In exhibition settings, the »CREMASTER Cycle« by Matthew Barney turns out to be a medial hybrid, constructed from films, objects, photos, and drawings. The Cycle is only created by a gaze wandering around between the diachronicity of the film-narration and the synchronicity of the exhibition setting – the viewer completes the work himself with his path through the exhibition. »CREMASTER« remains a work in progress. In this volume, contributions from art, film, and theater studies boldly give their respective disciplinary perspectives on forms of media convergence in Barney' s work. They focus on processes of meandering perception. Contributions on other works and performances by Barney provide outlooks on further aspects of his aesthetics.
Anatomien des CREMASTER Cycle - Skulpturzyklus, Filmzyklus, Ausstellungszyklus No access Pages 7 - 16
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Matthew Barney - vir heroicus sublimis: Einleitung zum Begriff einer künstlerischen Athletik No access Pages 17 - 56
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Linie, Kreis, Polygon: Matthew Barneys CREMASTER Cycle aus narratologischer Sicht No access Pages 57 - 78
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Matthew Barneys und Elizabeth Peytons Gemeinschafts performance Blood of Two - eine Rhetorik des Mythos oder »wahre Mythologie«? No access Pages 79 - 104
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»A sculpture that is made up of moving images, object systems, and still images« - skulpturale Dimensionen des CREMASTER Cycle No access Pages 105 - 130
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Unleashing of the Imaginary and a Search for the Perfect Form: The Significance of Masonic References in Matthew Barney''s CREMASTER 3 (2002) No access Pages 131 - 154
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Das Innere nach außen kehren - zur physiologischen Bildmetaphorik in Matthew Barneys CREMASTER Cycle No access Pages 155 - 176
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Im Zeichen der Assoziation - zur Genese und Wirkmacht von Matthew Barneys Feldzeichen No access Pages 177 - 190
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Matthew Barney, or the body as machine No access Pages 191 - 204
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Queer Time & Space in Matthew Barneys CREMASTER Cycle No access Pages 205 - 222
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Stoffwechsel. Mimesis als Prinzip der Überschreitung in Matthew Barneys CREMASTER Cycle No access Pages 223 - 250
