{"id":2005,"date":"2016-04-28T10:22:37","date_gmt":"2016-04-28T10:22:37","guid":{"rendered":"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/?p=2005"},"modified":"2020-03-03T13:40:36","modified_gmt":"2020-03-03T13:40:36","slug":"week-93","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=2005","title":{"rendered":"Window 93"},"content":{"rendered":"<h2>&nbsp;<\/h2>\n<p><a href=\"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/wp-content\/uploads\/window93-klein.jpeg\" rel=\"attachment wp-att-2006\" rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-2006\" src=\"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/wp-content\/uploads\/window93-klein-500x620.jpeg\" alt=\"window93 klein\" width=\"500\" height=\"620\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window93-klein-500x620.jpeg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window93-klein-121x150.jpeg 121w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window93-klein.jpeg 710w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a><\/p>\n<p><strong>OHNE UMWEG (WITHOUT DIVERSION) von <a href=\"http:\/\/www.christianmoeller.eu\/\">Christian M\u00f6ller<\/a><\/strong><\/p>\n<p>Die Installation &#8218;OHNE UMWEG\u2018 des in Berlin lebenden K\u00fcnstlers&nbsp; Christian M\u00f6ller zeigt eine Rekonstruktion seines ehemaligen Ateliers in Karlsruhe mit dem Original Inventar.<br \/>\nNoch w\u00e4hrend seines Studiums in Karlsruhe bei Prof. Horst Antes begann der K\u00fcnstler seine Bilder ausschlie\u00dflich in Schwarz- und Wei\u00dft\u00f6nen zu malen: \u2019Ich erlaube einer Form mehr Freiheit, wenn ich sie nicht mit Farbenbewerte\u2019. Christian M\u00f6ller<br \/>\nDie anf\u00e4nglichen Friedhof-, Nacht- und Industrielandschaften wandelten sich im Laufe der Zeit in eine stark expansive, heftige und tiefgr\u00fcndige Malerei. Die verschlingende Schw\u00e4rze wird durchbrochen von aufreizenden Strichen von Weiss und vielen Schichten von Graut\u00f6nen, wodurch sich&nbsp; mysteri\u00f6se Formen \u00f6ffnen. Die rasenden Pinselstriche repr\u00e4sentieren einen emotionalen Wahrnehmungsstrom, der die Leinwand in eine B\u00fchne verwandelt, auf der sich tiefe Emotionen &#8211; sowohl dunkle Erfahrungen als auch Lebendigkeit und Kraft &#8211; manifestieren.<br \/>\nChristian M\u00f6ller ist es mit seiner direkten unkonventionellen k\u00fcnstlerischen Herangehensweise gelungenen die T\u00fcr zu einer Bilderwelt zu \u00f6ffnen, die ihm den malerischen Raum bietet \u201eNicht-Sichtbares\u201c sichtbar zu machen. Seine Arbeiten bilden&nbsp; einen interessanter Gegenpol zu den rationalen Gedankenskizzen in der Konzeptkunst.<\/p>\n<p>engl:<br \/>\n&#8218;The installation &#8218;WITHOUT DIVERSION&#8216; by the Berlin based artist Christian Moeller shows a reconstruction of his former studio in Karlsruhe with the complete original equipment.<br \/>\nAlready during his studies in Karlsruhe at Prof. Horst Antes the artist began to paint his pictures exclusively in shades of black and white.\u201cI allow a form more freedom if I do not evaluate it with colours.\u201c(Christian M\u00f6ller)<br \/>\nIn the course of time the initial cemetery-, night \u2013 and industrial landscapes changed to strong, expansive abstract painting. Developed merely in black and white tones, the intense movements draw the viewers attention into an impenetrable thicket of compact and transparent forms. These remain two dimensional fragments which are multi-layered colour-spaces. The engulfing blackness is punctuated with tantalizing strokes of white, and layer upon layer of grey tones.. The frenzied brushstrokes represent an interior stream of consciousness laid bare upon the canvas, which is transformed into a stage upon which the subconscious plays. His paintings can be seen as visual manifestations of the deepest repressed emotions and darkest experiences which lie at the heart of the human psyche. His emotional paintings are an interesting counterpoint to the analytical train of thought in conceptual art.<\/p>\n<div id='gallery-1' class='gallery galleryid-2005 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/moeller2.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"119\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/moeller2-119x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/moeller2-119x150.jpg 119w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/moeller2.jpg 477w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail6.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail6-113x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail6-113x150.jpg 113w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail6.jpg 450w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail4-klein.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail4-klein-113x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail4-klein-113x150.jpg 113w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail4-klein.jpg 450w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a.jpeg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"108\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a-150x108.jpeg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a-150x108.jpeg 150w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a-500x358.jpeg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a-768x551.jpeg 768w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail1a.jpeg 837w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail-a.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"119\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail-a-119x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail-a-119x150.jpg 119w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/detail-a.jpg 477w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/7detail-klein.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"108\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/7detail-klein-108x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/7detail-klein-108x150.jpg 108w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/7detail-klein.jpg 430w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/5detail-klein.jpg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"109\" height=\"150\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/5detail-klein-109x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/5detail-klein-109x150.jpg 109w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/5detail-klein.jpg 437w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein.jpeg' rel=\"lightbox[2005]\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"113\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein-150x113.jpeg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein-150x113.jpeg 150w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein-500x375.jpeg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein-768x576.jpeg 768w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/2-detail-klein.jpeg 800w\" sizes=\"auto, 100vw\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; OHNE UMWEG (WITHOUT DIVERSION) von Christian M\u00f6ller Die Installation &#8218;OHNE UMWEG\u2018 des in Berlin lebenden K\u00fcnstlers&nbsp; Christian M\u00f6ller zeigt eine Rekonstruktion seines ehemaligen Ateliers in Karlsruhe mit dem Original Inventar. Noch w\u00e4hrend seines Studiums in Karlsruhe bei Prof. Horst Antes begann der K\u00fcnstler seine Bilder ausschlie\u00dflich in Schwarz- und Wei\u00dft\u00f6nen zu malen: \u2019Ich erlaube &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.berlin-weekly.com\/?p=2005\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 93\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-2005","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\/2005","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=2005"}],"version-history":[{"count":6,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2005\/revisions"}],"predecessor-version":[{"id":2840,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2005\/revisions\/2840"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2005"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2005"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2005"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}