Goldseries – „Religionsunterricht“

———— Filed under: Artist ⁄⁄ Artwork ⁄⁄ Exhibition

Author:
Publ. 02.10.2017

  Posted by Sanni W.,

Thomas Richartz‘ exhibition “Religionsunterricht“ immediately caught my attention, not only through the gold coloring and the sheer size of the paintings (1,80 x 2 up to 3m), but also because of the space they were exhibited in, namely a huge industrial warehouse. What I enjoyed immensely was his playful way of using the concept that the meaning of art is constructed by both the artist and the viewer. Visitors could access a list which contained the titels of the nine paintings (all taken from Tucholsky poems), but did not say which title “belonged” to which painting, thus leaving interpretative freedom.

Richartz never uses titles that directly describe his works of art. With this series he returned to a more figurative and thus less abstract and less chaotic style. The inspiration classical art has on him originated in his childhood. It used to be a sort of counterpole to the tristesse that surrounded him.

“Armes Berlin” (“Poor Berlin”): The title of the painting seems to be in contrast to its golden colouring: the stripes in the backgroud for instance could belong to a bourgeoise dining hall.

The figure in the painting at hand seems oppressed, but somehow oblivious to it and also appears strangely supported by the stripes and the other elements. It seems to exist in a sort of virtual world or a dream. Though the figure – probably a woman – seems classical at first glance, it reminds me of poverty, of people in the streets of Berlin who are so much on drugs that they are oblivious of all that is going on around them and who seem to exist in another dimension.

richartz1

SENSITIVITY – SENSUALITY – SEXUALITY

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ photography
Tagged with: // //
Author:
Publ. 12.13.2016

Women of Canterbury (2011) and Gentle Creatures (2007) are names of two photography series from Marianna Rothen, a visual artist based in NYC. Inside her collections she portrays the most beautiful traits of the female gender, concerning to their mental, as well as physical charisma.

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The nudity of the shown girls communicates a very sensual impression and represent them in all naturalness, vulnerability and delicateness. The women’s elegance and graceful aesthetics are pointed in such a playful and maiden way that you could rather call them girls –than women. The same can be seen in the presentation of the women’s body - as an object. Of course, on the one side the nudity emphasizes sexuality and female attractions but has no erotic focus or aim of the other side.

This girly mood gets also supported by the organic environment and the natural or human way of the women’s movement and attitude, especially in their interaction and behavior in group. This appends a very flowery and hippie like touch that is additionally complemented by Rothen's photography methods whose visual vintage style is strongly reminiscent of the 60’s and 70’s.

marianna-rothen-tangerine-3arcane17_les_etoilesAnother interesting association -both thematically and visually- is the link to one special card of a tarot deck. The talk is of a very esoteric, emotional and especially female card: „The Stars“ (no.17). This card pronounces a female matter of emotion, the women’s nativeness, tenderness, vulnerability and sensualism. Likewise the photographs, the tarot card „The Stars“ emanates a childish, playful and easy mood, it attaches importance to a soulful life with mindful reflection, female awareness, balance and a focus on amusement and joy.

 

I really fell in love with this photography series and the aesthetics of Rothen’s theoretical approach,

as well as the successful implementation.

- a romanticized fairy tale

of the female flower children

walking in idleness,

devoting themselves to

the sweet and carefree life.

MORE ABOUT MARIANNA ROTHEN AND HER ARTS

website - instagram - Vimeo

MONI

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ Exhibition

Author:
Publ. 12.12.2016

#Night Hawk
Friday Evening at “Carlotta” Berlin Friedrichshain close to Ostkreuz station.
I spied this portrait of a lady never seen at former visits

It reminds me of a former friend now living in Switzerland, MONI.
MONI as a young woman would produce a mess every week. Perhaps because of her three passions: Drugs, Dream dancers and Doggystyle.

I asked the waitress: “Who did this?” She answered: “We don’t know. There were some guests who couldn’t stand the deco, an empty picture frame hanging on the wall, so they filled the gap with this mural”.

 

Berlin Street Art

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ Exhibition

Author:
Publ. 12.12.2016

Today, Wednesday I gripped the difference between facade art/graffiti tags and real STREET ART, modern forms of ready made or objet trouvé.

In the middle of Berlin I discovered a smashing example of Polish STREET ART created by unknown artists for our understanding of the Theme: If you can’t join them, burn the “Mercedes Benz” and listen to the song of Janis Joplin: “O Lord could you buy me a Mercedes Benz”

 

 

Ort des Geschehens und Zeitpunkt der Vertuschung

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork

Author:
Publ. 12.12.2016

Als Renate Marschner diese Zeichnung 1987 anfertigte, war nicht klar, dass sie einmal den Weg in den YOURARTBEAT Blog finden würde. Klar, YOURARTBEAT ist ja erst 2016 entstanden, also 26 Jahre nach Renates Tod. Und damals gab’s noch keine Blogs. Aber diese Form der Veröffentlichung hätte ihr gefallen. Ich habe diese Zeichnung ausgewählt, weil sie eines der Themen von Renate behandelte: Macht und Ohnmacht. Dabei ist mir aufgefallen, dass der Titel „Ort des Geschehens und Zeitpunkt der Vertuschung I“ (Aquarell / Sepia auf Zeichenpapier) gar nicht so einfach ins Englische zu übersetzen ist. Vertuschung ist auf leo.org mit cover-up angegeben, auf linguee.de auch mit hush-up, während der Wahrig vertuschen als „das Bekanntwerden verhindern“ definiert. Ort des Geschehens ist mit scene of the action gar nicht so schlecht wieder gegeben.

 

Night Hawks revisited

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork

Author:
Publ. 12.12.2016

#Night Hawk
My name is Night Hawk, I’m the person, the “other one” – at the edge of
the restaurant.

The impacts of this artwork of Edward Hopper for my personality are best
formulated through the poet Wolf Wondratschek as followed:
Nighthawks
After Edward Hopper’s Painting
– Wolf Wondratschek
It is night
and the city is deserted.
The lucky ones are at home,
or more likely
there are none left.
In Hopper’s painting, four people remain
the usual cast, so-to-speak:
the man behind the counter, two men and a woman.
Art lovers, you can stone me
but I know this situation pretty well.
Two men and one woman
as if this were mere chance.
You admire the painting’s composition
but what grabs me is the erotic pleasure
of complete emptiness.
They don’t say a word, and why should they?
Both of them smoking, but there is no smoke.
I bet she wrote him a letter.
whatever it said, he’s no longer the man
who’d read her letters twice.
The radio is broken.
The air conditioner hums.
I hear a police siren wail.
Two blocks away in a doorway, a junkie groans
and sticks a needle in his vein.
That’s how the part you don’t see looks.
The other man is by himself
remembering a woman,
she wore a red dress, too.
That was ages ago.
He likes knowing women like this still exist
but he’s no longer interested.
What might have been
between them, back then?
I bet he wanted her.
I bet she said no.
No wonder, art lovers,
that this man is turning his back on you.