{"id":41,"date":"2019-06-02T23:39:57","date_gmt":"2019-06-02T21:39:57","guid":{"rendered":"https:\/\/www.stephanvonhuene.de\/en\/?page_id=41"},"modified":"2019-06-30T19:52:17","modified_gmt":"2019-06-30T17:52:17","slug":"1999-2000","status":"publish","type":"page","link":"https:\/\/www.stephanvonhuene.de\/en\/kinetic-and-sound-sculptures\/1999-2000\/","title":{"rendered":"1999 – 2000"},"content":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=”” el_class=”absatz2″][vc_column][vc_column_text el_class=”absatz”]In retrospect, the works produced in the late 1990s must be regarded as late works, since they represent the terminus of an \u0153uvre that came to an abrupt end \u2013 during a phase of intensive project planning and realization \u2013 with the artist\u2019s death. During this phase, however, von Huene disposed over a technically and artistically broad repertoire, one that allowed him to work in the realm of the \u201cmultimedia installation\u201d in the most complete sense, and to whose visual possibilities he had sovereign and unconstrained access.[\/vc_column_text][vc_column_text el_class=”absatz”]In Sirens Low<\/em>, he was able to work in ways that were more extensive and multilayered then the early works \u2013 both literally as well as metaphorically. The sirens and other hybrid creatures had been present already in the drawings beginning around 1961; now, von Huene extends his reach far back into the art-historical past, thematically through Homer\u2019s verses, as well as by means of projected illustrations of works of art from antiquity and the Renaissance. At the same time, by exploiting the resources of computer-guided sound generation and modifications, he succeeded in actualizing these historical contents, in bringing them to life again through contemporary image and sound automatons.[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=”” el_class=”absatz”][vc_column]

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The Semiconductor of Chemnitz<\/a><\/h6>\n
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Sirenen Low<\/a><\/h6>\n
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Portr\u00e4t Klaus Hegewisch<\/a><\/h6>\n
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<\/div>\n\t\t\t<\/div>\n <\/div>\n[\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=”” el_class=”absatz3″][vc_column]<\/span><\/a><\/span><\/a><\/span><\/a>[\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=”” el_class=”absatz2″][vc_column][vc_column_text el_class=”absatz”]In retrospect, the works produced in the late 1990s must be regarded…<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":19,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/pages\/41"}],"collection":[{"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/comments?post=41"}],"version-history":[{"count":4,"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/pages\/41\/revisions"}],"predecessor-version":[{"id":1054,"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/pages\/41\/revisions\/1054"}],"up":[{"embeddable":true,"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/pages\/19"}],"wp:attachment":[{"href":"https:\/\/www.stephanvonhuene.de\/en\/wp-json\/wp\/v2\/media?parent=41"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}