ум – -Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot 29 Results  ipac.svkkl.cz
  A?OaEA /// aINOAA?NOAAI...  
Фото Е. Уманского, 2000
Fences, lattices
  A?OaEA /// aINOAA?NOAAI...  
Фото Е. Уманского, 2003
Photo by Е. Umanskii, 2003
  A?OaEA /// aINOAA?NOAAI...  
Евгений Уманский / Калининград, Россия
Evgenii Umanskii / Kaliningrad, Russia
  A?OaEA /// aINOAA?NOAAI...  
Памятник маршалу Василевскому перед открытием. Фото Е. Уманского, 2000
Monument of Marshal Vassilevskii before opening. Photo by Е. Umanskii, 2000
  A?OaEA /// aINOAA?NOAAI...  
Е. Уманский. Фото из проекта "Folk Graffiti", 2000-2005
Е. Umanskii. Photo from the project "Folk Graffiti", 2000-2005
  A?OaEA /// aINOAA?NOAAI...  
Е. Уманский. Фотография, шелкография, 1999
Е. Umanskii. Photography, silk graphics, 1999
  A?OaEA /// aINOAA?NOAAI...  
Е. Уманский. Фото из проекта "Мне нечего больше сказать", 2002
Е. Umanskii. Photo from the project "I have nothing to say more", 2002
  A?OaEA /// aINOAA?NOAAI...  
Евгений Уманский, Karpenko-Karpenko
Eugeny Umansky, Karpenko-Karpenko
  A?OaEA /// aINOAA?NOAAI...  
Фото Е. Уманского, 2001
Photo by Е. Umanskii, 2001
  A?OaEA /// aINOAA?NOAAI...  
Памятник «Землякам-космонавтам». Фото Е. Уманский, 2003
Monument to the compatriot-cosmonauts. Photo by E. Umanskii, 2003
  A?OaEA /// aINOAA?NOAAI...  
Фото Е. Уманского, 1999
Photo by E. Umanskii, 1999
  A?OaEA /// aINOAA?NOAAI...  
Цикл работ "Folk Graffiti" калининградского художника Евгения Уманского представляет собой серию цветных фотографий, отражающих рукотворную "арт-рефлексию" (вполне хулиганского характера) наиболее ранимых персонажей нашего городского сообщества на различные события политической, социально-экономической, а также интимно-личной жизни.
Anonymous graffiti are public expressions, manifestations of irritation, affirmation, and disagreement; they are appeals and exposures. They are created with nails, spray paint, chalk, mud, and often with whatever is available. On residential buildings, fences, garages, public transport stops, schools, hospitals, maternity hospitals, pavements, and so forth, something unique, individual and acute can appear in a single night. Recollections, complexes, moral principles, politics, and taboo areas may all be explored. This specific means of communication with fellow citizens through a bright "bunch" of expressions (stars, swastikas, Go Mother Fucker, Fuck You, Bloody mess, etc.) is typical for this exclusively western Russian exclave. Other areas of Russia are marked primarily by political graffiti (as in Moscow) or by the baser inclinations of the population towards grafo-reflection (as in Tol'iatti).
  A?OaEA /// aINOAA?NOAAI...  
В центре Кёнигсберга река делает петлю, возникает некое круговращение. Две реки втекают в город, вытекает одна, но не становится от этого шире, а за железнодорожным мостом (у бывшей станции Голлендербаум) и вовсе сужается, делает поворот и как бы исчезает.
Kaliningrad is a town of picturesque sunsets, and it is also the town of a sunset, a decline, which cannot be forgotten. Two countries have already declined: Prussia (along with the German Reich) and the Soviet Union. But the tender, crystal-clear sunrises are piercing here too. It is a town with a play of light on shadowy streets, dramatic evening and night performances. Light is variant and constantly changing here. It is the town of an enormous yellow moon and bright autumn stars. A painter should render Kaliningrad in a high-contrast manner, with dark shadows and stressed accents, with glowing reds, deep-blue water and bright or brown but not pale buildings.
  A?OaEA /// aINOAA?NOAAI...  
У Евгения Уманского, обратившегося к этому материалу, происходит своя собственная работа с изначальным текстом - для него важен образ, который зачастую диктует иное содержание. Анонимные граффити расчетливо компонуются и выверяются, в них безжалостно отсекается все лишнее.
Evgeny Umansky, who has decided to tackle this material, works with the initial text first; image is also important and quite often requires a different approach. Anonymous graffiti is prudently composed and regulated; everything superfluous is cruelly excised from it. The representational field of the photographs include not only word-expressions but also light, shade, reliefs, holes, surface flaws, and color richness. Questions (the objects of shots) and answers (artist's photographs) are composed into an integral photo series that is sometimes shocking in its apt perception of our present day reality.
  A?OaEA /// aINOAA?NOAAI...  
Е. Уманский. "Vaterland - Родина Мать", 1999
Е. Umanskii. "Vaterland - Motherland", 1999
  A?OaEA /// aINOAA?NOAAI...  
Ю. Васильев. Перформанс "Чердак признания". Фото Е.Уманского, 1999
Iu. Vassil'ev. Performance "Attic of Recognition". Photo by Е. Umanskii, 1999
  A?OaEA /// aINOAA?NOAAI...  
Пока этот, в принципе бесконечный, архив растет, я думаю собрать отклики людей самых разных занятий: антропологов, историков моды, реставраторов (собора), работников калининградского загса, психологов, философов, флористов и еще одного художника, который просто без ума от "Раздетой невесты" Дюшана.
As this potentially infinite archive grows, I will compile the responses of diverse individuals: anthropologists, fashion historians, architectural conservationists, employees of the local Kaliningrad marriage registry (ZAGES), psychologists, philosophers, florists, and an artist obsessed by Duchamp's Bride Stripped Bare by her Bachelors, Even. Here is the first response to Kant's Brides, from a Kantian philosopher:
  A?OaEA /// aINOAA?NOAAI...  
Современная упаковка кёнигсберского марципана. Фото Е. Уманского, 2005
Koenigsberg Marzipan pack today. Photo by Е. Umanskii, 2005
  A?OaEA /// aINOAA?NOAAI...  
Евгений Уманский
Evgenii Umanskii
  A?OaEA /// aINOAA?NOAAI...  
Сотворив двойника в себе, Гофман принялся создавать двойников на бумаге. Впрочем, и без двойников мир его населён странными особами: призраками и автоматами, истеричными девицами и мечтательными студентами, профессорами и адвокатами.
After having created a double in himself, Hoffmann began to create doubles on paper. Even without doubles, his world is inhabited by strange creatures: ghosts and automatons, hysterical girls and dreamy students, professors and lawyers. Practically all of them go mad, in some way or another. Here, a young man does some shopping and then climbs to the top of a tower with his girlfriend in order to have a look at the nearby mountains. Suddenly "blood beats and boils in his veins," "he let out the terrifying roar of an aroused beast," and "with furious force he seized Clara and wanted to throw her down." The girl is saved by her brother, and the madman falls to the pavement and crushes his head ("The Sand Man"). There, "on the ground incandesced by the hot sun" lies a ragged peasant woman, who was "knocked down by the weight of her basket packed to the top with brushwood." This scene, in which the woman is ready to die from the very first lines, begins the story "Little Zaches." The scene ends in a rather improbable manner for the philistine reader: "a small crystal carriage drawn by two glittering dragonflies and driven by a silvery pheasant" descends from the sky, and the passengers take their places in this extravagant vehicle.