{"id":3919,"date":"2025-10-27T19:51:55","date_gmt":"2025-10-27T19:51:55","guid":{"rendered":"https:\/\/www.berlin-weekly.com\/?p=3919"},"modified":"2025-12-16T15:30:42","modified_gmt":"2025-12-16T15:30:42","slug":"window-180","status":"publish","type":"post","link":"https:\/\/www.berlin-weekly.com\/?p=3919","title":{"rendered":"Window 180"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\" id=\"block-db9c19a0-4129-4b40-ac07-b74833c44238\"><img loading=\"lazy\" decoding=\"async\" width=\"710\" height=\"899\" src=\"https:\/\/www.berlin-weekly.com\/wp-content\/uploads\/fenter-neu-kl.jpg\" alt=\"\" class=\"wp-image-3944\" srcset=\"https:\/\/www.berlin-weekly.com\/wp-content\/uploads\/fenter-neu-kl.jpg 710w, https:\/\/www.berlin-weekly.com\/wp-content\/uploads\/fenter-neu-kl-500x633.jpg 500w, https:\/\/www.berlin-weekly.com\/wp-content\/uploads\/fenter-neu-kl-118x150.jpg 118w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\" \/><\/figure>\n\n\n\n<p id=\"block-b1fa7ca4-8e3a-4b01-9e2c-6507ca45a754\"><strong>2125 ( Spinnennetz)<\/strong> by <a href=\"https:\/\/www.monikagoetz.net\" target=\"_blank\" rel=\"noreferrer noopener\">Monika Goetz<\/a><br \/>Material: Kabelbinder aus Edelstahl<\/p>\n\n\n\n<p>F\u00fcr ihre ortsspezifische Installation bei&nbsp; Berlin Weekly spannt die K\u00fcnstlerin ein \u00fcberdimensionales Spinnennetz aus Edelstahl-Kabelbindern quer durch den hohen schmalen Ausstellungsraum.<br \/>Spinnennetze sind schwebende Architekturen, die mit minimalem Materialeinsatz gro\u00dfe R\u00e4ume \u00fcberspannen k\u00f6nnen. Ihre zarte Konstruktion, an nur wenigen Punkten verankert, wirkt fast schwerelos und zeigt doch eine hohe Widerstandsf\u00e4higkeit. In ihrer Kombination aus filigraner Erscheinung und struktureller Belastbarkeit verbinden sie auf eindrucksvolle Weise Form, Funktion und \u00c4sthetik zu einem Meisterst\u00fcck nat\u00fcrlicher Baukunst.&nbsp; Das Nachahmen dieses komplexen tierischen gebildes mit menschlichen Mitteln ist zum Scheitern verurteilt. Goetz \u00fcberf\u00fchrt dieses Prinzip in eine k\u00fcnstlerische Geste, die sowohl poetisch als auch reflexiv ist. Der Titel der Arbeit bezieht sich auf das Jahr 2125, eine Zeit, in der reale Spinnennetze vielleicht nur noch eine Erinnerung an eine vergangene Zeit sein werden.<\/p>\n\n\n\n<p>For her site-specific installation at Berlin Weekly, the artist spans an oversized spider web made of stainless steel cable ties across the tall, narrow space, which was created from a former passageway for horse-drawn carriages. Spider webs are floating architectures that can span large spaces with minimal use of material. Their delicate construction, anchored at only a few points, appears almost weightless and yet demonstrates a high degree of resilience. With their combination of filigree appearance and structural resilience, they impressively combine form, function and aesthetics into a masterpiece of natural architecture.&nbsp; Attempting to imitate this complex animal structure with human means is doomed to failure. Goetz translates this principle into an artistic gesture that is both poetic and reflective.<br \/>The title of the work refers to the year 2125, a time when real spider webs may be nothing more than a memory of a bygone era.<\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"<p>2125 ( Spinnennetz) by Monika GoetzMaterial: Kabelbinder aus Edelstahl F\u00fcr ihre ortsspezifische Installation bei&nbsp; Berlin Weekly spannt die K\u00fcnstlerin ein \u00fcberdimensionales Spinnennetz aus Edelstahl-Kabelbindern quer durch den hohen schmalen Ausstellungsraum.Spinnennetze sind schwebende Architekturen, die mit minimalem Materialeinsatz gro\u00dfe R\u00e4ume \u00fcberspannen k\u00f6nnen. Ihre zarte Konstruktion, an nur wenigen Punkten verankert, wirkt fast schwerelos und zeigt doch &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.berlin-weekly.com\/?p=3919\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 180\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-3919","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\/3919","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=3919"}],"version-history":[{"count":3,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3919\/revisions"}],"predecessor-version":[{"id":3945,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3919\/revisions\/3945"}],"wp:attachment":[{"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3919"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3919"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3919"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}