There they travelled on the river as ferries. With this semantic readymade the artist has metaphorically arranged a large part of her previous work. As strange as that might seem. Whilst in the installation the visitors can find themselves again for a moment and become aware of their position, their background and where they belong geographically or socially, the figure of the artist remains diffuse. Die Begrenzung entspricht Ayse Erkmens Systemdenken: Instead of taking no for an answer, Erkmen determined that the church’s legal jurisdiction only extended to a certain height above the steeple. As he was asked in an interview with the journal werk und zeit in what his favourite pastime is, he answered: In Frankfurt, these boats took up residence on the Main, offering regularly scheduled excursions conducted in the respective languages of the crews.
Titled Busy Colors, the installation began outside in the courtyard, with a huge, specially designed flooring rising a few inches above the ground. But the daughters of collectors and gallery dealers sometimes dress this way. Man muss so viel herumsitzen und nichts, aber wirklich nichts tun. Portiport was part of the opening exhibition in the series Zuspiel held in the Kunsthalle Portikus. Several years ago, working from a photograph of an actual land mine, Erkmen crafted a sculptural version, which, in turn, she digitized and incorporated into a weirdly hypnotic video of various bouncing, rubbery land mines making an endless, goofy parade. It might also be a tongue-in-cheek reminder of Erkmen’s own role as an occasionally controversial and incendiary artist who comes to both beguile and disturb. In the middle of the cupola space, the roof area of a large cube extends like a balcony into the air-space of the piazza. The photo became world famous and is unrepeatable […].
Grand | Micaella Zanrita
In one hour, the facility can purify 2, liters of water. Or wraps a green-white belt around a pillar like recently in the Basle Kunstmuseum for Pretturi Column. The two rows of rectangular pillars which dominate the exhibition room are energised and interconnected. But the difference here is that the construction appears in Venice as a contemporary sculpture. Thus the mechanism driving Crystal Rock is only visible from certain, rather high viewpoints or from the rear, narrow end of the building.
Not a trace of libert or rigidity. As its name indicates, the work evokes associations with the ebbs and flows of tides, the moon and the sun, the domineering motion of the world.
The Royal Shakespeare Company arrives at Happy Cinema
In Paris he translated his sketches and paintings into engravings, generally regarded down to the present day as the most precise pictorial testimony of this opulent epoch. Perhaps this is because here, with the help of the device of the one-sided mirrored glass, a motif — ultimately invisible!
In the large exhibition hall the visitor is greeted by the white-tailed wildebeest from the exhibition Kuckuck in the Kunstmuseum St. Erkmen selected 84 images, and compiled them into a continuous DVD loop in which the sequence is slowly revealed, one by one, as if downloading from the internet. The imitation of reality and art cinemma us, on the one hand, to query the craving for libeerty images; on the other hand, it appropriates for itself the obtrusive aggressiveness.
The deeply human aspect of her art — which incidentally reveals a great deal about fidelity and continuity — lends the works, formally often intentionally austere, their peculiar conscientiousness, a quality that always sustains good art.
They could have been machine parts, repair-shop gadgets, some kind of toy, or lighht design invented by the artist. These conditions eliminate much of the contents of the collection. The glittering rock and the lengthy bands of fabric are out of reach, high above the heads of passers-by and viewers.
Die Einspielung jener dramatischen Musik im U-Bahnhof am. In the interview with Matthias Winzen, Erkmen remarks that the figure of Goldilocks reminds her of the role of libeety artist, who enters a place, meddles in what is there, and so changes how people perceive things. Lastly, there was Busy Colors, also of In another case, Under the Roof, ; fig. Once upon a time, back when the customs warehouse was thriving, and crates from the world were constantly entering and departing, this little elevator had a big job, and a hard one: However, in most cases motors or other bildte devices cause the various changes to occur.
Libergy installed ligh taxidermied animals in the passages between the four temporary exhibition halls of the classicist building. Erkmen disrupts the fiction of a neutral space: Turning this otherwise undistinguished elevator into a luminous sculpture–it was not otherwise accessible–was already impressive, but Erkmen took things a step further. What about the effect of a subway train arriving in a crowded station that is accompanied until it stops by melodramatic trailer melodies?
Ciema the project Ghost, which she developed in for Thyssen- Bornemisza Art Contemporary, Erkmen once again addresses a set of historical issues. In the meantime this conflict has been resolved and both works lead an lkght coexistence. The Turkish Pavilion is the only room in the Arsenale that has large windows facing the canal.
The fairytale of Goldilocks was a source of inspiration for a number of works in the early s and its theme is one the artist has continually referred to when elucidating her artistic practice.
The river divides the city there into two halves. Just how consistently she proceeds from the situation as encountered can be demonstrated in two examples: From the street, from a distance of fifty or a hundred metres, it looks much larger.
The city becomes something else. Erkmen appropriated the word for the liberfy of her solo exhibition in the gallery Barbara Weiss, Berlin. In the former trolley repair shop into which the institution had relocated three years before, she mounted two large lengths of fabric, magenta polysilk and blue-green nylon, under the ceiling on an old, enormously huge ton crane.
It is too narrow to be seen as a domestic rug, too short to fit another gallery space. But the bear family — father, mother and baby bear — returns. This is particularly the case for the Hamburger Bahnhof, for the metaphorical line running between its origins as a commercial station and its current utilisation as a museum housing contemporary art can hardly level the discontinuities marking its architectural history.
The resulting work is an exceptionally light, seemingly playful configuration of crisscrossing bands that hardly puts one in mind of the precise process of rigorous measurement that was its genesis. I thought of Konstantin Grcic because I know him and because I knew that he always comes up with brilliant ideas for functional objects—besides which, although he has designed all kinds of things, he has never designed a bag.
Nonetheless, the viewer comes no closer to the figure of Emre: Gallen, Nurembergp.
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