Liberated but not free

Liberated but not free

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Date/Time
Date(s) - 11.06.2012
18:00 - 23:30

Location
POT

Category(ies)


Margret Holz & Michael S. Lee

With Margret’s manuscript montage work based on construction – deconstruction and Michael’s drawings which project new trajectories, “Liberated But Not Free” focuses on the active juxtaposition of objects and their pasts.

Margret Holz. Displaced Persons

Margret Holz (work in progress)This term “Displaced Persons” referred to the Western Allies after the war, people who were not native to the place where they were staying. Under this definition were as forced laborers, who had during the war to work in German factories, prisoners, former prisoners and Eastern Europeans. At Hasenhecke near Kassel, a DP camp existed since 1945. The result is a manuscript-assembly of burnt wood and photograms, a montage of photography and sculpture, a localization.

„Displaced Persons“ Mit diesem Begriff bezeichneten die Westalliierten nach Kriegsende Menschen, die nicht an dem Ort beheimatet waren, an dem sie sich aufhielten. Unter diese Definition fielen etwa Zwangsarbeiter, die während des Krieges in deutschen Betrieben arbeiten mussten, Kriegsgefangene, ehemalige KZ-Häftlinge und Osteuropäer. Auf der Hasenhecke bei Kassel existierte ein DP-Camp nach 1945. Es entsteht eine Manuskript-Montage aus gebranntem Holz und Photogrammen.

Margret Holz
http://www.mabois.de
http://www.facebook.com/margretholz

The works of Margret Holz are divided into individual work as well as construction and choreography of places. What makes a place? What has happened here? What impressions have emerged, which tracks, which breaks and spaces are visible? These questions are crucial for my projects and also for the choice of material.

Arbeiten von Margret Holz gliedern sich in Einzelarbeiten sowie Konstruktionen und Choreographien von Orten. Was macht einen Ort aus? Was hat sich hier abgespielt? Welche Prägungen sind entstanden, welche Spuren, welche Brüche und Leerstellen sind erkennbar? Diese Fragen sind für meine Projekte entscheidend, auch für die Wahl des Materials.

Michael S. Lee (work in progress)Michael S. Lee. Things Become Things Which Were Once

In an effort to revitalize and redistribute the influences of past machines and natures, remnants are proliferated as a texture and eventually congregate into autonomy once more. The consequence of elaborate past proffers illuminating hindsight and future projections.

Michael S. Lee
http://www.mikeslee.com
http://www.hitheryon.com

Michael S. Lee’s work focuses on the elucidation of process in the plastic arts. He develops reinterpretations of concrete present states and reformulates dynamic interventions to explain, consider, and expand the relationships of forms and objects. Each object, aesthetic, and internal thought is the result of multiple processes, and each is followed by innumerable consequences.