#Goethe Institut Los Angeles

[emmabraslavsky]

Here comes a trailer of our film & novella event on September 12 at the Goethe Institut Los Angeles.

Screening of the film ICH BIN DEIN MENSCH & preview of the English translation by Holly Yanacek of my novella of the same name that inspired the movie. 

We had a great evening and a wonderful audience. Thank you all for joining!

Thank you Villa Aurora for the support!

Thank you babel tower press for making this limited edition possible in advance.

[mauricedelafalaise]

Goethe Institute Los Angeles Calendar of Events

Spring, 2007 | My first trip to Berlin to DJ at White Trash with Metronomy and The Hamburg Film Festival

[billsarchives]

Original 1970 offset lithograph from artist Sätty printed over photo of Nude Woman In Window by Mike Powers, designed by Dale Smith above quote from Goethe: "We are formed and fashioned by what we love." Celestial Arts CA86 Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you'll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations. www.etsy.com/shop/BillsArchives One of the better-known poster artists when the psychedelic era was in full flower in the 60's, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60's. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There's a startling sardonic humor in Sätty's visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, "Second Joint Show", San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist's studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning "Art and the Electronic Media". • Berkeley Gallery, San Francisco; 1971. Lecture about the artist' work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist's studio. • College of Arts and Crafts, Oakland; 1974. Lectures on "Photo and Printmaking" with slide show. • San Francisco State University, Art Department; 1974. "Imagination vs. Media" with slide show. • San Francisco Museum of Art; 1974. "Media and Poster Art" with slide show. • San Francisco State University, Literature Department; 1975. "Composition" with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from "Time Zone", 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity's Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher's Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • "GHANDARVA", Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • "The Occult", United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • "The Miraculous Hump Returns from the Moon", The Sopwith Camel, Warner Bros, 1973. • "Feel", George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • "The Aura Will Prevail", George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

[witchyfashion]

The Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil

With the appearance of the demonic Christmas character Krampus in contemporary Hollywood movies, television shows, advertisements, and greeting cards, medieval folklore has now been revisited in American culture. Krampus-related events and parades occur both in North America and Europe, and they are an ever-growing phenomenon.

Though the Krampus figure has once again become iconic, not much can be found about its history and meaning, thus calling for a book like Al Ridenour's The Krampus: Roots and Rebirth of the Folkloric Devil. With Krampus's wild, graphic history, Feral House has hired the awarded designer Sean Tejaratchi to take on Ridenour's book about this ever-so-curious figure.

Al Ridenour has lectured on Krampus at the Goethe Institutes in Los Angeles. He became somewhat of an internet phenomenon himself due to the hilarious hijinks he coordinated with the controversial Cacophony Societies.

https://amzn.to/2KyjFUR

[pussylightandthepinkshit]

Speakers: Barbara Carrasco, Lara Demori, Esther Gabara, Andrea Giunta, Sophie Halart, Giulia Lamoni and Cecilia Vicuña (video contribution) Conveners: Burcu Dogramaci, Laura Karp Lugo and Stephanie Weber Program 11.00 Welcome by Ulrich Wilmes, Chief Curator Haus der Kunst 11.15 Introduction by Lara Demori, Goethe-Institut Fellow Haus der Kunst 1st Session 11.30 Sophie Halart (Universidad Alberto Hurtado, Santiago de Chile) "Mater chilensis toward a maternal re-reading of the Chilean neo-avantgarde" 12.00 Lara Demori (Haus der Kunst) "Transnational influences in Marta María Pérez Bravo's series Para Concebir (1985-1986) 12.30 Q&A moderated by Laura Karp Lugo (LMU) 13.00 Lunch break 2nd session 14.00 Barbara Carrasco (Artist and Muralist, Los Angeles, CA) "Chicana Artist in a U.S. Context" 14.30 Esther Gabara (Duke University) “¿Acaso hay otro orden?: Shouts and Murmurs from the 1970s” 15.00 Q&A moderated by Burcu Dogramaci (LMU) 15.30 Break 3rd Session 16.00 Giulia Lamoni (Universidade Nova de Lisboa) "Artists as Radical Educators in Latin America (1960s-1970s): A feminist research project" 16.30 Andrea Giunta (Universidad de Buenos Aires) "Race, Ethnicity and Empathy in Latin American Women Artists, 1960-1985" 17.00 Q&A moderated by Stephanie Weber (Lenbachhaus) 17.30 Cecilia Vicuña: an artist interview (video contribution) 18.00 Closing remarks and panel discussion Barbara Carrasco, Burcu Dogramaci, Esther Gabara, Andrea Giunta, Sophie Halart, Laura Karp Lugo, Giulia Lamoni and Stephanie Weber 19.00 End This one-day symposium explores the diverse forms of feminist artistic practices that developed in Central and South America between 1960 and 1980, and proposes a reevaluation of the notion of the ‘Third World’ via an examination of the historiography of exhibitions alongside artistic and activist practices that draw on the symbolic frame of feminism. Emerging from the 1955 Bandung Conference and subsequent formation of the Non-Aligned Movement, the term ‘Third World’ has traditionally shifted between denoting a political position that was ancillary to both the capitalist West and communist East, to identifying the cultural and economic conditions of so-called ‘underdeveloped’ countries; a position which in turn perpetuated a fallacious, homogenized understanding of the countries that constituted it. Such a misnomer is particularly egregious when one considers the pluralities of race, ethnicity, and gender that constitute Latin America, a region whose multiple identities and intercultural complexities are commonly analyzed within the framework of 'mestizaje' (miscegenation, mixing. Nevertheless, as Gerardo Mosquera has warned, even a notion as fluid as 'mestizaje' cannot escape the tendency to erase imbalances and conflicts within diverse cultural communities and, in so doing, similarly runs the risk of becoming “an attractive stereotype for the outside gaze.” Situating itself between the totalizing tendency of the “Third World” and the orientalist proclivities of 'mestizaje', "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will utilize the lens of feminism in order to excavate the aforementioned historical moment, exposing its inherent contradictions, as well as probe its political and cultural specificities so as to emphasize and locate modes of resistance against patriarchal hierarchies and hegemonic forms of feminist identification. In so doing, it will circumvent the notion that “Third World” women constitute a homogenous category “victimized by the combined weight of their traditions, culture and beliefs, and “our” (Eurocentric) history,” as well as abstain from promulgating the notion of some form of “universal sisterhood” that assumes a commonality of gender experience across race and nationality. In place of this, the symposium takes up the call of several scholars who advocate for a new analytical methodology that acknowledges the struggles of Latin American women in relation to their history, cultural context, economic class, and social identity. "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will strive to unveil the presence of multiple feminisms and their decolonizing subaltern positions. It takes  ethnic and cultural differences into account, as well as to exploring their political and economic implications. By investigating as well the intersectionality between the presence of African populations in Latin American, movements of Native Americans and differences between Latino and Latin American identities, “Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)” aims to further complicate the idea of feminism in Latin America. Unfortunately there is a sound interference during video photos by Marion Vogel

[3dsrendercom]

Michael Maltzan Architecture announces plans for new Goethe-Institut headquarters in Los Angeles

Michael Maltzan Architecture announces plans for new Goethe-Institut headquarters in Los Angeles

[ad_1]

Michael Maltzan Architects has announced it is leading the design team for a new headquarters facility for the Goethe-Institut Los Angeles. 

The forthcoming headquarters is slated for a site in the city’s rapidly gentrifying Westlake neighborhood just outside Downtown Los Angeles, where many market-rate and affordable housing developments are currently in the works and where cultural…

[adamlichi]

GEGEN DIE WAND (Head-On, 2004) 

A film by Fatih Akin

This film was amazing, and part of a series of screenings at the Goethe Institute in downtown Los Angeles

[a-bobby-buck-promo]

10.27.19 pics.3 (LATE POST) www.lapovertydept.org The #10thAnnualFestivalForAllSkidRowArtists Saturday and Sunday, October 26 & 27, 2019 1-5pm each day in #GladysPark (corner of 6th Street and Gladys Avenue) Contact us at info@lapovertydept.org / call 213-413 1077 Say What! TENth Annual –can you believe it! How Time Flies! How a community vitally sustains itself! You better believe it! Los Angeles Poverty Department celebrates and preserves the rich artistic heritage of Skid Row and beginning with the first Festival in 2009 has generated a registry of Skid Row artists, which now numbers more than 800. The Festival for All Skid Row Artists is a two-day festival of performing and visual art with plenty of music, showcasing the diverse range of talents among Skid Row residents. The festival has become one of the most anticipated grassroots cultural events in Skid Row where over 100 Skid Row Artists perform or display their artwork to enthusiastic audiences. Many come back each year and prepare their acts and works of art, and thanks to extensive street outreach, many people will get on-stage for the very first time and get in the mix of the vibrant Skid Row artistic culture. LAPD partners with Studio 526 and United Coalition East Prevention Project (UCEPP) to produce the Festival. This year, the Goethe-Institut is an additional producing partner. The Goethe-Institut is organizing the event series “Worlds of Homelessness”, including discussions, music and film screenings, that begins Tuesday October 22, at LA Poverty Department’s Skid Row History Museum & Archive (with additional sites at Sci-Arc and Navel). The project brings together local and international artists, architects, scholars and others and culminates with the 2 days of the Festival. “Worlds of Homelessness” will open with music by the LA Playmakers and the.. Read Full Write-Up: https://facebook.com/events/539419946813470/?ti=as #ACRAWLB4UWALK #The_BobbyBuck_Show #A_BobbyBuck_Promotionz #2019isExciting Contact: 888.406.2876 https://www.BobbyBuck.com Email: buck@bobbybuck.com Thanks For Supporting!! Go Fund Me https://www.gofundme.com/BobbyBuck (at Gladys Park) https://www.instagram.com/p/B5rp7N1nNS_/?igshid=dny1czjypksd

[emmabraslavsky]

Photo by Holly Yanacek

Here come some last impressions of Holly's and my event at the Goethe-Institut Los Angeles presenting a preview of the English translation by Holly Yanacek of my novella ICH BIN DEIN MENSCH (I'm Your Man) that inspired the movie of the same name.

Photo by Holly Yanacek

Photo by Holly Yanacek

Photo by Emma Braslavsky

Photo by Emma Braslavsky

Photo by Holly Yanacek

Photo by Redwan Ahmed

Photo by Holly Yanacek

Photo by Redwan Ahmed

Photo by Holly Yanacek

Photo by Redwan Ahmed

Photo by Emma Braslavsky

[detroitberlinconnection-blog]

THE POTENTIAL 2019

From its beginnings in the early 1980s, techno music culture in Detroit has been about stretching the limits of creative freedom. When the Berlin Wall came tumbling down in 1989, the reunified German capital needed a soundtrack to match its newfound euphoria. Detroit was there to help stretch that historic moment into many over the next 30 years. The fact that Berlin was open all night and Detroit techno artists were wired to play high impact music until dawn and beyond made for a perfect partnership. The seeds were planted then for an industry that flourishes worldwide today.

Thirty years later, one of the results of that enduring friendship is the Detroit-Berlin Connection (DBC), a group dedicated to growing both the night economy and the creative industries that support it. On May 21-22, the DBC will hold its sixth annual Detroit conference, The Potential. The two-day event is co-funded by Deutschlandjahr USA and the Goethe-Institut Chicago, and is presented in partnership with the Museum of Contemporary Art Detroit (MOCAD), Tresor Berlin, and Your Mom’s Agency (Berlin).

On May 21, a public talk at Tangent Gallery will feature guest presenters Mirik Milan & Lutz Leichsenring of Berlin’s VibeLab, an agency that advocates for night economy initiatives around the world. Milan & Lutz will reflect on their experience in creating dialogue and exchange between cross-sector stakeholders, and how Detroit could follow a similar path to create a vibrant 24-hour economy. Tourism based around techno and the curfew-free night has produced huge economic and social dividends in Berlin. They will also talk about how innovative models created and practiced in Berlin can be applied to Detroit and other cities.

The second day, May 22, is organized by Your Mom’s Agency (Berlin) and takes place at Museum of Contemporary Art Detroit (MOCAD). It features music production workshops for teens given by artists from the two cities including Afro-Futurist pioneer and Detroit-Berlin techno producer Alan Oldham, and Detroit hip-hop and diversity advocate Piper Carter. Day two also features a film screening of Berlin: Symphony of a Metropolis, this silent German film classic explores a day in the life of Berlin with a modern twist: connecting the monumental music scenes of Berlin and Detroit. The screening will be scored by musicians from both cities: Lucky Paul (Los Angeles/Detroit/Berlin), Sarah Farina (Berlin), and Sean Tate (Detroit) and will be streamed live by Detroit-based radio collective, the Bassment.

The Detroit-Berlin Connection, a 5013c nonprofit organization, has been strengthening existing relationships between artists in Detroit and Berlin since 2013, when it began changing the local narrative that only bad things happen at night. Together with Underground Resistance / Submerge Records (Detroit), Tresor Berlin, and Your Mom’s Agency (Berlin), the DBC is telling the story of Detroit as a creative lighthouse, a place of artistic experimentation and entrepreneurial and social innovation. The Potential conference in Detroit is one of many events planned as part of Wunderbar Together, an initiative funded by the German Federal Foreign Office, implemented by the Goethe-Institut, and with support from the Federation of German Industries (BDI). This year-long festival of over 1,500 events in all 50 states began in October 2018 and continues throughout 2019.

Program: Tuesday, May 21 2019, 1PM-7PM Tangent Gallery 715 East Milwaukee Avenue, Detroit, MI 48202 1-2PM: Submerge - Networking and Tours of the Techno Museum  2-2:30PM: Walk over to Tangent and dining at Deutschtroit Food Truck 2:30-2:45PM: Welcome and Opening Remarks by Corn Harris & Angie Linder with poetry by T. Miller 2:45PM-3:15PM Building a strong creative community, one event at a time - Melissa Perales 3:15-4:15PM: 24-hour economy presentation by Mirik Milan & Lutz Leichsenring of VibeLab Berlin 4:15-4:30PM Break & Snacks 4:30-5:30PM: Panel discussion - Safe & Legal Path to 24 Hours feat. Detroit's Night Ambassador Adrian Tonon 5:30-5:45PM: Q&A 5:45-6:15PM - Ingrid LaFleur, Zach Brunell (Detroit Sound Bureau) and others for a fireside discussion about empowering & sustaining creatives in the city     6:15-7PM: Networking, Food Truck & Afterglow 

Wednesday, May 22 2019, 10AM-10PM MOCAD 4454 Woodward Ave, Detroit, MI 48201 10AM: Music production workshops 8PM: Film screening of Berlin: Symphony of a Metropolis with live score by Lucky Paul, Sarah Farina, and Sean Tate, live streaming by The Bassment.

Events are for all ages and free to the public.

Find us online: detroitberlin.de detroitberlin.com

[creativinn]

Dancing the Light Industrial

Visitors start the dancing in 2019–a Chicago a contemporary troupe with live Grammy-award winning music in Beverly Hills, a Berlin ex pat launches a festival in West L.A., plus a preview of the centennial celebration of choreographer Merce Cunningham.

3.   Something about Merce

A harbinger of 2019 centennial activities celebrating the life and legend of the late modern dance choreographer Merce Cunningham, Clouds and Screens, includes two large works by Andy Warhol and Charles Atlas, both artists associated with Cunningham’s company. The installation also includes two early videos of Cunningham’s work with performances and more to come during the exhibition’s run. Los Angeles County Museum of Art, 5905 Wilshire Blvd., Hancock Park; Thurs.-Tues., thru March 31, $25, $21 students& seniors (museum admission).  http://www.lacma.org/art/exhibition/merce-cunningham-clouds-and-screens

Merce Cunningham “Clouds & Screens”. Photo courtesy of LACMA.

2.   Seriously contemporary

Once a tap and jazz troupe, over the last decades Hubbard Street Dance Chicago has emerged as a major non-New York force in contemporary dance. The company has built a reputation cultivating choreographers, mostly from Europe and Canada, who move on to other major U.S. dance companies. Launching a four-month tour, the dance company brings excerpts from its collaboration with Chicago’s Grammy-award winning Third Coast Percussion with the score performed live, plus repertoire works by Israel’s Ohad Naharin, Spain’s Alejandro Cerrudo and Canda’s Crystal Pite. Later in January, the tour heads to OC’s Musco Center for the Arts with a different program with choreography by Nacho Duato, William Forsythe, Crystal Pite, and Cerrudo. Wallis Annenberg Center for the Performing Arts, Bram Goldsmith Theater, 9390 N. Santa Monica Blvd., Beverly Hills; Thurs.-Sat., Jan. 10-12, 7:30 p.m., $35-$105. http://thewallis.org.  Also at Musco Center for the Arts, Chapman University, 415 N. Glassell, Orange; Thurs., Jan. 24, $35-$65. http://muscocenter.org.

Hubbard Street Dance Chicago. Photo by Todd Rosenberg.

1.   Launching a four week Odyssey

After more than forty years as one of L.A.’s most vibrant live theaters, the Odyssey Theatre began opening its stage to dance and three years ago launched its own dance festival. Over the next month, Dance at the Odyssey 2019 offers six different programs of contemporary dance, mostly from L.A.-based companies. The festival opens with Berlin-based choreographer Shade Théret teaming with artist Lukas Panek in Maybe. Described as a site-specific work, it will be interesting to see what the theatre’s converted industrial warehouse inspires. Théret is co-presented by the Goethe-Institut Los Angeles that brings German cultural works to L.A., mostly film but occasionally dance such as this. The festival full festival line-up is at the website. Odyssey Theatre Ensemble, 2055 S. Sepulveda Blvd., W.L.A.; Sat., Jan. 5, 8 p.m., Sun., Jan. 6, 2 p.m., $25. 310-477-2055, www.OdysseyTheatre.com.

Feature Photo: Shade Théret. Photo courtesy of the Odyssey Theatre.

Ann Haskins Blog appears at CulturalWeekly.com

Source

http://www.ladancechronicle.com/dancing-the-light-industrial/

[ghrecords]

The Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil (Paperback) Al Ridenour Editorial: Feral House,U.S., United States, 2016 ISBN 10: 1627310347 / ISBN 13: 9781627310345

From elements of medieval witchcraft reworked in 18th-century folk Catholicism, the Krampus has risen to embody a new countercultural holiday.

Once the mythic bogeyman of European Catholic childhoods and long presented as the opposite of Santa Claus, Krampus is a growing presence in American culture. With the appearance of the demonic Christmas character Krampus in contemporary Hollywood movies, television shows, advertisements, and greeting cards, medieval folklore Krampus-related events and parades in North America and Europe, Krampus is a growing phenomenon.

Though the Krampus figure is now familiar, not much can be found about its history and meaning, thus calling for a book like Al Ridenour’s The Krampus: Roots and Rebirth of the Folkloric Devil. With Krampus’s wild, graphic history, Feral House has hired the awarded designer Sean Tejaratchi to take on Ridenour’s book about this ever-so-curious figure.

Al Ridenour has lectured on Krampus at the Goethe Institutes in Los Angeles. He became somewhat of an internet phenomenon himself due to the hilarious hijinks he coordinated with the controversial Cacophony Societies.

Buy: 29 € http://gh-records.com/1490-the-krampus-and-the-old-dark-christmas-roots-and-rebirth-of-the-folkloric-devil-paperback-al-ridenour.html

Payment methods: PayPal Pay by bankwire Pay whith cash on delivery (COD)

[artatak-texts]

Künstler-Atlanten – Über Grenzen und fiktive Kartografien

Ein Artikel von Katerina Valdivia Bruch für Goethe.de

Könnten wir uns die Welt räumlich und geografisch nicht auch ganz anders vorstellen? Künstler entwerfen ihre Landkarten auf unterschiedlichste Art und Weise: Orte, die durch Geräusche entstehen, grenzenlose Staaten oder fiktive Kartografien.

Der auf Kuba geborene italienische Schriftsteller Italo Calvino hat uns mit Die unsichtbaren Städte auf (un-)mögliche, fiktive Orte aufmerksam gemacht. Das Buch handelt von einem imaginären Treffen zwischen dem mongolischen Kaiser Kublai Khan und dem venezianischen Händler und Reisenden Marco Polo. Hier geht es nicht nur um den Austausch zwischen der westlichen und östlichen Welt, sondern vor allem um den Reisebericht des Venezianers, der die Gesprächspartner über Erinnerungen, Emotionen und Zeichen in Verbindung bringt. Auch Künstler beschäftigen sich auf unterschiedlichste Art mit der Geografie und lassen Räume entstehen: etwa solche, die erst durch Erinnerungen oder Geräusche wahrgenommen werden können, oder Orte, die grenzenlos sind. Andere machen das Überschreiten von Grenzen zum Thema. Aus Spurensuchen, Sammlungen oder Archiven entstehen „Künstler-Atlanten“ – also fiktive Räume und Kartografien, die keinen staatlichen Regeln folgen oder diese hinterfragen.                                                  

Am Anfang war der Sound

Das kanadische Künstlerduo Janet Cardiff und George Bures Miller erzeugt Räume durch komplexe Sound-Installationen. Bekannt wurden ihre Arbeiten in den Neunzigerjahren durch die umfassenden „Walks“, in denen Orte durch die Stimme erfahrbar wurden. Indem die Zuschauer gesprochenen Anweisungen folgen, schaffen sie durch ihre performative Teilnahme flüchtige Räume. Damit diese offenen Räume von Cardiff und Bures Miller in Erscheinung treten, muss man ihre Werke „durchwandern“. Es handelt sich also um grenzenlose und wandelbare Orte, die durch die unscharfe und wechselhafte Wahrnehmung des Beobachters jedes Mal anders ausfallen.

Von Tijuana nach San Diego

Das Reisen und insbesondere das Flanieren sind die Lieblingsaktivitäten des belgischen Künstlers Francis Alÿs. Viele seiner Arbeiten entstanden auf Spaziergängen in Mexiko-City, wo er seit 1986 lebt. Von Mexiko in die USA zu reisen, ohne die Grenze zu überqueren, scheint unmöglich zu sein. Alÿs beschreibt in Loop (1997) die Flüge, die er nehmen musste, um von San Diego (USA) nach Tijuana (Mexiko) zu gelangen, ohne dabei die Grenze zwischen beiden Ländern zu überschreiten.

Mit dem Geld für eine Ausstellung in San Diego reiste er über Tijuana nach Mexiko-Stadt, Santiago, Auckland, Sydney, Singapur, Bangkok, Rangoon, Hongkong, Shanghai, Seoul, Anchorage, Vancouver und Los Angeles, um am Ende in San Diego anzukommen. So macht er auf die Absurdität von Landesgrenzen und Grenzkontrollen aufmerksam.

„The Most International Artist in the Universe“

Ob wirtschaftliche, ideologische, religiöse oder kriegsbedingte Migration: Schon immer mussten Menschen ihre Heimat verlassen. Für die in Brisbane lebende indonesische Künstlerin Tintin Wulia sind Grenzen ein zentrales Thema ihrer Arbeit. Seit 2007 sammelt sie Kopien von Reisepässen – auch aus Ländern, die nicht mehr existieren, wie etwa die Deutsche Demokratische Republik oder Jugoslawien. Aktuell sind es 154 Pässe unterschiedlicher Nationen, die sie zu Bestandteilen ihrer Installationen, Performances, Workshops und Videos macht.

Wulia nennt sich selbst „The Most International Artist in the Universe“ und lädt mit der Installation und Workshop-Performance Make Your Own Passport (2014) Besucher dazu ein, sich ihre Pässe selbst zu basteln. Wie beim Lotto kriegt jeder Teilnehmer einen Reisepass zugeteilt. Währenddessen kommen sie miteinander ins Gespräch, sei es über Migrationen, Staatsangehörigkeiten, Familienschicksale oder persönliche Geschichten. Wer den Status „staatenlos" bekommt, hört sich eine fiktive oder reale Geschichte über eine Person ohne Staatsangehörigkeit an. In Wulias Arbeit werden die Macht der Dokumente und die Willkür ausgrenzender Konzepte, wie Nationalitäten oder Nationalstaaten, spürbar gemacht.

Emotionale Archäologie

Moheda (1966-2016) heißt ein aktuelles Projekt des in Berlin lebenden uruguayisch-schwedischen Künstlers Juan Pedro Fabra Guemberena. 1979 ging er, im Alter von sieben Jahren, von Uruguay nach Schweden ins Exil. Sein Pass wurde mit einem „Alle Länder außer Uruguay“-Stempel markiert, was bedeutet, dass er sein Heimatland nicht mehr besuchen durfte. Moheda ist der Ort, wo er als Flüchtling mit Kindern aus anderen Ländern lebte. Diese „zeitgenössische Ruine“, wie der Künstler sie nennt, wurde 1966 errichtet und 1990 demontiert. Es war die erste Siedlung für Gastarbeiter, die hauptsächlich aus dem ehemaligen Jugoslawien und aus Griechenland stammten. Fabra Guemberenas Projekt begann im Winter 2015, als er eine Radiosendung mit Geflüchteten aus Syrien gehört hatte. In der Sendung versicherten die Interviewten, dass in ihrer temporären Unterkunft – fünf Kilometer von Moheda entfernt – Gespenster wohnten. So fing der Künstler an, über seine Kindheitserinnerungen nachzudenken. Mit Moheda entstand eine „emotionale Archäologie“, in der Fabra Guemberena diese Siedlung mit Erinnerungen und Fiktionen rekonstruiert.

Mit seiner Arbeit möchte er diesen Ort zum Denkmal der schwedischen Geschichte machen. Um seine Ergebnisse wissenschaftlich zu untermauern und rechtlich abzusichern, arbeitet er mit einer Archäologin und einem Rechtsanwalt zusammen. Der Künstler will damit den Geflüchteten eine Stimme geben, indem sie nicht nur von außen betrachtet werden, sondern er sie in den verschiedenen Facetten ihres Lebens wahrnimmt – auch in ihrer Imagination. Grenzen trennen Menschen voneinander und schaffen keine Räume für den Dialog. Ganz so, wie Marco Polo enthusiastisch über mögliche Städte spricht und dabei Kublai Khan amüsiert, entwerfen die hier vorgestellten Künstler imaginierte Geografien, die uns vor Augen führen, wie erfunden die Konzepte von Nationen und Grenzen sind. Das wiederum bedeutet, dass man sie durchaus infrage stellen kann, um mit anderen Menschen ins Gespräch zu kommen.

Autorin

Katerina Valdivia Bruch ist freie Kuratorin, Autorin und Kunstkritikerin. Sie lebt und arbeitet in Berlin.

Copyright: Copyright Text: Goethe-Institut, Katerina Valdivia Bruch. Dieser Text ist lizenziert unter einer Creative Commons Namensnennung – Weitergabe unter gleichen Bedingungen 3.0 Deutschland Lizenz. Januar 2017

Links zum Thema

Zwischen hier und dort, mir und dir (goethe.de/aktuell)

Janet Cardiff & Georges Bures Miller

Francis Alÿs

Tintin Wulia

Juan Pedro Fabra Guemberena

Bildnachweis: Francis Alÿs | The Loop, 1997 | Grafische Dokumentation einer Aktion, von Tijuana bis San Diego | Foto: Mit freundlicher Genehmigung des Künstlers und der Galerie Peter Kilchmann, Zürich

Click here for the English version >>

[micaramel]

Artist: Danielle Dean

Venue: Project Space 1646, The Hague

Exhibition Title: Continental Private Road

Date: July 3 – August 2, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Project Space 1646, The Hague. Photos by Jhoeko.

Press Release:

1646 is elated to present our next solo-project to you, Continental Private Road by Danielle Dean. Continental Private Road is Danielle Dean’s first solo exhibition in The Netherlands, presenting two exciting new projects. Firstly, a collection of works offers context to Dean’s ever-expanding project, grounded in a critical interrogation of racial capitalism, by examining archival documentation of 1930s labor unrest at Fordlândia (Henry Ford’s failed utopia in the Brazilian rainforest, which attempted to integrate rubber production within the Ford Motor Company’s operations). A series of scaled-up archival letters, re-drawn and then printed as if they were commercial banners, expose the panoptic control attempted by Ford on both the Indigenous and migrant laborers at Fordlândia, as well as on the unruly tropical Amazonian landscape. The second, central work in the show, is a new animation inspired by a 1965 Ford Lincoln “Continental” print advert. Set amid a North American forest and conspicuously displaying a “Private Road” signpost, the animation begins within this setting, but without the original car and the white upper-class woman that are the focus of the commercial. The only trace of this white privilege is the “Private Road” sign, signaling that the land is privately owned, like the car. The aspiration for the American Dream of property ownership is disrupted by the animation moving further and further into the North American forest, which slowly morphs into a tropical rainforest akin to the Brazilian Amazon. The geographies that were materially connected by Ford’s global production line but were ideologically disconnected in Ford’s commercial imagery, are here carefully and mysteriously re-connected by means of digital animation technology. The linear assembly line of the mechanical past becomes digitally reconfigured through post-Fordist networks that obscure global labor relationships and the material landscapes of which they are physically made. Through this mesmerising visual continuum, the animation reverses the ideological imaginary of private property ownership seen in Ford’s commercials, pointing at the necessary absences — of class, race, and ecology — that are required to uphold the quintessential images of the American Dream. It suggests that this kind of accumulation and consumer production (in this case, of cars) has long relied on consuming other geographies and peoples. Within these works, Dean uses narrative techniques, consumerist imagery, and Disney-like raindrops to draw parallels between the historic car manufacturer and the ways advertising instructs our behavior, consumption patterns, and subjectivity. Dean contrasts this material and visual history to the present labor conditions at Amazon Mechanical Turk, an online platform designed to administer “click workers” across the globe and which allows corporations like Amazon to exploit workers — particularly from the Global South — for the purposes of training the Artificial Intelligence algorithms that are setting the stage for new rounds of capitalist automation and unemployment. Continental Private Road probes the ways in which capitalist productivity and subjectivity are coconstructed through technological modes of controlling global pools of surplus labor. Importantly, this requires controlling the way space itself is visually conceived and enclosed. In the 1930s, Disney innovated the animation industry through the so-called multi-plane camera, constructed with repurposed car parts. This apparatus created the illusion of parallax depth by juxtaposing 2-dimensional animation “assets” in movement — a technique effectively deployed by Disney to animate “nature” in films like Bambi (1942). Through such visual technologies, the imaginary landscapes of the American Dream became technically malleable — each landscape element now fully objectified — portraying the quintessentially white, aesthetic pathos of American suburbia as seen from within the car-as-screen. Dean chose one landscape scene from the Ford archive and brought it to life using this multi-plane animation technique, making explicit the material disconnections that Fordist imagery had sought to repress. The work deconstructs narrative devices in car ads, portraying the car as a mode of aspirational shelter. Similar to the layering in the animation often used by Disney, the car window is a layer that separates us from nature and allows the landscape to be consumed from inside the vehicle — safe from the weather, the story of a journey unfolds through the car window as if it were rolling by on a screen. Looking at Ford’s archive of car adverts, another separation becomes glaringly obvious: ownership of commodities and land was racially and socially skewed, there are those with a right to comfort and property, and those without. The exhibition also divulges pieces from an expansive developing project Dean is currently building. Using animations, testimonies and archival material, Dean entangles present-day Amazon Mechanical Turk workers seeking to mobilize against their labour conditions, with historical accounts of worker actions at Fordlândia. Both the continuities and discontinuities — of labour resistance, technological subversions, and ecological devastation — are eerie. Dean’s exhibition reflects on our relationship to these ongoing conflicts. The show examines the cultures of circulation produced by objects and people in a global context, focusing on the relays that connect colonialism and capitalism, from historical events to the present. Dean is interested in how the subject is constructed in relation to racial capitalism—how our behavior, language, relationships, and personality are influenced by the techniques and tools of advertising and ways of exploiting cognitive labour. Put another way, Dean investigates how visual media in capitalism constructs the very idea of what it is to be “human”; how the oppression of racialized subjects and the exploitation of land necessarily require visual and managerial tools to build and maintain a centralized white, property-owning, subject.

————————————————

Danielle Dean graduated as Master Fine Arts at the California Institute of the Arts and she is an alumna of the Whitney Independent Study Program and the Skowhegan School of Painting and Sculpture. Recent solo exhibitions include: True Red Ruin in the Museum of Contemporary Art Detroit, Bazar at 47 Canal in New York, Landed at Cubitt gallery in London and Focus: Danielle Dean at the Studio Museum in Harlem (New York). Her work has also been shown in group exhibitions such as: Freedom of Movement, Stedelijk Museum Amsterdam (the Netherlands), Anti, Athens Biennial (Greece), The Centre Cannot Hold, Lafayette Anticipation (Paris), Artist’s film international, The Whitechapel Gallery (London), From Concrete to liquid to spoken worlds to the word, Centre D’Art Contemporain Geneve (Switzerland), In Practice: Material Deviance at Sculpture Center (New York), Experimental People at High Line Art (New York), Lagos Live at the Goethe Institute Nigeria (Lagos) and Made in L.A. 2014 at the Hammer Museum (Los Angeles).

Link: Danielle Dean at Project Space 1646

from Contemporary Art Daily https://bit.ly/3fD1L12

[jacoboalonso]

View this post on Instagram

A post shared by Jacobo Alonso (@jacobo.alonso)

Performance in collaboration with Goethe Institute & Building Bridges Art Exchange, Los Angeles CA. 2017 . . . . . @buildingbridges_ax #performance #contemporarydance #contemporaryart #body #bodyandspace #territorios #monotype #kunst #zeitgenössischekunst #fumage #videoart #contemporaryart https://www.instagram.com/p/B0Ti4EVj1bx/?igshid=67qeg2ixfxpa

[radioromania]

Festivalul RadiRo aproape de final:peste 9000 de spectatori în 8 zile

(23 noiembrie 2018)

RadiRo – singurul festival din lume dedicat orchestrelor radio – unul dintre cele mai tinere festivaluri de această amploare din România, se apropie de final! Creat în 2012 ca o alternativă în anii în care nu se derulează Festivalul Internațional George Enescu, RadiRo este un eveniment produs și organizat o dată la doi ani de Radio România.

Duminică, 25 noiembrie (19:00), Festivalul Internațional al Orchestrelor Radio – ediția a IV-a - se va încheia la Sala Radio cu un concert extraordinar susținut la București de RTE National Symphony Orchestra – Irlanda, cu un program integral Ceaikovski (Uvertura operei Dama de pică, Poloneza din operaEvgheni Oneghin, Concertul op. 35 în Re major pentru vioară și orchestră și Simfonia a V-a).

Evenimentul se va derula sub bagheta celebrei dirijoare Nathalie Stutzmann (cunoscută în primul rând ca o voce de operă extrem de valoroasă – contralto), care se află în stagiunea curentă la pupitrul unora dintre cele mai prestigioase ansambluri din lume ca Philadelphia Orchestra, Rotterdam Philharmonic, Royal Stockholm Philharmonic sau National Symphony Orchestra Washington.

Invitat special al concertului de închidere RadiRo este și violonistul Ray Chen (născut în Taiwan și crescut în Australia). Ray Chen va cânta la Sala Radio pe o vioară de patrimoniu universal: Stradivarius Joachim (1715), deținută odinioară de virtuozul Joseph Joachim, unul dintre cei mai mari violoniști ai sec. XIX. Ray Chen a intrat în atenția lumii artistice internaționale ca laureat al Concursurilor Yehudi Menuhin (2008) și Queen Elizabeth (2009) și concertează astăzi alături de mari orchestre ca London Philharmonic Orchestra, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic.

Cea de-a IV-a ediție Festivalului RadiRo (18 - 25 noiembrie 2018)  a însemnat, pe scurt :

Peste 9000 de spectatori în 8 zile de festival;

8 concerte simfonice (Sala Radio) și, în premieră la RadiRo, 4 concerte de jazz (Sala Auditorium - Muzeul Național de Artă al României) - 12 concerte transmise live de Radio România, înregistrate și difuzate ulterior de Televiziunea Română și difuzate ulterior, de asemenea, de radiodifuziuni membre ale Uniunii Europene de Radio;

3 mari orchestre europene prezente în premieră la Sala Radio: BBC Philharmonic Orchestra (Marea Britanie), Orchestra Radiodifuziunii Elveției Italiene (Orchestra della Svizzera italiana) și Orchestra Simfonică a Radioteleviziunii Irlandeze (RTÉ National Symphony Orchestra).

Cea mai veche orchestră radio europeană - Orchestra Simfonică a Radiodifuziunii MDR din Leipzig (Germania) a revenit în România cu 2 concerte extraordinare, sub bagheta lui Robert Trevino, unul dintre cei mai apreciaţi tineri dirijori americani ai momentului.

Orchestra Națională Radio, ansamblul ce aniversează în acest an 90 de ani de la înființare a prezentat concertul inaugural al festivalului (18 noiembrie), sub bagheta dirijorului francez Jean-Claude Casadesus și un al doilea eveniment în data de 21 noiembrie, de această dată la pupitru fiind alt maestru francez al baghetei : Frédéric Chaslin.

4 mari muzicieni aplaudați în cele mai importante săli de concerte ale lumii au sosit la București împreună cu instrumentele lor de patrimoniu universal – 3 viori Stradivarius și violoncelul de colecţie Giovanni Battista Rogeri (1671).

Secțiunea de jazz a adus-o la București pe Aura Urziceanu (revenită în România după o lungă absență) și 3 formații de jazz europene - Danish Radio Big Band (Danemarca), nominalizată în cadrul Grammy Awards, Croatian Radiotelevision Jazz Orchestra (Croația), una dintre cele mai vechi orchestre big band din lume și Big Band-ul Radio România, recent aplaudat la Cerbul de Aur 2018.

Toate concertele festivalului sunt transmise live de Radio România, înregistrate și difuzate ulterior de Televiziunea Română și difuzate, de asemenea, de radiodifuziuni membre ale Uniunii Europene de Radio.

Pentru alte informaţii legate de  RadiRo 2018 vă rugăm să consultaţi site-ulwww.radirofestival.ro

Producător: Radio România

Coproducător: Guvernul României, prin Ministerul Culturii și Identității Naționale

Coproducător artistic : TVR, TVR 3

Organizator : Artexim

Parteneri: Primăria Capitalei prin ARCUB și MNAR (Muzeul Național de Artă al României)

Transportator oficial: Dacia

Cu sprijinul: British Council, Instituto Cervantes, Institut Francais, Goethe Institut, Librăriile Humanitas, Florăria IRIS, Aqua Carpatica

Parteneri media: Radio România Muzical, Radio România Cultural, Cariere, Adevărul, Dilema Veche, Historia, Unica, Avantaje, TV Mania, Psychologies, Eva.ro

Serviciul  Comunicare  şi  Relaţii  Publice

Adăugat de Luciana Gingărașu