Models with Stories
Models with Stories
Reinhard Wendler
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65 Items
- Page 1 of 6
Frederick Kiesler exploring endless space
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- Unbekannt
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- "Matthew Krissel pointed in his work Frederick Kiesler – Inside the Endless House that 'Since Kiesler’s death in 1965, his notion of Endless Space and his studies of the Endless House in particular, have resurfaced in recent architectural discourse. New technologies have emerged that are now provoking different questions regarding the tectonics and material potentials within the concept of The Endless House.' ” (http://dprbcn.wordpress.com/2009/09/21/endless-hou…)
Das Bild stellt einen Zusammenhang zwischen dem Innen und Aussen des Bildes (Bildraum und Betrachterraum) und dem Innen und Aussen des Modells her. Kiesler findet sich zweifach gerahmt, im Bild und im Modell. Der Bildtitel verleiht der Konstellation ihre besondere Bedeutung, da der benannte endlose Raum nicht allein im Modell gegenwärtig und erforschbar zu denken ist, sondern auch im Bild. Bild und Modell werden auf diese Weise als unendliche Räume ausgewiesen, die Kiesler hier erforscht – und wir mit ihm. (rw)
- "Matthew Krissel pointed in his work Frederick Kiesler – Inside the Endless House that 'Since Kiesler’s death in 1965, his notion of Endless Space and his studies of the Endless House in particular, have resurfaced in recent architectural discourse. New technologies have emerged that are now provoking different questions regarding the tectonics and material potentials within the concept of The Endless House.' ” (http://dprbcn.wordpress.com/2009/09/21/endless-hou…)
- Copyright holder
- Friedrich Kiesler
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 13.11.2012
- Parent sets
- 2
Hurricane Ike Simulation
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Author
- Date
- 2009
- Keywords
- Description
- "This simulation of Hurricane Ike, created at the PSC, helps researchers to understand the inner workings of hurricanes so their behavior can be more accurately predicted." (http://pabook.libraries.psu.edu/palitmap/PGHComp.h…)
Obwohl die Darstellung von zahlreichen Werkzeugen zur Verdeutlichung Gebrauch macht, ist das Resultat auf den ersten Blick ähnlich undurchschaubar wie ein Wirbelsturm selbst. Erst ein eingehendes Studium des Bildes und die Kenntnis der Bedeutungen etwa der Farben geben Aufschluss über die im Bild dargestellte Bewegung. (rw)
- "This simulation of Hurricane Ike, created at the PSC, helps researchers to understand the inner workings of hurricanes so their behavior can be more accurately predicted." (http://pabook.libraries.psu.edu/palitmap/PGHComp.h…)
- Copyright holder
- Copyright (c) 2009 Pittsburgh Supercomputing Center at Carnegie Mellon University. All Rights reserved.
- There are no metadata related to this context.
- Imported on
- 29.10.2012
- Parent sets
- 2
Le Globe Est Bleu
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- Date
- Unbekannt
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- Copyright holder
- Unbekannt
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
Liquid Flower
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- Unbekannt
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- Description
- “Wanted to advance my fluid suspension/high speed photography to a higher level. I created the liquid Vase in the autumn of 2011. I worked on creating the floral forms and leaves through the winter and put it all together Spring 2012. All of my images, unless otherwise noted are single capture events. I do not use photoshop to create composited images. What you see is what occurred in that single exposure.” (Jack Long, http://www.1777.de/design/water-splash-flowers-von…)
- Copyright holder
- Jack Long
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
Soviet Workers
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- Description
- Die sowjetischen Arbeiter tragen das aufwändige Modell eines Appartmenthauses bei einer Demonstration für neuen Wohnraum. Sie bringen damit im Sinne Wartofskys zum Ausdruck: "This is how it ought to be done." Die Fotografie zeigt das Modell in der Untersicht, sodass es in Richtung des Anblicks eines bereits realisierten Gebäudes verschoben wird. (rw)
- Copyright holder
- Unbekannt
- Unbekannt
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
RNA im StarCAVE
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- Unbekannt
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- Description
- Im Star Cave werden Bilder verschiedener wissenschaftlicher Herkünfte stereoskopisch auf alle Wände sowie auf den Fussboden projiziert. Dadurch wird es möglich, dass sich die Betrachtenden im Inneren einer Szenerie wiederfinden. Das Bild zeigt drei Personen im Star Cave, umgeben von einem digitalen Modell einer makromolekularen Struktur, offenbar eines Proteins. Die Personen verschwimmen im Bild geradezu mit dem Modell, wodurch das visuelle Erlebnis im Star Cave für die Betrachtenden des Bildes sozusagen übersetzt wird. (rw)
- Copyright holder
- California Institute for Telecommunications and Information Technology (Calit2) at the University of California, San Diego (UCSD).
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
Atomium
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- Date
- 1958
- Keywords
- Description
- Das Atomium ist ein Large-Scale Model von einem anderen Large-Scale Model, nämlich dem sogenannten Kugel-Stab-Modell einer Eisen-Kristallstruktur. Das Atomium ist 165-Milliarden mal grösser als die atomare Struktur, aber es verweist vorerst nicht direkt auf diese, sondern auf ein anderen Modell. Es gibt freilich auch ein Modell des Atomiums, hier Small-Scale Models, die das Ende einer noch längeren Verweiskette darstellen. Auf diese Weise lassen sich mit Modellen Kompositformen erzeugen, etwa in Form von Ketten, Kreisen, Trauben, Wolken usw. (rw)
- Copyright holder
- Unbekannt
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
In the House of My Father
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Author that can easily go onto 2 lines as well
- Author
- Date
- 1996–1997
- Keywords
- Description
- "In the House of My Father is a close-up photographic image of Donald Rodney’s hand, in which sits a minute sculpture of a house. The sculpture exists as an independent work, My Mother. My Father. My Sister. My Brother 1996-7 (The Estate of Donald G. Rodney, London). It was constructed from pieces of Rodney’s own skin removed during one of the many operations he underwent to combat sickle cell anaemia, an inherited disease that affects people of African, Caribbean, Eastern Mediterranean, Middle Eastern and Asian ancestry. Both works address Rodney’s sense of family and identity, as a British-born artist whose parents had emigrated from Jamaica, as well as themes relating to mortality and his own illness. Sickle cell anaemia is a debilitating disease which causes high mortality rates in children and short life expectancy in adults. The artist and curator Eddie Chambers (born 1960) has observed that ‘the house, a delicate, simple dwelling seemed to symbolise the fragility and the near-futility of Rodney having to live within a structure hopelessly unable to sustain itself or withstand even the smallest turbulence.’ (Chambers, p.53.) Another commentator has said that this ‘prototype for a vernacular two-storey house...easily sits in the palm of the artist’s hand...It is a touching, ambiguous work that returns us both to the scholastic hierarchies of medieval scale, where small is infinite, and the more modern sense of small as confinement. Sitting in the artist’s hand it seems as though he could crush it in an act of definitive relegation.’ (Michael Norris ‘Para-Cities and Paradigms’ in Art Monthly, No. 224, March 2001, p.13.)
In the House of My Father was made for the 1997 exhibition ‘9 Nights in Eldorado’ at South London Gallery which Rodney dedicated to his father who had died in 1995. At the time of his father’s death Rodney was also in hospital and unable to be at his father’s bedside. He spoke about the personal anguish this caused him. Nine nights signifies the vigil, traditional in the West Indies, that takes place when someone dies. In the House of My Father was made during another of Rodney’s visits to hospital. The image was taken by the photographer Andra Nelki while Rodney was in Kings College Hospital, London. At the time, Rodney was making work and preparing for the South London Gallery exhibition from his bed, turning his shared room into an impromptu studio.
Rodney’s use of photography can be related to his hospital experiences, to the extensive medical data accumulated over his long illness including photographs, x-ray scans and DNA sequencing. In an essay on Rodney’s work, Dr Alison Bybee has commented that ‘we scientists are like paparazzi, using ever more sophisticated telephoto lenses to gather more and more intimate images.’ (Body Visual, pp. 31.) This aspect of documentation led Rodney to the idea of assembling a comprehensive record of his body on an internet site, culminating in his proposal for his posthumous project Autoicon which was realised in 2000.
Rodney’s work addresses ideas of identity, family, home and Britishness – particularly with respect to a British, Afro-Caribbean diaspora. While studying at Trent Polytechnic, Nottingham, in the early 1980s, Rodney met and became a close associate of Keith Piper (born 1960) and Eddie Chambers. The work of Piper and Chambers was a revelation to Rodney in that it dealt directly with the experience of being black. Together they formed the Black Art Group. From this point onwards Rodney’s work became politically engaged, dealing overtly with the themes of black identity and the position of ethnic minorities in Britain. He became part of a generation of British-born black artists, filmmakers and performers who began to challenge accepted notions of what it meant to be British and contributed to an emergent black British consciousness. Rodney worked in a variety of media. Initially he made paintings but later created photographs, mixed media installations and works incorporating electronic media. Much of Rodney’s imagery stems from the fact that he had suffered from sickle cell anaemia from infancy. Rodney developed a highly personal vocabulary, for instance incorporating discarded x-rays as raw materials, though intending these references to medicine and the body to refer metaphorically to social sicknesses, including racism, police brutality or apartheid, as much as to his personal circumstances. In this way his autobiographical approach enabled him to explore wider questions of identity.
The work exists in an edition of three. The two other examples are in the collections of the Arts Council of England and the National Museum and Galleries of Wales." (http://www.tate.org.uk/art/artworks/rodney-in-the-…)
- "In the House of My Father is a close-up photographic image of Donald Rodney’s hand, in which sits a minute sculpture of a house. The sculpture exists as an independent work, My Mother. My Father. My Sister. My Brother 1996-7 (The Estate of Donald G. Rodney, London). It was constructed from pieces of Rodney’s own skin removed during one of the many operations he underwent to combat sickle cell anaemia, an inherited disease that affects people of African, Caribbean, Eastern Mediterranean, Middle Eastern and Asian ancestry. Both works address Rodney’s sense of family and identity, as a British-born artist whose parents had emigrated from Jamaica, as well as themes relating to mortality and his own illness. Sickle cell anaemia is a debilitating disease which causes high mortality rates in children and short life expectancy in adults. The artist and curator Eddie Chambers (born 1960) has observed that ‘the house, a delicate, simple dwelling seemed to symbolise the fragility and the near-futility of Rodney having to live within a structure hopelessly unable to sustain itself or withstand even the smallest turbulence.’ (Chambers, p.53.) Another commentator has said that this ‘prototype for a vernacular two-storey house...easily sits in the palm of the artist’s hand...It is a touching, ambiguous work that returns us both to the scholastic hierarchies of medieval scale, where small is infinite, and the more modern sense of small as confinement. Sitting in the artist’s hand it seems as though he could crush it in an act of definitive relegation.’ (Michael Norris ‘Para-Cities and Paradigms’ in Art Monthly, No. 224, March 2001, p.13.)
- Copyright holder
- Rodney, Donald
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
JMZ, DMZ
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- Author
- Date
- 2009
- Keywords
- Description
- Dem Blick aus dem Zugfenster bieten sich bisweilen Szenerien, denen man auch in Eisenbahnmodellen begegnet. Kleine Ausschnitte aus alltäglichen Szenen, in denen sich das Symbolische umso mehr verdichtet, je weniger der weitere Verlauf der Vorgänge sichtbar wird. Derselbe Zusammenhang verweist auch darauf, dass aus dem Zug das Land verkleinert wahrgenommen werden kann. Die verzerrten Gleise am unteren Bildrand machen diesen Zusammenhang deutlich. (rw)
- Copyright holder
- Feigenbaum, Peter
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
A scale model of the Douglas SB2D Destroyer at the wind tunnel of the Ames Research Center, Moffet Field, California (USA), on 1 April 1942
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- 1942
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- Die Konstellation aus Windkanal, Modell und Person ist geradezu typisch. Sie erzählt von der Besonderheit des Orts, von der Grösse des Modells und vom Interesse, das diesem entgegengebracht wird. Dieses Bild wurde aus hunderten ähnlicher Exemplare ausgewählt, um diesen Sachverhalt zu verdeutlichen – im Sinne der Binsenweisheit, dass man nicht durch jede Pfütze laufen müsse, um zu wissen, dass es geregnet hat. (rw)
- Copyright holder
- NACA
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
Construction
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- Unbekannt
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- Die Fotografien von Lois Renner verunklären nachhaltig die Unterscheidung zwischen Modell und Atelierraum. Sie verweisen damit auf visuellem Wege exemplarisch darauf, dass Modelle dazu neigen, in ihre Bezugsgegenstände zu diffundieren. Die Modellbeziehungen kommen zumeist nicht durch eine Definition zustande, sondern durch Verwischung. (rw)
- Copyright holder
- Renner, Lois
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2
Ocean surface currents of the Kuroshio Current
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- Author
- Date
- 2012
- Keywords
- Description
- Der Film, aus dem das Bild herausgenommen wurde, zeigt eine Kamerafahrt um den Globus und die zeitgleich ablaufenden Meereströmungen zwischen Juni 2005 und Dezember 2007. Alle Bewegungen sind weich und gleitend, der visuelle Eindruck ein grosses Vergnügen. Die Schönheit der Modelle. (rw)
- Copyright holder
- NASA/Goddard Space Flight Center Scientific Visualization Studio
- Institutional affiliation
- type
- Project title in German
- Modulus
- Lecturer / head of project
- Florian Dombois, Reinhard Wendler
- Imported on
- 29.10.2012
- Parent sets
- 2