Veränderung oder Zerstörung der Kulturen durch die Globalisierung (German Edition)

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Articles

  1. Monika Grabuschnigg
  2. ARCH+ 223: Planetary Urbanism: The Transformative Power of Cities
  3. Europa - Mythos und Vision by Barenboim-Said Akademie gGmbH - Issuu
  4. Asendorf, Christoph 1955-

Monika Grabuschnigg

With technical adroitness and creative ingenuity, Grabuschnigg frequently engages with a number of topical questions such as national and cultural identity, violence, displacement, globalisation, and translation. For example, in her ornate sculptures, we nd a playful mixture of opulent shapes, colours and contrasting symbolic references — from warfare to pop-culture, femininity to patriarchy, sensuality to the sex industry, decoration to destruction, venera- tion to commercial fetishization — all of which evince a piercing sensibility to the double edged nature of our globalised world.


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Pink, red, black, blue and gold bleed into seductive shapes, forms and camou aged patterns which subtly blur the line between war aesthetics and interior design through abstraction. Bearing in mind the text to which Barthes refers in The Death of the Author, the works by Grabuschnigg seem to operate within a language that ceaselessly calls into question the origins of meaning we ascribe to various objects and artworks.

ARCH+ 223: Planetary Urbanism: The Transformative Power of Cities

Facing the exhibited works, the viewer instead enters into an aesthetic universe — a plethora of contrasting symbolic, cultural and visual codes — in which nobody has authority over truth. Placing Echoes on Facades comprises ve blank white sculptures, created in Berlin, and shipped to Iran, where they are handed over to and worked upon by local artists and craftsmen. Similarly, Interweaving Void involves the artist having to produce a number of incomplete drawings while in Esfahan; these are then passed on to a carpet weaver and subsequently translated into a new version of the standard sized prayer rug 0.


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Alluding to artists such as Marcel Duchamp, Monir Shahroudy Farmanfarmaian and Eugenio Dittborn, both projects bring to the fore the inherently performative and relational dimensions of art. Grabuschnigg beautifully stages an artistic dialogue between different voices and visual cultures. Ihre vielschichtige Praxis ist sinnlich wie auch re ektierend.

Europa - Mythos und Vision by Barenboim-Said Akademie gGmbH - Issuu

Toggle navigation. Facing the exhibited works, the viewer instead enters into an aesthetic universe — a plethora of contrasting symbolic, cultural and visual codes — in which nobody has authority over truth.

Monika Grabuschnigg

Placing Echoes on Facades comprises ve blank white sculptures, created in Berlin, and shipped to Iran, where they are handed over to and worked upon by local artists and craftsmen. Similarly, Interweaving Void involves the artist having to produce a number of incomplete drawings while in Esfahan; these are then passed on to a carpet weaver and subsequently translated into a new version of the standard sized prayer rug 0.

Alluding to artists such as Marcel Duchamp, Monir Shahroudy Farmanfarmaian and Eugenio Dittborn, both projects bring to the fore the inherently performative and relational dimensions of art. Grabuschnigg beautifully stages an artistic dialogue between different voices and visual cultures.

Asendorf, Christoph 1955-

Ihre vielschichtige Praxis ist sinnlich wie auch re ektierend. Toggle navigation.

Vor- und Nachteile der Globalisierung

The text is a tissue of quotations drawn from the innumerable centres of culture. Roland Barthes, The Death of the Author, No poet, no artist of any art, has his complete meaning alone. Eliot, Traditional and the Individual Talent,