Translation of "Umraum" in English

The new way functions as an urban gallery through the jagged surroundings.

The object refers both to the surroundings as well as the surface of the floor.

Others assert themselves like architecture, self-confidently and discreetly, in a surrounding space that is not made precise.

Their dimensions refer to the average measures of the human body including its nearby environment.

The work manifests the possibility of growing herbs in any light deprived space.

This provided three areas so that, in addition to the museum in the exhibition area, space was available for other purposes.

In his objects and installations, Frey pointedly explores the possibility of changing space through light and motion, so that the exhibition room or environment fades into the background and the works no longer need the “white cube” aesthetics in order to be appreciated.

They inevitably enter into a strong connection with the surrounding space and the other objects or images in the space.

In „vielleicht morgen“ he employs the foil so skilfully that the play between form and deformation incorporates the entire environment.

A fact which should be taken into account by those who cultivate a legitimate desire to profit from the Turkish negotiations with Europe to gain space and juridical legitimacy.

In "vielleicht morgen" he employs the foil so skilfully that the play between form and deformation incorporates the entire environment.

Through his architectural and material interactions, Albrecht Schäfer leads our passive reception back to active observation, not limited to the artwork itself, but inseparably including the environment or the starting situation.

We shape our urban surroundings collectively, often without even noticing it; this is how we create the daily groove of a city.

In this way Johannes Pfeiffer formulates an open-ended relationship, an interplay of artefact and space-around-it, of work of art and viewer - the two elements no longer keep their distance, the two spheres overlap, interlock, communicate.

Architecture as kinematic, interactive model; architecture as intervention for the activation of the closest surrounding space of humans, of urban space or of extra-terrestial space; architecture is a mobilizing instance for the resting forces emerging from the appropriate context.

Her work focuses not only on the relation between the sculpture and its environment, but also on the sculpture's own spatial qualities.

For the Secession, McBride takes as her topic the immediate environment of the building by underscoring its character as an island.

Following static, landscape panoramas are a plan sequence of horizontal movements, hand-camera actions, and close-ups, behind which the environment disappears.

Breaking of moulds, rejection of the closed form, exploration of the space around objects, inclusion of the viewer in the work itself: these are the basic categories of the sculptural medium in the 20th century.

Alternatively there is also the possibility to drive home in the evening and to return the next morning, if you live in the surrounding area.

It also provides an important documentary environment for the so-called “re-doing” of Kaprow’s happening and makes it possible to experience archival material in present context.

Exclusively a coloured blow shade which is led by a striking brushstroke flattens the object in a certain space.

Through the site-specific incorporating of collected elements, his works stand in a direct relationship to the surroundings in which they are created, and their conception critically comments upon a current situation.

It is connected to its surrounding space through a variety of mirror effects and visual corridors, offering the observer a continuous change of perspective.