{"id":723,"date":"2024-02-23T17:18:41","date_gmt":"2024-02-23T16:18:41","guid":{"rendered":"https:\/\/traumaland.art\/?page_id=723"},"modified":"2024-03-14T14:30:29","modified_gmt":"2024-03-14T13:30:29","slug":"werke","status":"publish","type":"page","link":"https:\/\/traumaland.art\/en\/werke\/","title":{"rendered":"Werke"},"content":{"rendered":"

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Werke<\/span><\/h1>\n

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Werke<\/span><\/p>\n

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Werke<\/span><\/h1>\n

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Raum 1<\/h2>\n

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SWAMP – GODsDOGs & Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzulGODsDOGs_Swamp_72dpi-1.jpg“ title_text=“LaraAzul+GODsDOGs_Swamp_72dpi“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Swamp
<\/b>Lara Azul & GODsDOGs<\/b><\/p>\n

Banner, Velum-Tex Samba Backlight, LED tubes, wood, cardboard, 180.2 x 270 cm\n2018<\/span><\/p>\n

2018<\/span><\/p>\n

\u201cThe special colour scheme and the coincidence of negative image and positive in a common pictorial space are due to the technique of pseudo-polarisation, which is also known as the Sabattier Effect. The images show children in visually charged rural or urban environments and thematise the widening demographic gap (added by the editor).\"<\/span><\/i> (Mark Gisbourn from \"Achtung\", Rohkunstbau XXIV)<\/span><\/p>\n

\n

The child seems to be looking for a way through the tangle of branches in the marshland. This dreamscape is an apt image for wading through the tangled memories and traces that trauma leaves behind in a person. The unspeakable, which hides in the subconscious is almost impossible to untangle and requires the utmost attentiveness in order not to drown in it. <\/span><\/p>\n

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Am Anfang war das Feuer –\u00a0GODsDOGs & Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Lara-AzulGODsDOGs_Am-Anfang-war-das-Feuer_72-2.jpg“ title_text=“Lara Azul+GODsDOGs_Am Anfang war das Feuer_72″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

In the Beginning was the Fire<\/b>
<\/b>Lara Azul & GODsDOGs
<\/b>
<\/b>Lightbox sculpture (backlit print, foil collage, cardboard, lightbox, mixed media) 170 x 140 x 60 cm,
<\/span>
<\/b>2012<\/span><\/span><\/p>\n

Drawings and Watercolor paintings are applied to the monolithic object, which resembles an archaic altar carved out of stone - dreamlike fragments of memories of traumatic events, such as a staircase from the collapsed sweatshop factory in Bangladesh, as well as autobiographical scenes. The artist duo were concerned with the question: What remains when everything has been taken from people?\u00a0<\/span><\/p>\n

The glowing figure also seems to ask: \"So, what now?\"\u00a0<\/span><\/p>\n

Lara Azul sees it as an expression of the divine and is convinced that a confrontation with the naked self actually offers the possibility of (post-traumatic) growth.<\/span><\/p>\n

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Clanchief –<\/h3>\n

GODsDOGs & Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Lara-Azul_Clanchief-Banner.jpg“ title_text=“Lara Azul_Clanchief Banner“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Clanchief
<\/b>Lara Azul & GODsDOGs<\/b><\/p>\n

Banner, Velum-Tex Samba Backlight, LED tubes, wood, cardboard, 180.2 x 270 cm\u00a0<\/span><\/p>\n

2018<\/span><\/p>\n

\"The psychedelic aspect transforms the image banner into a pictorial, enchanting phantasmagoria\" <\/span><\/i>(Mark Gisbourn from \"Achtung\", Rohkunstbau XXIV)<\/span>.
<\/span><\/i><\/p>\n

<\/span><\/i>Lara Azul's interpretation of this work is a psychological one: the two figures could reflect two parts of the \"self\". The girl thus stands for the fragile \"inner child\"; the motherly figure sitting on the tree trunk stands for the role of the adult woman. Like a good queen or the chieftain of the clan, she knows how to give us advice and stands by our side with comfort and defensive protection even in (traumatic) crises.<\/span><\/p>\n

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Die W\u00e4chterinnen – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzul_WA\u00a4chterinnen_72dpi_2x25cmDurchmesser.jpg“ title_text=“LaraAzul_W\u00c3\u00a4chterinnen_72dpi_2x25cmDurchmesser“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Die W\u00e4chterinnen
<\/i><\/b>Lara Azul<\/b><\/p>\n

Light tubes, marine aquarium pumps, Duratrans print, 2 x approx. 200 x 25 cm (diameter)<\/span><\/p>\n

2010<\/span><\/p>\n

As if passing through a portal, you stroll by the figures encased in neon light tubes, standing as \nguardians before the gateway to the world of the subconscious.<\/span><\/p>\n

These figures can be interpreted as metaphorical embodiments of protective mechanisms, using triggers to prevent overwhelming inundation by fragmented traumas.<\/span><\/p>\n

However, they can also be seen as symbols of the inner forces that help people to deal with their traumas and grow from them.<\/span><\/p>\n

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Raum 2<\/h2>\n

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GEISTERFAHRER – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Geisterfahrer_72dpi.jpg“ title_text=“GODsDOGs_Geisterfahrer_72dpi“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Geisterfahrer
<\/b>GODsDOGs<\/b><\/p>\n

Oil varnish and pigment pencil on canvas, approx. 80 x 100 cm<\/span><\/p>\n

2014<\/span><\/p>\n

The composition of the painting is inspired by a speed camera photo. The ghost driver behind the wheel appears confused and misguided. The mirror, seatbelt and steering wheel seem to dissolve, revealing a gloomy jumble of detailed dream(a)scenes. In addition to autobiographical memories, Arnold B\u00f6cklin's <\/span>Toteninsel<\/span><\/i>various film scenes and a royal death mask.\u00a0<\/span><\/p>\n

Only by glancing in the rear-view mirror could the driver become aware of a bright exit from the clutches of oppressive gloom. <\/span><\/p>\n

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YES. WE \u2026<\/b> – Cornelia Renz<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Kopie-von-Cornelia-Renz_Yeswe_Musterheimat2_140x110cm.jpg“ title_text=“Kopie von Cornelia Renz_Yeswe_Musterheimat2_140x110cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Yes. We \u2026
<\/b>Cornelia Renz<\/b><\/p>\n

Pigment pencil on two sheets of acrylic glass 140 x 110 x 6 cm.<\/span>uf Musterheimat (2), Digitaldruck, Wandtapete, 188 x 244 cm<\/span><\/p>\n

2019<\/span><\/p>\n

Cornelia Renz's working method is based on the use of two panes of acrylic glass, in which the front pane is usually only marked from behind and the back pane from both sides. Accordingly, the individual layers do not work as a picture on their own, but are based on the principle of collage in order to complement each other in the overall view. In terms of content, Renz often uses quotations from art history and popular culture. Here, for example, the well-known raised arm of the woman with a polka dot headband on a poster for the armaments industry during the Second World War. In the wallpaper created especially for the work, Renz combines abstract elements of the flags of Bavaria, Israel and Palestine. <\/span><\/p>\n

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Canine Cathedral (Beichtstuhl) – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Beichtstuhl_dunkel.jpeg“ title_text=“GODsDOGs_Beichtstuhl_dunkel“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Canine Cathedral (Beichtstuhl)
<\/b>GODsDOGs<\/b><\/p>\n

Installation, Mixed Media, 220 x 100 x 240 cm\u00a0<\/span><\/p>\n

2009-2013<\/p>\n

<\/span>The walk-in installation explores the quest for healing and redemption against the backdrop of traumatic experiences. Inspired by the dovecote from the film <\/span>Ghost Dog<\/span><\/i>the installation touches on the themes of guilt and the dual role of victim and perpetrator. The film poses the question of the extent to which individuals who turn from victims to perpetrators are responsible for the circumstances. Walking around the installation, the other side reveals itself as a confessional in which a collaged sculpture with drawings sits enthroned instead of a priest. <\/span>
<\/span>This installation invites you to sit in the confessional, to become part of the artwork yourself and to explore whether the aura of the numinous that the filigree sculpture exudes can be experienced during quiet contemplation.<\/span><\/p>\n

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HEIMATHUNGER – Cornelia Renz<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Cornelia-Renz_Muster_Heimat_hunger_72dpi_140x100-2.jpg“ title_text=“Cornelia Renz_Muster_Heimat_hunger_72dpi_140x100-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Heimathunger
<\/b>Cornelia Renz<\/b><\/p>\n

Pigment pencil on two sheets of acrylic glass 140 x 100 cm. <\/span>Digital print, wallpaper 243 x 183 cm<\/span><\/p>\n

2019\u00a0<\/span><\/p>\n

In this work, the artist explores the complexity of the concept of home based on her own experiences. She herself comes from the Allg\u00e4u region, studied in Leipzig, has now been living in Berlin for a long time, but has in the past also lived and worked in Israel for many years. The word \"Heimat\" is reversed here, because in both the Arabic and Jewish language areas one reads from right to left. In her work, she questions the ever-changing concept of \"home\" and addresses related aspects such as identity and belonging, which can trigger social and individual traumata.\u00a0 <\/span><\/p>\n

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FALADA – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Fallada_72_200x130cm-2.jpg“ title_text=“GODsDOGs_Fallada_72_200x130cm-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Falada
<\/b>GODsDOGs<\/b><\/p>\n

Oil, varnish and drawing on canvas, 200 x 130 cm<\/span><\/p>\n

2014<\/span><\/p>\n

In a dream-like church, between the rows of seats, the chained horse Falada rears up. An image of being trapped in traumatic memories or the psychological entanglement of the consequences of trauma. The painting is rich in symbolism on themes such as death, life, happiness, battle, etc. - for example, the dragonfly was interpreted by the samurai in Japan as a symbol of courage and victory after battle.
<\/span>
<\/span>The title is inspired by the horse Falada from the Grimm fairy tale <\/span>Die G\u00e4nsemagd<\/span><\/i>. As a loyal companion to the princess, who is betrayed by her servant, the magic horse remains her only confidant. Falada is killed on the orders of the false princess. Hanging on the archway, however, the horse's head still speaks words of truth.\u00a0<\/span><\/p>\n

In the work also on display <\/span>Alliothea<\/span><\/i> by Lara Azul refers to this very story and continues the story. <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_4″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ locked=“off“ global_colors_info=“{}“]<\/p>\n

HILLTREE – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Hilltree_72dpi_130x90x12-2.jpg“ title_text=“GODsDOGs_Hilltree_72dpi_130x90x12-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Hill Tree
<\/b>GODsDOGs<\/b>\u00a0<\/span><\/p>\n

Light box (Velum-Tex Samba Backlight, LED, wood), 130 x 90 x 12 cm<\/span><\/p>\n

2020<\/span><\/p>\n

For GODsDOGs, this tree, next to which two boys can be seen, illustrates the fractal structure of self-similarity that is prevalent in the forest. (e.g. visible in the branches of a tree in which a twig is structured like a branch and the branch is a miniature version of the tree). Fractals describe complex structures and form the DNA of nature, which are described in the mathematician Benoit Mandelbrot's formulae as so-called \"roughness\".\u00a0\u00a0<\/span><\/p>\n

\"Fractal\" comes from the Latin word \"fractus\" and means \"broken\".<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

BLAUROSA – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_BlauRosa_72dpi_130x90x12-2.jpg“ title_text=“GODsDOGs_BlauRosa_72dpi_130x90x12-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Blaurosa
<\/b>GODsDOGs<\/b><\/p>\n

Light box (Velum-Tex Samba Backlight, LED, wood), 130 x 90 x 12 cm<\/span><\/p>\n

2020<\/span><\/p>\n

The subject is reminiscent of a modern fairy tale. Deep in the forest, a girl sits on a tree and lets her legs dangle with supposedly childlike light-heartedness. Children are often not believed when they talk about traumatic experiences. So they retreat into a fairytale world of their own. High above the ground, the protagonist seems to distance herself from reality.<\/span><\/p>\n

The vibrant colours and sharp image quality of this process make the shadows appear bright. Possibly an allegory for protective mechanisms that can initially be helpful in dealing with traumatic experiences. <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=“Title Area“ _builder_version=“4.23.4″ custom_padding=“0px||0px|||“ locked=“off“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text admin_label=“Title“ module_id=“Events“ _builder_version=“4.23.4″ text_font=“||||||||“ header_font=“||||||||“ header_2_font=“Alice||||||||“ header_2_text_align=“center“ header_2_font_size=“42px“ header_2_line_height=“1.3em“ custom_margin=“||20px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“]<\/p>\n

Raum 3 <\/span><\/h2>\n

[\/et_pb_text][et_pb_divider color=“#2a2a2a“ divider_weight=“3px“ _builder_version=“4.16″ max_width=“50px“ module_alignment=“center“ custom_margin=“||10px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_3,1_3,1_3″ use_custom_gutter=“on“ admin_label=“Gallery Area“ _builder_version=“4.16″ custom_padding=“6px|0px|27px|0px||“ global_colors_info=“{}“][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

FURY – Cornelia Renz<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/CorneliaRenz_FURY_230-x-170-x-6-cm-zweiteilig.jpg“ title_text=“CorneliaRenz_FURY_230 x 170 x 6 cm (zweiteilig)“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Fury
<\/b>Cornelia Renz<\/b><\/p>\n

Pigment pen on two panes of acrylic glass, 230 x 170 x 6 cm (two-part).<\/span><\/p>\n

2021<\/span><\/p>\n

Fury<\/span><\/i> refers to Zionist posters and the use of warlike comic motifs in Roy Liechtenstein's work. The image questions the utopia of an equal social order in which new immigrants and old residents, regardless of religion or ethnicity, live together peacefully in Palestine, as described in the utopian novel <\/span>Altneuland<\/span><\/i> (1902) by the Austrian-Jewish publicist Theodor Herzl. The female nude, who adopts the dominant gestures of a 'stallion', refers to the reclamation of the new land, which is accompanied by a warlike defence of the territory. A crashing aeroplane and falling women's bodies can be seen in the background of the work - a reference to the senselessness of the traumatic conflicts in the region, which continue to have a painful and current impact on all sides to this day.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

OBJEKTE – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/WhatsApp-Image-2024-02-25-at-13.10.11-1.jpeg“ title_text=“WhatsApp Image 2024-02-25 at 13.10.11 (1)“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Brandstifter (Firestarter)
<\/b>GODsDOGs<\/b><\/p>\n

Digital print on Hahnem\u00fchle Photo Rag Baryta, 50 x 35 cm<\/span><\/p>\n

2018<\/span><\/p>\n

Knochen\u00a0
<\/b>GODsDOGs<\/b><\/p>\n

Cardboard, papier-m\u00e2ch\u00e9, fibre-reinforced plastic filler, 120 x 40 x 20 cm<\/span><\/p>\n

2017<\/span><\/p>\n

Armor
<\/b>GODsDOGs<\/b><\/p>\n

Watercolour pencil on cardboard, papier-m\u00e2ch\u00e9, fibre-reinforced plastic putty, 60 x 40 x 25 cm<\/span><\/p>\n

2017<\/span><\/p>\n

Ohne Titel (Objekt 2)
<\/b>GODsDOGs<\/b><\/p>\n

Watercolour pencil on cardboard, papier-m\u00e2ch\u00e9, fibre-reinforced plastic putty, 95 x 36 x 58 cm<\/span><\/p>\n

2017<\/span><\/p>\n

The basic framework of the sculptures, which combine angular, cubist elements with round, amorphous forms, is made of cardboard and then moulded over with a specially developed compound, onto which collages and drawings are applied. Some of the objects can be worn on the body - like part of a suit of armour - and thus express inner struggles and protective functions. <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

A smaller splash. Die. – Cornelia Renz<\/b><\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/CorneliaRenz_DIE_100-x-100-x-6-cm.jpg“ title_text=“CorneliaRenz_DIE_100 x 100 x 6 cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

A smaller splash. Die.
<\/b>Cornelia Renz<\/b><\/p>\n

Pigment pen on two sheets of acrylic glass,\u00a0<\/span><\/p>\n

with wallpaper (Emser Depeche blue), mural, wallpaper finds, 150 x 250 cm<\/span><\/p>\n

2013<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=“Title Area“ _builder_version=“4.23.4″ custom_padding=“0px||0px|||“ locked=“off“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text admin_label=“Title“ module_id=“Events“ _builder_version=“4.23.4″ text_font=“||||||||“ header_font=“||||||||“ header_2_font=“Alice||||||||“ header_2_text_align=“center“ header_2_font_size=“42px“ header_2_line_height=“1.3em“ custom_margin=“||20px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“]<\/p>\n

Raum 4<\/h2>\n

[\/et_pb_text][et_pb_divider color=“#2a2a2a“ divider_weight=“3px“ _builder_version=“4.16″ max_width=“50px“ module_alignment=“center“ custom_margin=“||10px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_3,1_3,1_3″ use_custom_gutter=“on“ admin_label=“Gallery Area“ _builder_version=“4.16″ custom_padding=“6px|0px|27px|0px||“ global_colors_info=“{}“][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Entrance – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Entrance_72dpi_50x33.4cm-1.jpg“ title_text=“GODsDOGs_Entrance_72dpi_50x33.4cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Entrance
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 50 x 33.4 cm<\/span><\/p>\n

2020<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ locked=“off“ global_colors_info=“{}“]<\/p>\n

Zauberwald – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/WhatsApp-Image-2024-02-25-at-16.21.21.jpeg“ title_text=“Zauberwald.GODsDOGs“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Zauberwald
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 60 x 80 cm<\/span><\/p>\n

2018<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

WV II-188 Gleichnis I – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-188-gleichnis-i1-e1689096437630.jpg“ title_text=“gerenot-richter-wv-2-188-gleichnis-i1-e1689096437630″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-188 Gleichnis I
<\/b>Gerenot Richter<\/b><\/p>\n

Etching and aquatint, 39.5 x 55.5 cm<\/span><\/p>\n

1983<\/span><\/p>\n

The earliest sheet in the parable series reflects on life after a catastrophe and is thematically closely linked to the series <\/span>Nach dem Sturm<\/span><\/i> connected. The remains of trees extend into the field of vision on both sides of the foreground, including a stump with roots and a torn-off treetop. On closer inspection, however, some conciliatory elements can also be recognised, such as the bird sitting on the branches at the top edge of the picture or the lovers who feel safe in the plant cover in the foreground. Despite the destruction, the picture therefore also conveys hope of revival and reminds us that even seemingly hopeless circumstances can be overcome.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

WV II-132 Nach dem Sturm II – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-132-nach-dem-sturm-ii-1024×888-1.jpg“ title_text=“gerenot-richter-wv-2-132-nach-dem-sturm-ii-1024×888″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-132 Nach dem Sturm II
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 43.5 x 51 cm<\/span><\/p>\n

1980<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

WV II-142 Nach dem Sturm V – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-142-nach-dem-sturm-v-1024×857-1.jpg“ title_text=“gerenot-richter-wv-2-142-nach-dem-sturm-v-1024×857″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-142 Nach dem Sturm V
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 43 x 51.5 cm<\/span><\/p>\n

1981<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

LRose – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_LRose_72_50x465cm-1.jpg“ title_text=“GODsDOGs_LRose_72_50x46,5cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

LRose
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 50 x 46,5 cm<\/span><\/p>\n

2020<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Yellow King – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Yellow-King_72dpi_100x133cm-1.jpg“ title_text=“GODsDOGs_Yellow-King_72dpi_100x133cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Yellow King
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond<\/span>, 100 x 133 cm<\/span><\/p>\n

2020
<\/span><\/p>\n

The fantastic colouring of this series is the result of a special process used by the duo GODsDOGs, which they call digital \"pseudo-solarisation\" and in which parts of the image appear positive and others negative. This gives the photographs a painterly quality.\u00a0<\/span><\/p>\n

In many myths and literature, the forest symbolises the unconscious or the depths of the inner self. Crossing a dense forest is often depicted in old stories as a challenging endeavour. If the beauty of nature entices you to deviate from the predetermined path, dangers lurk in the dense undergrowth. The situation is similar with traumatic experiences: They can cause a person to stray from their usual path in life and get lost in the confusing and bewildering realms of the subconscious, making it difficult to navigate their own soul life.<\/span>\u00a0<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ locked=“off“ global_colors_info=“{}“]<\/p>\n

WV II-131 Nach dem Sturm I – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-131-nach-dem-sturm-i-1024×869-1.jpg“ title_text=“gerenot-richter-wv-2-131-nach-dem-sturm-i-1024×869″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-131 Nach dem Sturm I
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 43.5 x 51 cm<\/span><\/p>\n

1980<\/span><\/p>\n

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WV II-141 Nach dem Sturm IV – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-141-nach-dem-sturm-iv-1024×861-1.jpg“ title_text=“gerenot-richter-wv-2-141-nach-dem-sturm-iv-1024×861″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-141 Nach dem Sturm IV
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 44 x 51.5 cm<\/span><\/p>\n

1981<\/span><\/p>\n

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WV II-153 Nach dem Sturm VI – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-153-nach-dem-sturm-vi-1024×857-1.jpg“ title_text=“gerenot-richter-wv-2-153-nach-dem-sturm-vi-1024×857″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-153 Nach dem Sturm VI
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 43 x 53.5 cm<\/span><\/p>\n

1982<\/span><\/p>\n

In his highly acclaimed graphic series <\/span>Nach dem Sturm<\/span><\/i> Gerenot Richter processed the effects of a devastating storm on the forests around Nordhausen and the historic Hohenrode park in 1980. The enthusiastic observer of nature captures the shattered and uprooted trees after the catastrophic storm and creates images of destruction such as he had not seen since the war, according to a self-testimony. The devastated nature thus unfolds not only as a symbol of the vulnerability and transience of the human body, but also as an allegorical representation of traumatic experiences from the past, which often branch out deep into the subconscious. <\/span><\/p>\n

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Rost und Knochen – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Rost-und-Knochen_72dpi_50x465cm-2.jpg“ title_text=“GODsDOGs_Rost und Knochen_72dpi_50x46,5cm-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Rost und Knochen
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 50 x 46,5 cm<\/span><\/p>\n

2020<\/span><\/p>\n

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Ziegenturm – GODsDOGs<\/h3>\n

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Ziegenturm
<\/b>GODsDOGs<\/b><\/p>\n

Installation, wood, cardboard, Epson prints, 160 x 90 x 240 cm<\/span><\/p>\n

2015<\/span><\/p>\n

The grotesquely proliferating large sculpture seems to have a life of its own. It staggers like an animal creature and almost threatens to fall. The architectural miniatures in its \"belly\" represent places that the artists associate with terrible or uplifting experiences, such as the eponymous tower, which allows goats to climb even in the pasture. The fragmented, complex structure of the installation conveys the surreal and confusing nature of dream and trauma.<\/span><\/p>\n

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WV II-263 Gleichnis III (Eustachius) – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-263b-gleichnis-iii-eustachius-1024×805-1.jpg“ title_text=“gerenot-richter-wv-2-263b-gleichnis-iii-eustachius-1024×805 (1)“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-263 Gleichnis III (Eustachius)
<\/b>Gerenot Richter<\/b><\/p>\n

Etching and aquatint, 50 x 65 cm<\/span><\/p>\n

1987<\/span><\/p>\n

Based on the appearance of an uprooted tree crossing the field of vision, Richter links this image to the legend of Eustachius by quoting Albrecht D\u00fcrer's <\/span>Der Heilige Eustachius<\/span><\/i> (around 1500\/1502). Only the hill on the right in the background and the castle that can be recognised on it were taken over, whose intact architecture contrasts strongly with the ruins and the destroyed nature in the foreground. The ruin shows part of the castle in P\u00fcckler Park Bad Muskau, which was destroyed in the war and has since been rebuilt. On the right in the centre ground, the artist has placed a woman playing the flute, a quote from the etching <\/span>Fl\u00f6tenspielerin<\/span><\/i> (1972) by Horst Janssen, whose art Richter greatly appreciated. <\/span><\/p>\n

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WV II-140 Nach dem Sturm III – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/gerenot-richter-wv-2-140-nach-dem-sturm-iii-1024×883-1.jpg“ title_text=“gerenot-richter-wv-2-140-nach-dem-sturm-iii-1024×883″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-140 Nach dem Sturm III
<\/b>Gerenot Richter<\/b><\/p>\n

Colour etching on 2 plates, mezzotint, 43.5 x 51.5 cm<\/span><\/p>\n

1981<\/span><\/p>\n

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WV II-210\u00a0Der ungetreue Hirt (Hommage \u00e0 Bruegel) – Gerenot Richter<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/03\/gerenot-richter-wv-2-210b-der-ungetreue-hirt-1024×796-1.jpg“ title_text=“gerenot-richter-wv-2-210b-der-ungetreue-hirt-1024×796″ _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

WV II-210\u00a0Der ungetreue Hirt (Hommage \u00e0 Bruegel)<\/strong><\/div>\n
Gerenot Richter<\/strong><\/div>\n
<\/div>\n
Radierung, Aquatinta, Mezzotinto,\u00a050 x 65 cm<\/div>\n
1984\/85<\/div>\n

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Raum 5 Rotunde<\/h2>\n

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What I am – Thomas Klingenstein<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/01\/Klingenstein_What-I-am_1994_cut_210-x-142-cm-scaled.jpg“ title_text=“Klingenstein_What I am_1994_cut_210 x 142 cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

What I am
<\/b>Thomas Klingenstein<\/b><\/p>\n

Mixed media on paper, 210 x 142 cm<\/span><\/p>\n

1994<\/span><\/p>\n

The image <\/span>What I am<\/span><\/i> shows a tall - presumably - African woman. Standing tall from the viewer's perspective. Her gaze is sublime and proud, majestic, emphasised by the towering headdress and the strong blue of the background. An apt image for empowerment and so-called post-traumatic growth, which has also been the subject of psychological research for several years.\u00a0<\/span><\/p>\n

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Das Eine durch das Andere zu erfahren – Thomas Klingenstein<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Klingenstein_DsaEinedruchdasAnderezuerfahren_0009_134-x-68-cm-2.jpg“ title_text=“Klingenstein_DsaEinedruchdasAnderezuerfahren_0009_134 x 68 cm-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Das Eine durch das Andere zu erfahren
<\/b>Thomas Klingenstein<\/b><\/p>\n

Pastel on paper, 134 x 68 cm<\/span><\/p>\n

2023<\/span><\/p>\n

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Schamanin – Thomas Klingenstein<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Klingenstein_Schamanin_09-40_120-x-89-cm-2.jpg“ title_text=“Klingenstein_Schamanin_09-40_120 x 89 cm-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Schamanin
<\/b>Thomas Klingenstein<\/b><\/p>\n

Pastel on paper, 120 x 89 cm<\/span><\/p>\n

2023<\/span><\/p>\n

In their search for solace and healing, many people turn to spiritual and shamanic rituals. Thomas Klingenstein's work is inspired by the multifaceted and deep spirituality he encountered while travelling through Asia. In his work, Klingenstein creates a reduced visual language until the subject is revealed in its pure essence.<\/span><\/span><\/p>\n

<\/span><\/p>\n

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Raum 6<\/h2>\n

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Trigger warning:\u00a0<\/b><\/p>\n

The videos and descriptions contain explicit content that may be perceived as disturbing and unsettling for some visitors.<\/span><\/p>\n

<\/span><\/p>\n

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3:81 PM on a sunny afternoon. Blue skies. Drowning in myself. Again. – Saralisa Volm<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Saralisa-Volm_3_81_72dpi-2-1.jpg“ title_text=“Saralisa Volm_3_81_72dpi-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

3:81 PM on a sunny afternoon. Blue skies. Drowning in myself. Again.
<\/b>Saralisa Volm<\/b><\/p>\n

Videoinstallation, Mixed Media<\/span><\/p>\n

2024<\/span><\/p>\n

The installation shows a poetic and at the same time explicit depiction of the possible consequences of trauma.\u00a0\u00a0<\/span><\/p>\n

Devastating experiences, such as (sexual) boundary violations, are sometimes split off from conscious perception, and not only in childhood. This mechanism initially serves to protect the overburdened human system, but leaves profound traces in the psyche, the intensity and form of which vary. Many survivors of traumatic experiences are diagnosed with borderline - a disorder of affect regulation accompanied by profound disturbances in self-image. These individuals sometimes have exceptionally positive characteristics, but can unexpectedly fall into destructive experiences and behaviour as a result of triggers. Self-harming behaviour, such as scratching the skin with shards of glass or similar, can convey a feeling of control.\u00a0<\/span><\/p>\n

On the blood-like red liquid, the video projection, broken by shards, shows excerpts from this act, which has been part of normality for years for far more people than is generally known.<\/span><\/p>\n

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Fatal Global – Saralisa Volm<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/FATAL_GLOBAL_SaralisaVolm_6.jpg“ title_text=“FATAL_GLOBAL_SaralisaVolm_6″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Fatal Global
<\/b>Saralisa Volm<\/b><\/p>\n

Videoinstallation, 03:31 min<\/span><\/p>\n

2021<\/span><\/p>\n

The title of the video work is a play on words that combines the terms \"globules\" and \"global\". It takes a critical look at questionable healing methods that are becoming increasingly popular worldwide. Beyond homeopathy, she addresses pseudo-spiritual approaches, such as toxic positivity through superficial (self-)affirmations, which can ultimately act as a slap in the face for those affected by traumatic experiences.<\/span><\/p>\n

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Gewitterbrust – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzulGODsDOGs_Gewitterbrust_72.jpeg“ title_text=“LaraAzul+GODsDOGs_Gewitterbrust_72″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Gewitterbrust
<\/b>Lara Azul\u00a0<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Rag Baryta Paper on Alu Dibond, 52 x 42 cm<\/span><\/p>\n

2019<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=“Title Area“ _builder_version=“4.23.4″ custom_padding=“0px||0px|||“ locked=“off“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text admin_label=“Title“ module_id=“Events“ _builder_version=“4.23.4″ text_font=“||||||||“ header_font=“||||||||“ header_2_font=“Alice||||||||“ header_2_text_align=“center“ header_2_font_size=“42px“ header_2_line_height=“1.3em“ custom_margin=“||20px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“]<\/p>\n

Raum 8<\/h2>\n

[\/et_pb_text][et_pb_divider color=“#2a2a2a“ divider_weight=“3px“ _builder_version=“4.16″ max_width=“50px“ module_alignment=“center“ custom_margin=“||10px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_3,1_3,1_3″ use_custom_gutter=“on“ admin_label=“Gallery Area“ _builder_version=“4.16″ custom_padding=“6px|0px|27px|0px||“ global_colors_info=“{}“][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Chthonia – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzul_Chtonia_72dpi_122x111cm.jpg“ title_text=“LaraAzul_Chtonia_72dpi_122x111cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Chthonia<\/b>
<\/b>Lara Azul
<\/b>
<\/span>Digital Print on Hahnem\u00fchle Museum Etching 122 x 111 cm
<\/span>
<\/span>2018<\/p>\n

<\/span>Chthonic gods, also known as Chthonioi (meaning 'belonging to the earth'), are deities associated with the underworld in Greek mythology. Some bring life and fertility, while others symbolise death and destruction. The work <\/span>Chthonia<\/span><\/i> combines the supposedly incompatible. This creator of life oscillates between dominatrix and goddess. Despite the BDSM set-up and the extreme choice of colours, the image is borne by a deep harmony and loving affection.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ locked=“off“ global_colors_info=“{}“]<\/p>\n

Alliothea – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzul_Alliothea_300dpi_220x150x150m-2.jpg“ title_text=“LaraAzul_Alliothea_300dpi_2,20×1,50×1,50m-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Alliothea
<\/b>Lara Azul<\/b><\/p>\n

Installation, Mixed Media,\u00a0<\/span><\/p>\n

2021<\/span><\/p>\n

The corners of the blue exterior are coloured gold, thus referring to the Japanese tradition of Kintsugi, in which broken pieces are glued together in such a way that the broken areas are highlighted in gold. Kintsugi is also known as \"the visible soul of things\".<\/span><\/p>\n

As the picture also on show in this exhibition: <\/span>Falada<\/span><\/i> the work <\/span>Alliothea<\/span><\/i> has its origins in the fairy tale of the goose maid. Here the princess, betrayed of her identity, reveals her suffering to an iron furnace because she does not dare to reveal what has been done to her. Inside, the collage hints at the complexity of the inner emotional world and reveals abysses and (nightmare) dream images that lie on top of each other and peel off like old wallpaper. Like the oven into which the king's daughter crawls, the walk-in installation creates a safe space to express an unspoken truth and to write something from the soul.<\/span>Lara invites visitors to let go of their inner burdens through the act of throwing their writing into the artwork. <\/span>
<\/span>The artist will ritually burn the notes on Beltane (a pagan festival on the eve of 1 May). <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

True Grit – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzulGODsDOGs_True-Grit_72_220x106cm.jpg“ title_text=“LaraAzul+GODsDOGs_True-Grit_72_220x106cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

True Grit
<\/b>Lara Azul<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 220 x 106 cm<\/span><\/p>\n

2020<\/span><\/p>\n

By partially overexposing and underexposing the original photograph, colour reversals are created in which parts of the image appear positive and others negative. This \"disturbance\" creates surreal colour changes that lend the image a fantastic and haunting atmosphere. This creates an intermediate space, a space between photographic realism and painterly fiction, which seduces the viewer into a poetic, dreamlike world.<\/span><\/p>\n

The title <\/span>True Grit<\/span><\/i> can be translated as \"true grit\" and quotes a film in which a girl sets out to avenge the injustice done to her family. The work poses the question of the extent to which atonement is satisfying and can be helpful in overcoming trauma.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

\u00a1Mira! – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Ontwerp-zonder-titel-1-1.png“ title_text=“\u00a1Mira! \u2013 Lara Azul“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

\u00a1Mira!<\/b>
<\/span>Lara Azul<\/strong><\/p>\n

Fine Art Print, 47,5 x 37,5 cm<\/span><\/p>\n

2009<\/span><\/p>\n

\u00a1Mira! could be translated as \"Look!\", \"Open your eyes!\" or \"Look here!\" and thus directly opposes the tabooing of traumatic experiences. In the Bible, as in the fairy tale, it becomes clear that only those things that come to light and are called by name can be healed. <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Ich lasse dich nicht, du segnest mich denn – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzul_Ich-lasse-dich-nicht-du-segnest-mich-denn_72_180x130.jpeg“ title_text=“LaraAzul_Ich lasse dich nicht, du segnest mich denn_72_180x130″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Ich lasse dich nicht, du segnest mich denn
<\/b>Lara Azul<\/b><\/p>\n

Acrylic, lacquer, frottage on canvas, 180 x 130 cm<\/span><\/p>\n

2023<\/span><\/p>\n

The scene depicted is a re-enactment of the biblical story of Jacob's battle with the angel, in which the roles are now played by women.\u00a0<\/span><\/p>\n

This work is inspired on the one hand by a Parisian fresco by Eug\u00e8ne Delacroix (1861) and on the other by a scene from the film <\/span>Tango Lesson<\/span><\/i> (1997) in front of this very painting. The protagonist wants to \"know it again\" and, like Jacob, persistently asks for a blessing for her artistic work, whereby she herself carries the divinity within her and at the same time struggles as a supplicant (with herself).\u00a0<\/span><\/p>\n

In this way, the fight transcends into a dance that also symbolically visualises the overcoming of trauma.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=“Title Area“ _builder_version=“4.23.4″ custom_padding=“0px||0px|||“ locked=“off“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text admin_label=“Title“ module_id=“Events“ _builder_version=“4.23.4″ text_font=“||||||||“ header_font=“||||||||“ header_2_font=“Alice||||||||“ header_2_text_align=“center“ header_2_font_size=“42px“ header_2_line_height=“1.3em“ custom_margin=“||20px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“]<\/p>\n

Caf\u00e9\u00a0<\/h2>\n

[\/et_pb_text][et_pb_divider color=“#2a2a2a“ divider_weight=“3px“ _builder_version=“4.16″ max_width=“50px“ module_alignment=“center“ custom_margin=“||10px|“ animation_style=“slide“ animation_direction=“top“ animation_intensity_slide=“30%“ animation_starting_opacity=“100%“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_3,1_3,1_3″ use_custom_gutter=“on“ admin_label=“Gallery Area“ _builder_version=“4.16″ custom_padding=“6px|0px|27px|0px||“ global_colors_info=“{}“][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Look down, you\u2019re talking to your highness – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzul_\u2018Look-down-youre-talking-to-your-highness_72dpi_120x135x37cm.jpg“ title_text=“LaraAzul_\u2018Look down, you\u2019re talking to your highness\u2019_72dpi_120x135x37cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Look down, you\u2019re talking to your highness
<\/b>Lara Azul<\/b><\/p>\n

Digital print on Hahnem\u00fchle Photo Rag Baryta, Mixed Media, 120 x 135 x 37 cm<\/span><\/p>\n

2017<\/span><\/p>\n

The bright colours, together with the sculptural elements that frame the portrayed figure, make it seem like a gateway to a magical dream world. The installative elements are reminiscent of bones and raw flesh and possibly symbolise the traumatic perils that the protagonist has overcome. The only question that hangs in the air is the extent to which the haunting gaze of the sitter actually invites submission or whether it is intended to inspire the viewer to self-empowerment. <\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ locked=“off“ global_colors_info=“{}“]<\/p>\n

Guerre des Plumes – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_GuerreDesPlumes_72dpi.jpg“ title_text=“GODsDOGs_GuerreDesPlumes_72dpi“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||15px|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Guerre des Plumes
<\/b>GODsDOGs<\/b><\/p>\n

Digital print on Hahnem\u00fchle Photo Bag Baryta, cardboard, wood, collage, C-prints, varnish on multi-layer cardboard, 195 x 195 x 37 cm<\/span><\/p>\n

2016<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Crazy (dreiteilig) – Cornelia Renz<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/Ontwerp-zonder-titel-1.png“ title_text=“Ontwerp zonder titel“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Crazy (dreiteilig)
<\/b>Cornelia Renz<\/b><\/p>\n

Linocut\u00a0<\/span><\/p>\n

2017<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Magician – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Magician_200dpi_40x60cm-2.jpg“ title_text=“GODsDOGs_Magician_200dpi_40x60cm-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Magician
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 66.5 x 139 cm<\/span><\/p>\n

2020<\/span><\/p>\n

The duo GODsDOGs use a technique they call \"digital pseudo-solarisation\" to give their photographs a painterly quality by contrasting positive and negative image segments. The resulting rich colours and the radiance of the image open up a world that is marked by both the carefree depth of dreams and the shadows of trauma. With his penetrating gaze, the \"Magician\" seems to ask whether we leave traumas as taboos or decide to consciously look them in the eye.<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Filmstill aus Schweigend Steht der Wald – <\/i>Saralisa Volm<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/SSDW_AnjaGrimm_HenrietteConfurius_7A\u00a9SebastianReiter-2.jpg“ title_text=“SSDW_AnjaGrimm_HenrietteConfurius_7\u00c2\u00a9SebastianReiter-2″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Filmstill aus <\/b>Schweigend Steht der Wald
<\/i><\/b>Saralisa Volm<\/b><\/p>\n

Hahnem\u00fchle FineArt Pearl 285g laminated on Alu-Dibond 3mm<\/span><\/p>\n

40 x 96 cm<\/span> <\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

King Kong Girl (dreiteilig) – Cornelia Renz<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/kingkonggirl.jpg“ title_text=“kingkonggirl.Cornelia.Renz“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

King Kong Girl (dreiteilig)
<\/b>Cornelia Renz<\/b><\/p>\n

Linocut\u00a0<\/span><\/p>\n

2018<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Mirror of heaven (Kitch-iti-kipi) – Lara Azul<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/WhatsApp-Image-2024-02-25-at-16.18.48-1.jpeg“ title_text=“WhatsApp Image 2024-02-25 at 16.18.48″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Mirror of heaven (Kitch-iti-kipi)\u00a0
<\/b>Lara Azul<\/b><\/p>\n

Watercolour, 39 x 29 cm<\/span><\/p>\n

2021<\/span><\/p>\n

[\/et_pb_text][et_pb_divider _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_divider][\/et_pb_column][et_pb_column type=“1_3″ _builder_version=“4.16″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ text_font=“Playfair Display||||||||“ global_colors_info=“{}“]<\/p>\n

Traces of Witchcraft, Prophecy and Leftovers – Lara Azul & GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/LaraAzulGODsDOGs_Traces-of-witchcraft_72dpi_60x80cm.jpeg“ title_text=“LaraAzul+GODsDOGs_Traces of witchcraft_72dpi_60x80cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Traces of Witchcraft, Prophecy and Leftovers
<\/b>Lara Azul & GODsDOGs<\/b><\/p>\n

Light box, backlit film, artificial leather, neon tubes, wood<\/span><\/p>\n

2011<\/p>\n

<\/span>This photographic work is taken from a dance performance showing a ritual ceremony. Three dancers performed a choreography within an artistic installation as a magical act with the intention of changing an unpleasant situation of helplessness due to traditional power structures. <\/span>
<\/span>The artistic result celebrates the realisation of this prophecy and the paths of light captured by long exposures can now be seen as lines in time and space.<\/span><\/p>\n

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Filmstill aus Schweigend Steht der Wald – <\/i>Saralisa Volm<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/SSDW_Screenshot_Schwimmbad1-scaled.jpg“ title_text=“SSDW_Screenshot_Schwimmbad1″ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Filmstill aus <\/b>Schweigend Steht der Wald
<\/i><\/b>Saralisa Volm<\/b><\/p>\n

Hahnem\u00fchle FineArt Pearl 285g laminated on Alu-Dibond 3mm<\/span><\/p>\n

40 x 96 cm<\/span> <\/p>\n

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Rubigo et Ossa – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Rubigo-et-Ossa-Ed.-of-10-2020-Digital-Photoprint-on-Hahnemuehle-Museums-Etching-Paper-on-Alu-Dibond-60-x-80-cm-.jpg“ title_text=“OLYMPUS DIGITAL CAMERA“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Rubigo et Ossa
<\/b>GODsDOGs<\/b><\/p>\n

Digitaler Fotodruck auf Hahnem\u00fchle Museumsradierpapier auf Alu-Dibond, 60 x 80 cm<\/span><\/p>\n

2010<\/span><\/p>\n

The underlying photo shows a Norwegian landscape.\u00a0<\/span><\/p>\n

Rubigo et Ossa is Latin and stands for \"rust and bones\" and alludes to a French film drama in which two people reach the light after trauma through struggle (internal and external).\u00a0 <\/span><\/p>\n

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Wurzelkrone – GODsDOGs<\/h3>\n

[\/et_pb_text][et_pb_image src=“http:\/\/traumaland.art\/wp-content\/uploads\/2024\/02\/GODsDOGs_Wurzelkrone_72dpi_40x60cm-1.jpg“ title_text=“GODsDOGs_Wurzelkrone_72dpi_40x60cm“ url_new_window=“on“ force_fullwidth=“on“ align_tablet=“center“ align_phone=“center“ align_last_edited=“on|desktop“ _builder_version=“4.23.4″ custom_margin=“|||“ custom_padding=“||11%|“ animation_style=“fade“ global_colors_info=“{}“][\/et_pb_image][et_pb_text _builder_version=“4.23.4″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Wurzelkrone
<\/b>GODsDOGs<\/b><\/p>\n

Digital photo print on Hahnem\u00fchle Museum Etching Paper on Alu Dibond, 40 x 60 cm<\/span><\/p>\n

2020<\/span><\/p>\n

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WerkeRaum 1SWAMP – GODsDOGs & Lara AzulSwampLara Azul & GODsDOGs Banner, Velum-Tex Samba Backlight, LED-R\u00f6hren, Holz, Karton, 180,2 x 270 cm 2018 \u201cDas besondere Farbklima und der Zusammenfall von Negativbild und Positiv in einem gemeinsamen Bildraum verdankt sich der Technik der Pseudosolarisation, auch Sabattier-Effekt genannt. Die Bilder zeigen Kinder in visuell aufgeladenen, l\u00e4ndlichen (…) „Umgebungen.“ […]<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-723","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/pages\/723","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/comments?post=723"}],"version-history":[{"count":9,"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/pages\/723\/revisions"}],"predecessor-version":[{"id":950,"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/pages\/723\/revisions\/950"}],"wp:attachment":[{"href":"https:\/\/traumaland.art\/en\/wp-json\/wp\/v2\/media?parent=723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}