{"id":1667,"date":"2014-01-16T08:26:05","date_gmt":"2014-01-16T08:26:05","guid":{"rendered":"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/?p=1667"},"modified":"2020-03-03T15:16:24","modified_gmt":"2020-03-03T15:16:24","slug":"week-67","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=1667","title":{"rendered":"Window 67"},"content":{"rendered":"<h2>&nbsp;<\/h2>\n<p><a href=\"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/wp-content\/uploads\/a-IMG_0221-kleinKopie.jpg\" rel=\"lightbox[1667]\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-1668\" title=\"a IMG_0221 kleinKopie\" src=\"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/wp-content\/uploads\/a-IMG_0221-kleinKopie-500x632.jpg\" alt=\"\" width=\"500\" height=\"632\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/a-IMG_0221-kleinKopie-500x632.jpg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/a-IMG_0221-kleinKopie-118x150.jpg 118w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/a-IMG_0221-kleinKopie.jpg 710w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a><\/p>\n<p><strong>APPARATUS FOR SINKING BODIES by <a href=\"https:\/\/frieze.com\/article\/night-gatherer?language=de\">Max Frisinger<\/a><\/strong><\/p>\n<p>Max Frisinger pr\u00e4sentiert in dem verschlossenen Schaufensterraum von Berlin-Weekly in der Linienstra\u00dfe eine Rauminstallation, die sowohl orts- als auch raumspezifisch zu verstehen ist. Seit einem Jahr sieht man \u00fcber die fast ganze L\u00e4nge der Linienstra\u00dfe hinweg die Rohre zur Absenkung der Grundwasserentsorgung. Mit ihrer auffallenden rosa Farbe und der verschlungenen Linienf\u00fchrung wirken sie wie eine Installation im \u00f6ffentlichen Raum. Mit seiner Installation APPARATUS FOR SINKING BODIES greift Max Frisinger in diese nach technischen Anforderungen entstandene \u00f6ffentliche Inszenierung ein und schafft eine eigenst\u00e4ndige in sich geschlossene dynamische Skulptur. Hinter der verschlossenen Glast\u00fcr des Galerieraumes erscheint diese wie ein wertvolles unantastbares Objekt in einer Vitrine ausgestellt und bildet dadurch einen spannenden Kontrast zu der technischen Inszenierung auf der Stra\u00dfe. Das Konzept der Schaufenstergalerie aufnehmend, spielt der K\u00fcnstler mit den Parametern von Innen- und Au\u00dfenraum.<\/p>\n<p>Max Frisinger ist 1980 in Bremen geboren. Er lebt und arbeitet in Berlin.<\/p>\n<p>Max Frisinger presents in the closed storefront space of Berlin-Weekly in Linienstra\u00dfe an installation which is both site- and space- specific. Already since a year one can see thick metal tubes for lowering the groundwater disposal running along the length of Liniensta\u00dfe. With its striking pink colour and the intricate lines they appear almost like a public space installation . With his installation APPARATUS FOR SINKING BODIES Max Frisinger intervenes in these technical requirements and creates an independent self-contained dynamic sculpture. Exhibited behind the locked glass door of the window gallery space the sculpture acts as a valuable untouchable object in a display case and thereby forms an exciting contrast to the technical structure in public space. Following the concept of the window gallery, the artist plays with the parameters of interior and exterior space.<\/p>\n<p>Max Frisinger was born in Bremen, Germany, in 1980. He lives and works in Berlin. See full information <a href=\"http:\/\/max.culturalspot.org\/home\">http:\/\/max.culturalspot.org\/home<\/a><\/p>\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; APPARATUS FOR SINKING BODIES by Max Frisinger Max Frisinger pr\u00e4sentiert in dem verschlossenen Schaufensterraum von Berlin-Weekly in der Linienstra\u00dfe eine Rauminstallation, die sowohl orts- als auch raumspezifisch zu verstehen ist. Seit einem Jahr sieht man \u00fcber die fast ganze L\u00e4nge der Linienstra\u00dfe hinweg die Rohre zur Absenkung der Grundwasserentsorgung. Mit ihrer auffallenden rosa Farbe &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.berlin-weekly.com\/?p=1667\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 67\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1667","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1667","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1667"}],"version-history":[{"count":4,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1667\/revisions"}],"predecessor-version":[{"id":2941,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1667\/revisions\/2941"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1667"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}