{"id":27284,"date":"2023-12-14T07:39:44","date_gmt":"2023-12-14T06:39:44","guid":{"rendered":"https:\/\/gg3.eu\/online-gallery-of-the-exhibition-light-footed\/"},"modified":"2024-03-05T12:06:26","modified_gmt":"2024-03-05T11:06:26","slug":"online-gallery-of-the-exhibition-light-on-your-feet","status":"publish","type":"page","link":"https:\/\/gg3.eu\/en\/online-gallery-of-the-exhibition-light-on-your-feet\/","title":{"rendered":"Online gallery of the exhibition “Light on your feet”"},"content":{"rendered":"

Online gallery Light on your feet<\/p>\n

October 6 – November 24, 2023<\/h2>\n

Artists
\nTom Albrecht,<\/a> Thomas Behling<\/a>, Kuesti Fraun, Christiane Gaebert<\/a>, Yossi Galanti, Andrea Golla, Mariel Gottwick<\/a> , Stephan Gro\u00df<\/a>, ulli gr\u00f6tz, Beret Hamann<\/a>, Claudia Michaela Kochsmeier<\/a>, Maria Korporal<\/a>, Fr\u00e9d\u00e9rique Lanquetin<\/a>, Christoph Medicus<\/a>, Rachael Mellors \/ Pete Hudson<\/a>, Annegret M\u00fcller<\/a>, In\u00eas Miguel Oliveira<\/a>, Monika Ortmann, Oliver Otto Rednitz, Rosa Schmidt, Anne Sommer-Meyer<\/a>, Anna Squadron<\/a>, Gudrun Staiger \/ Rudi Beutinger<\/a>, Christina Stark<\/a>, Lioba von den Driesch<\/a><\/h4>\n

Link to text and program of the exhibition<\/a><\/h2>\n

 <\/p>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nTom Albrecht<\/a>
\n(1990\/2023)<\/p>\n

Cola can, snail shells, stone<\/p>\n

The ecological footprint is small. Found is packaging, natural stone, snail shells, new is glue.
\nThe work shows the ratios of power on our planet. Nature symbolized by the snails will outlive us humans with our waste. <\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nThomas Behling<\/a>
\nSweet cat<\/strong> (2019)<\/p>\n

Photography, pencil, paper, glass, frame<\/p>\n

Caption:
\n“First I ate the bird
\nand mankind the whole world.
\nThen human ate me
\nand then in desperation they ate
\nthemselves.”<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nKuesti Fraun<\/a>
\nLittle Baggy<\/strong> (2018)<\/p>\n

Video, HD, colored, with sound (stereo)<\/p>\n

When I was young, I always wanted to have a dog, but we couldn’t afford it. So I just bought me a bag, that’s quite the same. Come on, little baggy, let’s go for a walk.
\nAn experiment, environ-mental, in the best sense, a film about film, imagination and proclamation, and perception that can become reality.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nChristiane Gaebert<\/a>
\nTwoBerlins<\/strong> (Work in Progress)<\/p>\n

Paperobjects made from ADAC Bookpages and a BVG Citymap<\/p>\n

An old ADAC road atlas and a BVG folding map were saved from being thrown away in the digital age and arranged into an airy installation of floating paper objects. As a West Berlin child, I felt the division of my city strongly, as half of my family lived behind the wall in East Berlin. Visits were rare and accompanied by harassment from border officials. Borders divide, cut into country and people, in the past, present and future. I cut up and transform these man-made territorial claims into something light. Dealing with the past of a special kind.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nYossi Galanti
\nFleeing Aridness<\/strong> (2023)<\/p>\n

Can be exhibited either projected on a screen or wall or on a tvcomputer screen. Up on curatorial decision.<\/p>\n

My video work, Fleeing Aridness, portrays multilayered imagery, primary comprising of videography as well as still photography. The work depicts a journey through an arid landscape on a scorching summer day, seeking to convey a personal and unique perspective on global warming.
\nAt its core Fleeting Aridness captures the constant movement of an unidentified human walking amidst dry weeds and other plants. As he walks, he becomes a symbol of humanity at large, navigating a world irrevocably altered by the effects of climate change. The anonymous human presence invites audiences to project themselves onto the protagonist, connecting to a universal human experience.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nAndrea Golla
\nWaste your time<\/strong> (2023)<\/p>\n

temporary floor work
\nTextile and material remnants<\/p>\n

Waste from our daily consumption, such as fruit and vegetable nets\/old stockings, socks\/tights, are the basis of my hand-knotted carpets.
\nThe material comes from my own stock, but also from donations from fellow collectors. I ask friends, family and colleagues to collect and sensitise them to the nature and quantity of the material.
\nWith the choice of material, I question our consumer behaviour.<\/p>\n

I collect the leftovers from cutting the carpet pile and put them in containers. The leftovers from the knotting thus become the basis for a floor work – “Waste Your Time”, adapted to the exhibition space. By removing layer after layer and laying them on the floor to form a temporary carpet, the temporal aspect is made clear by the resulting striped pattern. Waste your time develops parallel to the knotted carpets as their sum and moves through the space like a time ray.
\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nMariel Gottwick<\/a>
\nOne New World Every Week (World in Progress)<\/strong> (2023)<\/p>\n

Used shipping boxes labeled with pencil<\/p>\n

The term WORLD is described by Wikipedia as “everything that is”.
\nOn the empty shipping cartons there are labels that provide information about the original contents of the packages. Different WORLDS are what were shipped here. As if by chance, the cartons are stacked next to and on top of each other on the floor. Thus some inscriptions are only partially legible. With altered “stackings” new content-related relationships emerge.
\nThe exhibit has no fixed form; it is in a constant process of change. The audience is invited to restack the boxes. New worlds become visible, new relationships arise. People’s views of things determine their world views. Additionally the exhibit will be supplemented by the artist in the course of the exhibition with further “world boxes”, at best one new world every week.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nStephan Gro\u00df<\/a>
\nHand of God<\/strong> (2023)<\/p>\n

Object collage made from two found ceramics<\/p>\n

“Hand of God” is about the combination of two objets trouv\u00e9s, a vase and a ceramic hand that previously served as a jewelry stand. As courageous as Diego Maradona once did with his famous hand goal, this hand of god also seeks its way as it wanders lightly over the necks of the vases. The origin of my materials, mostly from sidewalks, ensures a minimal ecological footprint for this collage-like finger exercise in spontaneous sculptural poetry. We are a throwaway society. What benefits, food for thought or feelings can be recovered from the remains?<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nulli gr\u00f6tz
\ncongratulations<\/strong> (2023)<\/p>\n

collage<\/p>\n

BP introduced the “Carbon Footprint Calculator” on its website as part of the large-scale $200 million advertising campaign launched in 2000. many people then calculated their footprint. at that time, this term was unknown, but today everyone is familiar with it. a successful concept to leave the responsibility for saving the climate to the consumers. while BP gives the impression that it is already doing something against the climate catastrophe, it continues to massively expand its oil production. it has long been proven that we, as individual consumers, will have hardly any influence on stopping global warming. change can only occur through politics and therefore through industry in order to stop the catastrophe.BP has been honoured several times with the “gold effie award” (award for efficient brand communication) as “campaign of the year”…for consistent success.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nBeret Hamann \/ RetHa<\/a>
\nIstanbul Megacity #7, City-Skyline<\/strong> (2019)<\/p>\n

Picture montage made from elements of the old invitation cards from the “Neues Atelierhaus Panzerhalle” on cardboard, framed in metal glass frames<\/p>\n

My picture montage is a montage of elements from old invitation cards from our studio house. So I used existing printed cardboard, broke it down into individual parts and used it to create a new work in a creative process, a challenge to bring the small parts together, piece by piece, like a kind of puzzle, into a new order and at the same time in an image motif. Existing material was recycled into a work of art.
\nThe motif refers to \u201cA Brave New World\u201d, as can be observed everywhere and is to be understood in a socially critical way. Modern new buildings and skyscrapers are being built at a turbo pace and lack the human dimension. A new order is cemented. The city panorama of Istanbul is changing a lot, as I have been following for a long time. The work was created for the exhibition #sch\u00f6nheitF\u00dcRALLE at the Kunstraum Potsdam 2019 on \u201c100 Years of Bauhaus\u201d.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nClaudia Michaela Kochsmeier<\/a>
\nHistorical forms evoke a feeling of reality<\/strong> (1998)<\/p>\n

Found Footage<\/p>\n

An old portable television with a wooden panel. It has a crust of sand on which footprints can be seen. Back then, the television brought the world home. Today it is a relic that is one of the many traces of humanity left in the world.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nMaria Korporal<\/a>
\nSmall Steps<\/strong> (2023)<\/p>\n

Artist’s book \/ flip book. Graphite frottage, pencil, ink, collage on paper<\/p>\n

The work is an animation film in the analogue form of a flipbook\/artist’s book. It features imprints of children’s shoe soles, graphite rubbings on each page, accompanied by stamped images, drawings, and collages that depict animated sequences. The book can be flipped from both sides, offering various interpretation possibilities. In the center, a sequence illustrates the evolution from a quadruped (ape) to a biped (human). At the end, the human figure carries the title “Re Sol – Re Sole,” an ironic reference to the idea of humans as the pinnacle of evolution. All materials come from my collection or are second-hand items. The children’s shoes symbolize the youngest generation’s potential to reduce their ecological footprint. Furthermore, I would like to emphasize that small steps can bring about significant change.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nFr\u00e9d\u00e9rique Lanquetin<\/a>
\nthat it rots, corrupts and spurts out of the earth<\/strong> (2023)<\/p>\n

pencil, pigment, Indian ink on paper<\/p>\n

It is a small-scale drawing depicting an obese person’s leg being devoured by a fungus. The choice of material, using natural pigments instead of acrylic, for example, is consciously ecological. The image goes beyond the deformation of the body due to capitalist junk food and finds the poetry of natural decay and evolution – the foot paradoxically appears floating. <\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nChristoph Medicus<\/a>
\nDon’t you throw yourself away again? (throwing doll)<\/strong> (2013)<\/p>\n

Leftover sandbags, knotet<\/p>\n

A throwing doll enlarged into adolescence, laced from leftover sandbags from the Dessau flood of 2013. It is available to the visitor for free play and association. In 1923 Alma Siedhoff-Buscher developed throwing dolls as a resilient and soft toy for young children. They were perfect for tenderly holding, but also for throwing: the flexible bast bodies that formed the basic structure of the dolls could be thrown without damage. The local doll can also be placed in a different position, kicked or thrown by the visitor. Every subsequent association is a possible impetus to reconsider our handling of leftover things.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nRachael Mellors ( artist) Pete Hudson ( video)<\/a>
\nRemembrance<\/strong> (2021-2023)<\/p>\n

Letters, shoe horns, buttons, zips, cufflinks, pegs, ladders, rusty metal tools, bath foot, hopper, bells, bottle clove oil, knife, shutters, pie funnel, mirror, glasses, chain, rowlock, weights, cotton reels, wire, bandages, spoons, candles, plugs, slide rulers, seed head, beads, hangers, and more<\/p>\n

\u2018Remembrance\u2019 evolved through my grief and reflection after my mother\u2019s death in 2021 as I emptied the family home of 66 years. For my mother everything had a value, and was kept, for when it might be useful. I make assemblages with these objects, intuitive responses to the memories and feelings evoked by the objects.
\nSculptures I made from clay that has fallen from eroding cliffs, fired in a pit and fuelled by cut olive tree branches, link our lives.
\nThe objects in all the assemblages rest or balance together.
\nThe work embodies sustainability and the circular economy process through the principle of re-using and recycling materials.
\nThe video shows some of the work created for an installation project \u2018Remembrance\u2019. <\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nAnnegret M\u00fcller<\/a>
\ntravel sewing machine<\/strong> (2014)<\/p>\n

photo installation,
\nColor print, stainless steel, yarn<\/p>\n

I enter into a tension between used, seemingly worthless materials and a new visualization of them.
\nA visualization of their material energy. To give them back their value and former shine. To bring them back into the focus of consideration and appreciation.
\nAn old sewing machine, found off the beaten track, forgotten a long time ago. I equipped this machine with a new sewing foot. It is the experiment to revive them, to make them visible again.<\/p>\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nIn\u00eas Miguel Oliveira<\/a>
\nnight garden<\/strong> (2023)<\/p>\n

Flowers, honey, glue and leaf on raw primed fabric<\/p>\n

“Night garden” is an experiment on natural pigments and paint.
\nEach colour is made using different flowers from my parent’s garden. This is the house I grew up in, located in the village of Prazins Santa Euf\u00e9mia, in the rural north of Portugal. The resulting colours were unpredictable, as each pigment went through alterations during the process, and the exposure to the fabric and light would also change their appearance. As such, “night garden” became a painting impossible to plan, guided by the paint, whilst my hand served as nothing other than a mere tool.<\/p>\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nMonika Ortmann<\/a>
\nTomorrow we\u00b4re dancing and happy for no reason<\/strong> (2021)<\/p>\n

Installation: tights of nylon-shoes-rings of steel<\/p>\n

Tomorrow we’re dancing and happy for no reason
\nFigurines made of nylons and shoes once used by women, which presence stays noticeable because of the subjective creaturely. Bizarre, the floating creatures take up space and start dancing by any energy supply.
\nSince the 1970th my favourite materials are tights, because nylons are an ideal medium in painting and sculptural work, it is transparent, extremely flexible and can be brought into any shape. The network-pieces of art combine their aesthetic and conceptual dimension with a self-aware, society-related. Contemporary attitude. Networks and their inner structures deal with hierarchies and exploitation-scenarios of superior systems, so asking questions oft the personal location in the relationship.
\n<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nLITEKULTUR<\/a>
\nWHAT LEFT OF ME<\/strong> (2021)<\/p>\n

Mixed Paper<\/p>\n

The rinds of illegal posters created by constant pasting over and changing weather conditions become three-dimensional reliefs on the walls of houses and serve as a canvas layer by layer.
\nI then form the final level myself with fragments of other advertising posters, whose motifs or slogans are freed from the products, services and brands, add political motifs, stickers or found objects and overlay the whole thing with varnish and colour.
\nThree-dimensional objects are created that use the means of collage and decollage, demolition and tearing out to represent an over-image and invite the viewer to engage in discourse.
\nUnlike the advertising poster, my poster art is aimed at all citizens. The aim of my posters is not the need for more consumption and the appeal of egoism, but rather instructions for social responsibility, love, respect and compassion.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nRosa Schmidt
\nBEST OF SPREE\/PARS PRO TOTO (1:1000)<\/strong> (2023)<\/p>\n

Installation (~ 20xmax. 50×30 cm: 10+10 floating trash objects of natural and anthropogenic origin; 10 water colour sheets DIN A5 sized, steeped within the rinse water of 10.000 further anthropogenic floating trash objects from the Elbe river system; reused acrylic glass elements\/performance 20min.<\/p>\n

An indoor walking act with some postmaterialistic movement qualities enables a performative vision of a river landscape to arise with the spreading of floating trash objects of various origin over the exhibition space. The emerging panorama elements oscillate between the archeology of a fading culture of human error, the threat of future extinction and an utopian horizon of a dialogic culture of human interactions with the entities and forces of environnental nature.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nAnne Sommer-Meyer<\/a>
\nchallenge cup <\/strong> (2023)<\/p>\n

Material collage, heavily used children’s shoes and old lace doilies on a used cheese box<\/p>\n

Children’s shoes as a challenge trophy
\nThis pair of heavily used children’s shoes was given to a friend’s family in the 1940s or 1950s. She couldn’t tell me how many children learned to walk or walked in these shoes. They came to me a few years ago and have been on my work table ever since. For me, on cheese boxes and lace doilies, they are a trophy for a light-footed, ecological footprint.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nAnna Staffel<\/a>
\nThe downfall of the craft<\/strong> (2022)<\/p>\n

paper collage<\/p>\n

From the series “Moths 2021 \u2013 2023”
\nThe paper collage “The Fall of the Crafts” shows the destructive consequences of social change processes as a floating state.
\nThe collage was produced on the basis of collected magazines, random finds or gifts, so it has only a “slight CO2 footprint”.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nverstoffwechselt (Gudrun Staiger & Rudi Beutinger)<\/a>
\nVote<\/strong> (2021)<\/p>\n

Plastic, cardboard, acrylic plates<\/p>\n

The Ballotage function has convinced us with its simplicity and precision. In earlier times, this simple ballot box was used in runoff elections or so-called co-optation elections (supplementary elections).
\nThe counting of votes is done by a simple pro and con assessment , that is, by dropping a ball into two drop tubes that cannot be seen from the outside.
\nThe work “Votum” is an interactive sculpture, through which the viewers could answer a question posed to them by throwing a ball into the playful construction. Inside the object, the ball is guided by chance onto a wrong path whereby the vote is falsified.
\n“Votum” thematizes the abuse of civil liberties, which are often not available to citizens or are abused by means of a legal election procedure in seemingly democratic conditions.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nChristina Stark<\/a>
\nmeans to an end<\/strong> (2022)<\/p>\n

collage<\/p>\n

Nov. 22 Friedrich Merz calls climate activists criminal offenders, their actions the most serious crimes. There is the question of radicalism and counter-radicalism.
\nQR code of the article:
\nFrom the article the sounds of the words “Mittel” and “Zweck” from the saying a “means to an end” are taken and glued to two handy stones.<\/p>\n

Light ecological footprint because: the stones are found on the road, the letters are taken from a newspaper article that has been read, glue is allowed.<\/div><\/div><\/div>\n

\n
\n\"\"<\/a>
\n<\/div><\/div>
\nLioba von den Driesch<\/a>
\nFellow Traveler<\/strong> (2023)<\/p>\n

group of 5 objects, wood, paper, textile<\/p>\n

Fellow traveler is the belittling term for a lightweight, fickle species, unencumbered by competence and responsibility, driven by herd movements, opportunism, fear or faith. Despite their low reputation, they are hotly sought after because they form majorities – executive majorities.<\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Online gallery Light on your feet October 6 – November 24, 2023 Artists Tom Albrecht, Thomas Behling, Kuesti Fraun, Christiane Gaebert, Yossi Galanti, Andrea Golla, Mariel Gottwick , Stephan Gro\u00df, ulli gr\u00f6tz, Beret Hamann, Claudia Michaela Kochsmeier, Maria Korporal, Fr\u00e9d\u00e9rique Lanquetin, Christoph Medicus, Rachael Mellors \/ Pete Hudson, Annegret M\u00fcller, In\u00eas Miguel Oliveira, Monika Ortmann, […]<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[],"class_list":["post-27284","page","type-page","status-publish","hentry"],"yoast_head":"\nOnline gallery of the exhibition "Transformation<\/title>\n<meta name=\"description\" content=\"Online gallery of the exhibition "Transformation" - Art of Sustainability with 13 works by 14 international artists*.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/gg3.eu\/en\/online-gallery-of-the-exhibition-light-on-your-feet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Online gallery of the exhibition "Transformation\" \/>\n<meta property=\"og:description\" content=\"Online gallery of the exhibition "Transformation" - 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