- 1st prize (shared): "Moving border" by Kuesti Fraun
- 1st prize (shared): "Moving Square" by Jürgen Heinz
- 2nd prize: "2/ VAR 1/9" by Christine Kruse
- 3rd prize: "tabula rasa / in wandlungsfreiheit" by Constanze Schüttoff
- Special mention to Dina Hillebrand, Markéta Váradiová, Geraldo Zamproni
- Special prize: "Floating Alive" by Jiefu Zhou
- The jury decision for the 10th International Art Competition
„For Us All”
Inflatable art manifests itself not only enclosuring wind, but also by carrying messages and being an agent of change. Since the first balloon flight over Versailles, inflatables are these carriers – first of human curiosity, then of the artists’ practice. For Zamproni, inflatables are able to create new ways to coexist with/in established places, questioning their conditioning configuration. A good example is his previous project called “Volatile Structure”, exhibited for the first time in 2012, at the Millennium Biennale in Granada (Spain), in which the artist created new ways to perceive and interact with pre-existing structures in indoor and outdoor spaces.
This time, the project we call “For Us All”, proposed for the 10th Bewegter-wind exhibition, faces the challenge of creating structures that are able to coexist with nature and to reflect a nature-like behaviour. The three sculptures resulted from this project are intended to demonstrate a creative process that approaches a possible interpretation of how nature manifests itself in the world: by pure spontaneity. These sculptures will be hand-built by the artist and the creation process won’t follow a specific design project. Instead, the artist will choose random pieces of fabric and sow them together without following preconceived visual patterns. His intention is to dive into his own organic process of creation, building and changing at the same pace. The only condition the artist will take into consideration is the scale, that should be close to as shown in the pictures attached with this application.
By proposing monumental abstractions as results of a creative process, the idea is to defy the synthetic, human-altered world by appropriating from it at the same time. The abstraction of form is not only an aesthetic appeal in this project, but also a possible consequence of an intuitive creative process - a result of faith, as Willem de Kooning would say. Thus, the artist attempts to unite physically and metaphorically the organic and the manufactured worlds. In this sense, this “For Us All” project is not only a proposition to display exhibits, but it is essentially an investigation of a challenging creation process in which the exhibits are seen as results of this investigation.
After the sculptures are built in the artist’s studio and then installed at Reinhardswald Park, the they will coexist with the local environment, changing themselves with the landscape like organisms. They will mold themselves with the earth and the air; they will crumple with touches from the audience and the ground; they will wiggle and make noises with the wind; and unpredictable, they can be changed with weather and over the time. After all, change is inevitable.
It’s worth saying that it’s hard to simulate results of this particular project, considering the manner the artworks should be built. The images attached to this application are simulations of the project’s possible outcome, and they intend to offer a general comprehension of the project and it’s aesthetic possibilities. Being this a project yet to be accomplished, with exhibits that should be produced in an organic and intuitive creation process, the outcome can differ from the simulations.
Shortly, we can say the “For Us All” project proposes the materialization of an experimental and flexible creative process. This process tries to resemble nature’s way of existing, following organicity and the impulse for change. The artworks that will result from this project and will be installed at Reinhardswald Park will be versatile, malleable and interactive sculptures, created to be part of the landscape without damaging it. Symbolically, they will act like monuments projecting coexistence between the artificial and the natural world - a much needed harmony in these times of change.