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The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. Untitled, 30 x 21 cm, ink on paper, 2011. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. Interview with ruprecht von kaufmann. The stash ser...

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martin eugen raabenstein. | | raabenstein.de Reviews

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The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. Untitled, 30 x 21 cm, ink on paper, 2011. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. Interview with ruprecht von kaufmann. The stash ser...

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martin eugen raabenstein. | | raabenstein.de Reviews

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The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. Untitled, 30 x 21 cm, ink on paper, 2011. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. Interview with ruprecht von kaufmann. The stash ser...

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raabenstein.de

1

BETWEEN THE LINES – martin eugen raabenstein.

http://raabenstein.de/_dev/between-the-lines

Excerpt taken from the press release:. ANGELA DWYER - MARTIN EUGEN RAABENSTEIN – JOSIP ZANKI. April 04, 2014. Mark Gisbourne, Curator, Art Historian and Critic. The stash series, 186 x 138 cm (4 parts), oil, acrylic and ink on paper, 2014 (installation view).

2

interview with ruprecht von kaufmann – martin eugen raabenstein.

http://raabenstein.de/interview-with-ruprecht-von-kaufmann

Interview with ruprecht von kaufmann. Rvk – you turned your back on the art world for many years. what were the reasons for this? Rvk – what exactly happened? Rvk – you compose music, write about it and are in charge of numerous radio programmes. how did that happen? And why did you decide to return to making art? Rvk – the rasters in your work result, therefore, from your interaction with music? How do you convert this experience into pictures? Rvk – what role does chance play here? Raa – my works...

3

THE CHESS SERIES – martin eugen raabenstein.

http://raabenstein.de/_dev/the-chess-series

Lines that walk and talkÂ (The Chess Series). Mark Gisbourne, Tuesday, 06 July 2010. Â Duchamp won several chess championships and was given the title master in 1929, and in 1931, represented France at the International Chess Federation. In 1961 Marcel Duchamp organized an auction of artworks to raise funds for the American Chess Foundation and asked many of his contemporaries to contribute works. See, Hubert Damisch, ‚the Duchamp defense‘, 1979, October, no.10, 1979, p.8.

4

LAYERING THE LINE – martin eugen raabenstein.

http://raabenstein.de/_dev/layering-the-line

To draw is to make a shape and movement in time. (Stuart Davis, 1951). Mark Gisbourne, Monday, 08 October 2012. The Responsibility of Forms: Critical Essays on Art, Music and Representation. Berkeley and London, University of California Press, 1991. The essays date largely from the 1970s. The ambush series, 186 x 138 cm, ink, oil, acrylic and paper on cardboard, 2014.

5

CV – martin eugen raabenstein.

http://raabenstein.de/cv

Studies in graphic- design, akademie der bildenden künste, stuttgart,. Basic class with professor peter grau, film class with professor albrecht ade. There pre-degree in 1984. Studies in visual communikation, hdk berlin,. Experimental graphic class with professor helmut lortz,. Experimental film design with professor ben ramsbott,. There master of arts in 1988. Founder of nonine recordings. Lives and works in berlin. Ups&downs, schaufenster, berlin (with wolfgang flad and michael bause). Dies irae, arts ...

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platformart.eu

Useless Gestures | platFormArt

http://www.platformart.eu/useless-gestures

PLASTER, LEAD, IRON, 1 BUXY – LIMESTONE. DIM: 130 x 100 x 100 CM HWD. Studio view in the early 1990’s. 8211; like SELFPRESENTATION – within the creative act, how could that be a good idea? In the studio’s point of view, this seems yet quite inevitable, although it is the old l’art-pour-l’art-story of the selfreferential artist, seemingly impossible to surmount. Tired of facing this pending question everytime his. Started in an uninspired mood, the sculptor ordered to himself what mostly clients ask:.

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7 x 7 Frontend | navigation layer for sculpture-theory | platFormArt

http://www.platformart.eu/7-x-7-frontend

7 x 7 Frontend. Ca 105 x 57 x 57 CM HWD". Table of '7 x 7 - A thinking tool game -. Tableau de '7 x 7 - Un jeu d'outil penser -. Spielplan von '7 x 7 - Ein DenkWerkZeugSpiel. Verdopplung = Redoublement = Redoubling" width="91" height="91" class="aligncenter size-full wp-image-3248" /. PAINT, 2 RED SANDSTONES, 1 LIMESTONE OF METZ - DIM.: 158 x 60 x 56 CM HWD - Rhyme words from the printed Baudelaire poem". Continue by clicking on any square. If not just click blindly or throw dices. 7 x 7 Frontend. 8216;s...

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B | CategoRies platFormArt

http://www.platformart.eu/category/b

B = branched – a tree structure seen from outside without any idea of the growing mode. B = bling-bling – tiré de l’actualité pour guérir les sentimentalités. B =baumartig – eine verzweigte Struktur in der Außensicht, ohne eine Vorstellung der Wachstumsform. Click on text above to view the categoRie’s alphabet-picture -. KAPITALISMUS & PILZE. Über die Beziehungen zwischen Pilzen und kapitalistischen Gesellschaften. Mit KAPITALISMUS & PILZE legt der Wanderclub Q.d.d.S. nunmehr. View all 3 comments. 2 long...

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OVER - REVO

http://www.platformart.eu/over-revo

OVER – REVO. Instead of UNDER to structure media content? If writing on relations between media and within them, as part of any perceivable content, using OVER instead of UNDER is preferable for at least 2 reasons:. In language grammar, OVER is called a. Or connector and described as having no own, clearly determined signification. But one could also follow the next suggestion. ExChange with pFA Cancel reply. HAZE – Netlabel. Artwork by ME Raabenstein. The Melton Prior Institute. Sign in to pFA. I confir...

platformart.eu

Ritual Invention

http://www.platformart.eu/ritual-invention

Often have repetitive, cyclic forms, moving around a sculpture in a certain way may be part of a ritual or a ritual invention. The presented video at least makes this stake. The following article first gives a short overview on how the ways of viewing of and interacting with sculptures have changed up to now, before then giving some cues to the video’s basic configuration in relation to the presented sculpture. Http:/ www.platformart.eu/wp/wp-content/downwards/ritual-invention.m4v. Serres further on stat...

platformart.eu

UNDER - REDNU

http://www.platformart.eu/under-rednu

UNDER – REDNU. On and in front of a media screen? Relations between media, within them and towards their receiver, as part of any perceived content by him, could be described as signed by UNDER: Mostly UNDER the viewpoint of their viewer! In language grammar, UNDER is called a. Or connector and described as having no own, clearly determined signification. E.g. supposing to recognize the message hidden UNDER or INBETWEEN(? ExChange with pFA Cancel reply. HAZE – Netlabel. Artwork by ME Raabenstein. If you ...

platformart.eu

Prepositions

http://www.platformart.eu/prepositions

To (at least visually) structure media content? Relations between media and within them, as part of any content, are mostly established by prepositions. In language grammar, prepositions are called. Or connectors and described as having no own clearly determined signification. In fact, a preposition, in many languages, may have more than one meaning, depending on the context of its usage and the viewpoint of its recipient! ExChange with pFA Cancel reply. Artwork by ME Raabenstein. HAZE – Netlabel. Powere...

platformart.eu

Searching for Stewart Home Nude | platFormArt

http://www.platformart.eu/stewart-home-nude

While surfing, I was prompted to do a search for ‘Stewart Home Nude’ on any x-umpteen search engine. A name, not unknown to me since the days of Myspace, ‘Stewart Home’ and a subject ‘nude’ like ‘a nude by Rodin’, that could interest the sculptor of course, that I did that on the usual mainstream and simply head-counting search engine:. With its first page, as I don’t find, but – according to the internet’s Categorical imperative. 8211; only seek,. I got these results. Create memory by headstand. 8221; s...

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martin eugen raabenstein. |

The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. Untitled, 30 x 21 cm, ink on paper, 2011. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. Interview with ruprecht von kaufmann. The stash ser...

raabenstein.de

martin eugen raabenstein. |

The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. The haunt series, ink, inkwash, acrylic and paper on cardboard, 93 x 69 cm, 2015. Untitled, 30 x 21 cm, ink on paper, 2011. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. The fraud series, 186 140 cm, ink, ink wash, acrylic, oil and paper on canvas, 2015. Interview with ruprecht von kaufmann. The stash ser...

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