post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ... post_modellismus – models in art - krinzinger projekte - Galerie ...
Peter Belyi My Neighborhood, 2005 10 houses (made of slides, cardboard, hardboard, electricity) and texts, 260 x 320 cm »Model of a town made of ten objects: a school, medical centre, tall blocks of flats, nine-storey blocks and five-storey blocks (Khrushevki) and an art school – all made from old slides, some of which are lit up and others which are opaque. Each house is itself a small object with its own name and story that relates to the only lit up window (Hermitage, first word, dust, Shostakovich, 1972, Vasilii Blazhennyi and so on.). Altogether this is a typical seventies Soviet neighbourhood, a so-called new-build area. An important task of the project is to capture the disappearing signs of soviet life in the eyes of my generation, the last that can understand them.« 36
Oliver Boberg Wald, taken from the series Nacht-Orte, 2002 16 mm on DVD, colour, sound, 30 min. loop, ed. 6 »An empty set, lit up for a film scene shot at night, only communicates with the viewer through the mise-en-scène. The model emphasizes the filmic parallel world. The works in the series Night Sites (Nacht-Orte) focus on our film reminiscences. The viewer is supposed to say: ‘I know that. From what film is that taken?’ Yet here we are not confronted with existing film footage but with models I have created in my studio – that is only clichéd images for certain places in films. Here romantic experience once again comes to bear. I have a sort of mythic sensitivity for film locations. That is, the images convey the myth of film, the production process, the speed, the fame. The viewer knows that everything is artificial but is still unable to penetrate the image.« 37
- Page 1: post modellismus - MODELS IN ART /
- Page 7 and 8: table of contents 6 post_modellismu
- Page 9 and 10: shows how society tries to explain
- Page 11 and 12: spielsweise beim MILITÄR (Antal La
- Page 13 and 14: Since the photographs depict models
- Page 15 and 16: this ‘reality’ as an effect tha
- Page 17 and 18: 1 The following text is a shortened
- Page 19 and 20: Ausmaß jenes ‘Spiels’ erahnen,
- Page 21 and 22: Edwin Zwakman gehört zu derselben
- Page 23 and 24: sches, es spielt darin aber nur die
- Page 25 and 26: than with art history without a beg
- Page 27 and 28: a species-typical tendency, stock g
- Page 29 and 30: which the ambiguous temporal struct
- Page 31 and 32: Sabine Dorscheid. Befragt man den T
- Page 33 and 34: sind aber nicht nur zeitliche, sond
- Page 35 and 36: Artists’ nennen. Doch der Beigesc
- Page 40 and 41: Michal Budny Map, 2005 Cardboard, p
- Page 42 and 43: Thomas Demand Five Drafts (Simulato
- Page 44 and 45: Gregor Eldarb Fragment - graugrün,
- Page 46 and 47: Sabine Hornig Bus Stop (Bushalteste
- Page 48 and 49: Antal Lakner Naval Cutlery Kit, Ice
- Page 50 and 51: Graham Little Bucks Fizz, 1998/2005
- Page 52 and 53: Aernout Mik Glutinosity, 2001 DVD b
- Page 54 and 55: Hans Ulrich Obrist Do it ! (extende
- Page 56 and 57: Christoph Raitmayr Untitled, 2005 C
- Page 58 and 59: Nina Saunders Smooth Blend, 2001 2
- Page 60 and 61: Albrecht Schäfer Malewitsch Museum
- Page 62 and 63: Laurie Simmons Woman Listening to t
- Page 64 and 65: Yoshihiro Suda / Tsuyoshi Ozawa Wee
- Page 66 and 67: Stefan Wischnewski MTSV-Sofa, 2002
- Page 68 and 69: Artists’ Biographies (s) = solo e
- Page 70 and 71: Gregor Eldarb * 1971 Bielsko-Biala,
- Page 72 and 73: Graham Little * 1972 Scotland, GB l
- Page 74 and 75: Tsuyoshi Ozawa * 1965, Tokio, J liv
- Page 76 and 77: Silke Schatz * 1967 Celle, D lives
- Page 78 and 79: Yoshihiro Suda * 1969, Yamanashi, J
- Page 80: imprint This catalog is published o
Peter Belyi<br />
My Neighborhood, 2005<br />
10 houses (made of slides, cardboard, hardboard, electricity) and texts, 260 x 320 cm<br />
»Model of a town made of ten objects: a school, medical centre, tall blocks of flats,<br />
n<strong>in</strong>e-storey blocks and five-storey blocks (Khrushevki) and an <strong>art</strong> school <strong>–</strong> all made<br />
from old slides, some of which are lit up and others which are opaque. Each house<br />
is itself a small object with its own name and story that relates to the only lit up w<strong>in</strong>dow<br />
(Hermitage, first word, dust, Shostakovich, 1972, Vasilii Blazhennyi and so on.).<br />
Altogether this is a typical seventies Soviet neighbourhood, a so-called new-build<br />
area. An important task of the project is to capture the disappear<strong>in</strong>g signs of soviet<br />
life <strong>in</strong> the eyes of my generation, the last that can understand them.«<br />
36
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