Simone Westerwinter engaged in their media wide-ranging work - since the late 1980s, this includes pictures, objects, sculptures, videos, directing performances, as well as temporary projects with musicians and actors - with the structures and the 'relief \u0026lt;contemporary consciousness. How characterizes the exemplary relief of our perception of the phenomena of the present on? And how our thinking in polarities of structure versus chaos, order versus chaos, perfection versus raw neglect of the phenomenon itself is out of sight? Placed in this polarity involve Westerwinter works of art and the viewer in a decision situation: the work of art as a decision-plastic.
WS-SMS is the abbreviation for the factory teams with which Simone Westerwinter since 1990: "Sex world power - Beauty must be \u0026lt;. In parallel, the artist worked on a work group with checkered patterns, summarized under the title> Education \u0026lt;by decoration. This takes Westerwinter patterns of our daily World of experience and aesthetics to examine the ambivalence of order and disorder, and the analogy of visual consciousness and patterns (commonly> plaid thinking '). The proximity to the JA-work is emphasized in the 'positive' character, which nevertheless leaves the unfathomable language grid as any standardized structure to be revealed.
"The use of art takes place basically ornamental, in my words, check or" with the subtitle of all work on this issue: \u0026lt;> education through decoration. When I think of avant-garde, I like to imagine before the threshold, to distinguish art from non-art. For Art has the latest but most of all as no art or at least look like bad art, right? She tries a new beginning - at ZERO or NULL. Something like this would not be detected if a classification structure is given, in which we can classify it - because we see exemplary, understanding and beautiful place. The first appearance and still be a null set, the artistic work of the process of its perception in motion, that is, it is published, reproduced, multiplied. And with this first frontal appearance is already the germ ornamental for its use, in extreme cases to his demise - the visual and intellectual consumption -. Predestined "(Simon Wester Winter, 2001)
About Sculpture and Performance> Sweet structures, home-made ', with which Simone Westerwinter in the exhibition Super Femmes \u0026lt;represented, deals with the Stuttgart artist the simultaneity of opposites ": a market stand in the exhibition area, visitors can choose. Either he chooses freshly made cotton candy, or he can apply make-up artist from a dazzling hematoma. The different actions illustrate that two opposing experience of life. Sometimes it is a gift, almost sticky-sweet as spun sugar at the state fair, it again has the hardness of a fist fight. And if you look closely you can see that it is only a fake.
Simone Westerwinter take in their performance carefully with a boxing glove on the eye of the visitor level. Then draws, paints and dab it on the face of a 'violet' as a trophy. The trust is to engage in the arts rewarded with a make-up painting - iridescent beautiful as the drawing of a peacock feather and simultaneously with the appearance of a disturbing deformation. She returns it to the use of funds. What is originally used for tempting beauty, is used by her, rebelled against the targets. The utensils are challenging themselves
Sexiness and disfigurement may overlap. Good intentions are coupled with questionable ulterior motives. Like a blind date we do not know exactly what they getting into. Therein lies the temptation. It can be nice, but it can also be ugly. But the redeeming action. When you open challenge it, it ultimately comes with the wrong black eye or something really sweet about it. "(Valerie Hammerbacher)
WS-SMS is the abbreviation for the factory teams with which Simone Westerwinter since 1990: "Sex world power - Beauty must be \u0026lt;. In parallel, the artist worked on a work group with checkered patterns, summarized under the title> Education \u0026lt;by decoration. This takes Westerwinter patterns of our daily World of experience and aesthetics to examine the ambivalence of order and disorder, and the analogy of visual consciousness and patterns (commonly> plaid thinking '). The proximity to the JA-work is emphasized in the 'positive' character, which nevertheless leaves the unfathomable language grid as any standardized structure to be revealed.
"The use of art takes place basically ornamental, in my words, check or" with the subtitle of all work on this issue: \u0026lt;> education through decoration. When I think of avant-garde, I like to imagine before the threshold, to distinguish art from non-art. For Art has the latest but most of all as no art or at least look like bad art, right? She tries a new beginning - at ZERO or NULL. Something like this would not be detected if a classification structure is given, in which we can classify it - because we see exemplary, understanding and beautiful place. The first appearance and still be a null set, the artistic work of the process of its perception in motion, that is, it is published, reproduced, multiplied. And with this first frontal appearance is already the germ ornamental for its use, in extreme cases to his demise - the visual and intellectual consumption -. Predestined "(Simon Wester Winter, 2001)
About Sculpture and Performance> Sweet structures, home-made ', with which Simone Westerwinter in the exhibition Super Femmes \u0026lt;represented, deals with the Stuttgart artist the simultaneity of opposites ": a market stand in the exhibition area, visitors can choose. Either he chooses freshly made cotton candy, or he can apply make-up artist from a dazzling hematoma. The different actions illustrate that two opposing experience of life. Sometimes it is a gift, almost sticky-sweet as spun sugar at the state fair, it again has the hardness of a fist fight. And if you look closely you can see that it is only a fake.
Simone Westerwinter take in their performance carefully with a boxing glove on the eye of the visitor level. Then draws, paints and dab it on the face of a 'violet' as a trophy. The trust is to engage in the arts rewarded with a make-up painting - iridescent beautiful as the drawing of a peacock feather and simultaneously with the appearance of a disturbing deformation. She returns it to the use of funds. What is originally used for tempting beauty, is used by her, rebelled against the targets. The utensils are challenging themselves
Sexiness and disfigurement may overlap. Good intentions are coupled with questionable ulterior motives. Like a blind date we do not know exactly what they getting into. Therein lies the temptation. It can be nice, but it can also be ugly. But the redeeming action. When you open challenge it, it ultimately comes with the wrong black eye or something really sweet about it. "(Valerie Hammerbacher)
Dr. Renate Wiehager
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