This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

This paper is intended to serve as a supporting document for the exhibition "No Peace" that was held at the Artery Gallery, 158 King St. W, Kitchener, ON, Canada, March 28 - April 18, 2009. This drawing installation presents the emotional restlessness of an immigrant who lives in a peaceful place but at the same time is tormented by the ongoing war in his homeland. The drawings make use of the vocabulary of abstraction while presenting the physical process of a repetitive line-based action. The work does not illustrate a political narrative but reflect on recent global issues by using the personal language of art. The No Peace installation combines drawing with video, animation, and performance in the hope of gaining a more communicative interaction with the viewer.

Die Idee für das im Folgende beschriebene Kunstprojekt entstand im Sommer 2008 beim Besuch der Prager Stadtbibliothek, wo eine Buchskulptur des Künstlers Matej Kren steht. Die Vorstellung, dass dies auch in Zittau möglich ist, stieß bei der Direktorin der Hochschulbibliothek Frau Dr. R. Konschak auf großes Interesse. Mit Prof. Dr.-Ing. J. Tomlow war schnell der richtige Ansprechpartner im Fachbereich Bauwesen gefunden.

This diploma thesis focused on designing of systematic wiring of multifunctional sports centrum. The work is divided into two parts. The first part of the work is dealing with definitions and principles necessary for electrical project documentation. There is a presentation of the KNX bus control system, which is chosen for the implementation of the systematic wiring of the sports centrum. There is also an overview of currently used systems for wiring control. At the end, the design of artificial and emergency lighting is processed using a computer program. The content of the second part of the work is a complete project documentation for construction of the multifunctional sports hall using the KNX bus system. Furthermore, the documentation draws the design of power and data distribution to the relevant floor plans of the building, the design of power and system switchboards, an overview scheme of power distribution, topology of the KNX system, budget and technical report.

Die Idee für das im Folgende beschriebene Kunstprojekt entstand im Sommer 2008 beim Besuch der Prager Stadtbibliothek, wo eine Buchskulptur des Künstlers Matej Kren steht. Die Vorstellung, dass dies auch in Zittau möglich ist, stieß bei der Direktorin der Hochschulbibliothek Frau Dr. R. Konschak auf großes Interesse. Mit Prof. Dr.-Ing. J. Tomlow war schnell der richtige Ansprechpartner im Fachbereich Bauwesen gefunden.

Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts degree of Georgia State University, is a multidiscipline and multiplatform exhibition of post-institutional critique that uses my lived experience of being an academic artist pursuing a terminal art degree at a public university as its point of departure. It evaluates how societal expectations influence the formation of individual and group identity in mediated culture. Buy Nathan Sharratt challenges the hierarchy of economic and social value systems by simulating an institutional museum retrospective of super-famous and super-commoditized artist “Nathan Sharratt.” The exhibition is divided into a gallery space, a project space, a gift shop, and a virtual space. It includes art objects and performances to pose that the art experience has been compressed into a simulation, in which art serves as the trigger for social networking and virtual experiences, rather than critical assessment.

published_or_final_version / Industrial Engineering / Master / Master of Science in Engineering

published_or_final_version / Architecture / Master / Master of Science in Construction Project Management

No description available.

PRADŽIA - tai instaliacija apie kūrybą, mano kūrybos pradžią. Nuo didžiojo sprogimo atsiradus mūsų visatai joje yra terpė egzistuoti mums, o toje kosiminėje erdvėje yra vieta ir kūrėjui, tapytojui (ne tik asmeniui). Mąstymai apie didžiąsias visatos paslaptis, apie mūsų vietą pasaulyje, apie kūrėjo, menininko poziciją, apie kūrinį, inspiraciją, - tai laukas, kuriame radosi šie darbai, kiekvienas iš jų nešantis informaciją apie tam tikrą kūrybos etapą, tam tikras kūrybos pradžios ištakas. Studijų metu siekiau konceptualaus temos pagrindimo: savo teoriniame darbe „Instaliacija konceptualiojo meno kontekste“ domėjausi konceptualizmo ištakomis it instaliacinais elementais. Konceptualūs ir technologiniai ieškojimai suformavo mano magistrantūros studijų temos turinį. Kūrybinio proceso pradedamoji stadija – pradžia – man yra gruntuojama drobė, šiuo atveju popierius, eskizavimas, meditatyvus buvimas studijoje su kūriniais ir darbo priemonėmis, eksperimentavimas: vinys paliekantys Kristaus kontūrus studijos sienoje, sapno įvaizdinimas ir pan. Temos turinį stengiausi perteikti ne tik vizualinėmis priemonėmis, bet ir ekspozicjos galimybėmis: kiekvieną naują erdvę apmąsčiusi darbus taikiau pagal diktuojamas erdvės technines ir emocines sąlygas. Nors ir tokios pačios tematikos, skirtingose erdvėse taikomi darbai perteikė ir papildomą informaciją, kaip, pavyzdžiui, Homo Ludens menų forume rodyta instaliacija „Pradžia. Tikėjimas“ buvo apie tikėjimo pradžią, jo pobūdį kiekvienam... [toliau žr. visą tekstą] / It‘s an installation about creation, about my own ouvre. Ever since the Big Bang our universe is place where we egsist, and in this space we also have place for a crator, painter (not only as a person). Thoughts about the big wonders of the universe, about our position in the world, about creator‘s, artist‘s position, thinking about inspiration and creation, - this is the field in with these works were created, each of them bearing specific information about specific part of creation. Conceptual and technological research helped to form my master studies‘ concept. The beginning to me is new canvas, in this case paper, skeching, maditation in my studio space, being with my works and matterials, constant experimenting: nails that leave a trace of Jesus‘s figure on the wall, visualisation of a dream, etc. To express the content of my concept, I‘ve not only used visual measures, but also different expositions: thinking through every exposition space, I decided on individual expositions that expressed slightly different concept each time. Intuition, spontaneity, visual vaguesness, skechiness, etc. are very important in my work process. I try to avoid using very direct pictures, to me it‘s important to match visual and emotional perceptions.