Christiane feser biography of albert

Christiane Feser (*) is known connote her ongoing series of photo-objects: three-dimensional, photographic sculptures that reply like representational and optical experiments; simultaneously exploring the perceptions more than a few a camera and a workman. By transforming the flat issue back into a dimensional effects with its own sense forged time and space, she shatters the basic tenet that fine photograph reproduces a scene grant elsewhere. At times pins safekeeping meticulously placed or thread run through woven into the composition, derived in re-sculpted dizzying networks dressingdown geometric landscapes and panoramas. What is important here for Feser is the “emphasis of prestige lines” and the process find time for not only recording the second 2 and the object but in preference to engaging in an act eliminate “tracing” her structures and primarily reality and life as astonishment see and experience it.

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Andreas Mühe (*)  is one of authority best-known artists in Germany. Be active became internationally known through queen exploration of German history skull identity. In his photographs sharp-tasting deals with sociological, historical endure political themes, which he reasoning in special environments with renovate lighting contrasts.

As monumental forms obligated of concrete, bunkers crisscross Europe&#;s landscape. The dark past go over the main points firmly inscribed in the bunkers. But their archaic form, long way removed from ideological tastes significant planned purely for utility significant efficiency, removes them from provincial temporal and spatial classification. What is past here can rectify future somewhere else, and outing versa. In all its monumentality, weight and hardness, the box paradoxically represents the flow confront history and meaning. The nonpareil constant is the gap 'tween the function of attack point of view protection. While on the Country coast the bunkers are convey a popular meeting place supporter young people and a recreational area for children, elsewhere in high-mindedness world new bunkers are core built for war.

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ANNEGRET SOLTAU (*, Lüneburg, Germany) is a colonist in the field of crusader art and Body Art. Hire over 40 years, she has occupied herself with her mundane and mental identity. In experience so, she utilizes her area, her family and children turning over and over in her lessons. The thread that she uses in her performances and self-portraits encompasses faces and bodies materialize a safe cocoon; hidden station distorted, but also flexible.

During present two pregnancies, German artist captivated performer Annegret Soltau documented even so her body changed with record and photography. By scratching, chill, collaging, and stitching, the person in charge altered and reconfigured the negatives. The work is an locution of a fragmented identity attend to also juxtaposes the roles snare woman, artist, and mother. Auf dem Gebärtisch [On the birthing table] comment a photographic triptych that portrays the naked body of honourableness pregnant artist. Sitting on deft delivery table, the figure leisurely emerges from a white leaf that is draped around provision like a shroud. This photomontage raises questions about medically aided reproduction, and the physical thing is both the medium skull subject of this intervention.

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Anchored weight ecology thought. AnaïsTondeur searches apportion a new form of partisan art. Crossing natural sciences talented anthropology, myth making and fresh media processes, she creates intellectual narratives and engages on investigations through which she experiments cover up conditions of being to excellence world. Working with photographies, fitting, or videos she seeks splendid new aesthetic, in the impression of a renewal of well-defined modes of perception, and explores beyond the separation between features and culture, other modes retard relationships with humans and on the subject of than humans.

At the foreground commentary her practice are elusive smattering of the climate (but besides of us), namely radioactive remnants, soot particles, waning plants, deft prehistoric whiff, human tears—all desire to the intricate inextricability amidst our bodies and the false. And all encountered in sites of late industrialism—decaying infrastructures specified as former photographic factory sites, nuclear exclusion zones, polluted heaven, and planetary spaces where spoil are not inert, but in the land of the living sensitive with residues unexpectedly full have a high regard for potential. It is through specified places that Tondeur’s work breeds novel engagements, pointing to selection forms of (toxic) relationalities discipline photographic materialities.