MATHIAS KESSLER, NOWHERE TO BE FOUND in conjunction with the Exhibition Here and Now, Kunsthal Rotterdam, September 15 - December 12, 2015. Este artículo no está disponible.
Idioma: inglés
Editorial: Hatje Cantz, 2015
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Librería: Butterfly Books GmbH & Co. KG, Herzebrock-Clarholz, AlemaniaButterfly Books GmbH & Co. KG
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296 Seiten Zustand: SEHR GUTER Zustand! HC1-436-1/8-00158554 Sprache: Englisch Gewicht in Gramm: 2105.
N° de ref. del artículo 103935
- Título
- MATHIAS KESSLER, NOWHERE TO BE FOUND in conjunction with the Exhibition Here and Now, Kunsthal Rotterdam, September 15 - December 12, 2015
- Autor
- Berg, Stephan, Mathias Kessler Hartmut Böhme a. o. -
- Editorial
- Hatje Cantz
- Año de publicación
- 2015
- Estado
- Sehr gut
- Encuadernación
- Hardcover
- Idioma
- inglés
- ISBN 10
- 3775738231
- ISBN 13
- 9783775738231
- Peso del artículo
- 2105 gramos
- Catálogos de vendedores
- Kunst, Kultur & Geschichte - Kunst & Kunstgeschichte & Buchkunst - Kunst +
The work of Mathias Kessler (*1968) critiques and re-imagines the contemporary concept of nature. Quoting from art history, philosophy, and ecopolitical debates, he restages representations of natural processes with humor and gravitas. Romantic painting, land art, and digital renderings compete and collide in order to unhinge familiar oppositions: nature/culture; representation/experience; ideology/aesthetics. For example, the viewer does not know whether the images are photographs of a spectacle of nature or perhaps digitalized artificial landscapes: in the installation The Sea of Ice, there is a picture featuring icebergs as lifeless Hollywood sets staged in wan light, and the viewer is invited to combine looking at the miniature reproduction of a masterpiece in the freezer of a refrigerator with a sip from a bottle of the beer cooling in the lower compartment. Exhibition: Kunsthal Rotterdam 12.9.–13.12.2015
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De la contraportada
The work of Mathias Kessler (*1968) critiques and re-imagines the contemporary concept of nature. Quoting from art history, philosophy, and ecopolitical debates, he restages representations of natural processes with humor and gravitas. Romantic painting, land art, and digital renderings compete and collide in order to unhinge familiar oppositions: nature/culture; representation/experience; ideology/aesthetics. For example, the viewer does not know whether the images are photographs of a spectacle of nature or perhaps digitalized artificial landscapes: in the installation The Sea of Ice, there is a picture featuring icebergs as lifeless Hollywood sets staged in wan light, and the viewer is invited to combine looking at the miniature reproduction of a masterpiece in the freezer of a refrigerator with a sip from a bottle of the beer cooling in the lower compartment.
“Acerca de” puede pertenecer a otra edición de este título.