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Shirin Aliabadi zeigt die Sehnsüchte junger iranischer Frauen
Shirin Aliabadi discloses the desires of young Iranian women
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Mit welcher Zähigkeit sich die alten Klischees trotzdem gehalten haben und bis in die Gegenwart wirken, zeigte sie ebenfalls im Rahmen von Inverted Harem: Der Titel der Ausstellung spielt auf die Vorstellung des Abendlandes vom orientalischen Harem als Showroom junger, lasziver Frauen an, die jederzeit verfügbar sind.
Shannon Bool, who was born in 1972 in Comox, Canada and studied at the Emily Carr Institute of Art and Design before moving to New York and subsequently to Frankfurt, where she attended the Städelschule, augments this unilateral, exclusive perspective in her work. And she doesn't stop at Barnett Newman, after adjusting his monument to a female body size and a sexual service. Her research takes her back to modernism's beginnings, which marked a break with tradition and role models. In Inverted Harem, she also shows how tenaciously old clichés have endured and exert their influence to this day. The exhibition title plays on the western notion of the oriental harem as a showroom for young, lascivious women who are always at the ready.
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In Deutschland wird die Liste mit Ausstellungen junger russischer Künstler immer länger. Nachdem die Kunsthalle Düsseldorf im Mai 2003 die neue Generation nach den Moskauer Konzeptualisten zeigte und letzten Herbst im Berliner Martin-Gropius-Bau die Mammut-Ausstellung Berlin - Moskau einen historischen Brückenschlag bis in die fünfziger Jahre versuchte, sind diesen Sommer gleich über ein Dutzend russische Gegenwartskünstler in der Kunsthalle Baden-Baden unter dem Titel Ha Kypopt!
In Germany, the list of exhibitions featuring young Russian artists is getting longer and longer. After the Dusseldorf Kunsthalle showed the new generation following the Moscow Conceptualists in May 2003, and Berlin's Martin Gropius Bau presented the mammoth exhibition Berlin - Moscow last fall, which offered a historical look back to the 1950s, over a dozen contemporary Russian artists can be seen this summer in the Kunsthalle Baden-Baden in a show called Ha Kypopt! ("Off to the Holiday Camp!") In Berlin's Kunst-Werke, the current exhibition Privatizations attempts to demonstrate post-communism's effect on artistic positions throughout the entire former East Bloc. If the success at art fairs in New York, Berlin, and Basel is included in the picture, then we're looking at a true Eastern boom in art, fifteen years after the end of the Soviet regime.
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Bereits zum siebten Mal ermöglicht die Initiative Kunst privat! auch dieses Jahr wieder Einblicke in das vielfältige Kunstengagement und die Sammlungsphilosophie der Unternehmen, zu denen auch die Deutsche Bank zählt. Im Frankfurter Hauptsitz begegnet das Publikum junger Kunst aus allen Kontinenten.
A weekend for art: on May 28 and 29, 2011 around 30 companies and institutes connected with the financial world from the German state of Hesse are inviting art enthusiasts to experience their collections, which are rarely accessible to the public. For the seventh time, the Kunst privat! (Art in Private!) initiative offers insights into the diverse art involvement and collection philosophy of companies, including Deutsche Bank. At the bank’s Frankfurt Group Head Office, visitors encounter young art from all continents. "We’re pleased to present the new art concept for our modernized corporate headquarters and thus the innovative potential of contemporary art to an even wider public," said Friedhelm Hütte, Global Head of Art, Deutsche Bank. "A new generation of international artists has moved into the Frankfurt Towers, providing unique insight into the art of the world."
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Gleichzeitig engagiert er sich als Mentor für junge Künstler: Knight plant er eine Serie von Gesprächen, Vorträgen und Workshops, die an der Städelschule, im Portikus sowie in verschiedenen Ateliers junger Frankfurter Künstler stattfinden.
John Knight is often associated with the term "institutional critique" - with the systematic investigation of the mechanisms of art institutions, their systems, and their power structures. Each of his works reacts to the place he is invited to exhibit his works at. In his current project, Knight engages with the history and function of Portikus and its close relationship to the Städel School. In addition, he acts as a mentor for young artists. Knight is planning a series of discussions, lectures, and workshops that will take place at the Städel School, in Portikus, and in different studios of young Frankfurt artists. In Portikus itself is showing a text work based on a conversation between the artist and André Rottmann. Rottmann, an art historian and former editor-in-chief of the magazine Texte zur Kunst, knows the artist's work well. As an employee of the research group BildEvidenz at the Freie Universität in Berlin, Rottmann is currently working on a project focusing on institution-critical art since 1969.
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thema: Momentaufnahmen eines Jahres: 2002 / Fleeting Moments / Neue Arbeiten junger Kunst in der Sammlung Deutsche Bank / Die Bedeutung der Kunst für das Unternehmen / Kunst macht reich! magazin: Beruf: Künstlerin / Die Farbe Grau aktuell: Wordsearch: Die Box zum diesjährigen "Moment" Projekt / Shipped Ships: Eine Fähre für den Amazonas ausstellungen: Sugimoto / Sugimotos Porträts in Singapur / Kara Walker im MuseumsQuartier in Wien presse: Presseschau zu "Gerhard Richter: Acht Grau" art at work: "Es geht nicht darum, ein gefälliges Programm zu zeigen."
theme: Fleeting Moments of a Year: 2002 / Fleeting Moments / New Works of Young Art in the Collection of the Deutsche Bank / The Significance Art Has for a Company / Art Can Make You Rich! magazine: Profession: Woman Artist / The Color Grey current: Wordsearch: The Box on This Year’s “Moment” Project / Shipped Ships: A Ferry for the Amazon exhibitions: Sugimoto Portraits / Sugimoto’s Portraits in Singapore / Kara Walker at the Vienna MuseumsQuartier press: Selection of reviews on Gerhard Richter's Eight Grey art at work: "It’s not about showing a program that people like."
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Auch dieses Jahr kann man wieder an Führungen durch die Etagen des IBC-C, des temporären Hauptsitzes der Deutschen Bank in Frankfurt, teilnehmen. Zu den Highlights zählt hier die erste Etage, die mit Arbeiten von Wolfgang Tillmans, Martin Liebscher und Delia Keller ein Panorama junger deutscher Fotokunst bietet.
On the weekend of June 20/21, 2009, on the occasion of Kunst privat! (Art in Private!), it will once again be time for 35 of Hessen’s firms and finance-affiliated institutions to open their doors to art lovers and present their collections. Deutsche Bank is one of the organizers of the event, which is taking place for the fifth time. This year will once again feature guided tours through the floors of the IBC-C, Deutsche Bank’s temporary headquarters in Frankfurt. Among the highlights is the first floor, which offers a panorama of young German art photography with works by Wolfgang Tillmans, Martin Liebscher, and Delia Keller. Along with prominent works by artists like Gerhard Richter, Georg Baselitz, and Joseph Beuys, the focus of the art installation is on young international artists. Works by Francis Alÿs, Takashi Murakami, and Kara Walker document that not only the world of finance has become increasingly global, but the art world as well. The tour also leads to the nearby IBC-B, where commissioned works such as Heiner Blum’s digital orientation system Wir und Wo (We and Where) or Olaf Metzel’s gigantic ceiling sculpture Cashflow demonstrate the many innovative paths art at the workplace takes today.
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Die profilierte Sammlerin hat 1995 in Turin ihre Stiftung Sandretto Re Rebaudengo gegründet. Wie die Sammlung Deutsche Bank hat sich die Fondazione vor allem der Förderung junger Künstler verschrieben.
There will be a high-caliber charity event at the Milan headquarters of Deutsche Bank on January 19, when Tobias Rehberger shows his Evoluzione, a psychedelic version of the current Fiat 500. The event is presented by Deutsche Bank and the Fondazione Sandretto Re Rebaudengo. Godmother of the event is Lavinia Borromeo Elkann, the wife of Fiat president John Elkann. Flavio Valeri, CEO of Deutsche Bank Italy, and Patrizia Sandretto Re Rebaudengo will also be present. The prominent collector founded her Sandretto Re Rebaudengo Foundation in 1995 in Turin. Like the Deutsche Bank Collection, the Fondazione dedicates itself mainly to the support of younger artists. Rehberger’s mobile work of art, which was seen in public for the first time in November 2010 at the Artissima art fair in Turin, will be auctioned in the spring by Sotheby’s. The proceeds from the auction will go to the neonatal ward at Sant’Anna Hospital in Turin. The Milan headquarters of Deutsche Bank Italy provides the ideal context for the presentation of Evoluzione: important contemporary Italian artists have created site-specific works of art for the building. During guided tours and open house days, the works from the Deutsche Bank Collection on view here are made accessible to the public on a regular basis.
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Dieses innovative Potential von Kunst und Kreativität steht auch im Zentrum des Kunstengagements der Deutschen Bank. Die Förderung junger Künstler ist seit rund drei Dekaden ein bedeutender Teil der Unternehmenskultur.
For many people interested in art, Joseph Beuys is the ultimate personification of the artist and teacher. He was both a visionary and a mentor. His influence extended far beyond the sphere of art: the "expanded concept of art" includes a transformation of the whole society. With his famous sentence: "Every human being is an artist," Beuys meant that everyone has creative potential which must be supported, and declared: "The greater a person's creativity is, the greater the national income is, the greater the ability is to do things so that they become as productive and effective as possible for everyone." This innovative potential of art and creativity is also a central aspect of Deutsche Bank's commitment to art. Promoting young, contemporary artists has been an important part of our corporate culture for some three decades. The focus of our activities is the Deutsche Bank Collection.
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Als der langjährige Frankfurter Lokalmatador Kasper König die Leitung des Museums Ludwig in Köln übernahm und der Däne Daniel Birnbaum seine Nachfolge in der Leitung des Städels und der assoziierten Kunsthalle Portikus antrat, kam eine kleine, aber auffällige Gruppe junger skandinavischer Künstler nach Frankfurt, die es im Fall von Hein im Handumdrehen in die größeren Ausstellungshäuser wie die Schirn und von dort aus bis auf die Biennale in Venedig schafften - mit einer Kunst, die Alltagsphänomene humorvoll analysiert, dabei aber formal streng konzeptionell bleibt.
In the meantime, a new Städel generation has emerged, including the Bayrle students Tue Greenfort, Jeppe Hein, and Simon D. Møller. When Frankfurt’s long-time local big fish Kasper König took over the direction of the Museum Ludwig in Cologne and the Dane Daniel Birnbaum followed in his tracks as director of the Städel and the associated Portikus, a small but noticeable group of young Scandinavian artists came to Frankfurt, making it, as in the case of Hein, into the larger exhibition venues such as the Shirn and from there to the Biennale in Venice – with an art that humorously analyzes everyday phenomena while remaining strictly conceptual on a formal level. For his ant terrarium, for instance, Tue Greenfort received the annual “Rundgang” prize funded by local sponsors. In his various projects, the Danish artist had already sought dialogue with animals, which he offered decent living conditions in return for taking part in his art works. In Frankfurt’s eastern industrial districts, home of the Städel School artists’ studios, Greenfort discovered a thriving fox population and set up a camera at night, baiting the shutter release.
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Als die Bilder von Jackson Pollock erstmals in Deutschland zu sehen waren, war Eduard Beaucamp noch ein junger, kunstinteressierter Student. Exklusiv für db-artmag berichtet der Doyen des deutschen Kulturjournalismus, was ihm damals auf der documenta in Kassel und anderenorts aufgefallen und besonders in Erinnerung geblieben ist:
When Jackson Pollock’s paintings were first shown in Germany, the critic Eduard Beaucamp was still a young student interested in art. Now, in an exclusive interview with db-artmag, the godfather of German cultural journalism talks about what he remembers most from the time, both at the documenta in Kassel and other important European exhibitions.
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Nicht nur, dass Menschen, die sich sonst kaum für Kunst begeistern, von Rousseau oder van Gogh schwärmen oder auf Buchtischen zusätzlicher Platz für Prachtbände von Matisse und Picasso geschaffen wird - auch auf der diesjährig heftig bemäkelten Berlin Biennale, die zeitgleich mit dem MoMA an den Start ging, war die Auseinandersetzung junger Künstler mit ihren Vorvätern gegenwärtig.
Even to the exhibition's organizers, the success is almost uncanny. Day after day, visitors line up in endless queues in front of the New National Gallery in Berlin, putting up with hours of waiting to get a glimpse of the masterpieces of New York's Museum of Modern Art. Even if big American names like Pollock, de Kooning, or Rauschenberg can be seen here, it still seems as though MoMA in Berlin chiefly signalized European Modernism's return to the German capital. Masses crowding around Rousseau's The Dream, James Ensor's symbolist death dance, Monet's Water Lilies, or standing reverently before Matisse's Dance - paintings that have been reproduced million-fold on postcards, posters, and gift articles. In Berlin, however, the originals seem to have retained their full aural effect nonetheless. Not only are people with an otherwise limited interest in art suddenly raving about Rousseau or van Gogh, while book counters are being rearranged to make space for coffee-table volumes on Matisse and Picasso - this year's heavily criticized Berlin Biennale, which opened the same time as the MoMA show, also demonstrated that young artists are becoming increasingly involved with the works of their predecessors.
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Moshiri, der in seinen Arbeiten Kalligrafie, traditionelles Kunsthandwerk, Kitsch und Pop Art miteinander verbindet, ist, wie er erklärt, stark vom Alltagsleben beeinflusst - von "den Einkauszentren, Basaren, dem Dekorativen und Ornamentalen und der Hochzeitskultur im Iran". Eine opulente "Traumhochzeit" nach westlichem Vorbild gehört zu den großen Sehnsüchten vieler junger Frauen der iranischen Mittelschickt.
Moshiri combines calligraphy, traditional craftwork, kitsch and Pop Art in his works. He is greatly influenced by everyday life, as he explains - by "the mall, the bazaar, the decorative and ornamental, and wedding culture in Iran". An opulent, "dream wedding" based on the western model is one of the great desires of many young, middle-class Iranian women. One series by Aliabadi, which she did not realise in the form of photographs but as drawings, centres on this wedding culture. Eye Love You (2009) shows designs for the opulent eye make-up with which brides are beautified on their big day. Three make-up designs can be seen on each sheet of paper, the size of a school exercise book. In their naivety they are reminiscent of drawings produced by girls, according to Aliabadi, "while dreaming in a boring class at school". The eyes of the brides, embellished with candy-coloured eye-shadows, glitter, paste gems and motifs such as flowers, swans or butterflies seem completely over the top, but they are exact reproductions of current trends in wedding make-up. Here, traditional Iranian motifs are cheerfully combined with the kind of airbrush-aesthetics familiar to us from American automobile bodywork.
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"Übersetzung von Sprache wird zum Mittel junger inspirierender Konzeptkunst", so charakterisiert Christel Dalhoff für den Fernsehsender 3sat Found in Translation. "Welche Rolle spielt die Übersetzung in einer Welt, in der doch fast alle Englisch sprechen? Eine große: Das sieht man an den vielen spannenden Arbeiten (…) in dieser kleinen, aber feinen Schau."
"Translating language becomes a means for young and inspiring conceptual art,"says Christel Dalhoff on the TV channel 3sat in her report on Found in Translation."What role does translation play in a world where almost everyone speaks English? A huge one: this becomes evident in the many fascinating works (…) in this small, but elegant show."Anna Pataczek of the Tagesspiegel writes: "It starts getting interesting when art reveals the dark sides of misunderstanding and exploitation."The work of Matt Keegan makes this especially clear: it demonstrates the way in which an English teacher "simultaneously instructs her students, for the most part adult immigrants from Central and Latin America, in a model American way of life."For Barbara Wiegand of Deutschlandradio, "the artists take on the theme as an obvious metaphor, as encoded poetry or a complex allegory (…) and even while there’s enough to read in the exhibition, the overall impression is neither dry nor over-intellectualized (…) most of the artists are highly concentrated and dig deep into the theme, using translation as a model and a metaphor, as a symbol for the change and loss in meaning. They happen upon the unexpected and discover new connections where things are so often lost in the gaps between languages and cultures."
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Der EU-Beitritt der östlichen Nachbarländer wurde im Mai mit einem umfangreichen Kulturprogramm gefeiert. Überhaupt ist der Boom von Kunst und Kultur aus Osteuropa ungebrochen, das Interesse reicht von junger Malerei aus Polen bis zu russischen Künstlern in der Folge des Moskauer Konzeptualismus.
When the neighboring eastern countries joined the European Union in May, extensive cultural programs celebrated the event. Now, the boom in Eastern European art and culture continues, with interest ranging from young Polish painting to the Russian artists following the Moscow Conceptualists. That’s why db artmag is dedicating this month’s issue to the “East–West Express.” What’s the cultural dialogue like 15 years after the fall of the Berlin Wall? +++++ Although they’re in international demand, Eastern European artists often work under difficult conditions back home. Deutsche Bank Cultural Foundation established the Award for Young Polish Art and continues in its commitment towards furthering the dialogue with Poland and Russia. +++++ Future West, Origin East: Harald Fricke visited artists from the Deutsche Bank Collection and asked them about national identity and their relationship to post-communism. +++++ Born in Poland in 1968, the artist Piotr Uklanski, who today lives in New York and Paris, sees himself as a “new European.” His photos, objects and installations create a connection between mass culture made in Hollywood and European-style critical reflection. The works ironically track down the rift between the two cultures. +++++ Disseminators of progress, or is it better, perhaps, to believe in the age-old teachings of Marx and Lenin? The Berlin-based curator Christoph Tannert on the delicate dance between globalization and home turf, melancholy and the ongoing revolt in Russian art.
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Alistair Hicks hat sie in Devon besucht. Andrew Lambirth hat sich in der Londoner Sammlung umgesehen und zeigt anhand von sechs Beispielen, wie unterschiedlich die Positionen junger Fotografie sein können.
In Great Britain, it’s an event that’s almost as popular as the “Brit Awards” for the national music industry: millions of television viewers will be tuning in when the Turner Prize is awarded on December 8, broadcast live from the Tate Britain in London. Among those nominated are the young British artist Catherine Yass. The artist’s work has already been represented for several years in the collection of the Deutsche Bank: more than enough reason to take a closer look at the rest of the art in London’s Winchester House. Along with Catherine Yass, we’re reporting on Susan Derges, who uses a river and moonlight to develop her photograms. Alistair Hicks paid Derges a visit in Devon, while Andrew Lambirth had a look around the London collection; he’s selected six examples that illustrate just how divergent the positions of young photography can be. Yet London is also the capital of painting; the 1976 group show “The Human Clay” was partly responsible for creating this reputation. Now, an entire floor of Winchester House is dedicated to this exhibition. We’re introducing the generation of painters known as “School of London,” a term the artist R.B. Kitaj first coined for the show. Finally, in the section “Art at Work,” you can read an interview with the London gallery dealer Sadie Coles, whose program sets standards for the international art scene.
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Rund 200 Arbeiten von Künstlern wie Gerhard Richter, Katharina Sieverding, Thomas Ruff oder Wolfgang Tillmans eröffnen ein Panorama deutscher Fotokunst von den siebziger Jahren bis in die Gegenwart – vom dokumentarischen Stil der Becher-Schule bis hin zu den erzählerischen Tendenzen junger Akademie-Absolventen.
For the first time, Deutsche Bank Art is presenting an exhibition that concentrates exclusively on the photographic works in its company collection. Through the end of 2007, the high-caliber show "More than Meets the Eye" is touring renowned museums throughout Latin America. Approximately 200 works by Gerhard Richter, Katharina Sieverding, Thomas Ruff, and Wolfgang Tillmans provide an overview of German art photography from the seventies to the present day - from the documentary style of the Becher School to the narrative tendencies among younger academy graduates. Our current feature examines the exhibition's artists and movements +++ Series and large format: Friedhelm Hütte, Director of Deutsche Bank Art, curated "More than Meets the Eye." For db artmag, he introduces the exhibition’s concept and themes +++ Between Bridges: Louise Gray talked to Wolfgang Tillmans about his new London art space +++ Urban portraits: Brigitte Werneburg visited Beat Streuli in his studio in Brussels. For years, the Swiss artist has been recording people in big cities around the globe: workers, youths, managers, housewives - lending those he portrays an ambivalent glamour +++ School's out: Achim Drucks on the young Düsseldorf photographer Daniela Steinfeld +++ It’s so Hardcore! – Cornelius Tittel on Mexico’s art and photography scene +++ Between the studio and the street: Ulf Erdmann Ziegler on the generations and movements in "More than Meets the Eye"
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Die Auktionserlöse kommen dem Frankfurter Verein für Künstlerhilfe e.V. zugute, der mit seinen Projekten einen Beitrag zur Förderung junger sowie Unterstützung älterer und kranker in Not geratener Künstlerinnen und Künstler leistet.
The approximately 180 works of the Deutsche Bank pool were exclusively assembled for charitable purposes. Proceeds will be donated to the Frankfurter Verein für Künstlerhilfe e.V., an organisation that promotes and supports young, old and ill artists suffering from hardship. More than 250 bidders accounted for the overall proceeds of more than 20.000 €.
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feature: Süden - Villa Romana zu Gast in der Deutsche Bank KunstHalle / Nur ein Schritt vom Wunder zum Desaster - Ein Rundgang durch die 55. Biennale di Venezia / Bilder vom Ende des amerikanischen Traums - Philip-Lorca diCorcia in der Schirn Kunsthalle / Enchanted Geography - Sarnath Banerjees Streifzüge durch Berlin / Das subversive Potential von Hermès-Tüchern - Shirin Aliabadi zeigt die Sehnsüchte junger iranischer Frauen / MACHT KUNST - Die Preisträger: Weitermalen - Lovro Artukovic / MACHT KUNST - Die Preisträger: Grauzonen - Radoslava Markovas Gefühlslandschaften / Theaster Gates: Inner City Blues / Gewalt und Schöpfung: Imran Qureshi in der Deutsche Bank KunstHalle on view: Den Horizont erweitern - Die erste California-Pacific Triennial / Stadt in Sicht – Künstler aus der Sammlung Deutsche Bank blicken auf urbane Lebenswelten news: Auf den Spuren des Kinos und der Avantgarde - Der Views Preis für junge polnische Kunst 2013 / Jubiläum im Regent’s Park - Deutsche Bank bereits zum 10. Mal Partner der Frieze London / Hoffnungskeime - Imran Qureshi im MACRO in Rom und im New Yorker Metropolitan Museum / Freundliche Monster - Fefe Talaveras Street Art-Projekt für die Deutsche Bank-Türme / Villa Romana-Preisträger 2014 - Internationale Stipendiaten zu Gast in Florenz / AxME - Ellen Gallagher in der Tate Modern / Im Dickicht der Städte - Hou Hanru kuratiert die 5. Auckland Triennial press: "Ein tolles Entree" Die Presse über die Auftaktausstellung der KunstHalle
feature: Süden - The Villa Romana at the Deutsche Bank KunstHalle / It's Only a Step from a Miracle to a Disaster - Visiting the 55th Biennale di Venezia / Pictures of the End of the American Dream - Philip-Lorca diCorcia in the Schirn Kunsthalle / Enchanted Geography - Sarnath Banerjee: Forays through Berlin / The Subversive Potential of Hermès Scarves - Shirin Aliabadi discloses the desires of young Iranian women / MACHT KUNST - The Prize-Winners: Keep painting - Lovro Artukovic / MACHT KUNST - The Prize-Winners: Gray Zones - Radoslava Markova´s Emotional Landscapes / Theaster Gates: Inner City Blues / Violence and Creation: Imran Qureshi in the Deutsche Bank KunstHalle on view: Expanding the Horizon - The First California-Pacific Triennial / City in Sight - Artists from the Deutsche Bank Collection look at urban life news: On the Trail of Cinema and the Avant-Garde - The 2013 Views Prize for Young Polish Art / Jubilee in Regent’s Park - 10th Year of Deutsche Bank’s Partnership with Frieze London / Shoots of Hope - Imran Qureshi at the MACRO in Rome and at the Metropolitan Museum of Art in New York / Friendly Monsters - Fefe Talavera’s Street Art Project for the Deutsche Bank Towers / Villa Romana Fellows 2014 - International Artists Live in Florence / AxME - Ellen Gallagher at the Tate Modern / In the Urban Jungle - Hou Hanru Curates the 5th Auckland Triennial press: "A Great Start" The Press on the First Exhibition at the KunstHalle
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Sei es in Christos und Jeanne-Claudes Fotografien zur Reichstagsverhüllung oder durch Arbeiten junger Künstler, die Berlin zu einer der vitalsten Kunstmetropolen der Welt gemacht haben - wie etwa die Neo-Pop-Gemälde von Michel Majerus.
On the third floor, visitors encounter New Figurative painting. Paintings and drawings by the Leipzig artist Neo Rauch are juxtaposed with Neo-Expressive works by Berlin proponents of the Neue Wilde, including Elvira Bach, Rainer Fetting, and Salomé. The presentations ties to the German capital are apparent again and again, whether these connections lie in the photographs that Christo and Jeanne-Claude created for the Wrapped Reichstag or in works by young artists that have made Berlin one of the world's most vibrant art capitals - for example, the Neo-Pop paintings of Michel Majerus. Thus, Deutsche Bank's representative office in the German capital offers visitors a lively journey through recent art history and at the same time provides insight into the constantly developing concept of "art at the workplace."
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Es reflektiert das ungewöhnliche Konzept der Ausstellung: 25 Paten habe sich für die Schau aus der Sammlung Deutsche Bank ihre persönlichen Favoriten – von der Klassischen Moderne bis zu junger Gegenwartskunst – ausgesucht.
Only this Iraqi-born, London-based architect could have come up with the visionary exhibition design for “25”. Zaha Hadid, who in 2004 became the first woman to receive the prestigious Pritzker Prize , the “Nobel Prize for Architecture,” has also conceived something highly unique for the Deutsche Guggenheim Berlin – a design that goes well beyond the usual framework of exhibition design. For this anniversary show, she’s designed a biomorphic, architectonic complex reminiscent of a system of communicating tubes or pipes, and which also incorporates the neighboring Deutsche Bank Unter den Linden. It reflects the unusual concept of the exhibition: 25 godparents chose their personal favorite works from the Deutsche Bank Collection – from Classical Modernism through to recent contemporary art.
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Das subversive Potential von Hermès-Tüchern - Shirin Aliabadi zeigt die Sehnsüchte junger iranischer Frauen
The Subversive Potential of Hermès Scarves - Shirin Aliabadi discloses the desires of young Iranian women
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Gewinnerin in der Kategorie "Bester junger Künstler", © Artchronika
winner of the "Best Young Artist" category, © Artchronika
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Im Schatten junger Mädchenblüte: In ihren fotografischen Serien schildert Annelies Strba eine absolut weibliche Welt. Bei diesen vermeintlichen Idyllen handelt es sich aber zugleich auch um einfühlsame Langzeitstudien ihres Familienlebens: Seit mehr als zwei Jahrzehnten fungieren Töchter und Enkelkinder als Modelle für die Künstlerin aus der Schweiz.
In the shadow of blossoming young girls: in her photographic series, Annelies Strba portrays a thoroughly feminine world. These apparent idylls are also, however, sensitive long-time studies of her family life: for over two decades, daughters and grandchildren have been serving as models for the Swiss artist's work. Harald Fricke spoke with the photographer.
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Bisky: Wenn so ein ganz junger Mensch zu Ihnen käme und Sie fragte: "Ich will Maler werden. Was soll ich tun und was soll ich auf keinen Fall tun?" Was würden Sie ihm antworten?
Sonderborg: As a teacher, the most important thing for me was to back my students up. In any case, they should never paint like the teacher. Just start painting, and don't be afraid of it going wrong! We got through it all, too.
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Vom geschichtsträchtigen Boston, dem intellektuellen Zentrum Neuenglands, führt sie über New York ins szenige Miami, wo es jenseits der Strandpromenaden jede Menge spannender Privatsammlungen und junger Galerien zu entdecken gibt.
A concentration of art highlights inspires our tour down the American East Coast. Beginning in historical Boston, the intellectual center of New England, it leads through New York and on to scenic Miami, where there’s a lot of interesting private collections and young galleries to discover beyond the boardwalks.
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Wenn die urbanen Codes, Labels und Moden zur Zwangsvorstellung einer völlig durchorganisierten Gesellschaft werden: Die Deutsche Guggenheim Berlin zeigt Arbeiten der japanischen Fotokünstlerin Miwa Yanagi. Für Maria Morais erinnern die von ihr inszenierten Aufnahmen junger Frauen und Elevator Girls an die barocken Labyrinthe des italienischen Zeichners Giovanni Battista Piranesi.
When urban codes, labels and fashions become the obsession of a thoroughly organized society: The Deutsche Guggenheim Berlin is showing works by Japanese photo artist Miwa Yanagi. For Maria Morais, Yanagi's images of young women and "elevator girls" are reminiscent of the Baroque labyrinths of Italian artist Giovanni Battista Piranesi.
  db-art.info  
Als die Bilder von Jackson Pollock erstmals in Deutschland zu sehen waren, war Eduard Beaucamp noch ein junger kunstinteressierter Student. Exklusiv für db-artmag berichtet der Doyen des deutschen Kulturjournalismus, was ihm damals auf der documenta in Kassel und anderenorts aufgefallen und besonders in Erinnerung geblieben ist.
When Jackson Pollock's paintings were first shown in Germany, the critic Eduard Beaucamp was still a young student interested in art. Now, in an exclusive interview with db-artmag, the godfather of German cultural journalism talks about the arrival of the "New York School" in Europe and what he personally remembers most from the time, both at the documenta in Kassel and other great European art shows.
  db artmag - all the new...  
Cintrao: Die Neo-Expressionisten wurden damals nicht nur begeistert aufgenommen, sondern sie beeinflussten auch die Arbeiten vieler junger Künstler. In Rio und Sao Paolo entstand damals eine Bewegung zurück zur Malerei.
Cintrao: The Neo-Expressionists weren’t only enthusiastically received at the time; they also influenced the works of many young artists. In Rio and Sao Paulo, a return to painting was underway in those days. The Return of the Giants is a great success today, as well. We’ve had more than 28,000 visitors, for the most part students who come because of our work in the area of art education. Everybody’s been talking about the exhibition: art critics, artists, and art enthusiasts alike.
  Deutsche Bank - ArtMag ...  
Transition, Übergang, lautet der Titel der Istanbuler Ausgabe der Ausstellungsreihe Edge of Arabia. Nach Stationen in London, Berlin, Venedig, Riad und Dubai ist die Überblicksschau mit junger Kunst aus Saudi-Arabien jetzt in der türkischen Metropole zu sehen.
Transition is the title of the Istanbul edition of the exhibition series Edge of Arabia. After being shown in London, Berlin, Venice, Riyadh and Dubai, the exhibition of recent art from Saudi Arabia is now on view in the Turkish metropolis. The most comprehensive edition of the exhibition is now on view at the Sanat Limani. The warehouse in the city district of Tophane near the Bosporus was converted to accommodate the art space. Edge of Arabia: Transition is part of the program of the European Capital of Culture 2010 and is sponsored by Deutsche Bank.
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