{"id":2920,"date":"2020-03-03T14:32:45","date_gmt":"2020-03-03T14:32:45","guid":{"rendered":"http:\/\/www.berlin-weekly.com\/?p=2920"},"modified":"2020-03-03T14:47:19","modified_gmt":"2020-03-03T14:47:19","slug":"window-132","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=2920","title":{"rendered":"Window 132"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/fenster132-klein.jpg\" alt=\"\" class=\"wp-image-2921\" width=\"480\" height=\"620\"\/><\/figure><\/div>\n\n\n\n<p><strong>\u201eMaking bad on history or drawing blood from the same old stone\u201d von <\/strong><a href=\"http:\/\/dagmaragenda.com\/\"><strong>Dagmara Genda<\/strong><\/a><\/p>\n\n\n\n<p>Die Zeichnung der klassischen Skulptur bildet seit der Formalisierung der Akademien die Grundlage der Kunstausbildung. Dadurch entwickelte sich eine R\u00fcckkoppelungsschleife, die die skulpturale Tradition pr\u00e4gte und die Proportionen der K\u00f6rper und ihr Gestenrepertoire im Laufe der Zeit subtil verzerrte.&nbsp;<\/p>\n\n\n\n<p>Daraus entstand schlie\u00dflich der Barock mit seinen geschwollenen Draperien, den klaffenden M\u00fcndern und der Vielzahl der greifenden H\u00e4nde. In ihren j\u00fcngsten Arbeiten nimmt Dagmara Genda barocke Gartenskulpturen als Grundlage f\u00fcr ihre Zeichnungen und r\u00fcckt so die Geschichte durch eine weitere verzerrende Linse in den Mittelpunkt. Aus den flie\u00dfenden Linien bluten griechische G\u00f6tter zu Comic-Superhelden, ihre Idealk\u00f6rper nicht weit entfernt von den heutigen Fitness-Selfies, und die G\u00f6ttinnen aus der Zeit vor unserer gemeinsamen Epoche haben sich zu schmierig leuchtenden Instagram-K\u00f6niginnen gemausert. Durch ihre Arbeit deutet Genda eine bestimmte Vorstellung von Geschichte an: je mehr wir sie neu darstellen, desto treuer folgen wir ihrem gewundenen Weg.<\/p>\n\n\n\n<p>In Ihrer Installation im Berlin-weekly Fenster vergr\u00f6\u00dfert und transformiert Dagmar Genda ihre Tusch-Zeichnungen in eine raumf\u00fcllende 3 dimensionale Raumzeichnung.<\/p>\n\n\n\n<p>engl.&nbsp;<\/p>\n\n\n\n<p>Drawing from classical sculpture has formed the basis of art education ever since the formalisation of academies. This in turn generated a feedback loop whose echoes reshaped sculptural tradition, subtly contorting the proportions of bodies and their repertoire of gesture over time. Eventually this birthed the Baroque, with its swollen drapery, gaping mouths, and its multitude of grasping hands. Baroque garden sculpture forms the basis of Dagmara Genda&#8217;s recent drawings, thus refocusing history through another distorting lens. Inky lines bleed Greek gods into comic super heroes, their ideal bodies not far removed from today&#8217;s gym selfies, and the goddesses from before our common era have swelled into lubriciously lit Instagram queens. Perhaps the more we \u201cmake bad on history,\u201d the truer we are to its meandering path.<\/p>\n\n\n\n<p>In her installation at Berlin-weekly Dagmar Genda enlarges and transforms her ink drawings into a large 3-dimensional spatial drawing.<\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"<p>\u201eMaking bad on history or drawing blood from the same old stone\u201d von Dagmara Genda Die Zeichnung der klassischen Skulptur bildet seit der Formalisierung der Akademien die Grundlage der Kunstausbildung. Dadurch entwickelte sich eine R\u00fcckkoppelungsschleife, die die skulpturale Tradition pr\u00e4gte und die Proportionen der K\u00f6rper und ihr Gestenrepertoire im Laufe der Zeit subtil verzerrte.&nbsp; Daraus &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.berlin-weekly.com\/?p=2920\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 132\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-2920","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\/2920","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=2920"}],"version-history":[{"count":2,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2920\/revisions"}],"predecessor-version":[{"id":2936,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/2920\/revisions\/2936"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2920"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2920"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2920"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}