Review | in the photo series ...

Generated on 2022-11-28 12:51:32

Result #1

in the photo series "nature waiting for humanity to disappear" I deal with man-made nature in the urban space of Berlin. nature was presented as overpowering and in a heroic way to visually express the superiority of nature over mankind. In the photographic series, the subject of each image is a street, a city street, the street itself. I make images of the street that are directly accessible to the public; I do not make artifice. The images are photographed in the street, but they are not painted. The street is never painted. It is not a stenciled surface. The street is always present, always visible, but not always visible. It is the visible that is important. The street is not painted.The street is a space where the image is not just visible, it is a space that has real-world meaning. The street is not simply a surface, it is a space of passage. The street is the space of the passage, but not the image. The street is not a neutral surface; it is a site of public confrontation. The street is a space that is politically ambiguous, that is, it is a space that is occupied by a large number of people. The street is a space that is both visible and invisible. It is a space that is both a public space and a private space. The street is a public space that is a space that is visible. The street is also a space of passage, a space that is not only a public space but also a space that is not only a public space but also an image of the public space of passage. The street is a space that is a space that is not only visible but also an image of the public space of passage. In the street, the image of the street is not merely a surface of passage; it is also a space of passage.The street is not just a surface, it is also a space that is a space of passage. The street is not just a surface, it is also a space of passage. The street is not just a surface, it is also a space that is not only visible but also invisible. The street is a space that is not only visible but also invisible.

Result #2

in the photo series "nature waiting for humanity to disappear" I deal with man-made nature in the urban space of Berlin. nature was presented as overpowering and in a heroic way to visually express the superiority of nature over mankind. The artist, who was born in 1937, has been showing his work in Berlin since 1980. He has shown it in the citys center as well as in various museums and galleries. His current exhibition consists of twenty-five paintings, all from 1989, and they are all titled Nature waiting for humanity to disappear. The works are taken from public and private collections. The idea is to provide a glimpse of the world through the collection of paintings. The works are organized according to themes such as the human condition, landscapes, and cities. The paintings are made from cardboard, some of which is covered with wax. Some of the cardboard has been painted over with wax. The images are then painted over with wax, which gives the work a completely new look. Nature is the ultimate subject of the work, and it is the real subject of these paintings. The work of art is seen as nature waiting for man to recognize its superiority to nature. The work of art is a sign of man's readiness to accept the reality of the world, a reality that is both a material and an idea, a material sign. It is the sign of a man who is ready to accept the world as nature, to recognize the superiority of nature over man. These paintings are signs of man's readiness to accept the world as nature, to recognize the superiority of nature over man. In the image of Nature waiting for humanity to disappear, there is a human presence, but it is not one that is immediately visible. It is not one that, in a flash, reveals itself, that, like the sun, is revealed in the distance. It is a presence that, like the sun, exists beyond our sight. It is a presence that we can never see. Nature is not the subject of the work. It is not a subject that can be photographed. Nature is not a thing to be photographed.

Result #3

in the photo series "nature waiting for humanity to disappear" I deal with man-made nature in the urban space of Berlin. nature was presented as overpowering and in a heroic way to visually express the superiority of nature over mankind. In the series of black-and-white photographs, the figure of the street cleaners, the people who go about their daily activities, becomes a physical manifestation of nature, a reminder that the space of the city is a natural place where humans live and work. The photographs are not abstract, however, as in the works of Peter Fend and Peter Fendels, but rather depict the work of these artists in action. This is the direct opposite of what happens in the gallery. The artist has transformed the photographs into an abstract expression of the human condition, a sign of the fact that life is a struggle, that the urban environment is as important as nature. In the gallery, the figures of the street cleaners, the people who go about their daily activities, are transformed into abstract symbols. The street cleaners, who are in a state of awareness, can be seen as an abstraction, but they are not a representation of a situation, nor are they a symbol of a subject. They are abstract figures that reflect the power of abstraction, but they are not abstract figures. They are real people who live in the city, in a city that is still developing. They have learned their lesson, but they do not want to repeat it. They want to create their own space in the city, in which they can work and express their individuality. The street cleaners create a space that is pure and private, where they can express their individuality. In this sense, they are not abstract figures, but concrete figures, which can be seen as abstract abstractions. The street cleaners do not have a history of confronting their private and collective pasts, but they do not hide it behind abstract symbols. They act as a counterpoint to the abstract, and they do so with a certain openness and honesty. They do not use abstract symbolism, but rather express their own private past through a public language.The abstract figures in the photographs in the gallery are not abstract figures, but concrete figures.

Result #4

The same applies to the work of the artist, who, in the past, has dealt with the city, but in a contemplative way, and in a more neutral, contemplative way. In this exhibition, nature was present as an ambivalent presence that was simultaneously the art of the city and nature, and that was also the way of human existence.The works in this show were also the results of an artist-as-collector program. The exhibition was a product of a collective effort, and in that sense, it was a work of art, and an art of which we are all participants. The work is a re-presentation of an art that was once valuable, but that is no longer a work of art. The work is the work of a collector who has chosen to invest his collection with a new value. In this sense, it is a product of a collective effort, and a work of art, and in that sense it is the work of an artist.

Result #5

in the photo series "nature waiting for humanity to disappear" I deal with man-made nature in the urban space of Berlin. nature was presented as overpowering and in a heroic way to visually express the superiority of nature over mankind. And yet, I dont see how this could be otherwise, since the work of art itself is an act of resistance to the forces of nature and of culture. The art of the city is an active resistance to the forces of the outside world, which are in the process of destroying the city. Thus, the works of art that have appeared in the city since the end of the wall and of the wall in general, are more than just an act of resistance to the forces of nature. They are also an act of resistance to the forces of culture, in the process of which art itself is an act of resistance to the forces of nature. This is why the city is an arena in which we can confront the forces of nature, and also to which we can be easily drawn. It is a place where the forces of the outside world are weak, and in which we can make use of our intelligence, as it were, to find the path of the outside world.This is why, in the early 70s, after the wall and the wall in general had disappeared, Berlin seemed to have become a city that was no longer a city. This was partly due to the fact that the city was no longer a city, but rather a place that could be transformed into a city. The city is no longer a city because it no longer exists as a city, as a city. Berlin no longer exists as a place where we can go to be free of the forces of the outside world, because that is the city of the other. It no longer exists as a place where we can sit down and have our breakfast. It no longer exists as a place where we can have the freedom of the city, as in the old days, and that is the city of art. Thus, the Berlin of the 70s no longer exists as a city, but rather as a place in which we can be easily drawn. This was also the case with the city of my childhood.