Berlin Art@Site Jean Ipoustéguy Der Mensch baut seine Stadt

Jean Ipoustéguy


Der Mensch baut seine Stadt

Messedamm 19
the last minute
This is a dangerous machine rather than a human being.
By the wiener you can see that this person is vulnerable. The six-pack could be found charming. The arms are grabbing around. The three faces, the three mouths and the big eyes are looking furious.
The items on the back of this human makes him dangerous. I'm afraid because I don't know what these blocks and rods are.
The man gets off on a murder weapon. The construction is strong and supports fire power. Is there a slant pile of ammunition? But what do we see next? What’s the open structure at the end of the barrel? This seems to be a net. Is this a weapon that can receive?
At the last minute the monkeys were in the works. This artwork is not celebrating violence but does the inverse by emphasizing to carry, to accommodate, to cherish. That’s what a net is doing. This human is sturdy to be soft.
By Theo,

het laatste moment
Dit beeld is eerder een gevaarlijke machine dan een mens.
Aan het piemeltje kun je zien dat deze persoon kwetsbaar is. De sixpack zou men aantrekkelijk kunnen vinden. De armen grijpen om zich heen. Drie gezichten met drie monden en grote ogen kijken woest.
De voorwerpen op de rug van deze mens maakt hem gevaarlijk. Doordat ik niet weet wat deze blokken en staven zijn, word ik angstig.
De mens stapt op een moordwapen af. De constructie is sterk en dit ondersteunt vuurkracht. Staat daar een schuine stapel munitie? Maar wat zien we bij het uiteinde van dit wapen? De open structuur lijkt een net te zijn. Is dit een wapen dat opvangt?
Op het laatste moment komt de aap uit de mouw. Dit kunstwerk bejubelt geen geweld maar doet het tegenover gestelde daar de nadruk te leggen op dragen, opvangen, koesteren. Dit doet een net. Deze mens is stevig om zacht te kunnen zijn.
Door Theo,
Monumentale Stahlplastik eines roboterhaft gestalteten Riesen (Alexander der Große) vor einem monströsen, stalinorgelhaften Katapult.
Dem angeblich zum Aufbau einer Stadt – realistisch gedeutet jedoch zur Zerstörung von (Stadt-)Mauern gedachtem – Gerät beigestellt sind populäre Figuren, so genannte „Berliner Typen' oder heraldisch zu deutende Figuren: „Berliner Bär' und „Eckensteher Nante' (eine erfolgreiche Erfindung des Schriftstellers Adolf Glassbrenner aus der ersten Hälfte des 19. Jahrhunderts), insgesamt ein Kunstwerk, dessen Wirkung eher auf Fernsicht angelegt ist.
The monumental Steel sculpture of a robot designed giant (Alexander the Great) in front of a monstrous, Stalin's organ stick catapult.
The allegedly for the construction of a city – realistic interpreted, however, to the destruction of the (city) walls thought – device-beige popular figures, the so-called "Berliner" or Herald are subject to significant figures: "Berlin bear" and "Corner boys Nante" (a successful invention of the writer Adolf glass burner from the first half of the 19th century. Century), a total of a artwork, its effect is more likely to be distant view.
Text: Jörg Kuhn.
Ipousteguy-Skulptur: L'homme construit sa ville oder Alexandre devant Ekbatana.
Auf deutsch: Der Mensch baut seine Stadt oder Alexander vor Ekbatana.
Jean-Robert Ipousteguy (Dun-sur-Meuse, January 6, 1920 - there, February 8, 2006) was a French painter and sculptor. Jean Robert took in the fifties as an artist's maiden name, Ipousteguy, his mother was called and since then Jean-Robert Ipousteguy. He grew up in the department of Lorraine in 1938 and moved to Paris. He took a course in painting and drawing at Robert Lesbo Unit at night school. Because he is not a further academic training followed, he was a self-taught as an artist and remained undetected.
After World War II Ipousteguy devoted himself to painting and designed stained glass windows. In the years 1947 and 1948 he contributed to the decoration of the Saint-Jacques le Majeur in Montrouge with two frescos. After moving in 1949 in Choisy-le-Roi he created almost exclusively since 1953 and only sculpture. His style was abstract at first, but turned into a more figurative style, which was influenced by surrealism. As a sculptor, he was due to one of the founders of the Salon de Mai, Henri-Georges Adam, was invited to this important art exhibit.
In 1962 he exhibited for the first time at the Galerie Claude Bernard in Paris. He was invited to participate in Documenta III (1964) and sixth (1977) in Kassel, Germany. In 1964 he represented France at the Venice Biennale and he was one of the winners. In 1984 Ipousteguy was appointed Chevalier de la Legion d'Honneur.
Jean-Robert Ipousteguy returned in 2004 returned to his hometown Dun-sur-Meuse. He died in 2006 and was buried at the Cimetiere Montparnasse in Paris.