Digitale Skulptur
Follow the unknown
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| Editor(s) | Institute of digital art, Ulm, Museum Ulm, Private Hochschule für Kommunikation und Gestaltung, Ulm |
| Author(s) | Otto Wolff, Stefanie Dathe, Ursula Ströbele, Tina Sauerländer |
| Size | 16,5 x 21 cm |
| Pages | 80 |
| Illustrations | 62 |
| Cover | Softcover with dust jacket |
| Design | Séverine Bouyssou, Annabell Lingenhöle, Alisa Munz, Veronika Remiger, Johannes Schilk |
| Language(s) | English, German |
| ISBN | 978-3-947563-00-5 |
Crossing the BNorders of the Tangible
For the first time in art history a competition for the Digital Sculpture Award was announced. What is a digital sculpture anyway? Where are the boundaries between real and virtual worlds? With the advent of digitally generated images, the conditions for our perception and the parameters of our viewing habits are changed. Through the interactive involvement of the viewer, software-controlled image phenomena such as virtual environments lead to an exploring vision. The book presents and documents innovative works, which were conceived for the international competition, initiated by the Museum Ulm.
With works by Morehshin Allahyari, Giulia Bowinkel & Friedemann Banz, Jörg Brinkmann, George Crîngaşu, Nieves de la Fuente Gutiérrez, Marcel Karnapke, Leonard Kern, Nicolò Krättli + Jann Erhard, Martina Menegona and Marjan Moghaddam.
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Nicola Staeglich
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Sonia Gomes
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Peter Buggenhout
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DAWN OF HUMANITY – ART IN PERIODS OF UPHEAVAL
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Pat Steir & Ugo Rondinone
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Simone Haack – Untangling the Strands / Démêler les Fils
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Haack: “My goal is to use the means of realism to visualize what cannot be seen. To get into an automatism that lets the unconscious speak in order to infuse the pictures with a life of their own. To shed light on the domain where the myths originate.”
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Matthew Davis
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Banksy’s Dismaland & Others
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Katharina Arndt
While waiting for Death38€ Add to cartLife for the most part consists of banalities. What to make of it? Katharina Arndt has decided to dip thick brushes into luminous bold acrylic paints, which she applies expansively without regard for the ostensible gray areas of life. Every stroke is valid, there’s no remorse or trepidation, everything is foreground, all elements of a picture are equipollent. The people in Arndt’s paintings from 2022–23 gathered in this catalog are simply there, for the moment, gaping into their cell phones, stuffing themselves with burgers. Nothing more. That makes her works distorted depictions of our hedonistic society with its craving for sensuality, even as we always have one eye riveted on the virtual. The harder, then, to face up to physical reality; with all photo filters off, its imperfections are unmistakable. And so, although we clearly delight in these gaudy colors, the pictures contain intimations of melancholy and death, too. Knowing that the hour of farewell is near, Arndt’s figures stimulate their senses. They kill time down to the very end with jarring trivia, agitated Sisyphuses wallowing in their glittering inadequacy.
