Artist:
Miriam Lenk
Title:
Yolanda
Year:
2007
Adress:
Nachodstrasse 8
Attractive
Although Yolanda by Miriam Lenk does not have the perfect porportions, she is so attractive that it's hilarious.
By Theo, www.artatsite.com
Compared with other works
Nothing wrong; Europe Power Handstand. Ernst Leonhard's (Berlin, picture 1, more information) work plays catchy way with a heavy body that adopts a onwaarschijlijke attitude.
The artwork Allison Lapper Pregnant by Marc Quinn (London, picture 2, more information) is contradictory: a flawed body is performed in one of the finest materials, made a human deficit exhibited no single gene. It is logical that this evokes a fierce resistance in many people. This artwork is a masterpiece by the perfect execution and lifelike expression and fundamental discussions it evokes.
Wolfgang Matteuer's Jahrhunderschritt (Berlin, picture 3, more information) depicts a person off which does not correspond to the ideal of beauty. This person makes an incredibly big step forward and is apparently incredibly strong. Wolfgang Matt Heuer knows Jahhundertschritt ('One Hundred Years Step', Berlin) to portray a convincing person without the use of perfect shapes, proportions and colors.
With Der Gestürzte Krieger by Markus Lüpertz (Berlin, picture 4, more information) we witness the last moment of a brave man who has fought for a good cause. The materialization is shocking; the person already appears to defend.
It is so painful to walk through an intimate space of two lovers who are totally vulnerable meeting. Maybe the people of Wohin Gehst Du by Andreas Wegner (Berlin, picture 5, more information), experience their last moments together.
Although Karl Bobek's Torso (Berlin, picture 6, more information) of a man impersonates who is actively involved, the man also seems to perish. This man confronts effectively serious issues of life and mortality.
By Theo, www.artatsite.com
www.artconnect.com:
Miriam Lenk: "Based on the illustration of the female body, I have developed a canon of shapes that transforms anatomical details to describe plastically feelings such as self-confidence, erotic, anger etc. Existing beauty ideals are re-examined.
The female image is carried further to juxtapose various associations and shapes of femininity. A new field is the topic of growth.
My works move increasingly away from the human anatomy and merge body shapes of humans, animals, and landscapes."
www.bildhauerei-in-berlin.de:
Stehende, bis auf ihre Plateauschuhe unbekleidete weibliche Figur in üppigen gerundeten und molligen Formen in starker Überlebensgröße, die Arme hinter dem Kopf verschränkt.
Text: Susanne Kähler.
www.wikipedia.org:
Miriam Lenk (* 1975 in Konstanz) ist eine deutsche Bildhauerin.
Miriam Lenk studierte von 2000 bis 2007 Freie Kunst an der Hochschule für Bildende Künste Dresden bei Eberhard Bosslet und Ralf Kerbach. Seit 2009 lebt und arbeitet sie in Berlin und Bodman.
Das Zentrum ihres Werkes bildet ein weiblicher Archetyp: groß und prächtig, raumgreifend und dominant. Dies soll eine Galionsfigur für alle Frauen sein, die sich in der Gesellschaft zu dick, zu laut oder zu anders fühlen.
Werke im öffentlichen Raum schuf sie mit Yolanda, in Bronze, vor der Investitionsbank Berlin und in Epoxidharz vor einem Seehotel in Ludwigshafen; Molch und Strauss in der Oberen Vorstadt in Albstadt-Ebingen und Janusfee im Weingut Drei Herren in der Sammlung Rainer Beck. Ihre aktuellen Ausstellungen sind Disturbance Witch im Zentrum für aktuelle Kunst der Zitadelle Berlin-Spandau und Lusus Naturae bei BCMA Berlin.
Im Gegensatz zu ihrem Vater Peter Lenk, der in seinen „steinernen Theaterstücken' die aktuelle und historische Politik verarbeitet, schöpft sie aus einer anderen Quelle: dem Élan vital, dem inneren Lebensdrang. Der Begriff wurde von dem französischen Philosophen Henri Bergson geprägt und hat schon die Surrealisten fasziniert. Besonders in ihrer aktuellen Werkgruppe Elan Vital aus Säulen, Gipskollagen und Zeichnungen geht es zunehmend um die Akkumulation als bildhauerischen Prozess.
Translation:
Miriam Lenk (* 1975 in Konstanz, Germany) is a German sculptor.
Miriam Lenk studied from 2000 to 2007, - Free art at the Hochschule für Bildende Künste Dresden Eberhard Bosslet and Ralf Kerbach. Since 2009 lives and works in Berlin and Bodman. The center of her work is a female archetype: large and magnificent, expansive and dominant. This is supposed to be a figurehead for all women who feel too fat, too loud or too different.
Works in the public space created with Yolanda, in Bronze, in front of, the investment Bank of Berlin, and in epoxy resin prior to a Seehotel in Ludwigshafen, Germany; the pig and Strauss in the Upper suburb in Albstadt-Ebingen and Janusfee in the winery Three gentlemen in the collection Rainer Beck. Their current exhibitions Disturbance Witch in the center for contemporary art in the citadel, Berlin-Spandau, and Lusus Naturae in BCMA Berlin.
In contrast to her father, Peter Lenk, the processes in his "stone plays" the current and historical policy, draws them from a different source: the Élan vital, the inner urge to live. The term was coined by the French philosopher Henri Bergson, and has fascinated the Surrealists. Especially in your current work group Elan Vital of columns, plaster collagen and drawings, it is to the accumulation of as a sculptural process.
Although Yolanda by Miriam Lenk does not have the perfect porportions, she is so attractive that it's hilarious.
By Theo, www.artatsite.com
Compared with other works
Nothing wrong; Europe Power Handstand. Ernst Leonhard's (Berlin, picture 1, more information) work plays catchy way with a heavy body that adopts a onwaarschijlijke attitude.
The artwork Allison Lapper Pregnant by Marc Quinn (London, picture 2, more information) is contradictory: a flawed body is performed in one of the finest materials, made a human deficit exhibited no single gene. It is logical that this evokes a fierce resistance in many people. This artwork is a masterpiece by the perfect execution and lifelike expression and fundamental discussions it evokes.
Wolfgang Matteuer's Jahrhunderschritt (Berlin, picture 3, more information) depicts a person off which does not correspond to the ideal of beauty. This person makes an incredibly big step forward and is apparently incredibly strong. Wolfgang Matt Heuer knows Jahhundertschritt ('One Hundred Years Step', Berlin) to portray a convincing person without the use of perfect shapes, proportions and colors.
With Der Gestürzte Krieger by Markus Lüpertz (Berlin, picture 4, more information) we witness the last moment of a brave man who has fought for a good cause. The materialization is shocking; the person already appears to defend.
It is so painful to walk through an intimate space of two lovers who are totally vulnerable meeting. Maybe the people of Wohin Gehst Du by Andreas Wegner (Berlin, picture 5, more information), experience their last moments together.
Although Karl Bobek's Torso (Berlin, picture 6, more information) of a man impersonates who is actively involved, the man also seems to perish. This man confronts effectively serious issues of life and mortality.
By Theo, www.artatsite.com
www.artconnect.com:
Miriam Lenk: "Based on the illustration of the female body, I have developed a canon of shapes that transforms anatomical details to describe plastically feelings such as self-confidence, erotic, anger etc. Existing beauty ideals are re-examined.
The female image is carried further to juxtapose various associations and shapes of femininity. A new field is the topic of growth.
My works move increasingly away from the human anatomy and merge body shapes of humans, animals, and landscapes."
www.bildhauerei-in-berlin.de:
Stehende, bis auf ihre Plateauschuhe unbekleidete weibliche Figur in üppigen gerundeten und molligen Formen in starker Überlebensgröße, die Arme hinter dem Kopf verschränkt.
Text: Susanne Kähler.
www.wikipedia.org:
Miriam Lenk (* 1975 in Konstanz) ist eine deutsche Bildhauerin.
Miriam Lenk studierte von 2000 bis 2007 Freie Kunst an der Hochschule für Bildende Künste Dresden bei Eberhard Bosslet und Ralf Kerbach. Seit 2009 lebt und arbeitet sie in Berlin und Bodman.
Das Zentrum ihres Werkes bildet ein weiblicher Archetyp: groß und prächtig, raumgreifend und dominant. Dies soll eine Galionsfigur für alle Frauen sein, die sich in der Gesellschaft zu dick, zu laut oder zu anders fühlen.
Werke im öffentlichen Raum schuf sie mit Yolanda, in Bronze, vor der Investitionsbank Berlin und in Epoxidharz vor einem Seehotel in Ludwigshafen; Molch und Strauss in der Oberen Vorstadt in Albstadt-Ebingen und Janusfee im Weingut Drei Herren in der Sammlung Rainer Beck. Ihre aktuellen Ausstellungen sind Disturbance Witch im Zentrum für aktuelle Kunst der Zitadelle Berlin-Spandau und Lusus Naturae bei BCMA Berlin.
Im Gegensatz zu ihrem Vater Peter Lenk, der in seinen „steinernen Theaterstücken' die aktuelle und historische Politik verarbeitet, schöpft sie aus einer anderen Quelle: dem Élan vital, dem inneren Lebensdrang. Der Begriff wurde von dem französischen Philosophen Henri Bergson geprägt und hat schon die Surrealisten fasziniert. Besonders in ihrer aktuellen Werkgruppe Elan Vital aus Säulen, Gipskollagen und Zeichnungen geht es zunehmend um die Akkumulation als bildhauerischen Prozess.
Translation:
Miriam Lenk (* 1975 in Konstanz, Germany) is a German sculptor.
Miriam Lenk studied from 2000 to 2007, - Free art at the Hochschule für Bildende Künste Dresden Eberhard Bosslet and Ralf Kerbach. Since 2009 lives and works in Berlin and Bodman. The center of her work is a female archetype: large and magnificent, expansive and dominant. This is supposed to be a figurehead for all women who feel too fat, too loud or too different.
Works in the public space created with Yolanda, in Bronze, in front of, the investment Bank of Berlin, and in epoxy resin prior to a Seehotel in Ludwigshafen, Germany; the pig and Strauss in the Upper suburb in Albstadt-Ebingen and Janusfee in the winery Three gentlemen in the collection Rainer Beck. Their current exhibitions Disturbance Witch in the center for contemporary art in the citadel, Berlin-Spandau, and Lusus Naturae in BCMA Berlin.
In contrast to her father, Peter Lenk, the processes in his "stone plays" the current and historical policy, draws them from a different source: the Élan vital, the inner urge to live. The term was coined by the French philosopher Henri Bergson, and has fascinated the Surrealists. Especially in your current work group Elan Vital of columns, plaster collagen and drawings, it is to the accumulation of as a sculptural process.