“Hin und wieder hat man den Eindruck, ein Schleudertrauma habe die Bildelemente durcheinandergewirbelt, sie derangiert, disloziert. Wie das Rhizom oder die Metropolregion Rhein-Ruhr verfügen Peppi Bottrops Bilder über kein eigentliches Zentrum – je nach Betrachtungsperspektive kann es überall und nirgendwo sein.”

from PEPPI BOTTROP – HOW LONG IS FORGOTTEN. Sies + Höke, 2020

“Digital technology and indistinct copy-right laws have set off avalanches of artistic appropriation. But amongst bouts of nostalgia, bland remakes, reenactments, and reconstructions that mindlessly rehash old formulas and found objects, Guyton’s work stands out as a subtle reminder of the uncertainties of our time.”

from WADE GUYTON: THE WORK OF ART IN THE AGE OF COMPULSIVE REPRODUCTION. Ignant x Museum Ludwig, 2019

“To Badiou, true black is radical and, as an antidote to the white flag, always a call to action – not in an ideologized sense, but in an inquiring one. That is what accounts for its brilliance. However, much like the blackness in Soulages’ paintings, his philosophy of truth feels incomplete, as if to say: “You who see me without seeing anything, go on!”

from COLOR AND TRUTH. Taupe Magazine, 2019

“Ihre Grundflächen sind kaum größer als die eines Kastenwagens, die Silhouetten schlicht und doch eigentümlich, die Innenräume puristisch. Schneeweiß und auf geometrischen Grundformen basierend wirken die Cellules des israelischen Künstlers Absalon zunächst kühl und unpersönlich, wie deformierte Iglus oder Überbleibsel einer alten Science-Fiction-Kulisse.”

from ABSALON. in Alape Journal, 2019

“The streets were steeped in soft stage light, making her wonder whether art and the real world had, for a moment, reversed their traditional roles. Pedestrians moved stiltedly through the drizzle, as if struggling to get into character; but still, everything was entrenched with reliable meaning. When a taxi pushed itself into the scene like a deus ex machina she hailed it, waving in a slightly theatrical manner. Only the cold felt real.”

from ANNIE GET YOUR COAT. Carhartt WIP Ad Campaign, 2019

“Hailing from the hotbed of punk, Linder Sterling has never shied away from tearing things apart. Thematic rupture is a core element of her collage work, which features kettles, cupcakes, and flower bouquets, as well as nude beauties, fishnet stockings, lipsticks, and sanitary napkins – all cut out from household and porn magazines and mixed up by the socio-cultural tensions of Western society.”

from THE AGE OF COLLAGE. Gestalten Verlag, 2013.

“Spotifys Mechanismus basiert auf einer symbiotischen Verbindung von Mensch und Maschine: Jeder Nutzer, der selbst Playlists erstellt, gruppiert bestimmte Lieder und vergibt durch Headlines wie Happiness, Hymnen, Hatecore oder Symphonien fürs Frühstück Etiketten, von denen das ganze System profitiert. Weil wir alle unseren Teil dazu beitragen, die Performance der Plattform zu verbessern, sind wir, in Spotifys Sprache, “part of the band.”

from VERLOREN IN MUSIK. Zeit Online, 2019

“On the face of it, a Lange watch looks streamlined and simple, but much like Cloud City from Star Wars, it encapsulates intriguing complexities in its saucer-shaped shell. Anthonie de Haas, Director of Product development at A. Lange & Söhne, explains the science of his profession through fiction: “Imagine you could beam yourself right into that multi-layered movement. You would find a perfect little universe of its own, planned with architectural precision, so that everything is exactly in place.” At a certain zoom factor, all complexity dissolves into order – or even into perceived simplicity.”

from TIMEPIECES IN SPACE. in Sleek, 2018

“The good life is elusive, yet ever-present. It’s a sales strategy. A commodity. A challenge. Many times, it’s a misunderstanding. And sometimes, an outright hoax. Coca Cola keeps telling us that life tastes good; and despite alternative nutrition facts, Dr Pepper claims to be good for life. The good life, or the lack thereof, is the stuff of movies and an all round hashtag on social media platforms, where it comes in the guise of sportscars, great danes, six-packs, and avocado-toasts.”

from LIFE IS GOOD. Favorite Nightmares Zine, 2017

“In unserer kollektiven Vorstellung ist der Wust an Leitungen, die Al Gore in den Neunzigerjahren Information Superhighway genannt hat, längst zu einer omnipräsenten Ganzheit verschwommen, die in ihrer Begrifflichkeit explizit offen bleibt für Interpretationen und große Gefühle.”

from THE NEBULOUS NOW. in Chapter, 2019

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Anna Sinofzik is a freelance writer and culture editor based in Berlin. She holds an MA of Arts in Design Writing Criticism and has worked with a range of renowed publishers, publications and brands. Find a selection of recent publications below. For further info and writing samples, swipe sideways or get in touch.

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Anna is an arts & culture writer, editor and creative consultant. She holds an MA of Arts in Design Writing Criticism from the London College of Communication and has worked with international publishers, cultural institutions, artists and brands.

Writing samples and additional info upon request.

 

 

 

 

 

Legal notice

Anna Sinofzik

Gneisenaustrasse 51
10961 Berlin

hello(at)annasinofzik.com

USt-IdNr.: DE292077985
Finanzamt Friedrichshain-Kreuzberg

All rights reserved. Unless otherwise stated, all material on this pages is subject to copyright. I do not take responsibility regarding information and content displayed on external linked websites.

© 2020 by Anna Sinofzik

Legal notice

Anna Sinofzik

Gneisenaustrasse 51
10961 Berlin

hello(at)annasinofzik.com

USt-IdNr.: DE292077985
Finanzamt Friedrichshain-Kreuzberg

All rights reserved. Unless otherwise stated, all material on this pages is subject to copyright. I do not take responsibility regarding information and content displayed on external linked websites.

© 2020 by Anna Sinofzik