Sentences with phrase «ein beitrag»

The aforementioned hyperactivating coping strategies, involving «reacting quickly and vocally to early, and perhaps ambiguous, cues of imminent danger» (Ein - Dor et al., 2011, p. 80) might explain the relationship between attachment anxiety and N1 latency.

Number 12 «Sexual healing» Dr. Tsachi Ein - Dor at the School of Psychology, Interdisciplinary Center, Herzliya, Israel talks about how sex can alleviate stress for both men and women in satisfying relationships.

About Blog Im SommerKunstBlog lasse ich mir möglichst jede Woche ein Thema aus meiner Kunstwelt einfallen.

Likewise, when Bruce MacEwen rejects the «ich bin ein solo» hype that has so many other big law boosters rushing to embrace solos and instead, wonders whether big - firms - turned - solo will ever be the «main event,» I worry.

Ich bin ein a shingler!

Under this rubric, e.g. Meng discusses the topic of services of general economic interest («Die «Dienste von allgemeinem wirtschaftlichen Interesse» — ein Problem der Normenklarheit im EU - Recht»).

1959 K. Hinkelmann, «Ein Numerisches Experiment Mit Den Primitiven Gleichungen.»

Actually, your «Ein Reich, ein Volk, Ayn Rand!»

Δ (H&W) ≈ Ein + heat from combustion + heat from radioactive decay and primordial heat in he earth interior — Eout

Another way is that the Ein at the «surface» is 330 Wm - 2 daytime and would have to release the same at night to be in a steady state.

Ein changed little in the period.

Eout = Ein at the TOA is just fine IF you can measure Ein and Eout at the TOA:) Poor polar coverage can lead to Olympic class conclusion jumping.

On one of Alick's not - so - funny days, some say, he told a risque story to a German guest («Gab es ein junger Mann von Nantucket...»), who laughed loudly, moving the queen to ask that the story be repeated.

There the annual average Ein = Eout = ~ 341.1 Wm - 2 for a spherical shape.

Ich habe ein bisschen Deutsch.

The current in the lamp will drop slightly, wich means that white hot tungsten wire is heated up still a few degrees by «back radiation» from a quite cooler place and because that metal wire is a NTC - resistor or «Ein Kalt - leiter».

Das wird ein hei er Sommer Climate science is one of those fields where anyone, regardless of their lack of expertise or understanding, feels qualified to comment on new papers and ongoing controversies.

In deutscher oder englischer Sprache, ist Stefan ein erstklassiges Klima Kommunikator.

Amine Haase, «Ein Kunst - Haus in Bewegung,» Kölner Stadt - Anzeiger, Nr.

In 2002, Salon de Fleurus was included in the Whitney Biennial, Sydney Biennial, and exhibition Am Anfang der Bevegung stand ein Skandal in the Lenbachhaus Munich.

Such works included the monumental sculpture, Prinz Friedrich von Homburg, Ein Schauspiel (1998 - 2001, National Gallery of Art, Washington DC).

Ein Amerikaner in Magdeburg.

Some of them — such as Prinz Friedrich von Homburg, Ein Schauspiel, 3X (1998 — 2001), a 31 - foot (9.4 - metre) mixed - media sculpture installed in front of the National Gallery of Art in Washington, D.C. — were public art commissions.

Mayer's work has been included in many institutional exhibitions, including Painting 2.0: Malerei im Informationszeitalter (2015/16) at MuMoK in Vienna and Museum Brandhorst in Munich, Captain Pamphile — Ein Bildroman in Stücken (2011) at Collection Falckenberg, Deichtorhallen in Hamburg, Make Your Own Life: Artists In & Out of Cologne (2007) at the Henry Art Gallery at University of Washington, Seattle and Museum of Contemporary Art Miami, and Made In Berlin (2004) at Art Forum Berlin, Berlin.

This intense period, during which the artist also published a sizeable sylloge of writings (Ich will Sofort ein Buch machen / Voglio fare subito un libro, Sauerländer, Aarau - Frankfurt and Hopefulmonster, Florence), was followed by a phase characterised by a return to the essential nature of matter and line (one - man show at the Fundaçâo de Serralves, Porto, 1999).

The videos include the work by Ludwig Hirschfeld - Mack, Kreuzspiel, which concerns the reconstruction of a machine for light shows designed in the mid 20s; Ein Lichtspiel schwarz - weiss - grau of 1930 by László Moholy - Nagy, which contains clear references to light effects; the film Filmstudie (1926) by Hans Richter, renowned for his experimentation with abstract and moving forms in the first half of the last century, and lastly the video Blue Movie by Marc Adrian, which belongs to a later generation but undoubtedly bears the legacy of the aforementioned experimental works.

Accompanying events will also include an evening of performance by Ben Vautier, a screening of films curated by Stuart Comer, a listening session by Francis Baudevin, and «Absenz --(k) ein konzert» a concert by Ensemble Neue Horizonte.

2000 Afterimage: Drawing Through Process, Contemporary Arts Museum, Houston, USA Force - fields Phases of the Kinetic, MACBA, Barcelona, Spain; Hayward Gallery, London, England La Temps Vite, Centre Georges Pompidou, Paris, France ein / räumen Arbeiten im Museum, Hamburger Kunsthalle, Germany

Solo exhibitions 2018 T293, Roma (upcoming) 2018 INCA, Institute for New Connotative Action, Portland, OR, US (upcoming) 2018 «The Prodigal Daughter», GagaReena, Los Angeles, CA, US (upcoming) 2018 «Invisible receivers», Century Pictures, Brooklyn, NY 2017 «I Am Your Voice», Karst, Plymouth 2017 «The Crack - Up», Neuer Berliner Kunstverein, Berlin 2016 «Claire Fontaine», Académie de France à Rome — Villa Medici, Rome 2016 «Claire Fontaine», Museo Pietro Canonica a Villa Borghese, Rome 2016 «MAY OUR ENEMIES NOT PROSPER», Galerie Neu, Berlin 2015 «The winter of discontent», Carl Kostyál, London 2015 «Love is Never Enough», Air de Paris, Paris 2015 «Stop Seeking Approval», Metro Pictures, New York 2015 «Pretend to be dead», T293, Rome 2013 «Using Walls, Floors, and Ceilings», The Jewish Museum, New York 2013 «Un regard sur l'Inventaire vol.1 et vol.3», Frac Haute Normandie, Sotteville - lès - Rouen 2013 «Etrangers Partout», Frac Provence - Alpes - Cote d'Azur, La Bouilladisse 2013 «Some Redemptions», Metro Pictures, New York 2013 «1493», Espacio 1414, Porto Rico 2013 «Redemptions», CCA Wattis Institute for Contemporary Arts, San Francisco 2013 «Sell Your Debt», Queen's Nails, San Francisco 2012 «Carelessness Causes Fire», Audain Gallery, Vancouver 2012 «Breakfast starts at midnight», Index, Stockholm 2012 «Ma l'amor mio non muore», T293, Rome 2012 «Équivalences et Généralités», La Douane, Galerie Chantal Crousel, Paris 2012 «M - A-C-C-H-I-N-A-Z-I-O-N-I», Museion, Bolzano 2011 «M - A-N-I-P-U-L-A-T-I-O-N-S», SIZ Gallery, Rijeka 2011 «Working Together», Metro Pictures, New York 2011 «The Assistants», Petra, Messico D.F. 2011 «I», Yama, Istanbul 2011 «The Interpreter», Artist Projects, Art Brussels, Brussels 2011 «P.I.G.S.», MUSAC Contemporary Art Museum, Castiglia e León 2011 «Some instructions for the sharing of private property», Onestar Press, Paris 2011 «No Family Life», Air de Paris, Paris 2011 «Fighting Gravity», Regina Gallery, London 2011 «Fighting Gravity», Regina Gallery, Moscow 2011 «Arando en el mar», Gaga Galería de Arte Contemporáneo, Messico D.F. 2010 «Consumption», Helena Papadopoulos Gallery, Athens 2010 «Closed for Prayers», Dvir Gallery, Hangar 2, Jaffa Port 2010 «Kultur ist ein Palast der aus Hundescheiße gebaut ist», MD72, Mehringdamm 72, Berlin 2010 «Unbuilding», Caterina Tognon Gallery, Venice 2010 «Economy», Museum of Contemporary Art, Miami Nord 2010 «Future Tense», Museo Tamayo Arte Contemporáneo, Messico, D.F. 2009 «Inhibitions», Reena Spaulings, New York 2009 «After Marx April, After Mao June», Aspen Art Museum, Aspen 2009 «Recessions», Galerie Gabriele Senn, Wien 2009 «The Exhibition Formerly Known as Passengers», CCA Wattis, San Francisco 2009 «Changement de Propriétaire», Sorry We're Closed, Brussels 2009 «Tamed», Perché Napoli?

(Joseph Marioni and Hannelore Kersting, Ein Dialog, in: Hannelore Kersting (ed.)

The show, named after the once popoular German Advent and Christmas carol «Maria durch ein Dornwald ging» (Maria walks amid the Thorn), presents around 30 pictures and a sculpture.

The artist's work is part ofseventy public collections worldwide, including the Albright - Knox Art Gallery, Buffalo, New York; Art Institute of Chicago; Dallas Museum of Art; Museum of Ein Harod, Israel; The High Museum of Art, Atlanta; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Israel Museum of Art, Jerusalem; IVAM Centre Julio Gonzalez, Valencia, Spain; Jewish Museum, New York; The Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Miami Art Museum; Modern Art Museum of Fort Worth; Musée d'Art Contemporain de Montréal, Canada; Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Nationalgalerie, Berlin; National Gallery of Art, Washington, D.C.; National Museum of American Art, Washington, D.C.; The Nelson - Atkins Museum of Art, Kansas City; The Pennsylvania Academy of Fine Arts, Philadelphia; Philadelphia Museum of Art; The Phillips Collection, Washington, D.C.; The Saint Louis Art Museum; The Solomon R. Guggenheim Museum, New York; The Tate Gallery, London; The Tel Aviv Museum, Israel; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.

The exhibition also included a collaborative film by Rojas and Andrew Jeffrey Wright entitled, Ich bin ein manipulator, a follow - up to their award - winning animated short, The Manipulators.

Joseph Beuys Symposium at the Mishkan Museum of Art in Ein Harod, Israel.

New York Underground Film Festival, Anthology Film Archives, New York, NY Bendover / Hangover, Cinema Zero at White Flag Projects, St. Louis, MO Preusspress @ Rental, Rental Gallery, New York, NY Please Stay Out, We're Open, Redling Fine Art, Los Angeles, CA «How To...» and «Film Noir» with Intermission, curated by Andrew Berardini, Chinatown L.A., Los Angeles, CA Champion Zero, curated by Flora Wiegmann, Rental Gallery, New York, NY Fall Collection, Kreiling &, Los Angeles, CA «Ein Abend zu Zweit» — Die Mandrake Bar im Fluc, Fluc, Vienna, Austria 2008 Whitney Biennial (with Amy Granat), curated by Shamim Momin and Henriette Huldisch, Whitney Museum of American Art, New York, NY T.S.O.Y.W. (with Amy Granat), doArt Gallery, Beijing, China Los Angeles Confidential (with Amy Granat), curated by Allyson Spellacy and Sandra Patron, Parc Saint Léger — Centre d'Art Contemporain, Pouges - les - Eaux, France Sturm und Drang (with Amy Granat), Galerie Kamm, Berlin, Germany Black Noise (with Flora Wiegmann), CNEAI, Paris, France

2001 D.Chong, «Korean American Views: on Exile, Travel, and Belonging», ARTAsiaPacific (Australia), no. 29, pp. 27 - 9 M.Hubl, Susanne Boecker, Doris von Drather, Heinz - Norbert Jocks and Paolo, Bianchi, «Die Landerpavillons: ein Fotorundgang von Wolfgang Tragers», Kunstforum International (Germany), no. 156, August - October, pp. 187 - 287 L.Yee., «Balancing Act,» Asian American Arts Dialogue, Spring, pp. 12 - 17

This symposium, in memory of Ahuva Ben Aharon, is done in conjunction with Midreshet Ein Hanatziv, Niggun Nashim and Oranim College.

She also presented established positions such as the pioneer filmmakers Hans Richter or Kenneth Anger, and a number of group shows, including «Bremer Freiheit» (Bremen Freedom), «Not a Drop but the Fall» and «Nichts weiter als ein Rendezvous» (Nothing more than a rendezvous).

Ms. Ettinger will present 2 video works: Ein Raham — Crazy Woman, and Ein Raham — Eurydice.

Thus the events of his career are sandwiched between world events (like Kennedy's 1963 «Ich bin ein Berliner» speech, or the 1969 moon landing) and art historical ones (such as Christo and Jeanne - Claude wrapping the Bern Kunsthalle in 1968, or Robert Smithson building the Spiral Jetty in 1970).

Left: Vergleich über ein Drittes (Comparison via a third), 2007 2 - channel video installation 24 min.16 mm film, transfered to digital Ed.

Ars Futura Galerie, Zurich, Switzerland An Schlaf ist nicht zu denken, Lab of Gravity, Hamburg, Germany Wespennest, (Wasp's Nest) Anton Kern Gallery, New York, NY 1999 Amerika verschwindet nur das Lächeln bleibt (America Disappears Only the Smile Remains), Anton Kern Gallery, New York, NY KAPUTT und die Folgen (Kaputt and the Consequences), Robert Prime, London, UK Videos, Centre Saint Gervais, Geneva, Switzerland 1998 Ein Sandstrand voll Glas (A Beach Full of Glass), Galerie Daniel Buchholz, Cologne, Germany Kunstschnee will schmelzen, Bureau Amsterdam, Stedelijk Museum, Amsterdam, Netherlands 1997 Samstag Morgen, Zuckersumpf, Robert Prime, London, UK This Bittersweet Disaster, Anton Kern Gallery, New York, NY 1996 Strom, Anton Kern Gallery, New York, NY The Bienenkorb Times, Galerie Daniel Buchholz, Cologne, Germany FRAC Languedoc Roussillon, Montpellier, France 1994 LOW, Artistbooth, Cologne Art Fair, Cologne, Germany LA BOUM, with Thorsten Slama, New Reality Mix, Stockholm, Sweden OMRON, six videos by Lothar Hempel, Preview Theatre Wardour Street, London, UK Bewegungslehre (No Future), Buchholz und Buchholz, Cologne, Germany 1992 240 Minuten, with George Graw, Galerie Esther Schipper, Cologne, Germany

Ein neuer Type («A New Type»), 1965, Georg Baselitz (b. 1938), grey and yellow ochre watercolour, charcoal, graphite and white pastel on paper.

Nach seiner erfolgreichen Ausstellung «Spray «in der Sandler Hudson Galerie Atlanta hat Graffitikünstler HENSE im Herbst 2012 seine Reise durch die USA fortgesetzt und in Washington DC halt gemacht um ein aussergewöhnliches Gebäude mit seinem abstrakten Stil zu bemalen.

1998 Wege, Astrid: «I would argue that the Trojan horse works... ``, Ein Faxinterview mit Mark Dion, in: Paradex 1 (November 1998), S. 9 - 11.

Ein Museum auf dem Prüfstand zeitgenössischer Kunst» («On probation.

George Adams Gallery, New York, NY Captain Pamphile — Ein Bildroman in Stücken.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

In collaboration with the Berliner Ensemble, KW will present Hier wird heute Abend ein Mensch wie ein Auto ummontiert / Ohne dass er irgendetwas dabei verliert.

2011 Herbei ein Licht!