http://www.jakob-kirchheim.de
http://www.jk-verlag.com

http://www.artinflow.de

Statement

A theme of my art work is the body and memory.
When I was a child, I often broke my bones. This was because my body was very weak.

Through these experiences, today I think that a body is a fragile object. Furthermore, I have the feeling that my body is not my self. I feel a certain discrepancy to my body.

I work with the basic concept of „destruction and regeneration“.
This concept comes from my experience.
For this reason, I also use the method of collage. I try to destroy and regenerate the images of my memory in my art works.

Statement

We can see beautiful stars in the sky.
But I’m attacked by anxiety when I learned that these beautiful stars are hundreds of light years away, and traces of something that existed hundreds of years ago. I can’t help but wonder, “What am I looking at ?”
Maybe the stars I’m seeing right now don’t exist anymore. 
Then, what is it I’m looking at now?
When you say [stars], are you referring to huge, heavy fixed stars, or you mean the delayed image that made by the light from hundreds of years ago?
I always make use of differences between notion and perception when I work on my art works; as in the difference between the [stars] that we know by observation and scientific reasoning, and those that we are looking up now.
I have a great deal of interest in the identity and difference in things.
When the notion and perception fail to match, we will inevitably doubt about the thing you are looking at. Just like I wondered what stars really are. What I pursue is how to make the device that changes the perception of something through the experience of wandering between its notion and perception.

Ute Heim & ihr Prärieorchester

Fotos: Ken Macbeth Knowles

Musikprojekt von Ute Heim mit wechselnder Besetzung und akustischer Instrumentierung zur Erforschung noch unbeackerter Gebiete in der Musik.

Ute Heim (Vocal/Kazoo/Geige/Waschbrett)
Marc Melchior (Ukulele/ Banjo)

Ute Heim hat ihre Pferde gesattelt für einen Ausritt in die hinterste Prärie und dabei einige alte und neue Bekannte getroffen. Der Wind pfeift durch die Ritzen der Scheune, die Flinte steht angelehnt am Balken, die Fiddle krächzt aus dem letzten Loch, der Banjospieler zupft die verdammten Saiten, es staubt und das Herz zieht sich zusammen, wenn die Stimme die 2,8 Oktaven durchträllert. Kurz: Es wird getanzt, geweint und gelacht.

Old Time, 20er Jahre, Honkytonk, 60s, Jazz

Sometimes the distance is in danger to be completely eliminated by the overload of pictures, images and information in the mass media. What we think there to perceive is more and more influencing and manipulating our concept of reality.

Yukiko Nagakura is interested in this difference between the perception and the conception – and her works are based on that idea.
And for that she exchanges the media way in an immediate way of perception.
She recently visited a refugee camp near Calais, where refugees from all over the world wait for a possibility to travel to England.
There she could get into contact to some of the refugees and could have an immediate look on their situation, in their hopes and dreams and in their daily life.

In her artworks she is now recreating an artistic distance to the conditions of this refugee life. And so she allows us to find a deeper truth in the paintings than we could ever get in the media images:

Her artworks urge us to connect the perceived pictures with our memory, our emotions our sense of responsibility and in the end with the question, which values we all stand for.
Human Condition““ is the title of this exhibition – like Hannah Arendts book from 1954, where she is asking for the basic conditions of human existence.
The question is still as urgent as 60 years ago.

25. April – 17. Mai 2015, Do – So 15:00 – 18:00 Uhr

Mit freundlicher Unterstutzung von Stadt Landshut, Sparkasse Landshut
sowie Sabine Schurhoff-Dobler u. Rainer Dobler

http://heathersheehan.com/

part of ’sack-rope-stone‘
on-going installation / performance series, 2014-2016

I have constructed a person-sized sack. I have sewn myself inside it, remaining confined there. I have worked in the seclusion of the sack and documented the experience. The empty sack has been hung up, at varying locations, sometimes tethered by a large stone, to balance in the open air.

‘sack-rope-stone’ is both prop from performance as well as work of sculpture. The sack has been imparted with the experience, by my actions, of containing a live person. As an object of sculpture, it embodies and represents ideas on the subject of safety and confinement.

As individuals, we choose at times to isolate ourselves, to enter a spiritual state of seclusion or to seek safety. As a society, we decide to restrain others, to commit or condemn them to confinement based on certain moral and legal constructs. The history of these issues is inescapable, even when not consciously recognized.

‘sack-rope-stone’ poses as an image of restraint, directly visible. The sack is itself captive, fixed in place by the rope and the weight of the stone. Wind causes the sack to struggle against these restraints. The counter weight helps the sack to remain safely out of harm’s way, holding it balanced at a height out of reach. The tension of this state is ever-present, the positive and negative united in sculptural form.

As the sack sways in the winds, it vibrates with equivocal stories of good and evil, voluntary and involuntary, both personal and historical.

Finissage am 12. Juli 2015, 16:00 Uhr mit Künstlergespräch