<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Sculpture &#8211; Antoni Robert</title>
	<atom:link href="https://arobert.bcn-cluster.com/tag/sculpture/feed/" rel="self" type="application/rss+xml" />
	<link>https://arobert.bcn-cluster.com</link>
	<description>Music, Art &#38; More</description>
	<lastBuildDate>Sat, 04 Nov 2017 15:11:43 +0000</lastBuildDate>
	<language>en-GB</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	
	<item>
		<title>Cosmic Generator, by Mika Rottenberg (1976 Buenos Aires, lives in New York); artwork for Skulptur Projekte Münster 2017</title>
		<link>https://arobert.bcn-cluster.com/cosmic-generator-mika-rottenberg-1976-buenos-aires-lives-new-york-artwork-skulptur-projekte-munster-2017/</link>
		
		<dc:creator><![CDATA[Antoni Robert]]></dc:creator>
		<pubDate>Sat, 04 Nov 2017 15:11:43 +0000</pubDate>
				<category><![CDATA[Other Arts]]></category>
		<category><![CDATA[Mika Rottenberg]]></category>
		<category><![CDATA[Münster Skulptur Projekte]]></category>
		<category><![CDATA[Sculpture]]></category>
		<guid isPermaLink="false">https://arobert.bcn-cluster.com/?p=1267</guid>

					<description><![CDATA[Material: Asian shop, video (ca. 20 min.), plastic objects, street sign Mika Rottenberg’s (* 1976 Buenos Aires; lives in New York) film installations explore the seduction, magic, and desperation of our hyper-capitalistic, globally connected reality. Female workers produce goods in strange factories that follow elaborate manufacturing rationales. Rottenberg’s cinematic works, which have a surrealistic aesthetic and are rigidly structured in a spatial sense, emphasize the interrelation between labour, economics, and the production of value, and how our affective relationships are increasingly monetized. The artist weaves documentary elements with fiction to create complex allegories for the living conditions experienced within our global systems. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/837/ROTTENBERG]]></description>
		
		
		
			</item>
		<item>
		<title>Benz Bonin Burr, by Cosima von Bonin + Tom Burr (1962 Mombasa &#038; 1963 New Haven); artwork for Skulptur Projekte Münster 2017</title>
		<link>https://arobert.bcn-cluster.com/benz-bonin-burr-cosima-von-bonin-tom-burr-1962-mombasa-artwork-skulptur-projekte-munster-2017/</link>
		
		<dc:creator><![CDATA[Antoni Robert]]></dc:creator>
		<pubDate>Tue, 31 Oct 2017 18:15:55 +0000</pubDate>
				<category><![CDATA[Other Arts]]></category>
		<category><![CDATA[Cosima von Bonin]]></category>
		<category><![CDATA[Münster Skulptur Projekte]]></category>
		<category><![CDATA[Sculpture]]></category>
		<category><![CDATA[Tom Burr]]></category>
		<guid isPermaLink="false">https://arobert.bcn-cluster.com/?p=1254</guid>

					<description><![CDATA[Material: Low-loader, wooden crate, safety ropes Strategies of cooperation, appropriation, and compilation are characteristic of Cosima von Bonin’s (* 1962 Mombasa; lives in Cologne) mixed-media installations. She navigates the viewer through a sea of references with her subtle humour, bringing influences ashore without any apparent effort and involving artist friends and historical perspectives in her exhibitions. Energized by Conceptual Art and Pop Art, her work keeps touching on key figures like Martin Kippenberger or Mike Kelley and makes countless references to cinema, literature, music, fashion, design, and lifestyles. In this way, her artwork presents itself more as the result of traditional tendencies, networks, and recurrences than as an original, individual artistic gesture. The large-scale arrangements, often in the form of animal motifs, mirror the conventions and rules of the art world and address von Bonin’s artistic identity within a network of relationships, dependencies, and role models. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/818/Von+Bonin_BURR &#160;]]></description>
		
		
		
			</item>
		<item>
		<title>Marginal Frieze, by Sany (Samuel Nyholm) (1973 Lund); artwork for Skulptur Projekte Münster 2017</title>
		<link>https://arobert.bcn-cluster.com/marginal-frieze-sany-samuel-nyholm-1973-lund-artwork-skulptur-projekte-munster-2017/</link>
		
		<dc:creator><![CDATA[Antoni Robert]]></dc:creator>
		<pubDate>Fri, 13 Oct 2017 14:29:21 +0000</pubDate>
				<category><![CDATA[Other Arts]]></category>
		<category><![CDATA[Münster Skulptur Projekte]]></category>
		<category><![CDATA[Samuel Nyholm]]></category>
		<category><![CDATA[Sculpture]]></category>
		<guid isPermaLink="false">https://arobert.bcn-cluster.com/?p=1188</guid>

					<description><![CDATA[Fallande ting, Pyrographic series in the Münster / Marl urban space Sany’s work Marginal Frieze for the Skulptur Projekte links two different areas. On the one hand, a multi-part mural is being exhibited in the urban space, while, on the other, his cartoons are part of the exhibition’s accompanying advertising campaign: his work is being circulated as film trailers, on banners, bags, flyers, and stickers—as a patchwork of subliminal media fragments with a wide range of influence in the public space. For his Fallande ting Sany is installing large-sized pyrographies on the walls of several buildings in Münster and Marl, showing individual falling figures. For this project he turns to familiar characters from his cosmos of images: with Estrid, the Valkyrie, and Yggdrasil, the World Tree, he re-interprets two figures from Nordic mythology, who are joined by the monkey Apis and the Greek artist Stavros. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/832/SANY]]></description>
		
		
		
			</item>
		<item>
		<title>Sculpture, by Peles Empire; artwork for Skulptur Projekte Münster 2017</title>
		<link>https://arobert.bcn-cluster.com/sculpture-peles-empire-artwork-skulptur-projekte-munster-2017/</link>
		
		<dc:creator><![CDATA[Antoni Robert]]></dc:creator>
		<pubDate>Sat, 07 Oct 2017 21:51:35 +0000</pubDate>
				<category><![CDATA[Other Arts]]></category>
		<category><![CDATA[Barbara Wolff]]></category>
		<category><![CDATA[Katharina Stöver]]></category>
		<category><![CDATA[Münster Skulptur Projekte]]></category>
		<category><![CDATA[Peles Empire]]></category>
		<category><![CDATA[Sculpture]]></category>
		<guid isPermaLink="false">https://arobert.bcn-cluster.com/?p=1154</guid>

					<description><![CDATA[Material: Dibond, ceramic tiles, galvanized steel, Jesmonite Peles Empire are: Katharina Stöver * 1982 Gießen, lives in Berlin Barbara Wolff * 1980 Fogarasch, lives in Berlin For Skulptur Projekte, Peles Empire has erected a gable, nearly eight metres high, in the immediate vicinity of the city’s historic centre. The gable’s tiled façade shows an image of the castle’s crumbling terrace as well as the supports that keep it from collapsing. The façade is braced by poles and propped against a stepped volume, whose surface is covered with black-and-white streaks, mimicking a stone surface. This surface visually anticipates the Jesmonite bar inside. Both are black and white and thus create the effect of a photocopy. The object, which is located in a carpark, is not just for viewing from the outside—it can also be entered. The first impression suggests some intrinsic value, but this is misleading: what looks magnificent and solid]]></description>
		
		
		
			</item>
		<item>
		<title>Les masques célèstes [Celestial Masks], by Hervé Youmbi (1973 Bangui); artwork for Skulptur Projekte Münster 2017</title>
		<link>https://arobert.bcn-cluster.com/les-masques-celestes-celestial-masks-herve-youmbi-1973-bangui-artwork-skulptur-projekte-munster-2017/</link>
		
		<dc:creator><![CDATA[Antoni Robert]]></dc:creator>
		<pubDate>Fri, 06 Oct 2017 21:43:58 +0000</pubDate>
				<category><![CDATA[Other Arts]]></category>
		<category><![CDATA[Hervé Youmbi]]></category>
		<category><![CDATA[Münster Skulptur Projekte]]></category>
		<category><![CDATA[Sculpture]]></category>
		<guid isPermaLink="false">https://arobert.bcn-cluster.com/?p=1127</guid>

					<description><![CDATA[Material: Wood, glass beads, wood glue, cotton thread, silicone Youmbi’s installation is located in the disused Überwasser cemetery, near General Ludwig Roth von Schreckenstein’s grave. Suspended among the trees, four massive masks appear to hover some ten metres from the ground. Another four, smaller masks are mounted directly on the trees. Les Masques célèstes incorporates iconography from popular Western capitalist culture: immediately apparent is the Ghostface mask—from the American horror film Scream (1996)—which was in turn inspired by Edvard Munch’s 1893 painting. This icon of fear is juxtaposed with animistic tokens from many traditional African cultures. According to Youmbi, these animate the spirits of the dead by inviting them to enter and possess the masks during celebratory ceremonies. Youmbi commissioned the masks from workshops in Cameroon. His intervention at a Christian burial site, a location for the commemoration of the dead, raises questions about religion, spirituality, and superstition. Youmbi’s work highlights the objects and]]></description>
		
		
		
			</item>
	</channel>
</rss>
