstandenen Gemälde Slavers Throwing Overboard the Dead and Dying - Typhoon Coming on in Verbindung gebracht. Der Kunsthistoriker John Ruskin hat Turners Bild im 14. Kapitel seines Werks Modern Painters verteidigt. Drei Absätze aus diesem Text wurden von Anjalika als "Songover" anstatt eines "Voiceover" für Hydra Decapita eingesungen."

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The second day will begin with meditations on one of the Otolith’s most pressing current topics of research: hydropolitics. "The role of the ocean in globalisation is often misunderstood or ignored, but it actually functions because of the world’s ports and container ships." The latest film by the Otolith Group, the brooding and monochrome Hydra Decapita, will be premiered in Germany on Thursday. The 33-minute work is set to the electronic music of a defunct Detroit-based techno outfit Drexciya, a surviving member of which will also be performing the climactic concert of this series under a more recent alter-ego, Dopplereffekt. The formation’s performances blend references to the aesthetic of past totalitarian systems with an enthusiasm for technology and a belief in progress to create a contradictory and sometimes rather ironic mix. In musical terms, Dopplereffekt continues the history of Detroit techno; their live performances are legendary. Drexciya crafted a sonic landscape to represent a fictional underwater species of mutants that emerged after slaves were thrown off ships during the infamous high mortality rates of the Middle Passage. "We then shot scenes in caves and at sea off the coast of Cornwall and linked it all with JMW Turner’s controversial 1840 painting, Slavers Throwing Overboard the Dead and Dying—Typhoon Coming on, which was defended by John Ruskin in chapter 14 of Modern Painters, three paragraphs of which have been sung by Anjalika as the songover, rather than voiceover, to Hydra Decapita."

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Körperbewusstseinsmalerei - so nennt Maria Lassnig ihre Selbstbildnisse und Porträts, in denen sie körperliche Empfindungen darstellt. Als eine der ersten Künstlerinnen stellt sie den weiblichen Körper ins Zentrum ihres Werks und wird so zum Vorbild für nachfolgende Generationen.

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Body consciousness painting-this is how Maria Lassnig calls the portraits of herself and others that depict bodily sensations. Lassnig was one of the first women artists to make the female body the focus of her work; in doing so, she became a role model for generations that followed. While Katharina Sieverding uses the medium of photography to question the self, Elvira Bach has been unerringly stylizing herself for more than thirty years as a femme fatal or "kitchen diva." Diametrically opposed to Bach are the written works of Hanne Darboven. Over the course of years, her obsessive involvement with numbers and dates has given rise to an entirely singular work: in a sober, almost mathematical manner, she records the world's chaos on tens of thousands of sheets of paper. Like Darboven, Isa Genzken also frames a reference to minimalism, even while her oeuvre defies all genre boundaries. The show's youngest artist is Rosemarie Trockel, who was just awarded the renowned Goslarer Kaiserring. She, too, successfully resists every attempt at categorizing. Drawing is a constant in Trockel's work; it is the medium she uses to work through her ideas and motifs. This "sketchy character" also characterizes many of the other works on show at the Wall Gallery. This, not least, is what also makes Beauty is a Beast such a fascinating show.

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Allerdings sprengt diese Leistung des Rezipienten noch nicht den Rahmen der Interpretation, also der rein gedanklichen Fortführung oder Vollendung des Werks. Anders das "Stirnstück", das der Prototyp von weiteren 58 Objekten des 1. Werksatzes ist.

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The viewer's participation didn't, however, yet go beyond the context of interpretation, but remained a purely conceptual continuation or completion of the work. This is different in the case of the Forehead Piece, the prototype for another 58 objects of the First Work Set (1. Werksatz) in which Walther completed a shift in paradigm: action instead of interpretation. The series, finished in 1969, does not merely call for a viewer, but for an active participant; it was to enjoy an amazing success. As a result, curator Jennifer Licht became fascinated by the open and process-oriented character of the First Work Set. Although the viewer becoming active was in direct contradiction to the custom of the time regarding a visit to the museum, she showed this work that same year in the exhibition Spaces. This exhibition at the Museum of Modern Art in New York included, along with Walther, Dan Flavin, Robert Morris, and others. And Walther also had work in Harald Szeemann's long since legendary exhibition When Attitudes Become Form in the Kunsthalle Bern.

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Walthers frühe Revision des Kunst- und Werkbegriffs ist zwar nicht identisch mit dem von Bourriaud konstatierten Aufgehen des autonomen Werks in interaktiven Szenarien für alternative Formen von Gemeinschaft.

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This rediscovery of Franz Erhard Walther began in the mid-nineties-not least in connection with discussions about "relational aesthetics." In 1996, the French art theoretician and curator Nicolas Bourriaud gave the name "relational aesthetics" to the phenomenon of a radically expanded concept of art: suddenly, we were having dinner with Rirkrit Tiravanija or lying down beneath Olafur Eliasson's lamps and imagining the sunset in the Tate Modern. While Walther's revision of the concept of art and the artwork is not identical with Bourriaud's dissolution of the autonomous work in favor of interactive scenes for alternative forms of community, these contemporary concepts are inconceivable without his earlier subversion of the relationship of authority between the work of art, the art space, and the visitor.

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Dabei hat er verschiedene Motive seines Werks ins Extrem getrieben: die Jugend und Schönheit seiner Akteure, eine am Film Noir geschulte Schwarz-Weiss-Ästhetik sowie die Verweise auf verschiedene alte chinesische Traditionen – Kalligraphie und Tuschemalerei, Zen-Philosophie und die Anmut der Körper in der Kampfkunst.

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For the production of First Spring, the artist, who was born in 1971 in Beijing, entered the realm of fashion and advertising and took the various motifs in his work to the extreme: the youth and beauty of his actors, a black and white aesthetic borrowed from film noir, the references to the various ancient Chinese traditions of calligraphy and ink painting, Zen philosophy and the grace of bodies engaged in martial arts. First Spring, however, also envisages another phenomenon: the symbiotic relationship between the luxury goods industry and the art establishment so blatant these days in China’s museums and magazines.

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Im Umfeld von Concept und Minimal Art entstanden ihre ersten Konstruktionszeichnungen. Schon bald darauf wurden Tagesdaten zur Basis ihres Werks. Mit Zahlenreihen, ausgeschriebenen Zahlwörtern und ihrer auf U-förmige Bögen reduzierten Schrift hielt sie die Zeit fest und fand damit das Thema, das ihr Werk von nun an prägen sollte.

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"Art is a mixture between concept and discipline": this was one of Hanne Darboven's maxims. The artist has now died at the age of 67 in her native city of Hamburg. In 1966, Darboven moved to New York for two years during her studies at the Hochschule für bildende Künste in Hamburg. She created her first construction drawings in an atmosphere dominated by Conceptual and Minimal art. Shortly thereafter, she made calendar dates the basis of her work, a theme that would go on to dominate her art for the rest of her life. Darboven sought to capture time with her columns of numbers and by writing out the names of numbers in a form of notation reduced to U-shaped undulating lines. Later, she began integrating texts, photographs, and magazine covers into her works in order to reflect upon historical, social, and political issues. At home in her house in Hamburg, she produced countless works on paper with incredible diligence on a daily basis from 4 until 11 in the morning. "The elegance of this work and thinking is something one never forgets," as her artist friend Sol LeWitt remarked while recalling his first encounter with Hanne Darboven. And Lawrence Weiner characterized her inimitable work with the laconic comment: "It is what it is."

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Konsequent setzte er im Laufe seiner Karriere auf eine konstruktivistische Ästhetik und blieb dem Grundthema seines Werks treu – der Darstellung komplexer Ordnungen in einer reduzierten Formensprache.

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Karl Duschek was born in 1947 in Braunschweig. Following his training as a lithographer, he began studying at the Staatliche Hochschule für Bildende Künste in Braunschweig. Throughout these years, he closely studied the color theory Johannes Itten developed at the Bauhaus. Duschek made his first serial works while still a student. As a representative of Concrete Art, his works are based on mathematical and geometric ideas. He mainly worked with series of monochromatic forms that he extended into the third dimension, into small cubes and triangles. With the greatest consistency, he ascribed to a Constructivist aesthetic and remained true to the fundamental theme in his work—to represent complex orders in a reduced formal language.

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"Warhol hat sein Studio 'Factory' genannt, um ironisch und provokativ zu sein. Damiens Studios sind tatsächlich Fabriken und er hat die mechanische Produktion zu einem zentralen Teil seiner Arbeit gemacht." Hier seien die Prozesse des Produzierens und Vermarktens selbst wichtiger Bestandteil der Bedeutung des Werks geworden.

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Teaching artists and being an artist oneself often seem like two sides of one coin. When one talks with Craig-Martin about bringing out the artistic potential in his students, one is reminded of Joseph Beuys' claim that "To be a teacher is my greatest work of art." But isn't it well-known that teaching can also damage an artist's output? Though Craig-Martin acknowledges paying a price for teaching, it is no coincidence that his later style evolved a few years after his arrival at Goldsmiths. "There is no doubt when you are teaching that it's a good idea to listen to yourself-what you are saying to students is often what you would have liked someone to say to you. My teaching had a very big impact on my work. I started drawing individual objects in 1978. I drew one thing after another. I used tape, as I wanted the drawings to have the same impersonal character as the objects; I wanted to make drawings that had no style, but ironically that has come to be seen as my style." He went for the most common things-shoes, tables, chairs, and sunglasses-things below the radar of importance. In an aside about Warhol, Craig-Martin exclaims, "I wanted something even more universal than Marilyn Monroe!"

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Thomas Scheibitz' Skulptur EX Block, die die Besucher in der Eingangshalle des Frankfurter Museums für Moderne Kunst empfängt, trifft den Nagel auf den Kopf. Denn Scheibitz' erste große Museumsschau in Deutschland widmet sich einem zentralen Aspekt seines Werks: der menschlichen Figur.

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A yellow block rests on a six-meter-high column. Geometric protrusions and indents pick up on shapes from the windows on the second floor. Yet the block seems to have a face: square eyes, a line for a nose, a box jaw. Like an abstract totem pole. Thomas Scheibitz' sculpture EX Block, which is situated in the entrance hall of the Museum für Moderne Kunst Frankfurt am Main, hits the nail on the head. For Scheibitz' first big museum show in Germany is devoted to a central aspect of his work: the human figure. "Finding a contemporary form for this is the most difficult thing, but also the most important. Intuitively, I've always thought I'd arrive at this sort of result. But it took twenty years for me to describe it," says the artist in a conversation with ArtMag.