RE: Ovo je proba

...tana imam jos jedno pitanje ali saljem ti ga na pp

Magdalena Abakanowicz

Dobro, ako vec hocete izlozbu, evo vam je...
Najpoznatija poljska umjetnica svih vremena
Magdalena Abakanowicz

Magdalena Abakanowicz

...
MAGDALENA ABAKANOWICZ

Rodila se 1930 u mjestu Falenty blizu Warszawe. U periodu 1950-54 studirala na Akademiji likovnih umjetnosti u Warszawi.
U prvoj fazi radila je male formate gvasa na kartonu i platnu. Sezdesetih godina stvara monumentalne cikluse mekanih skulptura, nastalih vlastitom tkalackom tehnikom. Nastaju trodimenzionalne monumentalne meke forme  tzv. Abakani  koji su joj donijeli slavu na cijelom svijetu. 70-tih stvara velike cikluse figuralnih i nefiguralnih skulptura od jute i sintetickih smola. Naziva ih Aliteracije. 80-tih se sluzi i drvetom, kamenom, keramikom i metalom.
Covjekova sudbina postaje najvaznija tema njenog rada. Ledja, Gomila, Stada i Hurme pravi od jute i smole, a onda od bronze u grupama od 40,50,60,80 . Njeni likovi su u prirodnoj velicini, bez glave  to su negativi mase ljudskih tijela. U otvorenim prostorima nastaju prostori iskustva. To su npr. Katarza zmaja  30 monumentalnih zivotinjskih glava u Seulu, Negev- 7 kamenih diskova u jeruzalimu, Zaustavljeni  40 ledja od bronze u Hirosimi.
Magdalena Abakanowicz stvara i ciklus od 150 autoportreta u bronzi , figuralne grupe koje se sastoje od preko 1000 figura u stojecem i sjedecem stavu.
Umjetnica stvara i crteze ugljenom i slike u ulju, pise metaforicne tekstove o svom djetinjstvu, covjekovoj sudbini, strukturi mozga, mitologiji i religiji. Od 1994. roku Abakanowicz stvara i koreografira plesove inspirisane svojim skulpturama .
Umjetnica izlaze u preko 100 muzeja i galerija na cijelom svijetu.
Svaku izlozbu tretira kao posebno umjetnicko djelo.

Attachment:

Abakanowicz Magdalena.txt (2 KB, 44 downloads)

broj ispravljanja poruke: 1, zadnji put od strane Husinica dana 07-14-2003 u 01:34.

RE: Magdalena Abakanowicz

...Magdalena Abakanowicz
RATNE IGRE I MUTANTI

Ciklus Ratne igre nastajao je izmedju 1988-1995. Ogromne forme drvenih debla okovane su zeljeznim obrucima i postoljima, valjkastim ili trokutastim, nekad djelimicno ovijene jutom. Nasuprot svojoj masi i utisku ogromne tezine, one su postavljene na pljosnatim, mrezastim konstrukcijama od metalnih cijevi, pa izgleda da se krecu, plove negdje pred sebe. Na izlozbi su tri djela iz tog ciklusa: Anasta, Runa i Giver.
Cestari su sjekli drvece izmedju mjesta Mrgow i Krutynia. Svo to vrlo staro ili previse razgranato ili krivo ili nepotrebno drvece. Pilali su grane zbog lakseg transporta. Bacali su ih na trg. Otisla sam tamo. Promatrala sam te tjelesine, misicave, obogaljene, pune snage i licnosti. Lezali su kao protegnuti trupovi, amputirani udovi, pateticni u svojim gestama  ne zna se je li to bila patnja, protest ili nemoc. Hodala sam medju njima. Htjela sam ih dodirnuti, upoznati detalje tih oblika, da ih preobrazim, prenesem u drugo trajanje. Samo, sta onda, gdje im naci krov, gdje ih cuvati, koga uvjeriti u njihovu vaznost i pravilnost mog sntuzijazma, mog djela?
Magdalena Abakanowicz, juni 1995

Sta je to rucno napravljena zivotinja  maketa? Pretvaranje? Imitacija? A mozda odusevljenje neuhvatljivim? Zaivst sto necu stici, necu doseci prirodu. A mozda necu da ju dosegnem, samo se sluzim oblicima koji u mojoj izvedbi govore o meni. Oni pokazuju azlaz izmedju covjeka i prirode. Medju njenim genijem i posebnoscu covjeka s njegovom genijalnoscu. Dakle, ptica je oblik iz koga odabirem djelice njegovog karaktera. Zivotinje su one jos nerodjene. Moja masta ne imitira nego stvara druge, vlastite, nepotrebne u svijetu prirode, jer ne ispunjavaju one funkcije koje su predodredjene svakom zivom bicu. Ali potrebne su onom ko stvara, oslabadjaju ga od potreba i vizija koje se ne daju izraziti rijecima.
M.Abakanowicz 1998

Dvije grupe skulptura koje predstvaljaju neodredjene cetvoronozne zivotinje, nazvane Mutanti, nastale su 1992-1994 (Stojeci mutanti - 14 formi) i 1996. (Sjedeci mutanti - 7 formi). Ove grupe postavljene su u razlicitim konfiguracijama. Mutanti, napravljeni vlastitom tehnikom od jute natopljene smolom, iako nemaju karakteristika, predstvaljaju neku sintezu poze i pokreta koje covjek prepoznaje kao zivotinju.

Radovi Magdalene Abakanowicz

...

Radovi Magdalene Abakanowicz

...

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

....

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

.....

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

.....

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

....

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

Balet Abakanowicz!

Klikni da pogledas u stvarnoj velicini

Radovi Magdalene Abakanowicz

...

Radovi Magdalene Abakanowicz

I ovo ce biti zadnji rad na vecerasnjoj izlozbi.
Vidite kako sam se potrudila?
Pa da cujem jos da neko kaze na ovom Forumu da Husinica ne valja...

Cekam na prijedloge i zelje, rado cu vam napraviti izlozbu onoga sto se vama svidja
a od tebe Tana cekam odgovor ma pitanje postavljeno na pp

Laku noc, folks.

RE: Ovo je proba

citat od Husinica:

Tana izgleda da fercera

cool

odgovorio sam ti na pp

___________________________________________________________________
kad ce mostar mama?

To Husinice , dusice ! A i Tanani ! Da nam pruzate ovakvo lijepo zadovoljstvo!

___________________________________________________________________

Ziggy!

...ma, duso moja, drago je meni da tebe mogu malo razveseliti...
a nadam se i barem ponekoga drugog.
Meni je ova Abakanowicz nevjerojatna umjetnica zato sto tako cudno spaja zenski i muski princip u prirodi; kao sto vidis, radovi su joj monumentalni, snazni, mocni, ali mnogi od njih su istovremeno mekani, fluidni, pokretni...
Kakva sve cuda otkriva velika umjetnost.....

Tana!!!

...izgleda da si se dzabe mucio s ovim povecavanjem
ove moje izlozbe nikoga ne interesuju
(osim Ziggyja, al vala njemu mogu i mail izlozbe pravit)

pratimo te

samo nastavi

___________________________________________________________________

samo nastavi


zanimljivo

___________________________________________________________________
Live, and let LIVE!!!

Idemo dalje - Damien Hirst

E, pa dobro.
Evo jednog mladog britanskog umjetnika koji je vrlo popularan, hype, cool itd.
Mislim da ce vam se svidjeti jer je vrlo duhovit, makar je malkice morbidan.

Damien Hirst was born in 1965, in Bristol. From 1986 to 1989 he studied a fine art degree at Goldsmith's College, University of London. He said he chose this course as it was not specifically based to just painting, or just sculpture. It was general and this was what he was looking for. While at Goldsmith's he curated the Freeze exhibition in 1988. This show had other young artists, but Hirst was the main driver. He converted an abandoned London Docklands warehouse into an exhibition. People thought he was too big for his boots, he was curating with his own work and he was still a student. However he managed to pull it off, and this impressive action made him noteworthy. It was from exhibitions alike to this that he started to establish himself in the art world. Hirst was thrusted into fame with events such as when "Away From The Flock" was vandalised when someone poured ink into the formaldehyde preserving a sheep. This turned it into one of the most famous contemporary works in Britain. This took place in 1994 in an exhibition Hirst helped set up, "Some Went Mad, Some Ran Away" He is recognised as part of the Contemporary 'Brit' art scene, but he has had art shown throughout Europe and America.
The wordsmiths of the artworld, those who try to use words to describe things which are best "experienced" and who over-intellectualize the posturing of paint, glass, dead animals, formaldehyde and PVC - have had a field day with young Damien Hirst. Some call Hirst a media-junkie, but he makes extremely good copy and the analysts have repaid him by making him rich and famous. Of course it doesn't hurt that his works were bought early on by Charles Saatchi, a sure way to gain favour in all the right circles.
For those who have been away from the planet for the past few years, Damien Hirst is the anointed saviour of the international art scene (primarily New York, London, and lots of rich Germans), who replaced Jeff Koons, who replaced Julian Schnabel, as the lad most likely to be guest of honour at all the best cocktail parties.
If Damien Hirst didn't exist, David Lynch might have created him for celluloid. Like the character in Blue Velvet who picks up a severed ear and examines it with profound morbidity and a sense of wonder, Hirst is said to have mused over the idea of having his hand removed, displayed and quickly photographed, before having it surgically reattached. It's a strange world and Hirst is always happy to prove it. He has installed a fluffy white lamb in formaldehyde ('Away From the Flock,' 1994), suspended a steel ball in mid-air ('And Still Pursuing Impossible Dreams,' 1995), which from photographs really just looks like a rubber beachball... Trompe L'Oeil takes on a whole new meaning.

I decided to pay a visit to the White Cube Gallery in St. James's, home of Hirst's representation. Upon entering the place, I peered into a space clearly designed to exhibit art and found two stripped, pine doors facing one another; one had a small chair attached. The reception area had two wrapped bed frames poised against the wall. I wondered: were they really just bed frames or the work of some rising artistic anarchist?

After examining one of the works I thought to myself, 'Just exactly what am I looking at? Is there a story here? Is Hirst's 'Paul (The Twelve Disciples)' a bull's head, rotting with maggots and hatching into flies, or is it the satanic collaboration between Damien and some twisted taxidermist who poured goo on a fake head to attract flies? Did I really see the putrid, rotting flesh of a bull?' Actually, it doesn't much matter. Damien Hirst mimics reality, but not the sort of British realism, from Turner to Hockney, that mirrors life and landscape. He's more concerned with death and worse, what comes before death - decay.
What with being nominated twice for the Turner Prize, doing the Blur video for their song 'Country House,' messing around in noxious chemicals, cutting glass in which to encase various dead creatures, not to mention posing for Vogue, there must be precious little time for those cocktail parties. He's even taken to writing film reviews in the national British press - he denounced Pulp Fiction as gratuitous and stated preference for the conscience of Oliver Stone's Natural Born Killers. Ironically, he sometimes reminds me of Quentin Tarantino. While Stone rambled on about why he made Natural Born Killers so violent, when asked the same question, Tarantino answered "because it looks cool". When interviewed, Hirst comes across just as nervous and insecure as Tarantino and when asked why he's an artist, he usually responds with "dunno" or "because I've always made things." I think he does it because he's cool.