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Libri antichi e moderni

Armaly, Fareed

Contact. Eine Ausstellung von Fareed Armaly. Galerie Christian Nagel. 11. Februar - 14. M� 1992.

K�ln - Galerie Nagel, 1992., 1992

70,00 €

Bookshop Buch Fundus

(Berlin, Germania)

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Metodi di Pagamento

Dettagli

Anno di pubblicazione
1992
Autore
Armaly, Fareed
Editori
K�ln, Galerie Nagel, 1992.
Formato
Ca. 180 Seiten; Illustr.; graph. Darst.; montierte Farb-Fotografien; 29,5 cm; kart.
Soggetto
Fareed Armaly, Context Art, Bildende Kunst, Architektur, Kontext Kunst, Kunstwissenschaft, Ausstellung K�ln, Kunstgeschichte
Sovracoperta
No
Lingue
Tedesco
Copia autografata
No
Prima edizione
No

Descrizione

Gutes Exemplar; minimale Gebrauchs- und Lagerspuren. - Mit Beilagen; darunter Orig.-Brief der Galerie Nagel (an Peter M�hesheimer), Rezension (Kopie) der Ausstellung von F. Armaly in der FAZ (u.a.) // Texte in Deutsch und Englisch. - Fareed Armaly (* 1957 in Iowa) ist ein US-amerikanischer Dokumentarfilmer und Multimediak�nstler und Installationsk�nstler. Armaly ist ein Vertreter der sogenannten Context art/Kontext Kunst. . Von 1988 bis 1989 war er Herausgeber der Zeitschriften Terminal Zone und R.O.O.M. 1989 zog er von New York nach K�ln. Von 1999 bis 2002 leitete er das K�nstlerhaus Stuttgart. Er unterrichtete an zahlreichen internationalen Institutionen, unter anderem der Universit�Hamburg und der Fachhochschule f�r Technik und Gestaltung Pforzheim. Bekannt wurde Armaly mit seinem Beitrag Mix zur Ausstellung "Firminy", die 1993 im gleichnamigen Ort bei Marseille in Le Corbusiers Unit�'Habitation stattfand. Aufsehen erregte er 1999 mit "From/To" im Museum Witte de With in Rotterdam. In modifizierter Form wurde diese Arbeit auf der Documenta11 gezeigt. � (wiki) // The Gallery Nagel interior has been redesigned. The exhibition space was one room with two windows looking onto the street The office was in the back. Its window was half the size of those in the exhibition space and overlooked the court. Access to both was through a small foyer. The exhibition space has been rotated 90 degrees. The new axis splits one point of view outward into two in opposite directions. This makes something common to European urban architecture obvious, that it points to two different senses of community, and it emphasizes the role types of framing in respect of viewpoint. The exhibition space is now two, symmetrical rooms lying opposite each other across a single corridor. They are as near identical as possible. One space - the one missing the Siemens 'communication box' - is a reflection of the other. It has something like 'real walls' / 'synthetic walls' - or maybe just 'real walls 2', or 'real walls too'. Before, the gallery was the exhibition space, with the office where it was by default The new arrangement takes a more ordered relation to those functions. The signs - closed door, open door, symmetry, asymmetry, interior court view, exterior street view, etc. - are worked out as architecture: pragmatic concerns set symbolic functions. . (ca. S. 10)