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Fragmentation,defragmentation,transformation
©KimNamsee2012
Thataworkofartasanorganicwholeanditspartsshouldcommunicatewitheachotherinaharmoniousnecessitywastheaestheticidealofmostartistsforlongtime.Theliteratureandartisticavant‐gardeofthelate20thcenturyradicallyalteredthisview.
Thisispartlyduetotheconsciousnessthattherealityinwhichweliveisfullofcontradictionsandcontainsantagonisticelementsthatcannotbebroughtintoaharmoniousunit.Whetherartisa"nice"Illusion,whichisbestconsumedasacomforttothearduouslife,butmostlyconcealsreality?
Inliteratureskepticismwasgrowingastowhetherlanguagehadtheabilitytodescribereality.Whethertheconventionoftraditionalsemanticsoflanguageisstillabletodescribetheworldcorrectly?
Withsuchcriticalissues,thedeconstructiveprocessbeganinart.Inthefieldofliteraturemanyexamplescouldbepointedout.FromtheFuturist"ParoleinLiberta"toDada,fromBruitismtoConcretePoetryalwaysanattemptwasmadetofragmentizetheword,thesmallestsemanticunitoflanguage,intomeaninglesssoundsorletters,andthentoseekforanewsemanticmeaning.
Insculpture,therearealsotendenciestowardsthedeconstructionoftheorganicwhole.
ThesculptorDavidSmith,forexample,createdspatialstructuresthatcannotbedetectedasawhole.Unlikeintraditionalsculpture,itisnotpossiblebylookingatone
sideofhisworktopredicttheoppositeside,orthewholesculpture.Itisanassemblageoffragmentsthatarenotharmoniousassembled.
RalphSandersworkisconnectedwiththisstrategyandform.Hisfiguresinthisexhibitionaremadeofthinlayers.Togethertheyneitherformaharmonynorawhole.Ratherthanbeastableunit,hisworkisbrokenintotwoormoreparts.
Itappearsonlydetectablewhenyoutakedifferentviewpoints.Itisatwo‐dimensionalshadowimage,crosseddiagonallywithanotherimage.Onlyoneimagecanbeseenfromoneviewer`sposition,henceonlyonemeaningcanbecaptured.Theotherimageisalreadycontainedinit,butinvisible.OneImageappearsbyhidingtheotherinitself.
Iftheviewermoves,itchangesslowlytoanunexpectednewimage.Thisprocessthe
artistiscalling"transformation".
Theartistuseswellknownimages.Theseimagesarechargedwithideas,producedunderthesocialandpoliticalconditionsofoursociety.
Onelookattheimageseemsenough.Forexample,thefamoussilhouetteofJoseph
BeuysorOsamaBinladen,toevokecommonsenseideaandtherelatedfeeling.
Withachangeinposition,itisjuxtaposedwithasecondseeminglyabsurdimageasa
combination.Thiscreatesasenseofalienationoftheaccustomedconnection,butitcreatesnewlevelsofmeaning.
WhatistheconnectionbetweentheinfamouspictureofOsamabinLadenandCaravaggio`sMedusa?
HeretheTransformationbecomestheDeconstructionoftheusualsemanticsthathad
beenformedaroundtheimage.
Thepointofthistransformationliesnotinitsresult,butintheperformativemomentofransformation.Iftheviewermovesslowly,thefirstimagedissolvesintoitsfragments.
Thenitmergeswiththoseofthesecondimagetoahybridformofbonding.Intheconstantlychangingintermediateimage,producedbythedefragmentation/fragmentationandownmovement,yourecognizeneitherMedusanorBinLaden.
Youwillneverseeitbothsidesatonce,similartotherealityinwhichwelive.
Medusa Touch 2012, Steel, 240 x 180 x 142 cm Krakow, Poland
Medusa Touch 2012, Steel, 240 x 180 x 142 cm Krakow, Poland
ASGallerywasfoundedinMay2011asaplacetobringtogethertheemergingartscenein
Krakow.AScarriesoutacyclicalprogrammeofcuratedexhibitions,goingbeyond
particularmediaortypesofart.Thegenrespresentedinthegalleryinclude
cartoons/comics,storyart,abstractpainting,theatreandprintmaking.ASisaspacefor
experimentalactivities,transcendingstereotypicalrolesoftheartist,curatororcritic.The
exhibitionsinthegalleryavoidlocalismbyinvolvingartistsfromvariousculturalcentres
inPolandandEurope.ThegallerywasfoundedbyBarbaraZambrzycka‐Śliwaand
collaborateswithArt&SpaceFoundation.
GaleriaASpowstaławmaju2011,jakomiejsceskupiającemłodeśrodowiskoartystyczne
Krakowa.ASrealizujecyklicznyprogramwystawkuratorskich,wychodzącpozaramy
mediówczydziedzinysztuki.Zakresdziałańartystycznychpojawiającychsięw
przestrzeniachgaleriirozpościerasiępomiędzykomiksem,storyartem,malarstwem
abstrakcyjnym,teatremczygrafiką.ASjestprzestrzeniądziałańeksperymentalnych,
wykraczającychpozasztampowepodziałyról:artysty,kuratora,krytyka.Ekspozycje
realizowanewgaleriiprzekraczająwymiarlokalny,angażującartystówzróżnychośrodków
kulturalnychPolskiiEuropy.GaleriapowstałązinicjatywyPaniBarbaryZambrzyckiej‐Śliwyi
współpracujezFundacjąArt&Space.
22św.MarkaSt.,groundfloor/ul.śwMarka22,parter
31‐020,Kraków
tel.:(+48)124238022
e‐mail:[email protected]
oppeninghours/godzinyotwarcia:
Tue.–Fri.1:30–5:00p.m./wtorek–piątek13:30–17:00
Miedzygodzina17:00a18:30zapraszamypowcześniejszymumówieniusiętelefonicznym.
609845841
Sat.–Sun.11:00a.m.–3:00p.m./sobota–niedziela11:00–15:00
SuziGablik:Weneedanartthattranscendsthedistancedformalityofaestheticsanddarestorespondsthecriesoftheworld.
Alexenberg,M.L.,2011,TheFutureofArtinaPostdigitalAge:FromHellenistictoHebraicconsciousness.
IMU
ThequestionofIdentityinglobalcrisis/Transformationoftheimage
Maybewecouldmuchmorespeakaboutacrisisofidentityinglobalisation.MydailyrealityisthatI
eatItalianandAsianfood,IseeAmericanfilmsIdriveaJapanesecarfuelledwithArabianpetrolandmyGermanTVismadeinChina,IamGermanandIliveinBelfast,thecapitalofNorthernIreland,partoftheUKbutlocatedontheislandofIreland.WatchingWorldcupfootballgamesitseems
alwaysstrangetometoseethenational11ofanycountryconsistingofmainlyforeigners.
Myprojectwillbeonehugeinstallationoffragmentedimagesandobjectsinaspace.Accordingtotheviewerspositionfragmentswillconnectandbecomeaclearimage.Iamgoingtousedifferentmaterialsas:Photo,foundobjectsvideofootageandsculpture.
ThewholeinstallationwillrefertomindmapsAbbyWarburg`sMenosineAtlas.
MynewMultiperspectivetransformationalinstallationwillnotprovideanswersbutprovoke
questions.
Backgroundtotheidea:
EspeciallyafterexperiencingtheconflictinBelfast,itseemstomethatnationalidentityistheresultofbuildingmyththatbelongsinthepastandthatreferstopast.Itissointerestingtohearandsee
whatpeoplethinktoknowabouttheotherandhowfewinrealitythey(want)toknow.Identitymaybedefinedasthedistinctivecharacteristicbelongingtoanygivenindividual,orsharedbyallmembersofaparticularsocialcategoryorgroup.
Globalisationatthemomentisaneconomicalterm,whichdoesnotfitforadescriptionofhuman
interaction.Thepostmodernconceptofmultiplerealitiesdescribestheconfusioninthebestmanner.WithinthewordconfusionIdescribetherootofcontemporarycrisisofidentitywhichcanbeagreatchanceforapeacefulfutureifitwillnotbemisusedbysectarian,dividingpowers.
Economiccrisisalwaysevokesprofoundfear,theresultisthesearchforgroupidentityexcluding
others.Atthemomentwefaceanenormousset‐backinhumanachievementsinceEnlightenment.
Peoplefeeltheslowdisappearanceofcivilrightsandreligionbecomesanissueagainnationalismgrowseverywhereasearchfortheenemybegins.Nowonderthatthe19thcenturyrecentlybecamesubjectofliteratureandfilm.ThelastBookofUmbertoEco,”ThePragueCemetery”describesthe
phenomenaofmythandidentitybuilding.
“Weneedanenemytogivepeoplehope.Someonesaidthatpatriotismisthelastrefugeofcowards:thosewithoutmoralprinciplesusuallywraptheflagaroundthemselves,andbastardsalwaystalk
aboutthepurityofraces.National‐identityisthelastbastionofthedispossessed.Butthemeaningofidentityisnowbasedonhatred,onhatredforthosewhoarenotthesame……Hatredhastobe
cultivatedasacivicpassion.Theenemyisthefriendofthepeople.Youalwayswantsomeonetohateinordertofeeljustifiedinyourownmisery.Hatredisthetrueprimordialpassion.”
Personalbackgroundandinvolvement
BeingborninGermanyitfeltalwaysstrangetoidentifywithmyowncountry.SinceIlivemorethanhalfofmylifeasaforeignerindifferentplacesofthisworld,marriedwithapolishwomansurelythe
issueofpersonalidentityarises.
IspendmychildhoodclosetoariverandIalwayswantedtoknowwhereitleadsto.Hencebetween1988and1991Isailedaroundtheworldonasmallsailingboat,anexperiencecrucialformyartisticdevelopment.
Definitionofterms:
Identitymaybedefinedasthedistinctivecharacteristicbelongingtoanygivenindividual,orsharedbyall
membersofaparticularsocialcategoryorgroup.ThetermcomesfromtheFrenchwordidentité,whichfindsitslinguisticrootsintheLatinnounidentitas,‐tatis,itselfaderivationoftheLatinadjectiveidemmeaning"the
same."Thetermisthusessentiallycomparativeinnature,asitemphasizesthesharingofadegreeofsamenessoronenesswithothersinaparticularareaoronagiven
point.(http://en.wikipedia.org/wiki/Identity_(social_science))
Manypeoplegainasenseofpositiveself‐esteemfromtheiridentitygroups,whichfurthersasense
ofcommunityandbelonging.
[..]theFrenchdiscoveredinthe1870‘sthattheAnglo‐Saxonmythhadchanged,notsomuchinnatureasinfunction:that,afterhavingbeen
―racialized‖,ithadbeenglobalized;thatitwasnolongerasimple
excusefordividingandclassingthedifferentethnicgroupswithinthe
UnitedStates,butlaidthegroundworkforaplanetaryredistributionofrolesinwhichtheAnglo‐Americancouplewouldevidentlybethestar(2005:171).
AbyWarburghMenosine(Greek:Goddessofmemory)Atlas
http://24.media.tumblr.com/aQgLCEDtRoz3dxz4yKZY3BLgo1_400.jpg
Wystawa organizowana jest w ramach projektu FUNDACJI ART&SPACE ” Tożsamość w
kryzysie,cyklwystawsztukiwspółczesnejorazanalizanaukowatożsamości”.Projektzostał
objęty patronatem honorowym przez PrezydentaMiasta Krakowa‐ JackaMajchrowskiego
orazMarszałkaWojewództwaMałopolskiego‐MarkaSowę.
www.krakow.pl
www.ngo.krakow.pl
Wystawa „I am You” została zrealizowana w ramach projektu Fundacji ART&SPACE ”
„Tożsamośćwkryzysie,cyklwystawsztukiwspółczesnejorazanalizanaukowatożsamości”,
którywspółfinansowanyjestześrodkówGminyMiejskiejKraków.
Refleksjeartysty–RalfSanderosobieiswojejpracy
Moja praca artystyczna odzwierciedla doświadczenie transformacji, czyli permanentnych
zmian formy. Jej charakter wynika z głębokiej fascynacji prawami i zasadami rządzącymi
naukami ścisłymi jak również próbą zrozumienia nowych technologii i historii. Najbardziej
istotnym jest dla mnie proces nieustającej, wciąż na nowo rodzącej się inwencji i
metamorfozy. Punktem wyjścia do niekiedy pozornie surrealnychre‐inwencjisą realne
wydarzenia lub zjawiska kulturowe bądź historyczne, również dotyczące najnowszej
przeszłości. Sednem konceptu artystycznego jest wyzwanie i kwestionowanie ogólnie
przyjętych, akceptowanychpercepcji i interpretacji rzeczywistości czy teżosób lub zjawisk
objętychkultem,pozytywnyminegatywnym.Pracanadtransformacjąjestwynikiemmoich
doświadczeń osobistych jako cudzoziemca, czyli bycia obcym. Jest to związane z częstymi
zmianami miejsca pobytu i długich podróży. Życie w zróżnicowanych kulturowo i
historycznie regionach świata, a więc społeczeństwach mających odmienny sposób
wartościowania i stosunek do rzeczywistości wywiera zasadniczy wpływ na moją pracę
twórczą. Pewne zmiany stylizacji iwyboru podmiotównie zmieniają jej esencji, którą jest
transformacja.Łączę własną kreacją używając różnych mediów z materiałami takimi jak
części urządzeń przemysłowych, transformatorów, urządzeń chłodniczych,
wyeksponowanych obiegów elektrycznych i innych mechanizmów. Kombinacje te tworzą
nowysens.Poprzezintegracjętychelementyzsiłaminatury,naprzykładenergiąsłoneczną
lub energią fal morskich w czasie przypływu/odpływu, konfrontuję człowieka zarówno z
niewidocznymi gołym okiem siłami jak również z dymem, parą lub mgłą, wodą i
lodem.Wyrazemmoichpoczynańartystycznychsą licznepracemiędzy innymiwdziedzinie
rzeźby, rysunku, instalacji, performance, filmu artystycznego i dźwięku. Moje główne
zainteresowanie leży w rzeźbie i instalacji, w którychmogę wypróbować ostrość ludzkiej
fizycznej percepcji. Staram się, aby natura, istota ludzka i technologia były ze sobą ściśle
związane.Cykl moich ostatnich prac reflektuje transformacje wizerunkóww zależności od
pozycji obserwującego, można powiedzieć, ironiczny współczesny link do „Metamorfozy
Ovida”.Myślę,żerzeźbaodkrywaczyteżwynajdujesięznowuiznowunanowo,comogęteż
powiedziećosobie.
Reflectionsofanartist–RalfSanderabouthimselfandhiswork
Myartisticworkreflectstheexperienceoftransformation,orpermanentchangeofform.Itscharacterresults
from a deep fascination with the laws and principles of science as well as an attempt to understand new
technology and history. The most important for me is a process of constant, re‐emerging invention and
metamorphosis. The starting point for the sometimes seemingly surreal reinvention are real events, or
historical or cultural phenomena, including the recent past. The core concept of art is to challenge and
question the generally accepted perceptions and interpretations of reality, or people or events of the cult,
bothpositiveandnegative.Workonthetransformationistheresultofmypersonalexperienceasaforeigner,
that is being a stranger. It is associated with frequent changes of location and the long journey. Living in
culturally and historically diverse regions of theworld, societies have different ways of evaluation and the
relationship to reality has a major influence on my creative work. Some changes in styling and choice of
subjectsdonotchangeitsessence,whichisthetransformation.Inmy(own)work, Imaketheconnectionby
usingavarietyofmediamaterialssuchaspartsofindustrialequipment,transformers,refrigerationequipment,
exposedelectricalcircuitsandothermechanisms.Thesecombinationscreateanewmeaning.By integrating
these elements with the forces of nature, such as solar energy or wave energy at high tide/low tide and
confrontingamanwithboththeforcesinvisibletothenakedeyeaswellassmoke,steamorfog,waterand
ice.An expression of my artistic endeavors are numerous studies in areas such as sculpture, drawing,
installation,performance,videoartandsound.Mymaininterestliesinsculptureandinstallation,inwhichItry
the sharpnessof thehumanphysicalperception. I try toconveyhownature,humanbeingsand technology
were/are closely related.A series of my recent work reflect transformations of images, depending on the
position of the observer, so to speak, an ironic contemporary link to “Ovid Metamorphoses.”I think the
sculptureinventsordiscoversoverandoveragainwhatIcansayaboutmyself.
FromtheTopDown,2012,80x120x90cm,cage,birds,sculptures,images,Krakow,ASGallery
RalfSanderASGalleryKrakowIMUexhibition,2012Room2Basement
Different experiments with multi-perspective sculpture 2012
Warnersuggestedthatimaginationcanprotectusfrominformationoverloadassociatedwithwhathetermed“thecounter‐Enlightenmentofglobalizedinformationtechnology”
Warner,M.2000,ThestructureofImagination:DarknessVisibleintheMind`sEye.InW.PullmananH.Bhadeshida,eds.,2000,StructureinScienceandArt.Cambridge,CambridgeUniversityPress,pp.163‐190
The Shadow of Homer (detail), 2012,installation basement of AS Gallery, Krakow,Poland
Young people are so easily entrapped by heroic stories and images without seeing the shadow.
Anatomyofaparasite,imageA0format,partoftheinstallation,theShadowofHomer
2012, installation in the basement of AS Gallery, Krakow,Poland
For the complex installation The Shadow of Homer, Ralf Sander made a large-scale environmental piece that reworked the very notion of Homer`s Epic and contemporary issues.
Heworkedprincipallywithassembliesoffoundobjectsandcollage,oftencontainingwrittentexts.Heincorporatedwrittenlanguageinhisartandusedwhateverwasathandforhisrawmaterials‐‐heplacedimagestakenfromanillustratedmagazinesandphotosinhispermanenttransformingmaze,usingadvertsandchangingtheimages.
Theyarethelawofidentity:whateveris,is(AisA);thelawofcontradiction:athingcannotbothbeandnotbe(AcannotbeBandnot‐B).Thepostmoderndiscourse,leadtothedeconstructionofthemasternarrativesofModernism(e.g.,progress,reason,art).Wearetodayleftwitharelativeconceptoftruthinthiscontextthelawsofidentityandcontradictionareworthtobequestionedin
thecontextofsculpture.Inthisinstallationseeminglycontradictingfactsbecomeoneandthesameobject.Importantistheangleofobservation.
2012 Ralf Sander`s Studio with different experiments of transformative sculpture
Ballerina, 2012 ( sculpture not published)
The discrete charm of the new world order 2012 93cm x 78cm x 55cm aluminum and lacquer
The shadow of James Joyce, 2012 sculpture and spotlight
Experiments for shadow drawings
88
Was ist Postironie?(von Diana Porr, 8.8.09)
Wir leben in einer Kultur der Fragmentierung und der Copy-and-Paste-Identitäten, der medialen Vermit-tlung und massenhaften Reproduzierbarkeit von einfach allem. Alles ist nur noch Zitat eines Zitats. Wir müssen uns selber zu einer Marke und Ware machen und unsere Haut zu freiem Markte tragen und wehe dem, der sich nicht rechnet.
What is post-ironic? (08/08/09 by Diana Porr, Kunstforum International bd.213 Feb.2012 s.202)
We live in a culture of fragmentation and the copy-and-paste identities, the mass media communication and reproducibility of just about everything Everything is just quote of a quote. We must merchandise
9
Fragmentation, Defragmentation and Transformation
For this project, I have created radically flattened sculptures from sketches made on a computer drawing pad. I then crafted anthropomorphic sculptures from flat panels in a spatial arrangement.
I want these sculptures to become images and exist simultaneously between both the two-dimensional and three-dimensional space. This combination of sculpting and drawing challenges the conventional aesthetic boundaries between three-dimensionality, flatness, monumentality and spontaneity.
My figurative sculptures appear solid in their physically and positioning, yet they are fragmented and vulnerable in their construction. The silhouetted simplicity is my homage to what I consider a cliché. At the same time, they play with human perception and expectation, e.g. when I juxtapose a lady, walking towards the viewer, with a flying bird.
My work engages with pre-conceptions about cultural ideals, in order to challenge established perception and interpretation. I often use historical precedent, or a combination of historical and contemporary images. These are a point of departure for more surreal reinventions.
I deliberately use well-known images for my combinations, such as the Medusa painted by Caravaggio and Osama Bin Laden’s portrait, which has left a trace in contemporary minds. One said that looking directly at Medusa would turn the viewer into stone. The other portrait may be said to have a similar effect. The image of Bin Laden is burnt into our collective subconscious.
The uncertainty of reality and the impossibility conclusively to speak about what has happened in the world in the last decade evokes fear – a fear that leads to a kind of petrifaction.
I am challenging expectations and preconceptions of the viewers. What they see depends utterly on their position. When seeing an object, we expect to be able to
presume the other views. When these expectations are deliberately not fulfilled, the objects become riddles in three dimensions. Images melt into and change their denotation and meaning: they are transformed.
For the sculpture: The Man who Became an Aeroplane,, I used a very popular image of Joseph Beuys that bears the inscription: “I am the revolution”.
The Man who Became an Aeroplane, 2012 Aluminum 84x32x72 cm
Joseph Beuys „La rivoluzione siamo Noi“, 1972 (© bpk / Hamburger Kunsthalle, Kupferstichkabinett / Elke Walford
The sculpture The Ambassador refers to the painting by Hans Holbein with the title The Ambassadors. The sculpture references cultural constructs, both old and new, and all these constructs have somehow been impaired. Possibly they have just been “re-born”, allowed to return to life as long as they relinquish their stalwart facades. These relativized concepts then refuse their representational or symbolic status and become something like an instrument: they resonate.
The Ambassador The Ambassadors
Hans Holbein 1533
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A personal experience of being a foreigner, of perpetually changing location, culture – and consequently values – apparently leads to an affinity to different styles and subject matter. But the constant element is transformation. This is reflected in the metamorphosis of the work. Also, this fact has strong influence on how I engage with space. Through a period of changing locations, I literarily experience the fragmentation of space. Travelling by plane seems unreal. Entering these pipes in one place of the earth and leaving them somewhere very far away brings with it an uncertainty in and of reality. The Newtonian spatial model was that the object is placed in space, defined by a containing boundary.
We are today experiencing two parallel shifts: the transition in science from the study of discrete things, which become smaller and smaller, to fields of activities, an engagement with emergence, e.g. in the relationship between chaos theory and flow structures. What is emerging is the idea of the viewers literally entering – immersing themselves in – the space between visibility and invisibility.
I use forms in between forms or states: the empty space. This canb e seen in works like Thank You Very Much Nice Boot! or The Man Who Found His Head.
Thank You Very Much, Nice Boot! Aluminum
120x40x95cm
12
Kuros de Anavisos (Creso),
Museo Nacional de Athenas, 540-515 a. C. Photo © Según Richter (1990)
Contrapposto is sculptural scheme that originates in Ancient Greece: the standing human figure is poised such that the weight rests on one leg (called the engaged leg), freeing the other leg (which is bent at the knee.)1 This invention the changed the inner movement of sculptures. It became a self referential spiral or helix, which created and claimed the sculpture’s own space. It leads to a disconnection of the realm of the real and that of sculpture or art. This understanding and diversion has been dominant at least in Western thinking until the last century.
I am particular interested in sculptures and installations in which I can probe the human body and sharpen people’s physical perception. In my work, nature, human beings, technology and current thinking, derived from science and philosophy, are closely intertwined.
1 http://www.britannica.com/EBchecked/topic/135385/contrapposto
The outline is very important for 3-dimensional works. It is in human perception one of the initial steps of recognition. Archaic Greek sculptors used this fact in their works. Archaic Greek sculpture is made like a box with four main views. Judging by the frontal view, it is nearly impossible to assume the side or back views. An interesting phenomenon concerning the Greek Kuros is that it seems to move. Standing in front of such sculptures, they seem to keep moving into the viewer’s direction. The same effect was used by Alberto Giacometti for his later works.
Lady-Bird Transformation view: front
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Anamorphosis of a cube, it becomes just visible from one position.
Cube 250 cm x 180 cm x 154 cm Steel 2001
15
1000/sec sculpture Waterdragon
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Works for the exhibition
Transformations - Fragmentation - Defragmentation
at F.E. McWilliam Gallery Bambridge UK from April 2012 to October 2012 in the sculpture Garden
The Sculpture Garden was designed to capture the spirit of F.E. McWilliam’s garden in which his studio was situ-ated at his home in London’s Holland Park. Divided by yew hedging and herbaceous borders the garden provides a series of tranquil ‘rooms’ in which to survey the sculptures on their granite plinths.
I deliberately use well known images to combine them, such as the Medusa painted by Carravagio and Bin Lad-ens portrait which has left a trace in contemporary minds. Gazing directly upon her would turn onlookers to stone speaking about the other portrait, it has a similar effect.The image of Bin Laden is burnt into common sub consciousness. The uncertainty of reality and the impossibility to speak about what happened in the last decade evokes fear – a fear that leads to a kind of petrifaction.
Sculpture Garden
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Lady and Dog studio view with model
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Lady and Dog 2012 220 cm x 156 cm x 180 cm
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The man who became a chicken 2012 80 cm x 64 cm x 32 cm
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The man who became an aero plane 2012 82cm x 86cm x 38cm
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Becoming the Black Raider 2012 140 cm x 180 cm x 42 cm (and model aluminum)
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Studio view with the scull of The Ambassador 2012 96cm x 53cm x 68cm Aluminum
2/3 D sculptures by Ralf Sander, images
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The Ambassador 2012 96cm x 53cm x 68cm Aluminum
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Who else plays Golf? 2011 mixed media 180cm x 200cm x 200cm
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Thank you so much, nice boot 2012 180cm x 160cm x 45cm aluminum
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Never ending story 2012 70cm x 93cm x 85cm stainless steel
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The discrete charm of the new world order 2012 93cm x 78cm x 55cm aluminum and lacquer
The discrete charm of the new world order refers to extremes in the social development of our society during the last decade. I quote Murakami pattern on very well known images.
abu-ghraib-torture
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The discrete charm of the new world order 2012 93cm x 78cm x 55cm aluminum and lacquer
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Slap in the face 2012 52cm x 68cm x 55cm aluminum
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Slap in the face 2012 52cm x 68cm x 55cm aluminum
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The German 2012 70cm x 40cm x 62cm aluminum
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The German 2012 70cm x 40cm x 62cm aluminum
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The man who found his head2012 aluminum 240 cm x 126 cm x135cm
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F.E. Mc William figure in a bomb blast Woman of Belfast
Poster for the parking space of F.E.Mc William Gallery Politics of Fear
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Sculpture of an exploding car 2011 25cm x 30cm x 45cm
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OIL BARRELS LIKE THESE USUALLY CONTAIN HARMFUL AND DANGEROUS MATERIALS
Participative work . Inside the two oil barrels are small photos. Visitors were asked to write or draw on the surface of the barrels. They will become black during the exhibition.
http://www.google.de/imgres?q=iraq+bomb Photo: ©R.Sander
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Small sculpture models
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Models view
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Metamorphose 2012
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Model Photo
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Models and concepts
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Lady- Bird Transformation
At a first glance the sculpture seems to be a girl or a woman walking towards the visitor. The same sculpture looks from the front side and the rear like a lady from both sides like a seabird. The visitor will recognize first a lady from the distance. But a shift of shape happens when the visitor continues approaching the building. Before entering the building the lady becomes a seabird.
It is the simple secret of sculpture that we can never see all views at the same time but we predict them. What you see depends very much on the position you look from. Since ancient times, “The Sea-Gull” is the state of mind that longs to fly free in the sky. The seagull is the link between different worlds, as it is capable to be on land, in the air, or at sea. Medium film has also the capability to transfer our mind into various new worlds. The city bird of Busan is the seagull, whose wings and clean body symbolize a “white-clad people” (Korean people). The surface of the sculpture is highly reflecting, polished stainless steel or colored chrome plated. The surface will reflect the color and forms of its surrounding. People may also discover themselves in the reflection.The sculpture is shaped in a highly contemporary material and style but at the same time manufactured in a traditional way.
Exceptional locations and human creations need a mascot to emphasize their value like for example “Flying Lady” of Rolls Royce. Lady-Bird- Transformation can become an iconic landmark and an artistic symbol of identity for the Busan Film Center and its function as host for the Busan Film Festival.
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First Aluminium model for Lady bird Transformation
Making the Lady-Bird-Transformation
Making the transformation sculpture
Lady - bird - Transformation
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Computer animation of the sculpture in final material
3D model view
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start of the work and cutting the styrofoam
shaping the sculpture
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In the factory before casting
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International Art competition The Belfast Harbour Commission Winner and First Price:
Landmark at the entrance of Belfast Harbor
It refers to the myth of the Seahorse. As the mythical Seahorse, the sculp-ture is a shape-shifter. Observing the body of the Seahorse, you may find some other forms. The sculpture will reflect the surrounding environment, like a kaleidoscope.
It is dancing on a column in the shape of an enlarged bollard in the same design as the common Belfast bollards and bits.
The Sea-horse in Belfast and Northern Ireland
The Belfast Seahorse 2011
Description: stainless steel sculpture, a symbol and artwork for the identity of a location
Commissioner/ Client: Belfast Harbor Comission
Key requirement of the brief: To develop an iconic landmark, design and build a significant piece of art that marks the entrance of Belast and Titanic Harbor
Installation/ Engineering: Ardt und Partner, Architects Potsdam, Prof Herbert Sander
Location: UK Belfast Northern Ireland
Title: Belfast Seahorse
Dimensions: 8500 x 3000 x 3000 mm
date: 2011
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The dancing Seahorse is designed as a mascot and a mythical protector for the city and the people of Belfast. The original Belfast Sea-horse is compounded of the front quarters of a horse and the hinder part of a fish or dol-phin. The image of the Seahorse is used in several locations. They are the emblems on several entrances of public parks, beaches, columns etc. But for my surprise nobody I asked was consciousness aware of this fact.
The seahorse, which is used twice, shows the maritime importance of Belfast, as does the ship at the base of the shield.
Belfast Crest
This crest dates back to 1613, when Belfast was granted town status.
The use of the Sea-horse in the North has a much older tradition. Several precristian stonecarvings are evidences for the important role the mythical creature played in this part of the island. There are clear resonances with earlier abstract forms such as the rock art of New Grange in Ireland which dates from before 3000 B.C.
The Myth of the Seahorse in Belfast Lough
Fisherman from Carnlough, co. Antrim told me a about a strange creature, half horse, half fish. They call it the Glashtin or cabbyl-ushtey.
Sightings
The first recorded sighting by a Mrs. John Allison in 1772. Another early instance tells of two horses swimming towards the open sea. A fisherman who wanted to bring them back to the coast saw them mysteriously disappear-ing under the water. The boat was nearly pulled beneath the waves and the owner was barely saving himself by cutting the rope attached to the horses. The creatures has been reported a number of times though no absolute conclusions have yet been made. Witnesses say glashtin *waterhorse is dark blue to scarlet or emerald with a lighter underside and measures between 15-20 feet. There where reported sightings every year to the middle of the 19th century.
In Myth, Legend and Reality the Seahorse stands for protection, recovery, health and very contemporary relations between man and woman.Seahorses in Myth & Legend around Belfast and Antrim Coast
Left to right: Centauer, horse, salmon, bull, deer, Sea-horse (mythical), Hippocamp
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In some variant stories the Glashtin may be seen as benevolent, fond of children and a protector of old people. Libations of milk were poured for her, especially on selected stones; this veneration may be linked with older fertility customs. The Glashtin has been described in some folklore as watching over children while their mothers milked the cows and fathers watched over the herds.
In the village of Carnlough on the north coast of Antrim, a Glaistin served as the guardian of the local fisherman. It was customary to pour some milk into a holed stone on the break-wave as a libation to the Glaistin. This small token was the only payment she requested for her long vigils. A local herds boy - who was widely known for his mischief - decided he was going to have some fun at the Glaistig’s expense, and poured boiling milk into the holed stone. The Glaistin severely scalded her tongue, and was so angry that she left the local waters, and her warden ship of the village for good. Ceffyl dwr, in the form of a huge and clumsy horse were reput-edly seen plunging up and down in the sea when thunderstorms were brewing, or just before a gale and the color of its coat would reflect the weather conditions, changing from the pure white of sea-foam to the colors of thunderheads. It is said that at Greencastle Bay just after a storm such an animal was seen.
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Making the scale1:1 model
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Curriculum Vitae Ralf Sander Born 1963 12 15German, Married, Daughter Naomi (18)Lives in Seoul, Korea, Belfast UK and Berlin
Qualifications
1984-87 1988-90 1990 1992
2002-04 Since 2005 Since 2008
Exhibitions 2011
2010
2009
2008
2007
Studied Fine Arts at the University of Fine Arts BerlinCircumnavigation of the world on a 41 feet sailing yachtFirst academic Degree at the University of Fine Arts Berlin equivalent to British MA)“Meisterschüler”at the UDK( University of Art) BerlinVisiting-professor at the Academy of Fine Arts Warsaw Reader in Fine Arts / sculpture UU BelfastProfessor for sculpture at Seoul National University, South Korea
MoA invites, Moa Seoul /KoreaTaehwa River, Art Project, Ulsan /Korea Catching the moon in a cup, Brandenburg Schloss Nennhausen /GermanyBelfast Seahorse, Belfast Harbour Commission /Northern Ireland“My wee private island” public performance and photo exhibition, Hazel bank, Belfast /UK WSM III Queens Street Studios, Belfast /UKMagnetic Islands, RMIT /AustraliaKIC Nordart /Germany„Die Welt der Zeichnung“ Burg Giebichenstein Halle /Germany WorldSavingMachine, MoA (Museum of Art, Seoul) Seoul /Korea Drawing of the world, world of drawing, SNU Museum of Art /KoreaSpiegelungen der Wirklichkeit ,Duesseldorf Skulpturenforum Isernhagen /GermanyStation , Gwanak Gu /Korea Siberian Photo Festival Museum for Contemporary Art Novosibirsk Siberia, Ekatarinenburgh /RussiaGlobal Warming/Icebox Philadelphia /USA The Third Dimension Dundalk /IrelandThe Royal Ulster Academy’s Annual Exhibition ,Belfast /UKUp is Down Schloss Nennhausen /Germany
1000/sec Sculpture ,Kunststation Bukow /Germany Cargo Cults, , Warsaw /Poland Venetian Schizo /Italy Cobh Harbour Project Sirius Arts Centre, Cobh /Ireland
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2006
2005
2004
2003
2002
2001
2000
Solo exhibitions
2011201020092008 2007 20072007200620062005200320032002200120001998199719961996
Rolandtransfer, Brandenburg /GermanyArt Fluid Canal, Le Landeron, Daejon /Switzerland /Korea Aquamediale ,Spreewald /GermanyXII Rohkunstbau Germany , Gross Leuthen /GermanyDie dritte Dimension Haus der Kunst Muenchen /GermanyDropzone, Brandenburg /Germany „Leibgedächtnis“ Art Academy Warsaw /Poland Dundee,UK / Waschhaus Potsdam /Germany”Exterritorial II“ Land Brandenburg /Germany Recherche de Place Just Art Gallery, Berlin /GermanySchering Kunstverein, Transhuman /Germany Club der Polnischen Versager (Media) /GermanyKunstwinter, Berlin /Germany Exterritorial I, Brandenburg /GermanySalon de Portrait, Paris /France Spektrale, Brandenburg /Germany Secret Garden, Kunstverein Bruecke, Berlin /GermanyKulturinstitut Lehnin Galeria Rzezby .Warsaw /PolandMoran Museum of Modern Art Seoul /Korea Individualitaeten Loewenpalais /Berlin Just Art Galerie, Berlin /Germany Naju Art Festival /Korea,Darmstädter Sezession /Germany „Biennale des Arts Miniatures“ Quebek Kanada (catalogue) Quebek /Kanada
Catching the moon in a cup, Kirche Bukow und Schloss Nennhausen /Germany WSM IV Equations, Queens Street Studios, Belfast /UKWorldSavingMachine ,MoA (Museum of Art, Seoul) /KoreaUp is Down, Schloss Nennhausen /Germany1000/sec Sculpture ,Kunststation Bukow /Germany Cargo Cults ,Warsaw /PolandVenetian Schizo ,La Serpara /Italy Rolandtransfer ,Stadt Brandenburg /GermanyLundby Fundation, Copenhagen /DenmarkGalerie Vertikale ,Lübben /GermanyRecherche de Place ,Just Art Gallery, Berlin /GermanyTranshuman, Schering Kunstverein,Berlin /Germany Secret Garden, Kunstverein Bruecke, Berlin /Germany Transhuman, Galeria Rzezby,Warsaw /Poland Oracle, Just Art Galerie, Berlin /Germany Ralf Sander, Just Art Galerie, Berlin /Germany Holzskulpturen, Gallery MFB, Berlin /Germany Menschenbild, Auktionshaus, Ullstein Figuren, Just Art Galerie/ Germany
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Stipendien / Grants/ Art Prize 1993/9419941995199520022003
Public Art
1997
200620072011
Art commissions 2011 200620052003200320022002200220012000199919981996199819951994
Grant / Stipend NaföG StipendiumGrant DAAD Stipendium für Studienreise nach China und JapanArt Prize, Preisträger des Bosch Förderpreises Work ArtProjektförderung der Stiftung Kunst und KulturArt Prize, Kunstpreis „ Spektrale“ Brandenburg (Kurzfilm)Grant ,Deutsch-Polnische Kulturstiftung
Natur- Kunstzeichen Symposium „panta rhei“ Symposium Collaborative Project, Hohenstuecken BrandenburgResidency Sculpture Centre Oronsko (Centrum Rzezby Oronsko) /PolandTeahwa River Festival, Ulsan /Korea
“Belfast Seahorse”, Belfast Harbor Commission /UK Rolandtransfer, BrandenburgConstruction/ Deconstruction ,Gross Leuthen„Mensch Ärgere Dich Nicht“ ,Landratsamt ,Dahme SpreewaldTrace, Sparkasse, Koenigs Wusterhausen SparkasseEar of the Sky, Schering, BerlinDanzer, Frankfurt„ To learn is to be open“, Paul Gerhard Gymnasium, LübbenDreifeld Multipupose arena „Cubus“Dominicus Dominican Church, MainzSpreewaldklinik Brandenburg„Wasserwelle Wildau“, WildauKlaproth Stehle Technical University, BerlinDesign for marcetplace in Töpchin, BrandenburgKlaproth Stehle Campus Technical University, BerlinDesign of School building facade, Töpchin
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Ralf Sander is an artist who works with a di-verse range of media in an extensive oeuvre, that includes sculptures, films and videos, photographs, prints, installations and vocal works.
Publication DateApril 10th 2012
PublisherRalf Sander
EditorShoMoKin
PrintingMac Process
SoftwareIndesign cs5
TypefaceArialTime
Photos & ImagesRalf Sander
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