Jonas Meyburg - Revision history

JonasMeyburg at 19:42, 31 March 2026

2026-03-31T19:42:17Z

JonasMeyburg: Undo revision 310 by JonasMeyburg (talk)

2026-03-31T19:37:24Z

Undo revision 310 by JonasMeyburg (talk)

JonasMeyburg at 19:36, 31 March 2026

2026-03-31T19:36:19Z

JonasMeyburg at 19:35, 31 March 2026

2026-03-31T19:35:48Z

JonasMeyburg at 19:33, 31 March 2026

2026-03-31T19:33:43Z

JonasMeyburg at 19:21, 31 March 2026

2026-03-31T19:21:40Z

JonasMeyburg at 19:18, 31 March 2026

2026-03-31T19:18:44Z

JonasMeyburg at 19:16, 31 March 2026

2026-03-31T19:16:47Z

JonasMeyburg at 19:15, 31 March 2026

2026-03-31T19:15:27Z

JonasMeyburg at 19:13, 31 March 2026

2026-03-31T19:13:39Z

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 {| style="background-color: transparent; border: none;"
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-| style="padding-bottom: 10px;" | [https://drive.google.com/drive/folders/1dEWCiOyZDUfm-AzPK38KVyJOg22j3W3V?usp=sharing Download Portfolio / CV]
+| style="padding-bottom: 10px;" | [https://drive.google.com/drive/folders/1dEWCiOyZDUfm-AzPK38KVyJOg22j3W3V?usp=sharing Download Portfolio / CV] or finde me on [https://www.instagram.com/meyburg404/ Instagram] &nbsp;|&nbsp; [https://www.youtube.com/@jonasmeyburg1568 YouTube] &nbsp;|&nbsp; [https://github.com/JonasMeyburg GitHub]
-|-
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-In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
+In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding.<br /><br />
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+|}
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-In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. <b>Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. <b>By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena.<br> Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
+In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
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 <br>

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-In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
+In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. <b>Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. <b>By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena.<br> Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
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 | style="padding-bottom: 10px;" | '''Contact:''' [https://www.instagram.com/meyburg404/ Instagram] &nbsp;|&nbsp; [https://www.youtube.com/@jonasmeyburg1568 YouTube] &nbsp;|&nbsp; [https://github.com/JonasMeyburg GitHub]
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 In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
 </div>
 ==Work==

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 ==Work==
-<div style="border: 2px solid #D68910; background-color: #FFFAF0; padding: 10px; border-left: 10px solid #E67E22; font-family: sans-serif; text-align: left; line-height: 1.5em; margin-bottom: 1em;"> <div style="font-weight: bold; font-size: 1.1em; color: #E67E22;">Under Construction</div> This part of the archive is currently under construction.</div>
 *'''Der Wurf'''

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-<div style="display: flex; flex-wrap: wrap; gap: 20px; margin: 20px 0;">
+<div style="display: flex; flex-wrap: wrap; gap: 40px; margin: 40px 0; background-color: transparent !important;">
-   <div style="flex: 1 1 300px; background-color: #f8f9fa; border-left: 4px solid #a2a9b1; padding: 15px 20px; line-height: 1.6;">
+   <div style="flex: 1 1 300px; border-left: 1px solid #cccccc; padding-left: 25px; line-height: 1.7; color: #1a1a1a; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; background-color: transparent !important;">
-    <span style="font-size: 1.2em; color: #54595d; font-family: Georgia, serif;">"</span><span style="font-style: italic; color: #202122;">In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.</span><span style="font-size: 1.2em; color: #54595d; font-family: Georgia, serif;">"</span>
+    In my artistic practice, I conceive of spaces, materials, and information as physical actors with an inherent will toward their own form-finding. Following the theory of "dissipation-driven adaptation" (Jeremy England), I understand the emergence of ordered forms and structures as a means to create "disorder." Consequently, I do not view artworks as static objects, but as thermodynamic machines that physically interact with themselves and their environment, while also generating social resonances. My approach aims to calibrate the viewer's perception of these micro- and macro-processes. By utilizing the subtlest air movements, temperature changes, self-regulating water pressure, or preservation-resistant caramel, I select materials whose inherent dynamics and transience become the interpretive basis for social and cultural phenomena. Through this, I aim to foster a heightened awareness regarding the influence of non-human actors on the shaping of our material and social reality.
    </div>
-   <div style="flex: 1 1 300px; background-color: #f8f9fa; border-left: 4px solid #a2a9b1; padding: 15px 20px; line-height: 1.6;">
+   <div style="flex: 1 1 300px; border-left: 1px solid #cccccc; padding-left: 25px; line-height: 1.7; color: #1a1a1a; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; background-color: transparent !important;">
-    <span style="font-size: 1.2em; color: #54595d; font-family: Georgia, serif;">„</span><span style="font-style: italic; color: #202122;">In meiner künstlerischen Praxis begreife ich Räume, Materialien und Informationen als physikalische Akteure mit einem inhärenten Willen zur eigenen Formfindung. Der Theorie der „Dissipation-Driven Adaptation“ (Jeremy England) folgend, verstehe ich die Entstehung von geordneten Formen und Strukturen als Mittel, um „Unordnung“ zu schaffen. Ich sehe Kunstwerke demnach nicht als statische Objekte, sondern als thermodynamische Maschinen, die mit sich selbst und ihrer Umgebung sowohl physikalisch interagieren als auch soziale Resonanzen erzeugen. Meine Herangehensweise zielt darauf ab, die Wahrnehmung der Betrachter für diese Mikro- und Makroprozesse zu kalibrieren. Mit feinsten Luftbewegungen, Temperaturwechseln, sich selbst regulierendem Wasserdruck oder konservierungsresistentem Karamell wähle ich Werkstoffe, deren Eigendynamik und Vergänglichkeit zur Interpretationsbasis für gesellschaftliche und kulturelle Vorgänge werden. Dadurch möchte ich die Entstehung eines geschärften Bewusstseins für den Einfluss nicht-menschlicher Akteure auf die Gestaltung unserer materiellen und sozialen Realität begünstigen.</span><span style="font-size: 1.2em; color: #54595d; font-family: Georgia, serif;">“</span>
+    In meiner künstlerischen Praxis begreife ich Räume, Materialien und Informationen als physikalische Akteure mit einem inhärenten Willen zur eigenen Formfindung. Der Theorie der „Dissipation-Driven Adaptation“ (Jeremy England) folgend, verstehe ich die Entstehung von geordneten Formen und Strukturen als Mittel, um „Unordnung“ zu schaffen. Ich sehe Kunstwerke demnach nicht als statische Objekte, sondern als thermodynamische Maschinen, die mit sich selbst und ihrer Umgebung sowohl physikalisch interagieren als auch soziale Resonanzen erzeugen. Meine Herangehensweise zielt darauf ab, die Wahrnehmung der Betrachter für diese Mikro- und Makroprozesse zu kalibrieren. Mit feinsten Luftbewegungen, Temperaturwechseln, sich selbst regulierendem Wasserdruck oder konservierungsresistentem Karamell wähle ich Werkstoffe, deren Eigendynamik und Vergänglichkeit zur Interpretationsbasis für gesellschaftliche und kulturelle Vorgänge werden. Dadurch möchte ich die Entstehung eines geschärften Bewusstseins für den Einfluss nicht-menschlicher Akteure auf die Gestaltung unserer materiellen und sozialen Realität begünstigen.
    </div>
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-Jonas Meyburg (*1995 in Dinslaken) is an artist working in Düsseldorf, Germany. He obtained a diploma/MA from the HBK Braunschweig in 2022.<br>
+Jonas Meyburg (*1995 in Dinslaken) is an artist working in Düsseldorf, Germany.<br>
 In his work he is concerned with guiding, storing, observing and directing energy, specializing in sound, collaborative efforts, heat, sugar, clouds, water and methods of monitoring all of the above.<br>
 He is a founding member of [[Unit 404]] and serves as the leader of artist collective since 2024.<br>
 <br>
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 |}
-==Artist Statement==
 ==Work==