post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ... post_modellismus – models in art - krinzinger projekte - Galerie ...
Graham Little Bucks Fizz, 1998/2005 Acrylic on hardboard (MDF), 112 x 83 x 83 cm »I'm trying to make something that holds people's attention for as long as possible. I don't know why you'd want that, but it's definitely always been the desire for me. You can't see my sculptures all at once, so you've got to use your memory a bit. Comparing different parts. You go back to examine the part you looked at before and compare it to the thing you've just seen.« - from Interview With Stephen Hepworth for the British Council Exhibition Tailsliding in 2001 (http://collection.britishcouncil.org/html/artist/artist.aspx?id=19105). »I was always attempting to find a connection with the art of past that I so admired. Before I made the drawings I was building sculptures that tried to deal with design’s relation to abstraction and baroque’s relation to modernism. I was decorating brutalist / baroque type structures with patterns from girl’s dresses. However, I had not addressed my obsessive love affair with figurative painting from the 15th to 19th centuries.« - from An Interview With Graham Little. By Barry Neuman, in Boiler Magazine, August 2005 (http://www.boilermag.it/article.php?sid=475). 48
Andres Lutz / Anders Guggisberg Reisebibliothek, 2000/2004 Models of books, rack, inkjet prints, 65 x 20 x 25 cm, ed. 3 The fungi empire actually evolves on the shelves. The fictional wall of books, this city’s largest, unrecovered art treasure, stores these modified subject matters in allembracing pseudology. This library is a secret, spellbinding wall. It breaths. - Peter Weber, Zwischen den Pilzfäden (In Among the Mushroom Threads), in The Great Unknown. Andres Lutz / Anders Guggisberg, ed. Konrad Bitterli and Andreas Baur (Verlag für moderne Kunst Nürnberg, 2002). 49
- 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 38 and 39: Peter Belyi My Neighborhood, 2005 1
- 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 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
Graham Little<br />
Bucks Fizz, 1998/2005<br />
Acrylic on hardboard (MDF), 112 x 83 x 83 cm<br />
»I'm try<strong>in</strong>g to make someth<strong>in</strong>g that holds people's attention for as long as possible.<br />
I don't know why you'd want that, but it's def<strong>in</strong>itely always been the desire for me.<br />
You can't see my sculptures all at once, so you've got to use your memory a bit.<br />
Compar<strong>in</strong>g different p<strong>art</strong>s. You go back to exam<strong>in</strong>e the p<strong>art</strong> you looked at before<br />
and compare it to the th<strong>in</strong>g you've just seen.« - from Interview With Stephen<br />
Hepworth for the British Council Exhibition Tailslid<strong>in</strong>g <strong>in</strong> 2001 (http://collection.britishcouncil.org/html/<strong>art</strong>ist/<strong>art</strong>ist.aspx?id=19105).<br />
»I was always attempt<strong>in</strong>g to f<strong>in</strong>d a connection with the <strong>art</strong> of past that I so admired.<br />
Before I made the draw<strong>in</strong>gs I was build<strong>in</strong>g sculptures that tried to deal with design’s<br />
relation to abstraction and baroque’s relation to modernism. I was decorat<strong>in</strong>g brutalist<br />
/ baroque type structures with patterns from girl’s dresses. However, I had not<br />
addressed my obsessive love affair with figurative pa<strong>in</strong>t<strong>in</strong>g from the 15th to 19th<br />
centuries.« - from An Interview With Graham Little. By Barry Neuman, <strong>in</strong> Boiler<br />
Magaz<strong>in</strong>e, August 2005 (http://www.boilermag.it/<strong>art</strong>icle.php?sid=475).<br />
48
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