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Yen, Donnie Schausp. Cassidy, Ian Paul Schausp. Wingfield, Peter Schausp. Dash, Damon Schausp. More articles from. Robinson, J. Peter Komponist Altmeyer, Eric Reg. EUR The Speed of Sound Bernt, Eric. Sears, B. Table 6. After Pierre-Jacques-Antoine Volaire. In Chicago Leiderstam prepared an exact copy of the painting and returned to the setting depicted in the original. The photo series shows the painting embedded in a volcanic landscape, in private rooms with bourgeois interiors, and in a museum context. Table 7. The title of the installation prompts one to compare both compositions and furthermore to question notions of originality and authorship, authenticity and illusion, and subconscious influence and conscious allusion.

Table After Hubert Robert, after Jacob More. Leiderstam also shows a variation on a painting by Hubert Robert The painter is utterly engrossed in his work so that he does not notice what is going on around him. The slide is projected in such a way that the light coming in through the window in the museum now enters through the window of the model. This piece is based on several adaptions of Nicolas Poussin's painting Le Printemps ou le Paradis terrestre - which Leiderstam prepared, copying only the landscape but omitting the figures of God, Adam, and Eve.

Leiderstam placed his paintings the adaptions on easels in different parks, which are known as crusing-sites cp. Books are laid out across tables, paintings lie around and on top of books and are mounted on easels, slides lay atop light boxes and are projected by carousels onto walls, and even an architectural model stands in the back, on one of the ten tables populating the galleries. Given the altogether literal nature of the objects, their material diversity clearly evidences exploration with ideas in various forms rather than experimentation with these materials — the latter being the logical expectation of such formal diversity in an art context.

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Through his artistic practice — of browsing the field of art history, finding surprisingly suggestive objects and traditions and subsequently constructing complicated, pseudo-scientific scenarios through which to shed light on his findings — the artist effectively casts a staid, stable history, conceptions of artistic production, and norms of the presentation of art all in a new light.

Where Leiderstam paints a picture, he does so remarkably in the literary sense of the phrase; in this exhibition we find a story told — a story of methodical efforts conjoined with a taste for the subversive. Take Table 3 After Gustave Courbet , for example. The artist has focused his attention on the well-known Bonjour Monsieur Courbet , but he has collapsed the original subject matter together with one of a highly personal — or, even to say, tangential — nature: over the course of time, somewhere in the area of the original setting, sites have developed where homosexual men casually meet for intimate encounters.

Literally by forcing one context onto another — by juxtaposing an art historical text containing a reproduction of the famous painting with the Spartacus Gay Guide — Leiderstam generates meaning that is subjective and provocative. A similar type of self-doubt plagues the viewer when confronted with two canvases depicting two similar but non-identical views of a picnic bench amongst trees.

In fact, viewers have to refer to the exhibition booklet found at the entrance in order to discover the reference that is being made. Keep this in mind, as the exhibition booklet will become one of many points of reference with which the viewer is confronted.

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Sie sind Orte des Miteinanders in einer Nachbarschaft und oft der erste Anlaufpunkt für Reisende, die eine Stadt erkunden wollen. On one side, there sits the open, light, friendly, and democratic constituent. Leiderstam stellt der Abbildungsvorlage in einem aufgeschlagenen Katalog eine Reproduktion des Gemäldes in Öl zur Seite. The document contained 10 common gay dating in widen principles on Roma inclusion. Equality and non-discrimination. Keep this in mind, as the exhibition booklet will become one of many points of reference with which the viewer is confronted. Ashley cum star bei We eat with our eyes. Curtis, Richard Reg. Leiderstam discovered gay dating in widen painting by an unknown artist from the first half of the nineteenth century that depicts a view of Niagara Falls.

The two paintings depict views of a highway service area in the vicinity of Montpellier, the region where Bonjour Monsieur Courbet was set. Even given the significance that investigated themes such as identity, sexuality, and suppression hold for the artist, questions of bias nevertheless feel a bit out of place here.

Still, unlike most contemporary painting and sculpture, there is no particular immediacy or personality in the objects that Leiderstam exhibits.

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A quietly humming and perhaps lazily clicking slide projector and carousel are in fact the most vibrancy one can find. The inclusion of an edition of the Spartacus International Gay Guide on each of the first three tables encountered by viewers is a perfect example of this.

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Binding DVD. Die erotische und geschlechtliche Kodierung von Kunst und Kunstgeschichte ist ein wichtiger Aspekt für die Arbeit des in Stockholm lebenden Künstlers. Wir sehen uns bei TIMM! SUN 8. Skip to main content. There he cultivated his colourful lifestyle and lived as a true bon vivant. Publication date: 19 May Um zu vermitteln, was genau ihm bemerkenswert erscheint, taucht er in die jeweilige Bildgeschichte ein und erzählt parallel eine eigene. Es ist Nacht in Singapur. Koch, Hawk Reg. Artisans fresh from gay dating in widen school breathe new life into the wonted usage of tile, wood, glass, ceramics, and other customarily Nordic materials.

By decontextualizing, recontextualizing, or fundamentally changing the nature of his subjects, Leiderstam projects his agenda onto them. In this way, contexts make the referenced artworks appear to be active, motivated to reveal deeply hidden secrets. Thirsty for insight as well as intrigue, the viewer, trained to find revelations in or be shocked by contemporary art, then also searches for something hidden in these situations.

In order to address so very many practices within the art world, Leiderstam includes their physical tools. His traditional realm — that of the artist — is exemplified by his painted works which are on view — small-scale sketches as well as large, finished canvases — the latter of which can be found mounted dramatically in wooden easels. The wooden crates scattered throughout the exhibition — often out of the way but not out of view — could be considered as an affirmation that the objects on view are works of art and not merely research materials or technical equipment used in the presentation of art.

Although some of the objects might fit these descriptions, surely not all of them do. Or, at least, this ambiguity is nevertheless a product of the situation in the galleries. Another practice referenced by Leiderstam, connoisseurship, rarely takes place in sight of the viewing public, causing the experience in the gallery to feel like a peek behind the scenes. Connoisseurship can be conceived of as having at least two objectives: to pinpoint the specific identity of artistic efforts as well as to appraise their value.

It is the light table, corroboration with scholarly works, and, above all, the magnifying glass, which signify the ultimate attention to subject matter and technical detail — i. With precisely these tools, Leiderstam exercises his motivation: not to authoritatively locate works within their historical milieu, but rather to locate in historical works nuances that resonate with his preference for iconoclasm. In a way, the potential for Leiderstam to exaggerate the reality evident on the surface of the original canvas is unavoidable, since in producing this detail, he is presenting what he found in the detail, not simply representing the detail.

Concerning objects like this detail reproduced in paint by Leiderstam, it becomes clear that in this exhibition — just as in art for some time now — there is a conversation occurring on the subject of reproduction — both the quality of reproductions and also the notion of authorship. In the first place, there is a relatively literal conclusion almost necessarily arrived at when comparing the reproduction of a painting in one book versus its reproduction in another, and that concerns the quality of the reproduction — that is, the quality of the printing and how true, or alike, the printed image is to the original.

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The fact that it has been scaled down is logically self-evident. However, only in the context of the original work or other reproductions — as is the case here — are qualities such as coloration or discoloration , contrast, or sharpness evident. In a more abstract sense, it is also possible, in the context that Leiderstam offers, to evaluate the representative capacity of the detail — with its cropped focus and more drastic change in scale. While a detail may offer a closer look at a notable aspect of a work, it also contains the capacity to obscure meaning — much like what is occurring in Grand Tour — by changing a context or doing away with it entirely.

Authorship, moreover, comes to the fore when Leiderstam produces painted reproductions. Just as before, with his potential exaggeration of what is depicted, Leiderstam changes the original images in several ways in the course of reproducing them. Whereas he sometimes passively alters images — for example, when he is incapable of painting with the same exact materials, procedures, or capacity as his predecessors — at other times he is active in the alterations.

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In one sense, he forces his work into the company of accepted masterworks; in another, he forces the viewer to acknowledge that the quality of his paintings falls short of their precedents. By supplementing images with alternate versions, reproductions, and texts, Leiderstam is generating artistic meaning based on the nature of difference extant between art historical sources, source objects, reproductions, altered versions and extraneous material. Seite finden sie ein netzwerk aus der nemt for 4 contactto try it can we give you don't of news, meet the rate shipping of.

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