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Winterhoff, Michael. Language German. Other Authors Tergast, Carsten. Physical Description p. Subjects Child psychology.

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Tags What are tags? Add a tag. Set against dramatic darkened skies, these are human structures amidst an environment that is at once threatening and enthralling: enveloped in the tentacles of a giant octopus or confronted by a massive iceberg. Two gouaches portray a half-human, half-animal figure, the artist herself, perhaps, merging with local fauna. About Fogo Island Arts Fogo Island Arts is a residency-based contemporary art venue for artists, filmmakers, writers, musicians, curators, designers, and thinkers from around the world.

LASST KINDER WIEDER KINDER SEIN von Michael Winterhoff

Since , FIA has brought some of the most exciting emerging and renowned artists of today to Fogo Island, Newfoundland, to take part in residencies and to present solo exhibitions at the Fogo Island Gallery. FIA also presents programs in cities across Canada and abroad, including the Fogo Island Dialogues interdisciplinary conversation series, as part of its international outreach. FIA is an initiative of Shorefast, a registered Canadian charity with the mission to build economic and cultural resilience on Fogo Island.

In addition to a suite of gouaches, the rooms will be altered by a network of threads addressing the changeability and fragility of space, both in general and in the context of the specific conditions of this exhibition space. The artist acts as archeologist of often forgotten or neglected buildings, recreating their distinctive shapes both from her study and from her vivid re-imagining of the forms and the spirit of the structures. Even if the individual buildings are not all well known and therefore might not be immediately recognized, the formal language is familiar and has become a ubiquitous part of the urban landscape.

The concrete works in this exhibition take as points of reference Brutalist buildings that were neither popular nor critical successes and have subsequently been demolished.

In her gouaches of architectural sites Isa Melsheimer constructs small autonomous worlds, seemingly detached from their real- world settings. The artist often choses black and white source material showing the building in their original condition, that is, without signs of subsequent decay or dilapidation and without later architectural or landscaping additions. Isa Melsheimer effectively reimagines the colors of the buildings and their interiors, unrestrained by the strictures of verisimilitude. Although their scale recalls the miniaturized and schematic appearance of preliminary architectural models, the material and colors add a fantastic, playful aspect, and even let the works appear akin to individual personages.

Metaboliten

A large-scale installation using threads to create geometric shapes addressing the architectural conditions of the exhibition space will span both rooms. In its spaceship-like outline, Luckhardt 3 goes back to a theatre designed by the architect Wassili Luckhardt in ; Isa Melsheimer created the object in as a response to the architectural utopias of the artistic correspondence known as the Crystal Chain.

Now this sparkling starship announces a journey into the future.

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Ready for take-off. Isa Melsheimer explores urban living spaces and the prerequisites for their design and change. She is equally interested in the formal vocabulary of modern architecture, urban-planning scenarios and the dynamics of social tension. Often responding to the specific sites of her exhibitions, Melsheimer creates complex spatial installations with surprising leaps in scale, changes of perspective and material contrasts — Post-modern Ruin applies her strategy of pointed polarisation in a combination of fine porcelain parakeets and a crude concrete pedestal.

ISBN 13: 9783579076355

Along with sculptures in glass, concrete or ceramic, her model-like setups also include embroidered curtains or networks of thread, arrangements of collected objects or ensembles of living plants. The sculptural work is accompanied by gouaches in which quotations from art, architecture, design and pop culture overlap and interfuse. The imaginative variety and wide intellectual range that Isa Melsheimer can open up in real spaces is shown in her exhibition Need for Contrast, whose title quotes the architect of the Ernst Barlach Haus, Werner Kallmorgen — Her installations set up collision courses which lightly disturb and energise things, shifting and readjusting our point of view — and suddenly illuminating the fact that even firmly established circumstances are ultimately created by ourselves and can thus be altered.

In the juxtaposition of her two exhibition spaces between which a facade of windows enables visual relationships and interplay Melsheimer addresses the issue of different temporal horizons: buildings are redesigned and turn out, in their transformation, to be indicators of changes in human needs and social values.

Melsheimer followed the history of these buildings with great interest, and has them appear several times in a sequence of 27 small-format photographic prints. Here she begins in the courtyard of the Ernst Barlach Haus, which thanks to its glass roof frequently provides an opportunity to experience the Hamburg summer in an unfamiliarly Caribbean mode. The object in glazed ceramic that Melsheimer has placed at the heart of the Spiegel ensemble is in no way indebted to an inclination towards artistic distortion, but on the contrary to particular faithfulness to sources: in one of the most famous photographs of the Spiegel compound, which Melsheimer studied closely for her research, a pile of snow becomes a secret protagonist; ist amorphous form asserts itself in the strictly gridded setting, and attenuates the apodictic sharpness of this photographic homage to the right angle.

Isa Melsheimer considers Kallmorgen to be a pioneering builder in his precise, functional formal language, and she is impressed by his architectural selfconception. For example, she has chosen to use the original furniture he designed for the Ernst Barlach Haus as the basis and diving board for her artistic journeys through time. Along with four showcases she uses a large square table which — as shown by a historical photograph from the opening year of — enthroned a massive glass ashtray. Melsheimer takes this object as the starting point for imaginary journeys into the past — symbolising as it does an astonishingly permissive at least in the matter of smoking society that now, a few decades later, already seems to be eons away.

The clever marketing strategies currently being used to advertise the luxury flats in the Elbphilharmonie are presented in a table showcase Modern Times.

Lasst Kinder Wieder Kinder Sein Oder Die Rückkehr Zur Intuition 9783442174102

Here a glossy magazine is held open by a flesh-coloured object like a fork or dowsing rod. In the same issue the publisher announces ist move into the recently completed Spiegel Tower. On the back page there is an advertisement for the cigarette brand Ernte 23, produced by the Reemtsma company. Its director for many years, Hermann F.

A chain of associations comes full circle. The fantastical excursions in which Isa Melsheimer interleaves apparently disparate phenomena as seamlessly as she thread-morphs heterogeneous forms into one another are journeys into the past and future. Accordingly, the Kallmorgen cosmos is consistently linked to the parallel universes of science, both academic and popular, the comic and the science-fiction film.

All kinds of time-travel theories and stories, symbols and metaphors from these worlds have been brought into the exhibition. Melsheimer quotes the butterfly effect, for example — which describes the incalculable effects of the most insignificant causes in chaos theory and thus plays a central role in the genre of the time-travel film — first as an embroidered visualisation of a system of differential equations, formulated by the meteorologist Edward N.

Together with a comic version of H. Stills from all these films are interspersed in the above-mentioned photographic sequence, which is introduced by five gouaches paraphrasing early Kallmorgen buildings from to the Renner Summerhouse in Sierksdorf on the Baltic Sea, the Nordwald House in Hamburg-Osdorf and a residential and commercial building with an illuminated advertising facade of frosted glass.

Isa Melsheimer, however, takes the buildings out of their historical contexts and carries them off into mysteriously glowing cosmic spaces. Yet again Need for Contrast enables new connections to be made through looking and thinking. My interest focuses on twentieth-century Italian architecture, the coexistence of Rationalism, the Novecento and the Roman School during Fascism. I am also interested in their continuation to the s, joining with new influences, such as Frank Lloyd Wright's Organic Architecture from the United States.

Another inspiration in developing the project was Quartz's space, especially its floor and its hexagonal tiles. She particularly focused on several famed buildings, such as the Velasca Tower by Studio BBPR in Milan, which preserves an aesthetic sense of the medieval city; the INA-Case Falchera housing district; the Bottega d'Erasmo by Gabetti and Isola, which brings back the tradition from the early 20th century in Turin and was termed neo-Liberty style; the Palazzo del Lavoro by Pier Luigi Nervi, a spectacular example of the architect's "structuralism;" and the innovative Palazzo delle Mostre PalaVela , designed by the engineer Franco Levi and architects Annibale and Giorgio Rigotti.

The architecture accomplishments achieved in Turin in the midth century are a natural outgrowth of its cultural vibrancy, bolstered by its industrial development and figures the likes of Lionello Venturi, Edoardo Persico and Riccardo Gualino. After World War II, Turin was much more about opening to Europe, compared to Rome, buried in its classicism or Milan, which had become an expression of 20th-century architects' "return to order. As Melsheimer noted, in Italy, more than anywhere else, the attempt to go beyond the modern movement took off in a multiplicity of directions with different inspirations, often with contrasting results, and was not always warmly welcomed by contemporary critics.

The artist stitches the narrative of this special period in Turin architecture into images on the fabric of a curtain hanging from the ceiling to the floor and covering part of the cement tile floor. Several cement and ceramic sculptures are placed on the curtain on the ground, popping up all about like in a winter garden. These simple, minimalist structures are designed based on the hexagonal shape of the cement tiles, a common feature in Italy on floors between the late 19th and early 20th centuries. Melsheimer has long been interested in architecture and landscape as a whole.

Here she again turns the tangible quality and power of built forms into a delicate, unstable installation, with minimalist embroidered designs and small sculptural forms closely connected to one another. The curtain drops from above down to the floor, softening the right-angled opposition between the vertical wall and horizontal floor. This makes for a unique installation that imperceptibly transforms the space. The artist starts from the geometry of the cement tiles on the floor and conceptually opens Quartz's walls as she extends her gaze to Turin's urban and architectural history with its many extraordinary buildings—many of which have fallen into disuse or been inexplicably forgotten.

Doch die Mustersiedlung versank nach kurzer Zeit in Gewalt und Vandalismus — und gilt bis heute als Symbol des Scheiterns moderner Architektur und Stadtplanung. Das Zentrum ihres Interesses bilden Architekturen aus Rom: einer Stadt, die historisch gewachsen ist. Neue stadtplanerische Fragen stellen sich nach dem Wirbelsturm Katerina. Sie abstrahiert dabei einzelne formale Komponenten, um deren kulturelle Codes zu befragen. Der Pflanzentransport aus Amerika, Asien, Australien und Afrika auf dem Seeweg war aufwendig und verlustreich, von den gesammelten Pflanzen kamen nur wenige lebend an.

Als teure Porzellanfiguren erheben sie Einspruch und erinnern an kostbares Vitrinen-Inventar.


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Denn gerade in Krisenzeiten laufen Architekten und Planer zur Hochform auf. Die Faszination, die dieses radikale Konzept heute immer noch ausstrahlt, liegt in seiner besonderen Ambivalenz und Vielschichtigkeit: Es nimmt in seiner Dekonstruktion des Territoriums das Ende der Allmachtfantasien der Moderne vorweg, bietet aber dennoch eine ganzheitliche Vision an.