160 results for ""blade runner""

RoboCop 1987 Unframed Original Vintage Cinema Lobby Card Extra Large 11x14" inches / 28x36 cm paper size Unframed (framing options available - please enquire) Condition: Excellent ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------------------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveller through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations , but which lend themselves to his own work. In a similar way he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypcal and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylised, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing, and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modelled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys; and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights and soldiers. In the case of monsters, mythical creatures and robots, it is more about creating visions of the future and parallel worlds. Certainly since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This of course can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Inspired by the angular architecture and dark moods of Ridley Scott’s 1982 masterpiece blade runner, the fold lamp reflects an ambient glow both forward and backward via two fins of ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Archival pigment print Signed and numbered, verso 8 x 10 inches, sheet (Edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increa...

Archival pigment print Signed and numbered, verso 30 x 40 inches 40 x 50 inches 50 x 60 inches (Total edition of 15) This artwork is offered by CLAMP, located in New York City. Please note that prices increase as editions sell. Lori Nix and Kathleen Gerber's series, "The City" (2005-2013) moves indoors to a variety of architectural interiors that could be found in our own urban surroundings. While much of Nix and Gerber’s earlier work was grounded in personal experience, this series exists more in the realm of speculation. These public spaces lie deteriorating and neglected while nature slowly reclaims them. The reason for their decline is unclear, but the effects are not. Lori Nix and Kathleen Gerber have been making art collaboratively for over sixteen years. Originally from the American Midwest, now based in Brooklyn, they construct meticulously detailed model environments and photograph the results. For the last decade they have found inspiration in their urban surroundings, imagining a future mysteriously devoid of mankind. Their miniature fake landscapes and interiors reflect a love of science fiction and dystopian entertainment (think “Blade Runner,” “Planet of the Apes,” “Logan’s Run...

Archival pigment print Signed and numbered, verso 30 x 40 inches 40 x 53 inches 48 x 65 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. ...

Archival pigment print Signed and numbered, verso 20 x 24 inches 30 x 40 inches 40 x 53 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. ...

Archival pigment print Signed and numbered, verso 16 x 20 inches (Edition of 7) 20 x 24 inches (Edition of 7) 30 x 40 inches (Edition of 7) This artwork is offered by ClampArt, l...

Archival pigment print Signed and numbered, verso 24 x 20 inches 40 x 30 inches 53 x 40 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Lori Nix and Kathleen Gerber have been making art collaboratively for over sixteen years. Originally from the American Midwest, now based in Brooklyn, they construct meticulously detailed model environments and photograph the results. For the last decade they have found inspiration in their urban surroundings, imagining a future mysteriously devoid of mankind. Their miniature fake landscapes and interiors reflect a love of science fiction and dystopian entertainment (think “Blade Runner,” “Planet of the Apes,” “Logan’s Run...

Archival pigment print Signed and numbered, verso 20 x 40 inches 30 x 60 inches 40 x 77 inches 48 x 92 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. With the series, "Lost" (2003-2004), Nix and Gerber continue their investigation of the constructed landscape, this time examining feelings of isolation and loneliness. Like much of their previous work, this group of photographs...

Archival pigment print Signed and numbered, verso 20 x 24 inches 30 x 40 inches 40 x 53 inches 48 x 65 inches (Total edition of 15) This artwork is offered by ClampArt, located in ...

Archival pigment print Signed and numbered, verso 24 x 20 inches 36 x 30 inches 48 x 40 inches 60 x 48 inches (Total edition of 15) This artwork is offered by ClampArt, located in ...

Archival pigment print Signed and numbered, verso 18 x 24 inches 30 x 40 inches 40 x 53 inches 48 x 65 inches (Total edition of 15) This artwork is offered by ClampArt, located in ...

Archival pigment print Signed and numbered, verso 40 x 60 inches 50 x 75 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note tha...

Archival pigment print Signed and numbered, verso 40 x 50 inches 48 x 62 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note tha...

Archival pigment print Signed and numbered, verso 24 x 40 inches 30 x 50 inches 40 x 69 inches 48 x 80 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. With the series, "Lost" (2003-2004), Nix and Gerber continue their investigation of the constructed landscape, this time examining feelings of isolation and loneliness. Like much of their previous work, this group of photographs...

Archival pigment print Signed and numbered, verso 16 x 20 inches (Edition of 7) 20 x 24 inches (Edition of 7) 30 x 40 inches (Edition of 7) This artwork is offered by ClampArt, l...

Archival pigment print Signed and numbered, verso 16 x 20 inches (Edition of 7) 20 x 24 inches (Edition of 7) 30 x 40 inches (Edition of 7) This artwork is offered by ClampArt, l...

Jorge Zalszupin (1922–2020) "Commander" Armchair, 1973 Designed in 1973, the "Commander" armchair marks a bold departure from Jorge Zalszupin’s signature use of rosewood and richly g...

Archival pigment print Signed and numbered, verso 30 x 30 inches 40 x 40 inches 48 x 48 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. ...

Neon Demon (Shot 2019 on 600 film) Influenced by films such as Ridley Scotts Blade Runner and Luc Bessons Fifth Element, it is based on futuristic imaginings of planet earth. Editi...

Other Side of the Eye (Shot 2019 on 600 film) Edition of 10 - 20 x 20 cm - Digital C-Print based, not mounted. Signed on back and certificate. Artist: The image was in part influ...

Original 8x10 inches Publicity Film Still for Judge Dredd (1995) starring Sylvester Stallone. Publicity (film/production) stills were created to help studios promote their new films...

This chair caused a sensation at the iSaloni 2025 exhibition in Milan, where it was presented for the first time. The Vero armchair is on the verge of art and functionality. Simpli...

The Wills Building, an iconic building in Bristol. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of...

Rising like a phoenix from the dereliction of Battersea Power Station, London. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable...

An abandoned cinema in Caibarien, Cuba. This pre-Revolutionary edifice was built when Cuba was a playground for tourists and mobsters alike, and America was still revered as somewhe...

Space age stanchion or age old factory… – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Blade Ru...

A deserted multi-storey car park in Bristol. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Bla...

A factory in Avonmouth. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Blade Runneresque postmo...

A picture of Emptiness, Babylon… – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Blade Runneresq...

A deserted multi-storey car park in Bristol. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Bla...

Rising like a phoenix from the dereliction of Battersea Power Station, London. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable...

Import of Art into the US should be exempt from all U.S. import tariffs but please check. “Minato–Higashiazabu” — Tokyo, June 2, 2024 A cinematic still suspended between reality an...

Space age stanchion or age old factory… – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable interiors. It is rather of a Blade Ru...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...