{"id":3446,"date":"2022-05-09T09:04:59","date_gmt":"2022-05-09T09:04:59","guid":{"rendered":"http:\/\/www.berlin-weekly.com\/?p=3446"},"modified":"2022-05-11T11:53:15","modified_gmt":"2022-05-11T11:53:15","slug":"window-152","status":"publish","type":"post","link":"https:\/\/www.berlin-weekly.com\/?p=3446","title":{"rendered":"Window 152"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

TOTALPOSITION, 2022 von Ulrike Mundt<\/a><\/strong>
28.4.\u20133.6.2022<\/strong>
MDF, Lack, Keramik, digitale LED Laufschriftb\u00e4nder<\/p>\n\n\n\n

Ulrike Mundts Skulpturen operieren an der Grenze von Kunst zu Design. Die K\u00fcnstlerin baut handwerklich perfekte Objektk\u00f6rper, um eine Rhetorik der Wichtigkeit zu erzeugen. Mit einer ins Leere laufenden Signalsprache oder cartoonhaftem Bildwitz st\u00f6rt sie die selbstbez\u00fcglichen Diskurse ihrer Werke und formuliert auf diese Weise Kritik am sch\u00f6nen Schein ebenso, wie an der Vereinfachung komplexer Zusammenh\u00e4nge.<\/p>\n\n\n\n

F\u00fcr das Setting von Berlin Weekly hat sie die multimediale Rauminstallation Totalposition entwickelt. Diese setzt sich mit aktuellen Ph\u00e4nomenen \u00f6ffentlicher Kommunikation auseinander, die oftmals scheitert, weil komplexe Inhalte vereinfacht und Standpunkte unumst\u00f6\u00dflich werden. Mit autorit\u00e4rem Gestus treten die hochgl\u00e4nzenden Skulpturen im Zentrum gegeneinander an. T\u00f6nerne R\u00f6hren erinnern an Sprachrohre. Sie werden flankiert von zwei Laufschriften \u2013 dem Gemeinwohl zugewandte Begriffe bewegen sich dem Zentrum entgegen, w\u00e4hrend Begriffe der Selbstbezogenheit sich davon entfernen. Die Begriffe bewegen sich zwischen politischer Phrase und konkreter Poesie. Sie kritisieren die reduzierte Stellungnahme und das Beharren auf einem Standpunkt als Ausl\u00f6ser gescheiterter Kommunikation. <\/p>\n\n\n\n

english<\/p>\n\n\n\n

MDF, lacquer, ceramics, digital LED ticker tape
Ulrike Mundt’s sculptures operate on the border between art and design. The artist builds object bodies with perfect craftsmanship to create a rhetoric of importance. With a signal language that runs into the void or cartoon-like visual humour, she disrupts the self-referential discourses of her works and in this way formulates a critique of beautiful appearances as well as of the simplification of complex contexts.

For the setting of Berlin Weekly, she has developed the multimedia installation Totalposition. It deals with current phenomena of public communication, which often fails because complex contents are simplified and points of view become irrefutable. With an authoritarian gesture, the glossy sculptures in the centre compete against each other. Clay pipes are reminiscent of mouthpieces. They are flanked by two tickers – terms that are directed towards the common good move towards the centre, while terms of self-centredness move away from it. The terms move between political phrase and concrete poetry. They criticise the reductive statement and the insistence on a point of view as a trigger of failed communication. <\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"

TOTALPOSITION, 2022 von Ulrike Mundt28.4.\u20133.6.2022MDF, Lack, Keramik, digitale LED Laufschriftb\u00e4nder Ulrike Mundts Skulpturen operieren an der Grenze von Kunst zu Design. Die K\u00fcnstlerin baut handwerklich perfekte Objektk\u00f6rper, um eine Rhetorik der Wichtigkeit zu erzeugen. Mit einer ins Leere laufenden Signalsprache oder cartoonhaftem Bildwitz st\u00f6rt sie die selbstbez\u00fcglichen Diskurse ihrer Werke und formuliert auf diese Weise … <\/p>\n

\u201eWindow 152\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-3446","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3446","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3446"}],"version-history":[{"count":4,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3446\/revisions"}],"predecessor-version":[{"id":3456,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3446\/revisions\/3456"}],"wp:attachment":[{"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}