Christof mascher biography examples
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Christof Mascher
- gone fishing
Christof Mascher - 'gone fishing'
Amsterdam, Netherlands
Christof Mascher (1979);
VISIONS - VISIONEN
- An atmosphere of change - Atmosphären der Veränderung
VISIONS - VISIONEN - 'An atmosphere of change - Atmosphären der Veränderung'
Herford, Germany
Franz Ackermann (1963); Francis Alÿs (1959); Benjamin Bergmann (1968); Michaël Borremans (1963); Guillaume Bruère (1976); Mel Chin (1951); Walter Dahn (1954 - 2024); Christoph Dettmeier (1966); Felix Droese (1950); Carola Ernst; Andrea Fogli (1959); Andrew Gilbert (1980); Lothar Götz (1963); Jan
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INSIGHTS News
- Jürgen Fitschen, former co-CEO of Deutsche Bank and former President of the Association of German Banks, joins the Advisory Board of Arabesque S-Ray GmbH
- Dr Christof Mascher, former Board Member, Chief Operating Officer and Chairman of Technology at Allianz SE, is joining the Senior Advisor Committee of Arabesque AI
- Dr Lars Jaeger, Head of Alternative Risk Premia at GAM Systematic and author of several leading books on quantum computing and other scientific fields, also joins the Arabesque AI Senior Advisor Committee
- All three will support Arabesque’s continued expansion, as the company scales up its services to meet demand for sustainability and AI technology solutions across global markets
21 May, 2021, London and Frankfurt – Arabesque has today announced the appointment of three new Senior Independent Advisors who will support the company’s growth and strategy to combine AI technology, data and finance to deliver sustainable financial solut
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Third Text
Christof Mascher, Loom, 2015. Acrylic, pigment crayon, oil, uv-varnish on board, 100 x 130 cm / 39 x 51 inches. Courtesy the artist and Josh Lilley, London.
What spires, what farms are these? Since Mascher’s places are not shown as seen, but as remembered, their details are, naturally, fudged. Each painting’s contents appear as stacked signifiers whose origin is, at least in part, cultural. The architecture here is archetypal: that of the horror film house, within whose narrow confines the terror of the narrative is to take place, and whose particular structure, in a sense, is the narrative. Buildings in Mascher’s paintings can recall by turns the gothic silhouette of the Bates Motel in Hitchcock’s Psycho (1960), Knowby’s rustic, almost homely cabin in the woods in The Evil Dead (1981), or the suburban blandness of 1428 Elm Street in A Nightmare on Elm Street (1984). Even Mascher’s titles – House of Many Windows, Loom