#Adam Żmijewski | Explore Tumblr posts and blogs

sebixmysli · 5 years ago

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Wymiana Tapicerki BMW E65 Boczki Drzwi i Kiera część

ojtek B 6 miesięcy temu Majster ty nam nie mydl oczu tapicerką, tylko wymieniaj panewke Nygusie :D 899 ODPOWIEDZ Wyświetl 17 odpowiedzi Iron Muscles 6 miesięcy temu Barrrdzo dobrrra częstotliwość dodawania filmów.

578 ODPOWIEDZ Wyświetl 5 odpowiedzi Wojciech Szeloch 6 miesięcy temu

Ten kanał ma takie ogromne powodzenie , bo "majster" jest bardzo podobny do większości nas wszystkich. Lubimy go i się z nim utożsamiamy, "fachowiec" co się zna na wszystkim bo takie są realia ekonomiczne.

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Wyświetl 14 odpowiedzi

pdzelinho

6 miesięcy temu

Słyszałem, że Majster w fabryce BMW, to Individuale składa

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pomensku

6 miesięcy temu

Majster przełożył boczek, a za tydzień będzie drzwi wymieniał xD

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Wyświetl 2 odpowiedzi

ninjaa5_

6 miesięcy temu

Te intro miażdży system :D ale starego chyba nic nie przebije

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marco polo

6 miesięcy temu

Wszyscy myślą że druciarz, a każdy mechanik robi tak samo. Tyle że dolicza potem bo się spinki, klamki i rączki pourywały. Barrrrdzo dobra robota

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Wyświetl 6 odpowiedzi

Kamil Żmijewski

6 miesięcy temu

Majster a drzwi kierowcy nie miały iść na wymianę? Pozdro :D

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Piters

6 miesięcy temu

Na kropelce zamiast Pudziana powinien być majster kurwancka :D

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Lukasz Spasiewicz

6 miesięcy temu

Z poduszkami zrób odcinek Jak Rafałek wysadza z fotela Pana Stasia 😂😂😂

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Wyświetl 7 odpowiedzi użytkownika Wazzup i innych

Krzys_iu™

6 miesięcy temu

13:25

😂😂 - Ej drzwi nie do zdjęcia są . - Jak kurwa nie do zdjęcia! Haha jesteś mistrzem 😂Pokaż więcej

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Pysiek

6 miesięcy temu

Oddaj stare intro Majster 😁🤩

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Mokini 97

6 miesięcy temu

Pierdolicie. Niech sobie majster ustawia intro jakie chce. Każde jest dobre a liczy się film :)

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K N

6 miesięcy temu (edytowany)

Po co spamujecie o stare intro ? Majster mówił że przez parę odc będą różne intra ale wróci stare intro. DZBANY Bardzo dobra robota!

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Robert Szandała

6 miesięcy temu

Ludziska nie denerwujcie się, stare intro też będzie. Po prostu żeby nie wiało nudą to są też nowe od czasu do czasu :D

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Rosti 11

6 miesięcy temu (edytowany)

Co wy z tym intrem, intro to dodatek, liczy się treść A ta wciąż na barrrrdzo dobrym poziomie

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Zobacz odpowiedź

SiZ

6 miesięcy temu

To co teraz czekamy na wysadzenie starych poduszek 😂

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Mr Patriczi 1997 :D

6 miesięcy temu

Samochód perełeczka się robi, a panewki napierdalają. :D :D

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Wyświetl 2 odpowiedzi użytkownika Wazzup i innych

kamil p

6 miesięcy temu

Gdzie jest stare intro - ja sie pytam. Trzeba jakas petycje napisac o przywrocenie intra!@🤣😀

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Damian Wojtas

6 miesięcy temu

To prawda że jak kierownice z Anglika się założy to koła odwrotnie skręcają ?

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Wyświetl odpowiedź użytkownika Wazzup

Frank Sinatra

6 miesięcy temu

Majster proszę Cie wróć do starej czołówki

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PanKracy27

6 miesięcy temu

Ale intro to mógłbyś na stare zmienić :)

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ZiK_x1

6 miesięcy temu

Jak ja uwielbiam te twoje zdziwienia (Co jest Kurwa)😂😂😂

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Flowek

6 miesięcy temu

Chcemy stare intro, Majser zrób to dla nas, te nowe są chujowe...

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hikvntoja

6 miesięcy temu

czy jestem jedynym babskiem które ogląda majstra??

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Wyświetl 7 odpowiedzi użytkownika Wazzup i innych

Bombaa866

6 miesięcy temu

Majster dekory mozna przelozyc bo to na zatrzaski :D ciemne drewno lepiej sie komponuje i bedzie pasowac do deski z przodu

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Wyświetl 5 odpowiedzi użytkownika Wazzup i innych

Xdxd xd

6 miesięcy temu

Ty ale po co on zmienia boczek w drzwiach od kierowcy jak i tak drzwi będzie wymieniał?? Kurwa oszalał

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Wyświetl odpowiedź użytkownika Wazzup

Łukasz Sielski

6 miesięcy temu

Najlepszym rozwiązaniem co do intra wydaję mi się, że byłoby zostawienie piosenki, ale ewentualnie dodanie jej np. do tej składanki

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Złoty Chłopczyk

6 miesięcy temu

Od razu środa lepsza, DZIĘKUJEMY :D

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Zbuduj sam dom

6 miesięcy temu

O! widziałeś?

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Wyświetl odpowiedź użytkownika Wazzup

Domin

6 miesięcy temu

Stare intro dawaj. To jest lipaa panie maestro

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SzamanLKR

6 miesięcy temu

Majster, wystrzel stare poduchy :D

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Pietro

6 miesięcy temu

cyk fuch majster:)

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adam bejer

6 miesięcy temu

majster wersja indywidual

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paweł Pawcio

6 miesięcy temu

18:00

to juz wiadomo czym Majster będzie strzelał w sylwestra 🎆

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waclaw pyta

6 miesięcy temu

Unikając wybuchu poduszki z kierownicy usiadłeś na zdemontowanych poduszkach z drzwi 😂 majster bardzo dobra robota

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Side Up

6 miesięcy temu

16:12

ZAGADKA .... CO MAJSTER NUCI :) CIEKAWE CZY KTOŚ ZGADNIE :D

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TZRfan1

6 miesięcy temu

Już myślałem, że tylko ja pierdole do siebie przy takich akcjach..uff

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Jakub

6 miesięcy temu

Panie majster jesteś Pan mistrzem :D I te majstrowe teksty xd po prostu majstersztyk XD

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SCREW IT!

6 miesięcy temu

5:46

duch w szybie

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dantewroclaw · 6 years ago

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Polish cinema for beginners - PANIC ATTACK

Ladies and gentlemen, here comes the 12th Polish Cinema for Beginners. Trip will be our main theme - films shown under the slogan "On the Road" will take us on the trip by car, train or on foot. First we set off by plane: the April edition will open at April 4th by Paweł Maślona's ‘Panic Attack’. A Plane, and on its board a group of Poles returning from vacation. Everything can happen here. Others, being in the country, devote themselves to different journeys: kids are on a drug trip, a woman on a date with her ex, mother connected to a computer game. We look at the characters of seemingly unrelated episodes in crisis moments, which on one hand raises drama, on the other, is sprinkled with a large dose of black humor, which almost explodes from the screen. Thanks to this, a multi-layered story with strong, memorable characters, played by the finest Polish actors (Magdalena Popławska, Artur Żmijewski, Dorota Segda), is watched with flushed face. Paweł Maślona’;s directing debut became a sensation of 2017 and quickly gained the status of an iconic film. Trailer for ‘Panic Attack’ The screenings during the 12th season of PCFB will be accompanied by lectures and meetings with filmmakers, film scholars and experts, who paint the broader social and historical context of each title. The meetings will be led by Adam Kruk - film critic, journalist and film expert, the winner of the Grand Prix award named after Krzysztof Mętrak, member of FIPRESCI. The whole, as always, is held in English, so that all residents of Wrocław - regardless of where they come from - can learn about the roads and sideways of Polish cinema. The "Panic Attack" screening will take place on April 4 at 19:00 in the New Horizons Cinema. Tickets at the price of 17 PLN can be purchased before the screenings at the cinema box office and on the KinoNH.pl. More information about the project can be found at: PolishCinema.com.pl i facebook.com/PolishCinema. Wrocław Film Foundation invites you all to visit Polish Cinema for Beginners - event co-financed by the municipal office of Wrocław. So we're leaving! See you at the cinema! Read the full article

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nofomoartworld · 8 years ago

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Hyperallergic: Cultural Diplomacy and Artwashing at Documenta in Athens

Thierry Geoffrey, “Is Documenta the botox of late capitalism?” (2017), (image courtesy of the artist)

ATHENS — The auspicious arrival of Documenta 14 in Greece earlier this year has so far met considerable controversy in a country still coming to terms with the 2008 financial crisis, social unrest, and the ongoing issue of refugees entering the country’s porous southern Mediterranean border. Athens stood out as a curious choice for Documenta right from the start, immediately spurring speculative criticism since the announcement nearly five years ago that it was to be split between its usual host city in Kassel and the Greek capital. Entitled Learning from Athens — a concept developed by artistic director, Adam Szymczyk, with a team of six other curators — the exhibition features the work of over 160 artists, set over 100 days, spread across nearly 40 venues, including most notably the National Museum of Contemporary Art (EMST), the Athens Conservatoire (Odeion), the Benaki Museum and the Athens School of Fine-Arts.

Issa Touma “Nine Days — From My Window in Aleppo” (2012) (film still), Artists at Risk pavilion (photo by Sol Prado)

After a controversial 2010 bailout package brought relations between Germany and Greece to a new low, organizers had said they hoped the festival would help mend relations between the two countries. However, the undertaking has largely failed to appeal to locals, and in the process has even alienated some. According to Yanis Varoufakis, the enigmatic former Greek finance minister who stepped down after pressure from European leaders forced Greece to accept harsh austerity measures in exchange for an international bailout package in 2015, Documenta’s arrival was nothing more than “crisis tourism.” During a talk held at the 6th Moscow Biennale he suggested that Documenta’s placement in the Mediterranean country was both a political and cultural gimmick, unpropitious and a blight on the Greek people:

I have to say that I am not very happy about the idea that part of Documenta will take place in Athens — it is like crisis tourism. It’s a gimmick by which to exploit the tragedy in Greece in order to massage the consciences of some people from Documenta. It’s like rich Americans taking a tour in a poor African country, doing a safari, going on a humanitarian tourism crusade. I find it unhelpful both artistically and politically.

Issa Touma, “After United” (2017) series, Artists at Risk pavilion (photo by Sol Prado)

During the opening press conference held on April 6, Szymczyk nevertheless stated that organizers had a political responsibility, “there is a large untapped potential when visitors come together for an exhibition — a political potential,” he stated.

However, Documenta’s integrity at the local level began to seriously unravel after alienating the Athens Biennale, despite sharing an office building with the team. When it was first announced that Documenta 14 was to take place in Athens, there were several joint press conferences and public appearances held with the Athens Biennale team. Initially, the Athens Biennale was supposed to be one of the main collaborators and partners, but later this relationship soured as the oleaginous Documenta staff began to poach some of the Athens Biennale workers. Besides this, there were murmurings of Documenta using neoliberal practices such as employing their own invigilators as art laborers. What’s more, after two weeks on the job, these invigilators hired for Documenta 14 were informed that their wages would be decreased from a promised €9/hour to €5.62/hour, in a move described by the administration as a “misunderstanding.” In response to these and other issues, an Athenian group of anthropologists organized by Eleana Yalouri, an assistant professor in the Department of Social Anthropology at Panteion University, and Elpida Rikou, an instructor at the Athens School of Fine Arts and TWIXTlab developed a parody research group called “Learning from Documenta.”

Artur Żmijewski “Glimpse” (2016–17) digital video transferred from 16 mm film, black-and-white, no sound, approx. 20 minutes (photo courtesy of Documenta 14)

However, since the crisis, Greece’s 270 public museums have seen their budgets considerably slashed, and austerity has noticeably pinched Greece’s other areas of the cultural sector where funds remain scarce. One of the main positives of Documenta’s arrival in Athens is that the organization brought with it cold hard cash that was invested in local cultural infrastructure, and to Documenta’s credit, they decided to work with cash-strapped public museums, rather than private entities. For example, Documenta restored an EMS Synthi 100, a rare analog synthesizer manufactured in 1971, which had been in disrepair for over twenty years and is now situated at the Megaron. There was significant cash made available through Documenta’s presence: the €37 million budget allocated for Documenta 14 was split evenly between Kassel and Athens. Apart from the free rent of public venues in Athens, no funding came from the Greek state or the city of Athens itself. In addition, Documenta brought with it a wealth of experience and an international team including Bonaventure Soh Bejeng Ndikung, founder of Berlin’s influential Savvy Gallery, an expert with considerable experience exploring how intersections of colonialism, power, and representation function within art.

In one of Documenta’s strongest stand-alone works, Ross Birrell’s “The Athens-Kassel Ride” (2017), a mobile performance project takes place over the 100 days of the exhibition, during which two equestrian riders invited by the artist will travel the distance from Athens to Kassel on horseback, mapping what Birrell has called a “vagabond trail” through Greece, the former Yugoslav Republic of Macedonia, Serbia, Croatia, Slovenia, Austria, and Germany. The project takes as a point of departure the idea of the mythical Greek god Hermes, the god of commerce, theft, music, and border crossings. Tracing the relational and metaphorical connections between the Balkans and Western Europe, Schengen and non-Schengen countries, the project also mirrors the migrational passage of many asylum seekers who make their way westward to Europe’s more prosperous countries, like Germany.

Another performance that gained considerable attention was Marta Minujín’s “Payment of Greek debt to Germany with olives and art” (2017). In it, Minujín, dressed up like Angela Merkel on the opening day of Documenta in Athens, serving olives to passersby while reciting a speech entitled “Angela” in which she agreed to write off Greece’s debt in exchange for the olives. While the performance bordered on being flippant, it appeared to me intended to awaken political consciousness within the sanctified space of the museum, though in a way that appeared naive and flat.

Alexandra Pirici, performance of “Parthenon Marbles” (2017) (image courtesy of Alexandra Masmanidi)

Performance was on full display both inside the official Documenta program and outside it. In a parallel project organized by Future Climates entitled the “Parthenon Marbles” (2017), artist Alexandra Pirici and writer Victoria Ivanova examine the controversial request for the repatriation of marbles taken by Lord Elgin from the Acropolis in Athens to the British Museum in 1801. The work takes the form of a choreographed ensemble presenting an immaterial speculative dance performance and journey into a “what if” scenario if the marbles were repatriated to Greece. Yet it was unclear what the project’s intended aims were — other than perhaps commenting on the role played by cultural imperialism in exhibitions like Documenta.

Pathway leading to Artists at Risk pavilion outside Omonia Square (photo by Sol Prado)

Artist Thierry Geoffroy, aka the Biennalist, trolled organizers at the opening press conference, wearing his signature blue United Nations Peacekeepers helmet, asking to what extent, if any, organizers had exercised self-critique. Archived under the hashtag #Documentasceptic, Geoffroy’s Instagram exploded during the opening press conference with the artist posting amusing images including one that asked “is Documenta the botox of capitalism?” At a book launch by artist and comedian Olav Westphalen, co-editor of Dysfunctional Comedy (2016), the artist discussed how biennals have been used to artwash crises. Often interspersing witty criticism with analysis of the culture industry, Westphalen is perhaps best known for his comic “Untitled” (1999), which depicts a smoldering town, while in the foreground an individual being interviewed on TV suggests “what our village needs now is a biennale!” Such humor was not lost in the context of being in Athens under the specter of Documenta.

In the main exhibition at the Athens School of Fine Arts, a work by Polish dissident artist Artur Żmijewski proved to be one of the exhibition’s most controversial. Entitled “Glimpse” (2017), it’s an unabashedly grim, silent video depicting refugees on location in two camps: one in Calais, also known as the “Jungle,” (which was closed and demolished by French authorities in 2016); the other in Templehof, Berlin, which is Germany’s largest refugee camp, housing about 1,300 individuals. The work speaks to the plights of migrants and the sordid conditions in which they live, but does so in a way that borders on victim porn, shot in a style that reminded me of Werner Herzog. A young girl smiles into the camera, seemingly unaware of the conditions of the shacks around her while her father looks on grimacingly. Żmijewski gives one of the migrants a pair of worn shoes; he paints the face of another. Oscillating between trembling close-ups and medium range shots, the film feels shockingly disconcerting. It is both Documenta’s most powerful, visceral work, as well as its most disturbing.

Pinar Öğrenci, “A Gentle Breeze Passed Over Us” (2016) film still (photo by Sol Prado)

Also referencing the refugee situation is Rebecca Belmore’s large marble tent installed on Filopappou Hill, overlooking the Acropolis. With it, the artist designed a place for speculation on displacement. One can literally sit in the tent, which is otherwise a common item used by refugees for shelter. However, this one is cast in marble and placed at the highest point in the city, a primary area frequented by tourists. The tent felt like a crypt, and rather than actually evoking the experience of refugees, I saw it as a wasteful object that sought to consecrate the refugee crisis with an expensive monument.

In Athens, others projects set up shop outside Documenta’s official program, like the Artists at Risk initiative, organized by Marita Muukkonen and Ivor Stodolsky. Artists at Risk is founded on a simple, yet important principle: to provide safe haven and passage to artists facing acute political threat, to support their work through long term research projects, exhibitions, workshops, lectures, grants, studio space, technical support, and visa applications. In Athens, Artists at Risk set up a pavilion just outside Omonia Square, a stone’s throw from one of Athen’s oldest fish markets. The pavilion features a series of films and photographs by Issa Touma Pinar Öğrenci, and Erkan Özgen. Though outside the official program, it offers Athen’s most politically salient works under one roof. Touma’s film (which last year won the European Film Award for Best Short Film), “9 Days — From My Window in Aleppo” (2012), depicts in shockingly realistic terms how the battle for Aleppo played out from the perspective of his apartment window. It traces the shifting alliances of a group of college-age men as they take up different sides in the Syrian conflict, sides that correspond to shifting dominant powers. The rupturing alliances depicted in Touma’s film hints not only at the brutality of war, but also the mutable state of affairs in a civil war that has claimed millions of lives and displaced several million more. In Öğrenci’s film, a sententious shot of an oud floating in water stands in for the importance of the instrument for a group of Iraqi refugees the artist met while on residency in Vienna. In Özgen’s film, on the other hand, the artist depicts the heart wrenching story of a 13-year-old deaf Syrian boy who recounts the horror, violence, and tragedy that struck his family while living in Kobanî, a small Syrian village. Rather than using voice or language, the young boy testifies to the horrors of war with gestures and body language, performing for Özgen’s lens the necropolitics of the mass violence he has witnessed.

In May, nearly a month after Documenta touched down in Athens, a new round of tax and pension cuts were imposed on Greece by its EU-IMF creditors — principal among them, Germany. Percolating not so far beneath Documenta’s surface were these realities. Though Documenta features a number of strong individual works, as well as investments made in local cultural spaces, and interesting parallel projects, it also includes the standard interlopers of art tourists and poseurs who touch down amidst the city’s crumbling social and economic infrastructure. Consequently, it remains to be seen whether Learning from Athens manages to responsibly employ cultural diplomacy, or simply artwashes crisis for the acquisition of cultural and curatorial capital. Above all, these two competing narratives dominate Documenta’s Athens experiment.

The Athenian portion of Documenta 14 is on view at locations throughout the city through July 16. The Kassel portion of Documenta 14 will open on June 10 at various locations and run through September 17.

The post Cultural Diplomacy and Artwashing at Documenta in Athens appeared first on Hyperallergic.

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caveartfair · 8 years ago

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Documenta 14 Struggles to Make a Statement about Our Uncertain Times

Ibrahim Mahama, Check Point Sekondi Loco. 1901–2030. 2016–2017, 2016/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

We are living in an age of uncertainty, documenta 14 curator-at-large Bonaventure Soh Bejeng Ndikung said, opening the second chapter of the quinquennial exhibition on Wednesday. The show, widely expected to issue a statement on our times, is this year split between two locations—Athens and Kassel—and the past and present of both cities is deftly interwoven here.

Ndikung is one of an extensive team of curators, led by artistic director Adam Szymcyzk. Szymcyzk’s choice to share the event with the Greek capital is in no small way tied to the uncertainties that are currently rattling our fragile planet and global community. Athens, of course, has seen a steady stream of tens of thousands of migrants arrive on its shores from the Middle East and Northern Africa since 2015, putting further strain on an already devastated economy. Its citizens have also endured severe austerity measures (not to mention international humiliation) imposed by its primary creditor, Germany.

Installation view of documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Documenta was originally founded to create cultural unity between East and West Germany during the tense and fractious years of the Cold War. By uprooting elements of this historically loaded exhibition from the quiet, provincial town of Kassel, and placing them in the relatively unstable environment of Athens, Szymcyzk and his team have asked viewers to approach their global neighbors with empathy. “Documenta 14,” said another of its curators, Paul B. Preciado, “is a process of becoming the political subjects of history.”

The presence of Greece remains strong across the Kassel edition. And if uncertainty is best conveyed through experiences of confusion and dislocation, then this component of documenta 14 has certainly achieved its goal (though perhaps by accident). To call the exhibition scattered doesn’t quite capture the disjointed, often haphazard assortment of artworks that visitors find across 35 venues in the city, which together house works by hundreds of artists—many of which, in a gesture of generosity and reciprocity, have come directly from Athens’s EMST museum, a collection of works by Greek and international artists that’s been installed in the Fridericianum.

Across Kassel, information is scant. Numerous works are accompanied by barely a shred of context. And in a handful of locations, the works’ installation borders on incoherent.

Installation view of work by Ulrich Wüst at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

A viewer might find herself, for example, in a room that’s shared by a group of performers locked into a frozen formation on a plush, magenta pink carpet; a series of whimsical mail art pieces by Moyra Davey applied to the wall; Ulrich Wüst’s desolately empty black-and-white photos of the German Democratic Republic; and Artur Żmijewski’s silent films showing men with amputated limbs, engaged in exercises—post-World War II, one presumes? The work is strong, but when shown together, there is little to hold on to, hardly a thread to pull—save, perhaps, for the invocation of Europe’s violent past.

And therein lies documenta 14’s most cohesive throughline: that of our shared history. Various themes simmer up at moments throughout the exhibition—the rampant path of capitalism and nation-building (Michel Auder’s 14-channel video The Course of Empire, 2017, installed in the derelict former underground station of Kassel’s Hauptbahnhof, plays out a collage of scenes showing military invasions, wasted towns, and industrial production and consumption); the experience of migration (Angela Melitopoulos’s video Crossings, 2017, partly shot in a refugee camp in Lesbos, captures voices of anonymous migrants as they learn the English words, “rejection,” “love,” and “care”); and 1960s-style alternative communities and nature-worship (archival documents of Anna Halprin’s San Francisco dance circles or footage of “ecosexuals” Annie Sprinkle and Beth Stephens being wedded to Planet Earth in a ceremony).

Michel Auder, The Course of Empire, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

But the exhibition excels when it mines the recent and earlier history of Kassel, excavating its stories and turning the city into a microcosm of phenomena playing out around the world. It does so across two venues, in particular, which are the strongest presentations of documenta 14 in Kassel: the Neue Galerie and the Neue Neue Galerie (Neue Hauptpost).

The Society of Friends of Halit, for example, a coalition of activist groups that form part of documenta 14’s public programs, is investigating the 2006 murder of local Kassel resident Halit Yozgat, shot dead in a family-run internet café, the ninth in a spate of racially motivated killings of migrants by a neo-Nazi terrorist group. The sole living member of the trio of National Socialist Underground (NSU) members believed to have carried out the murder is now on trial in Munich.

However, Forensic Architecture, a research agency based at Goldsmiths, University of London, have worked to re-enact the events of the shooting and dig into the clues left embedded in the space—principally to determine whether a Hessian state secret service agent named Andreas Temme lied in his testimony before the court when he said that he did not hear gunshots, notice the smell of gunpowder, or see Halit’s body. The group has proven that this would not have been the case had Temme been in the café when the murder took place—and they have proven that he had could not have exited the café in time for the perpetrators to enter unseen. Needless to say, this raises questions.

Marta Minujín, The Parthenon of Books, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

The presence of an active investigation within the exhibition space of the Neue Neue Galerie (Neue Hauptpost) shows how Kassel has been touched by larger themes of immigration and racial violence, as well as the way in which the city’s space is a palimpsest of histories. Similarly, Ahlam Shibli’s Heimat (2016–17) follows the experiences of two migrant communities that arrived in Kassel in the mid-20th century, capturing them in portraits, accompanied by text that details their efforts to establish a new home and integrate themselves into the fabric of the place.

The seismic shifts that took place during and after World War II, prompting mass migrations, are further invoked and connected to the ancient history of Greece by way of the German (and Nazi) fascination with the classical world. Alexander Kalderach’s romantic renderings of the ancient Greek Parthenon, such as Der Parthenon (1939), on view in Kassel’s Neue Galerie, caught the eye of Adolf Hitler, as the wall text notes. And the curators push this connection back still further, showing the German landscape painter (and father of infamous Nazi-era art dealer Cornelius Gurlitt) Louis Gurlitt’s sun-soaked Akropolis (ca. 1858), which he painted on a visit to Greece (when the country was ruled by German monarch, King Otto I).

Antonio Vega Macotela, The Mill of Blood, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Kassel itself does not escape this study in the German infatuation with Greek civilization. Leo von Klenze, an artist-architect whose career began in Kassel (and who built Kassel’s Ballhaus building, which is one of documenta’s venues), lived for years in Athens, working on a city plan for King Otto I, and would eventually model his Walhalla—which still sits today above Germany’s Danube and appears in the form of von Klenze’s own painting in the Neue Galerie—on the Parthenon.

And then, of course, there is Marta Minujín’s giant Parthenon of Books (2017), which currently dominates Kassel’s Friedrichsplatz, a recreation of her 1980s installation in Argentina following the end of the country’s repressive Dirty War, for which she assembled a replica Parthenon out of metal scaffolding and thousands of books that had been banned during the military dictatorship. It’s a monument to freedom and humanity, and here functions as a rebuke to the Nazis’ deployment of classical civilization as an excuse for ethnic-cleansing and the pursuit of power.

Máret Ánne Sara, Pile o’ Sápmi, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Across documenta 14, alternative “anti-monuments,” as curator Candice Hopkins calls them, stand as markers not of authority but of history’s brutalities—as in Antonio Vega Macotela’s The Mill of Blood (2017), a reconstruction of the minting machine built by Spanish colonizers in South America and powered by indigenous and African slaves, or even Máret Ánne Sara’s curtain of reindeer heads in the Neue Neue Galerie (Neue Hauptpost), memorializing Norway’s more recent history of reindeer culling.

But documenta 14 doesn’t find only endless doom and gloom, death and exploitation, in march of human history. Mercifully, for worn-out visitors, there is some relief. Romuald Karmakar’s searingly moving videos Byzantion and Die Entstehung des Westens: Von den Anfängen in der Antike bis zum Fall von Konstantinopel (both 2017), the solitary installation in Kassel’s Orangerie, invoke the end of the Byzantine Empire and the fall of Constantinople through the heart-wrenchingly beautiful singing of choirs in two churches in Russia and Greece.

And Agnes Denes’s peaceful The Living Pyramid (2015/2017), composed of steps of flowers and plants, is a quiet monument to geological time and the natural world.

Installation view of work by Romuald Karmakar at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

There are also stories of individuals who have resisted persecution and intolerance, such as Lorenza Böttner, born Ernst Lorenz Böttner, who lived in the city of Lichtenau, not far from Kassel, in the 1970s. Lorenza, who identified as a transgender female, had both arms amputated as a young boy, following a crippling electric shock induced by climbing a pylon.

Later in life, as Lorenza, she would go on to study at the Kassel School of Art, and learn to paint with her feet and mouth. Some of her canvases are on view in the Neue Galerie: romantic self-portraits that show her feminized, armless form, some of which place her within archetypal female imagery. She would become an ardent advocate for disability rights, performing her foot-and-mouth painting in public and arguing for the acceptance and canonization of disabled artists.

Many of the subjects of this documenta, curator Paul Preciado offered, could have been the subjects of ethnographic vitrines. “We have been given agency to destroy the vitrines,” he said, urging visitors to see documenta 14 as a “new institution in transition.”

Agnes Denes, The Living Pyramid, 2015/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Perhaps it’s that distrust of institutions—and of any power structures at all—that has led the curators of documenta 14 to avoid any one single narrative. “We have always been against interpretation,” Szymcyzk said. “The great lesson is that there is no one lesson.” What exactly that means is anyone’s guess. There’s no possibility of looking without interpretation; it’s the very basis of drawing meaning from the world around us.

But if there’s one idea that documenta 14 does put forth with success—the meaning that we can draw from all of this—it’s precisely that of the collective experience of being subject to power, and doing our best to refuse it, wherever we live.

—Tess Thackara

from Artsy News

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streaming-transformers-5-blog · 8 years ago

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Streaming Transformers 5

New York, 8 juin 2015/-réputé les gardiens modernes de la mer, Hawaii's North Shore sauveteurs bataille battant surf et houle massives pour effectuer des centaines de sauvetages chaque année le long d'une des côtes les plus dangereuses sur le globe. L'héritage du parrain comprend des entretiens exclusifs avec les cinéastes, les historiens, les agents du FBI, les procureurs fédéraux et les véritables mafieux dont les vies et les carrières ont été modifiées par les films. Je pense que c'est une grande tendance à voir ... les offres de distribution tombant à travers peut tuer un film. Et je n'ai même pas mentionné que les actions de Leigh sont le catalyseur d'une mort dans le film. Mais c'est probablement le film Karolina (illustrations) qui frappe un comme le plus drastique des films Żmijewski's. Publié le 30 août 2013, «le sauveteur» étoiles Kristen Bell, David Lambert, Alex Shaffer, mamie Gummer le film r a un Runtime d'environ 1 hr 38 min, et a reçu un score de 34 (sur 100) sur le sujet de la critique, qui a compilé des critiques de 14 critiques respectées. Et tandis que ces gardes savent comment sauver des vies, ils savent aussi comment laisser leurs canons dehors quand le soleil est dehors. En parlant de Sam Elliott, je l'ai rencontré peu de temps avant que maître nageur ne soit relâché dans les théâtres. Elle abandonne son travail, et retourne à sa ville natale, où elle emménage avec ses parents (Amy Madigan et Adam lefevre), et se renoue avec ses amis d'enfance (Martin Starr & mamie Gummer). Dans une tentative pour reconquérir sa jeunesse, elle prend son ancien emploi de sauveteur de lycée, et commence un flirt avec un adolescent local (David Lambert). Globalement, je n'ai vraiment pas aimé le sauveteur, qui est une honte car c'était un film que j'avais hâte de profiter. Une cloche très enceinte s'assit avec indieWIRE quelques jours après le premier film, discutant dit scène de sexe, les défis de prendre un rôle très dramatique et, oui, sa déception que, malgré lui donner une voix littérale, elle n'a pas fini par être réellement Gossip Girl. Malgré cela, le film a ses moments, même si, en fin de compte, c'est une histoire que quelques-uns seront pleinement liés à. Comme la recherche de Leigh pour soi, le film de Garcia se sent comme il est à la dérive, dans une recherche de sens de son propre, parfois frapper une vérité érudite, mais, pour la plupart, pas capable de tout enchaîner ensemble dans un ensemble cohésifment puissant. C'est l'examinateur de temps qui ne peut pas faire son esprit s'il faut aimer ou pan le film; Il finit par se damner avec des louanges faibles. Elle obtient un emploi de sauveteur et tombe dans une relation dangereuse avec un adolescent troublé qui conduit à sa famille et ses amis questionner son état mental et les décisions en général. Je préfère que nous n'ayons pas à, mais il ne va pas contraindre l'un de vous trop si vous n'êtes pas autorisé à poster sur un film que vous soi-disant ne se soucient pas de toute façon. Le lot de Porsche dans ce film a été un spectacle effrayant pour moi-je peux voir une Audi à partir de 1973 ou plus, déjà une voiture d'occasion.

#Télécharger Transformers The Last Knight Transformers The Last Knight film complet francais dvdrip truefrench Transformers The Last

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caveartfair · 8 years ago

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In Kassel, documenta 14 Struggles to Make a Statement about Our Uncertain Times

Ibrahim Mahama, Check Point Sekondi Loco. 1901–2030. 2016–2017, 2016/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Installation view of documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Across Kassel, information is scant. Numerous works are accompanied by barely a shred of context. And in a handful of locations, the works’ installation borders on incoherent.

Installation view of work by Ulrich Wüst at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

And therein lies documenta 14’s strongest throughline: that of our shared history. Various themes simmer up at moments throughout the exhibition—the rampant path of capitalism and nation-building (Michel Auder’s 14-channel video The Course of Empire, 2017, installed in the derelict former underground station of Kassel’s Hauptbahnhof, plays out a collage of scenes showing military invasions, wasted towns, and industrial production and consumption); the experience of migration (Angela Melitopoulos’s video Crossings, 2017, partly shot in a refugee camp in Lesbos, captures voices of anonymous migrants as they learn the English words, “rejection,” “love,” and “care”); and 1960s-style alternative communities and nature-worship (archival documents of Anna Halprin’s San Francisco dance circles or footage of “ecosexuals” Annie Sprinkle and Beth Stephens being wedded to Planet Earth in a ceremony).

Michel Auder, The Course of Empire, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Marta Minujín, The Parthenon of Books, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Antonio Vega Macotela, The Mill of Blood, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Máret Ánne Sara, Pile o’ Sápmi, 2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

And Agnes Denes’s peaceful The Living Pyramid (2015/2017), composed of steps of flowers and plants, is a quiet monument to geological time and the natural world.

Installation view of work by Romuald Karmakar at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

Agnes Denes, The Living Pyramid, 2015/2017, on view at documenta 14, 2017. Photo by Benjamin Westoby for Artsy.

—Tess Thackara

from Artsy News

#Artsy News

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