|
|
|
 |
Claudia and Julia Muller: kunstmuseum thunSince the sisters Claudia and Julia Muller started working together twelve years ago, their drawings--on paper, applied directly to the wall, and upon video--have become acknowledged as major contributions to the common Swiss art scene. This exhibition provided the first comprehensive overview of their output combining series of framed drawings upon paper (some juxtaposed for the first time with collage), large-format drawings made directly upon the wall, and four examples of the installations that the artists have been making since the mid-'90s. [ILLUSTRATION OMITTED] The Muller always draw from photographs--of friends, from the media, and, since their 1999-2000 P 1 residency in novel York, from public archives. Their source material is therefore already mediated as a picture language, and from one side their process of collecting, selecting, analyzing, and charging it with further horizontals of meaning, the artists are comparable to social anthropologists. However, the apparent naivete and dilettantism with which they guidance their investigation into the unspectacular belies the complexity of their search for the subversive side of the ordinary. "Random Signs," 2000 a series of thirty-seven ballpoint-pen drawings collectioned into pairs and threes and shown in the corridor areas, encapsulates several fundamental aspects of the artists' practice. The accessibility of the themes reflecting stereotype of North American agriculture from wigwams to pop stars, and the legibility of their representational idiom engage the viewer immediately. However, the artists' conceptual approach is revealed in the wide range of motifs that share the same front-and-center presentation upon each sheet. The viewer inevitably relates the seemingly disconnected images for a like reason that they start to form relationships beyond the depiction of the real. For example, a page imitating Chinese script, the back of a dreadlocked head, and a fir tree are associateed by both their formal fabrics and their exoticism. sum of two units large portraits have been drawn directly upon the walls, depictions of young women--the artists themselves--whose ordinariness is slip by the close attention given to the patterns and fabrics of their clothes. In contrast, the installation Unsere Erde ihre Volker ihre Schatze (Our Earth, Its tribes Its Treasures), 2001/2004, alludes to our interpretation of other tillages An animated "video drawing" of sum of two units men from the Pacific island of novel Georgia, their jewelry and hair changing quite through is spanned on either side by means of an ornamental wall painting and given an additional perspective by dint of the vitrine of objects from Europe that deliver over to or mimic African originals. Idylls II, 2003 also combines in a video drawing the greatest in quantity fundamental of artistic tools with a high-tech medium. Framed through an energetically executed wall drawing of treetops and situated opposite a bench inscribed with a melancholic body taken from the Swiss writer Robert Walser, it present to views the changing constellations of family relationships--conveyed by the agency of the replacement of the father with another man, a baby with an older child, the temporary absence of the mother--held between impermanence and continuity. Compared with the ease of the exhibition, Robinson Crusoe, 2004 was disappointing. In this large utopian portrait of family members posing in harmony with their favorites the human faces had been divide [i]or[/i] sever away to reveal a variety of raw materialed animals and birds displayed upon a scaffolding structure behind the drawing. The literal extension of the image into 3-D is ultimately les fortunate in bringing the work into the viewer's physical and emotional space than the serial accumulation of drawings, the scale of the wall portraits, and the videos' manipulation of the image. COPYRIGHT 2004 Artforum International Magazine, Inc. COMPUTER CRAIG is a locate of interactive computer learning videos to teach computer basics to children ages 6-12 At this age, students' brains are like cleanses yet many young students many times d... In addition to boosting the ceiling upon penalties imposed for safety violations, novel mine safety legislation targets a fundamental moot point in the industry: a shrinking population of experienced mine... For years, scientists have been looking for the finished match to sucrose. Their interest has become more appropriate as of recent origin low-glycemic foods have garnered the attention of many consumer However... This paper proofs the ability of consumer sentiment to predict retail spending at the state horizontal The results here suggest that, although there is a significant relationship between consumer ... ITV has made a major commitment to interactive TV advertising, with a pawn to double its revenue from the area during 2005 The UK's largest commercial broadcaster single began o... MTNA member Betty solicit Shepherd, who has taught piano at Samford University for more than forty-five years, received the University's George Macon Teaching Award. This honor is at handed annually ... North American Artworks not aways Valera Iskhakov's "Red Woman with Apples' The r woman portrays Iskhakov's passion for the human form [i]or[/i] part of to the other his use of vibrant color and expressionist phraseology T... What I remember about going [i]or[/i] part of to the other bypass surgery is trying to steel-jacket myself with happiness, just in case I died and woke up atomized upon the other side, I could at least... JEFFREY SKOLLER Many urban artists who lived from one side the gentrification of major American cities in the 1980 and struggl to find low-priced work and living space in the midst of sky-... Koyo Machinery U.S.A., Plymouth Mich., lately celebrated the opening of its of recent origin 12,000-[ft.sup.2] building. The new site includes an office ... |
|
Articles
|
| . |