{"id":3130,"date":"2020-07-16T04:38:25","date_gmt":"2020-07-16T04:38:25","guid":{"rendered":"http:\/\/www.berlin-weekly.com\/?p=3130"},"modified":"2020-07-20T13:36:04","modified_gmt":"2020-07-20T13:36:04","slug":"window-135","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=3130","title":{"rendered":"Window 135"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><a href=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window135.jpg\" rel=\"lightbox[3130]\"><img loading=\"lazy\" decoding=\"async\" width=\"710\" height=\"911\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window135.jpg\" alt=\"\" class=\"wp-image-3132\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window135.jpg 710w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window135-500x642.jpg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/window135-117x150.jpg 117w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong>Fragments of the Future 2020 by <a href=\"http:\/\/ulrikemohr.de\/\">Ulrike Mohr<\/a><\/strong><\/p>\n\n\n\n<p>Ausgangspunkt f\u00fcr Ulrike Mohrs Arbeiten ist neben dem Werkstoff der Kohle immer auch dessen Herkunftsort, dessen Kontextbildung und der Produktionsprozess in seiner zeitlichen Dimension.&nbsp;In ihren Installationen schweben gek\u00f6hlerte \u00c4ste aus brachliegenden Schreberg\u00e4rten, fragmentierte B\u00e4ume oder Treibholz aus dem Meer, zu schwarm\u00e4hnlichen Formen verdichtet, frei im Raum und bilden in ihm eine schwarze Raumzeichnung &#8211; chaotisch und gerichtet zugleich. Durch den Transformationsprozess des K\u00f6hlerns haben die \u00c4ste ihre urspr\u00fcngliche Farbgebung verloren, die Form bleibt erhalten und f\u00fcr immer konserviert. Durch das Eintauchen in die r\u00e4umliche Tiefe ihrer Raumzeichnungen l\u00f6st die K\u00fcnstlerin die Grenzen zwischen Material, Raum und Zeit zunehmend auf und schafft so andere Interpretations- und Erfahrungsr\u00e4ume.&nbsp;<\/p>\n\n\n\n<p>englisch<\/p>\n\n\n\n<p>The starting point for Ulrike Mohr&#8217;s works is not only the material of carbon, but also its place of origin, its contextualization and the production process in its temporal dimension.&nbsp;In her installations, carbonized branches from abandoned allotments, fragmented trees or driftwood from the sea, compressed into swarm-like forms, float freely in space and form a black spatial drawing &#8211; chaotic and directed at the same time. Through the transformation process of carbonization, the branches have lost their original colouring, the form remains and is preserved forever. By immersing in the spatial depth of her spatial drawings, the artist increasingly dissolves the boundaries between material, space and time, thus creating other spaces for interpretation and experience.&nbsp;<\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"<p>Fragments of the Future 2020 by Ulrike Mohr Ausgangspunkt f\u00fcr Ulrike Mohrs Arbeiten ist neben dem Werkstoff der Kohle immer auch dessen Herkunftsort, dessen Kontextbildung und der Produktionsprozess in seiner zeitlichen Dimension.&nbsp;In ihren Installationen schweben gek\u00f6hlerte \u00c4ste aus brachliegenden Schreberg\u00e4rten, fragmentierte B\u00e4ume oder Treibholz aus dem Meer, zu schwarm\u00e4hnlichen Formen verdichtet, frei im Raum und &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.berlin-weekly.com\/?p=3130\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 135\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-3130","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\/3130","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=3130"}],"version-history":[{"count":7,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3130\/revisions"}],"predecessor-version":[{"id":3150,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3130\/revisions\/3150"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3130"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3130"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3130"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}