#Idea in Nordhorn

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Exploring the Hidden Gems: A Guide to Uncovering Unique Ideas in Nordhorn

Ideas in Nordhorn is a charming city in Lower Saxony, Germany, with a wealth of inspiring ideas waiting to be discovered. From visiting the beautiful gardens of the Kloster Frenswegen monastery to exploring the fascinating history of the Vechtehof museum, there is no shortage of unique experiences to be had. This guide will help you uncover some of the hidden gems and creative ideas that Nordhorn has to offer.

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Rotterdam -> Berlin, Part 2

Welcome back to Global Source! Apologies for the long wait between this post and the last; this blog is supposed to be a well-oiled machine but sadly life gets in the way sometimes. I have spent the last week recovering from a pretty gnarly collision where I was bashed off my bike and into the air by a taxi (Manchester city centre is far from Dutch in terms of the respect afforded to cyclists). I’ve been on painkillers and wearing a sling for a dislocated shoulder, but am RECOVERING and OTHERWISE UNHURT. Having taken a few days off my studies / pretty much everything else that requires movement or concentration, I’ve ended up spending a lot of time on more creative pursuits - look out for an upcoming post where I’ll share some of the bits I’ve made.

Anyway, enough excuses, let’s get back to it. When we left off, myself, Stan and Arthur had just settled down for the night in some beautiful Dutch woodlands. Feeling pretty fresh after a surprisingly comfortable night’s sleep (cycling 100km will work miracles for your sleep cycle), I woke around 6:30am, shivering a little in my thin summer sleeping bag (ever the optimist, I went for ease of transport over warmth). After not long, my better-equipped companions had also yawned their own greetings to the rising sun, and we were soon stood around stamping our feet and peeling a handful of satsumas each. 

A quick morning stretch and a vague attempt at a jog through a very misty field led to us being ready to start the day’s ride with a quick ten or so kilometers down the road to the historic town of Amersfoort. We spent about half an hour cruising around, admiring the medieval buildings, canals and cobbled streets (nicer to look at than to ride over), while hoping to stumble across a shop (or indeed anything) that might be open on a Sunday. Eventually a friendly local barman pointed Stan in the right direction, and not only did we acquire the components necessary for a round of sandwiches, but also made the acquaintance of a colourful local character who insisted that he was in fact the king of England. In deference to his noble heritage, we made him a gift of a can of Grolsch, and he sent us on our way with blessings.

A few miles down the road we came across a really special sight, something which I’m sure none of us will ever forget. Having chosen to head North-East through a national park, we came to a junction with a strange signpost; one of the arrows, decorated with a small plastic gnome, pointed down a thin, winding path straight into the trees. Following this path for about five minutes brought is to what I can only describe as a gnome forest. On all sides, posed in miniature castles and on the branches of trees, were hundreds, if not thousands, of miniature gnomes of all descriptions.

What a magical (if slightly disturbing) scene. If only Stan had learnt the ways of pig-taming from this fella, his trackies might still be in one piece. 

Moving swiftly on....

After escaping the enchanted forest, we stopped for lunch next to a beautiful clearing full of what looked like heather. Cheese sandwiches with the last of the sriracha sauce which Stan had brought with him in a special keyring (fantastic idea, if anyone is reading who plans to get me a Christmas present) and a round of Frisbee added up to an hour well spent under some glorious sunshine. As Dutch tourists and locals cycled past, we exchanged greetings, smiles and waves, with many approving nods at our piles of tents, bags and other gear. 

We spent the afternoon navigating a series of gravelly trails, firstly uphill for what felt like a long time having had nothing but flat since Hook of Holland, then soon after into a very long downhill stretch, taking us flying down into Apeldoorn like three runaway locomotives. On the edges of town we came across a lovely park with a bridge in the style of a Japanese garden and a strangely beautiful green lake.  

Obviously, this called for nothing less than a Solero (greatest ice-lolly of all time, I will fight any man who disagrees) while listening to this song (greatest ice-lolly-eating soundtrack of all time; same rules apply as above):

Once we’d spent a very pleasant hour or so in the park, and once Stan had finished trading insults with some local scallywags (”swear to God, mate, if that kid comes any closer he’s going in the lake”), we carried on our merry way into Apeldoorn. Once there, Stan bought more ice creams, since the gorgeous weather more or less dictated this as mandatory, as well as getting us some free sporks and some outstanding own-brand Snickers bars (among other more nourishing bits) from Albert Hein, a very fine chain of supermarkets to be found in most Dutch towns. With dinner bagged up, we headed out of town along a pretty tree-lined avenue, on one of Holland’s many excellent bike paths. Having now more or less found our rhythm, we were steaming along at around 25km/hour, feeling fit and fast as the countryside flew past in greens and flashes of yellow rapeseed on either side. 

However, it was not to last. As we came to a narrowing in the bike path, disaster struck: with Arthur safely in front, myself and young Sands soon became aware that the friendly proximity within which we’d been laughing and joking for several miles was no longer workable; we were going too fast down too narrow a path to be laughing any more. We straightened up for a few seconds, but then somehow we managed to hook our handlebars together, and in less than a millionth of a nanosecond, so quickly that even a hundred video referees couldn’t have decided whose fault it was, we came crashing to a very abrupt halt. 

Besides a few scrapes and scratches up my left side and a couple of bruised egos, the only thing damaged was Stan’s front wheel, which as you can see was turned into a giant mechanical Pringle (this is his favourite Pringles flavour hence the joyful expression). Obviously, this meant we’d need a new wheel, and being around 6pm already it was unlikely we’d get back to Apeldoorn in time to find a bike shop still open. As luck would have it, a friendly Dutchman who was giving his son a driving lesson had seen our crash, and came rushing over to help, even driving Stan back to town and helping him negotiate with the manager of an already-closed shop. Playing the charity-bike-ride card seemed to work; about half an hour of roadside frisbee later, Arthur and I were rejoined by a very happy Stan holding a shiny new wheel. We cycled down the road a little way and decided to pitch up for the night in the corner of a lush green field, where we’d seen a huge white stork flapping about the long grass.   

Free sporks being put to great use 

This long grass stabbed us in the back. Gorgeous and green in the evening, cold and covered in dew (but still green in all fairness) in the morning. This kind of thing is all about learning curves. 

With very soggy feet, we set out quickly the next day after a couple of brioche rolls each, hoping to shed the water in our shoes and socks by blazing a trail along some long, open roads with huge green fields on either side. We stopped and had instant noodles for lunch in a playpark, just across the road from a petrol station with the alarming name “Firezone”.

As we ate lunch the sun managed to break through the morning clouds, and pretty soon we started to regain feeling in our feet. Setting off again, we were all feeling pretty strong as we followed signs to the German border town of Nordhorn, rapidly ticking off the final kilometers we’d be cycling on Dutch soil (towards Berlin at least). As if to lead us to the Brandenburg Gate, as we came within touching distance of the border an honest-to-God eagle flew right over our heads and straight on to the East. Admittedly, it was a very straight road, so in terms of giving directions the spirit of Germany could have chosen a trickier spot to manifest itself, but the excitement it inspired as we crossed the border was worth any number of wrong turnings down the line. Once in Germany, we bought food for dinner and breakfast (we’d been in the country for at most five minutes when we found a Lidl) and pitched the tents in time to enjoy the sunshine of our first evening in Westphalia. As the sun set, the waxing moon became brighter and brighter in the sky, bathing the grove of trees around us in a silvery light that was more than enough to see by.

The next morning I woke early again. The night had been a cold one; when I went into the adjacent field to stretch my legs, the furrows were frozen solid. A cold mist hung over Germany’s western edge; we had another 500km to cycle, and all our bodies were just beginning to feel the strain. However, without a shadow of a doubt, all three of us knew we’d make it one way or another. As Stan had told us earlier in the day in a moment of doubt, “Lidl’s that way mate”. 

Find out how we got there in the next post.

P.S. Our JustGiving page is still live. If you’re reading this and have enjoyed the blog, but still haven’t made a donation to Doctors Without Borders, it’s not too late!

https://www.justgiving.com/fundraising/standelakersey

[micaramel]

Artists: Anita Leisz, Ulla Rossek

Venue: Halle für Kunst Lüneburg

Date: September 9 – October 29, 2017

Click here to view slideshow

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

Images:

Images courtesy of Halle für Kunst Lüneburg. Photos by Fred Dott.

Press Release:

Although the impulse suggests itself—for why should two artistic positions be presented together, if they are not placed in relation to each other—Anita Leisz’ and Ulla Rossek’s works can hardly be reduced to a common denominator. They deal neither with comparable thematic nor with similar formal issues. Yet there is a level on which they correspond, even if it is more difficult to grasp than the differences between the two positions.

The works of Anita Leisz can be described as rectangular sculptures or objects of varying sizes. They are made of industrially produced materials and appear hermetic and all but self-referential in their clarity and austere poetry, even though they are indeed set in relation to the space, the human body, and the architecture in the gallery space. Ulla Rossek’s works, on the other hand, are based on content-related research and thus on an outside that can be named and accessed. Based on her thematic interests in the nuclear family as an ideal social construction and the technique of standardization, as well as in the relationship between psychoanalysis and money, to mention a few themes, Rossek translates her considerations into the most various aesthetic languages and formal analogies, as if the respective topic were searching for its form.

What is more interesting than these briefly outlined differences in the considerations for the exhibition, however, is the origin of the interest in bringing both positions together in conceptual terms, despite all disparities. This interest lies in a vague commonality that runs like a fine thread from artwork to artwork. It could perhaps best be described as the “volume” of speaking. Rossek’s works are created in a very slow work process and are based on extremely reduced and sparse gestures. It’s almost as if she were trying as long as possible to avoid something like “art” emerging in the form of an object. Among other works she exhibits in Lueneburg is the mere model of an expansive coconut filled with coins, which is in turn placed inside a model of the exhibition space. It is not a production, then, but an accumulation of myriad thoughts and an endless amount of time invested in a small object that only alludes to something, but is there all the same, something that takes place in the mind and is thus anything but “loud.” Rossek’s works are by no means defensive, though, but very clear, decisive, and pointed in their unobtrusiveness.

As if Anita Leisz, too, disdained any kind of verbosity and superfluity, her works reveal extreme reduction and strictness, and despite—or precisely because of—their extreme simplicity and precision, possess a very strong presence. Devoted to details, she creates the pieces in a work and processing procedure that results in a necessity. This concentration dedicated to each concrete object, each specific problem, and not to the idea or notion of the objects in general, lends her works an energy, charge, and tension bearing witness to the fact that thousands of meticulous decisions have been bundled, stored, and “boiled down” in a highly concentrated way. And perhaps it is to preserve this concentration that Leisz’ works have to be so hermetic, as well.

Works by Ulla Rossek (*1978) have been presented et.al. at Kunstverein Leipzig (2016), Galerie der Stadt Schwaz (2015), C.G. Jung Institute of New York (2013), Boltenstern.Raum der Galerie Meyer Kainer, Vienna (2012), Kölnischen Kunstverein, Cologne (2011), Pavillon vor der Volksbühne, Berlin (2011), Pro Choice, Vienna (2008), After the Butcher, Berlin (2009), Samsa, Berlin (2008), in der Kunsthalle Exnergasse, Vienna (2007), im Kunstverein Braunschweig (2005), in der Collective Gallery, Edinburgh (2004), im kjubh, Cologne (2004) und im Kunstverein München, Munich (2003).

Works by Anita Leisz (*1973) have been presented et.al. at Kunsthalle Exnergasse, Vienna (2017), 21er Haus, Vienna (2016), Galerie Francesca Pia, Zurich (2016), Stadtgalerie Schwaz (2016), Galerie Meyer Kainer, Vienna (2016), Neue Alte Brücke, Frankfurt/Main (2016), Kunsthalle Krems (2015), Künstlerhaus Graz (2014), Kunsthaus Bregenz (2014), Bortolami Gallery, New York (2013), Lars Friedrich, Berlin (2013), Renwick Gallery New York (2012), Haus der Kunst, Munich (2012), Kunstverein Nürnberg (2010), Städtische Galerie Nordhorn (2009), Croy Nielsen, Berlin (2008), Kunsthalle Exnergasse, Vienna (2008), Kunstverein Braunschweig (2007), Salzburger Kunstverein (2007), Kunstverein Langenhagen (2005), Galerie für Zeitgenössische Kunst, Leipzig (2004), Secession, Vienna (2002), Galerie Karin Guenther, Hamburg (2001), Generali Foundation, Vienna (2000), Grazer Kunstverein (1998) und Kunsthalle Nürnberg (1997).

Link: Anita Leisz Ulla Rossek at Halle für Kunst Lüneburg

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2gMa9TA

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