ukraine freedom molotov cocktail god wheat sun explosion warrior

Result #1

ukraine freedom molotov cocktail god wheat sun explosion warrior angel of death eastern motifs spiritual questing ziggurat moon. The wall text explains that the first and last three sections of the exhibition were in fact based on the artists fantasies and memories of visiting the graveyard of the poet Leda, which he visited on the occasion of the artists forty-fifth birthday. This seems a fitting tribute, as the artist was also born in the cemetery of the German poet, and his work reflects a sense of nostalgia for the rich and complex traditions of his homeland.The other part of the show, which was composed of sculptures and paintings by Peter Schuyff and Karol Wojtyszko, was more conventional and less emotionally charged. Wojtyszykowskis sculptures are usually made of metal rods, which have been tied together with small nails to form a kind of suspended, oneiric, jagged form. They are almost always made of metal, and are often arranged on the floor, in groups, as if in a graveyard. The work is small, and it is difficult to grasp the entire composition, which is, however, conveyed in a very personal way. The sculptures have a strong material presence, but they also have a surprisingly delicate, almost lyrical quality. Their surfaces, which often appear to be porous, are carefully worked. They are almost always decorated with wreaths of flowers and leaves, and with a decorative pattern of wreaths and leaves, as well as with floral motifs. In some of the pieces, the flowers are arranged in a way that emphasizes their identity as natural flowers, while in others they are arranged in a way that emphasizes their formal similarity with the steel rods. They are also made of metal, and their surfaces are often covered with a material that is either metal or wood.Wojtyszykowskis paintings are made of metal rods, which are arranged in a way that emphasizes their similarity with the sculptures.

Result #2

of the desert, and an abstract painter who mixes the motifs of art with the architecture of the building. The works were also suspended from the ceiling in an open latticelike structure, which also held the drawing of a stela (Untitled, 2010) and a drawing of a waterfall (Raft, 2010). A further example of the horizontal, geometric arrangement of elements in the space was a wall drawing of a river (Oasis, 2010). This river was broken by a jagged line of black tape along the top of the wall, making the drawing a bit more visible, and also giving the image a stronger sense of depth. The water was visible from the street, but the line of the tape prevented any kind of direct view, and, therefore, from any direction. The river was, therefore, visible from the side of the building, and the line of tape was an indication that, if we wanted to get close to it, we had to turn our backs.

Result #3

ukraine freedom molotov cocktail god wheat sun explosion warrior lilypads (all works 1999). The most recent piece, that of a four-part assemblage in which the artist has assembled various objects—a modernist-style podium, a chair, a sword, a hammer, a sign—and arranged them in a geometric arrangement, which also includes a photograph of the artist and a drawing of a hand. The photographs are taken from photographs the artist took of the artists in his studio and the artists familys collection. The juxtaposition of such disparate elements with the photographs—images of the artist in his studio, images of the artist with his family, images of a modernist sculpture, and a photograph of a modernist sculpture—generate a visual and conceptual collage that suggests the act of memory, of forgetting. The photographs of the artist and his family are linked to the artist as a modernist—an artist who is able to remember and re-create the past, as a contemporary who can re-create the past. This memory of the past is what allows the artist to re-create the past and to realize his artistic vision.The point is that memory is also a representation of the past, as the photograph of the artist and his family suggests. The photographs of the artist and his family are like historical documents of a past that has been destroyed, as the photographs of the artist suggest. They suggest that the past is a fragile, fragile space of ambiguity and that the past is a place where the past cannot be remembered. In this sense, the photographs of the artist and his family can be read as a reflection on the same theme as the photographs of a modernist sculpture—one in which the past is preserved in the present and is transformed into an image of a future that will undoubtedly be inconceivable, for all the time that remains.

Result #4

ukeland, the 20th century is a period of cultural evolution that must be observed in the present, as the Great War marks the end of the twentieth. It is a period of transition and migration, of abandonment and displacement. This is the theme of a contemporary European history that is uncertain, and which cannot be fully remembered without the passage of time.Kasper Söder is a Berlin-based writer and curator.

Result #5

ukraine freedom molotov cocktail god wheat sun explosion warrior komplex field of fire helicopter pilings a visitor to the exhibition was invited to an on-site performance of the artist as a supervising spirit of the museum. The performance was a visual-kinesthetic game of distraction, in which visitors were invited to take their shoes off and walk through the exhibition, where they encountered a world of naked bodies and their broken bones, a landscape of broken bodies and broken bodies, a war zone in which the bodies of war victims were being torn apart. The images of the artists body, which appeared as the raw material of the paintings, were sometimes just a few inches away, as in the series of paintings titled Body of the Artist as Rope, 2007–. In other works, the human form was obscured by the plaster casts of a broken leg or a broken hand, for example in Body of the Artist as Ladybug, 2007. The artist, however, never used the same figure-for-figure relationship as in the earlier work. The arm was always in a different position. A knee or a foot was never the same as the head. The body became a kind of playpen, a place to hide, a place where the body could be part of an object, which was itself also a playpen—a playpen with a broken leg. In this work, the body is never the same as the art object, but also never the same as the space outside the gallery. For the most part, the work is shown in a space that is completely closed off to the public, which makes it impossible to view the exhibition from the outside. And yet, the exhibition is thus also a space of identification. The same could be said for the works themselves: The viewer must identify with the artists body, with the body of the artist, in order to get to the other side. This is a vital process of identification. There is no ambiguity in the artists body, which always remains as empty and vulnerable as it is.