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as well as the use of a local essence and strong identity, reinforces the link to the territory. It was here to give shape to a space, the space of the valley of the Creuse, marked by the history of pictorial currents of the nineteenth century. and 20th century. and thus exposing himself to a new reading, to a new look: the wooden raft and water, leaf reflecting on the river at the foot of the granite ruins and recalling the steep ridges of the surrounding landscape. When asked about this work Udo responded “Even if I work parallel to nature and only intervene with the greatest possible care, a basic internal contradiction remains. It is a contradiction that underlies all of my work, which itself can’t escape the inherent fatality of our existence. It harms what it touches : the virginity of nature… To realize what is possible and latent in Nature, to literally realize what has never existed, utopia becomes reality. A second life suffices. The event has taken place. I have only animated it and made it visible.”
466:. Udo created a nest-like structure supported by tree trunks, which made it very heavy. Inside the nest lay the child of a Real World (Studio in England where the album was recorded) employee (The child, Josh, is the son of Susie Millns at Real World’s Art department). The photograph was taken and then the installation was moved into Peter Gabriels's garden nearby. Finally due to issues of what to do with it, the gardener set the structure on fire. This did not upset Udo as his work is transient and there is a photograph that keeps the artwork still living. Its called OVO because it has an OVO form.
660:"We must realize our responsibility for what is happening, for society. Art always deals with reality. Those who shut their eyes to reality are liars and deprive themselves of any meaningful possibility of acting in society and (in the history of) art. What we are working for, if not for man, for society? Despite clear-sighted pessimism – we must hope in order to live. What counts for me is that my actions, Utopia-like, fuse life and art into each other."
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444:. Nils-Udo seeks to offer a mutualist vision wherein nature as environment is an omnipresent backdrop. In revealing the diversity in a specific environment, he establishes links between human and natural history, between nature and humanity that are always there, yet seldom recognized. Nils-Udo uses natural materials, such as sticks, petals, branches, to create site-specific installations.
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657:"Nature is still complete and inexhaustible in her most remote refuges, her magic still real. At any time, meaning any season, in all weathers, in things great and small. Always. Potential Utopias are under every stone, on every leaf and behind every tree, in the clouds and in the wind. Pitting poetry against the inhuman river of time"
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as a monumental sculpture designed with natural materials. In the shape of a stylized maple half-leaf, 6.80 meters long and 3.90 meters high, the work is built in round trunks with light chestnut wood, assembled "with the old "tenons, mortises and ankles. This traditional, solid and aesthetic blend,
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who has been creating environmental art since the 1960s when he moved away from painting and the studio and began to work with, and in, nature. He began in the 1960s as a painter on traditional surfaces, in Paris, but moved to his home country in
Bavaria and started to plant creations, putting them
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Lost in the immensity of the mountainous red sand dunes of
Namibia. One of the oldest deserts in the world. Not a breath of wind, not a sound. The tracks of a solitary gazelle crisscross the huge immaculate hollow at the foot of one gigantic dune. The shadow of late afternoon sun rapidly draws
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is a monumental sculpture in
Wittgensteiner-Sauerland, Germany. Udo creates the effect of an ancient temple by installing in the middle of the structure an enormous cube of rock framed by a monumental architectural trunk form made out of wood. The quartzite monolith weighs almost 150 tons and,
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integrated into the peaceful grandeur of the forest, it forms a monument and memorial in its own right: its size, its timeless association with the earth, and its uniqueness. When exposed to this powerful entity, the viewer experiences his/her own temporality and vulnerability.
663:"Everything perceivable through human senses takes part--Natural space experienced through hearing, seeing, smelling, tasting and touching. By means of the smallest possible interventions, living, three-dimensional natural space is reorganized, unlocked and put under tension."
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in Nature's hands to develop, and eventually disappear. As his work became more ephemeral, Udo introduced photography as part of his art to document and share it. Perhaps the best known example of his work for the general public is the cover design for
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654:" documentation of a dying world experience. To bear witness, at the last possible moment, to a now seemingly anachronistic perception of life, an attitude that can barely be understood, even by those willing to do so."
666:“By installing plantings or by integrating them into more complex installations, the work is literally implanted into nature. As a part of nature, the work lives and passes away in the rhythm of the seasons.”
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651:"Being a part of nature, being embedded in it and living on it, it appeared to me that acting in compliance with the laws of nature was something self-evident and necessary for survival."
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had the desire of local authorities to initiate artistic and cultural projects in a remote rural areas based on the environmental qualities of its sites. Udo proposed
648:"Moving from Paris to rural Bavaria, perceiving the endangerment of nature, its growing destruction, I lived through a profound change of awareness."
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597:: Bamboo, earth, oranges, limes, and lemons, site-specific work, Topanga Canyon, California. Commissioned by ecoartspace, 1998
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531:: spruce trunks, birch branches, willow switches and sod on tidal flats,Waddensee mudflats, Holland, 1982
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Peter
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1055:"Nils Udo contemporary art installation and video — Radeau d'Automne – TLmagazine"
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938:"6 Environmental Artists Who Celebrate Nature and Promote Positive Social Change"
576:: Fern leaves and mud, view of site specific work in Marchiennes, France, 1994.
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Chestnut leaf, vetch flowers, pond, Vassiviere, Limousin, France, 1986
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from the article and its talk page, especially if potentially
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638:: Mountain Bluets, Pigment print 135x180 cm , Pyrenees , 2018
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may be in need of reorganization to comply with
Knowledge's
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630:: Spruce logs and white marble, Valle di Sella, Italy, 2008
1026:"Le Radeau d'Automne – Nils Udo – Ministère de la Culture"
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997:"Stone-Age-Man Nils Udo Kühude – waldskulpturenweg.de"
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206:to make improvements to the overall structure.
523:: Benthelm sandstone, Nordhorn, Germany, 1982
260:. Consider transferring direct quotations to
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53:Learn how and when to remove these messages
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97:about living persons that is unsourced or
1205:represents Nils-Udo for commissioned work
608:: pampas grass, sand, wind—Namibia, 2001
342:Learn how and when to remove this message
222:Learn how and when to remove this message
168:Learn how and when to remove this message
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1162:"Nils-Udo-Interview by John K. Grande"
16:German artist from Bavaria (born 1937)
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431:(born 1937) is a German artist from
1101:"ART IN THE URBAN SPACE – Nils Udo"
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967:"Ovo » Real World Galleries"
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34:This article has multiple issues.
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948:from the original on 2021-10-05
916:from the original on 2018-11-27
874:from the original on 2009-05-27
42:or discuss these issues on the
304:format but may read better as
1:
839:"Artist/Naturalist Nils Udo"
75:biography of a living person
1249:German installation artists
1229:People from NĂĽrnberger Land
715:Nils-Udo: sur l'eau, 2015,
448:Selected works and projects
102:must be removed immediately
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1234:Photographers from Bavaria
1130:"Art in nature – Nils Udo"
868:"Hypergallery.com profile"
1001:www.waldskulpturenweg.com
363:
1084:"Nils-Udo: Nature Works"
258:summarize the quotations
795:Environmental sculpture
677:Nils-Udo: Art In Nature
313:converting this article
971:realworldgalleries.com
89:Please help by adding
1244:German male sculptors
1203:black flamingo agency
1166:www.ecologicalart.org
843:www.morning-earth.org
513:Other Important Works
95:Contentious material
1030:www.culture.gouv.fr
494:The community of d’
383:Lauf an der Pegnitz
204:editing the article
1198:Nils-Udo on artnet
643:From His Own Words
612:closer. - Nils Udo
315:, if appropriate.
1086:. September 1999.
910:www.sculpture.org
790:Environmental art
721:978-2-330-05056-6
589:Mexico City, 1995
505:Radeau d' Automne
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1219:1937 births
490:(2013–2014)
407:photography
391:Nationality
1213:Categories
1176:2018-11-27
1144:2018-11-27
1115:2018-11-27
1069:2018-11-27
1059:TLmagazine
1040:2018-11-27
1011:2018-11-27
981:2018-11-27
952:2021-10-05
920:2018-11-27
878:2009-06-22
853:2018-11-27
811:References
627:Sella Nest
528:Waterhouse
266:Wikisource
128:newspapers
117:"Nils-Udo"
39:improve it
585:Sculpture
403:Sculpture
385:, Germany
262:Wikiquote
249:contains
80:citations
45:talk page
1193:Nils-Udo
1170:Archived
1138:Archived
1134:Nils Udo
1109:Archived
1105:Nils Udo
1063:Archived
1034:Archived
1005:Archived
975:Archived
946:Archived
914:Archived
872:Archived
805:Land art
779:See also
705:, 2003,
692:, 1996,
679:, 2002,
635:Entrance
619:The Nest
429:Nils-Udo
421:Land art
413:Movement
358:Nils-Udo
325:May 2022
274:May 2022
212:May 2022
158:May 2018
106:libelous
727:Gallery
690:Le maĂŻs
570:Tadpole
542:Robinia
500:Crozant
433:Bavaria
142:scholar
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573:Willow
562:Flower
473:(2001)
456:(2000)
394:German
300:is in
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548:Swing
520:Tower
306:prose
149:JSTOR
135:books
73:This
717:ISBN
707:ISBN
703:Nids
694:ISBN
681:ISBN
605:Edge
602:Dune
581:Root
559:Blue
545:Leaf
498:and
419:and
379:1937
376:Born
302:list
121:news
82:for
556:The
463:OVO
454:OVO
442:OVO
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