#Sebastian Schlemmer

[automaticvr]

The virtual reality project “Das Totale Tanz Theater” (The Total Dance Theatre) was intended to reflect important works of the world-famous Bauhaus school. Taking place on the occasion of its founding anniversary, it was shown how the school has been influencing and shaping architecture, art, design and pedagogy until today. Inspired by the stage experiments of painter Oskar Schlemmer and the idea of the “Total Theatre” by Bauhaus founder Walter Gropius, a virtual world with costumed dance machines was conceived, which explores the relationship of man and machine in the digital age. Equipped with virtual reality headsets, four users simultaneously enter a huge virtual stage construction and, with their “dance machines”, experience an interactive choreography across three levels. The movements of the dancers had been scanned via motion capturing and applied onto 3D models. The more than 2,500 resulting motion sequences were stored in a database and then reassembled into an interactive choreography by means of artificial intelligence. The interplay of man-made choreography, personal intervention and machine algorithms results in ever new forms of movement and dance. Statement by the Jury This project provides a sophisticated virtual reality experience and uses it to express a leap forward towards creating a completely novel stage performance. It embodies a fantastic approach towards bringing a new dimension into the relation between humans and machines seamlessly tying in with the work of Oskar Schlemmer and the Bauhaus. Red Dot: Best of the Best 2019 Credits Client: Interactive Media Foundation gGmbH / Filmtank GmbH, Berlin, Germany Design: Artificial Rome GmbH Berlin, Germany Interactive Media Foundation gGmbH, Berlin, Germany Idea / Story: Diana Schniedermeier, Maya Puig Virtual Reality Design: Maya Puig, Patrik de Jong, Dirk Hoffmann Executive Production: Diana Schniedermeier Choreography: Richard Siegal Composition: Lorenzo Bianchi-Hoesch Sound Design: Victor Audouze Art Direction: Dirk Hoffmann, Nico Alexander Taniyama, Robert Werner Technical Team: Torsten Sperling (Lead), Sebastian Hein (Lead), Dennis Timmermann, Hui-Yuan Tien 3D Design: Nico Alexander Taniyama (Lead), Christian Rambow, Dana Würzburg

[petragruenendahl]

Museum DKM in Duisburg zeigt Dorothee von Windheims „Sebastian – Chronik einer Arbeit“

Museum DKM in Duisburg zeigt Dorothee von Windheims „Sebastian – Chronik einer Arbeit“

Wie die Wunden im Körper des Heiligen Von Petra Grünendahl Dorothee von Windheims Sebastian-Tuch im Museum DKM. Foto: Petra Grünendahl.Klaus Maas und Dorothee von Windheim an der Vitrine mit den Sebastian-Tuch. Foto: Petra Grünendahl.[Dorothee von Windheims Sebastian-Tuch im Museum DKM. Foto: Petra Grünendahl.Das Baumwolltuch in Türkischrot mit umstickten Löchern erinnert abstrakt an die Wunden des

[tkkgjunior]

Folge 3: Giftige Schokolade

In der Schokoladenfabrik geht es drunter und drüber: Die Schokolade ist versalzen und das Geheimrezept verschwunden. Können TKKG den Übeltäter finden? Als auch noch ein Glasauge in der Schokolade auftaucht, ist klar, die vier Detektive haben es mit echten Halunken zu tun! Ein echter Fall für TKKG!

VÖ: 14. September 2018 EAN: 190758496221

Buch: Frank Gustavus nach Motiven von Stefan Wolf Regie: Frank Gustavus Produktion: Superhearo Audio / www.superhearo-audio.de Redaktion: Sandra Bromba Geräusche: Martin Langenbach, Alexander Rieß Musik: Matthias Kloppe Coverillustration: Comicon S.L. „TKKG Junior Titelsong“: Matthias Kloppe Eine Produktion der Sony Music Entertainment Germany GmbH © 2018

Sprecher

Erzähler - Peter Kaempfe

Tim - Sebastian Fitzner

Karl - Felix Strüven

Klößchen (Willi) - Julian Greis

Gaby - Liza Ohm

Frau Schlemmer - Tanja Dohse

Herr Sauerlich - Kai-Henrik Möller

Kommissar Glockner - Michael Bideller

Herr Fröhlich - Konstantin Graudus

Herr Bartels - Achim Buch

Georg - Sven Dahlem

Leo - Jesse Grimm

Max - Robert Knorr

Schülerin 1 - Chiara Lüssow

Schülerin 2 - Leonie Kristin Oeffinger

Schülerin 3 - Nadine Albers

Schülerin 4 - Theresa Horeis

Schülerin 5 - Alanah Chrispeels

und Oskar, der Cockerspaniel

Titel

Waschhörnchen oder Eichbär

Eine Führung mit Hindernissen

Salz in der Schokoladensuppe

Erpresst!

Auge im Mund

Frostige Fahrt

Oskar macht eine Entdeckung

Der gute alte Bleistifttrick

Beweise aus dem Mülleimer

Das Geständnis

Ein fieser Plan

Der Giftmischer fliegt auf

Überrumpelt

Eichhörnchen für alle

[nofomoartworld]

Hyperallergic: A Book and Exhibition Reveal Josef Albers’s Rarely Seen Photocollages

Josef Albers, “Bullfight, San Sebastian” (1929), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker (all images © 2016 The Josef and Anni Albers Foundation/Artists Rights Society, New York)

Over his three decades of teaching, Josef Albers delivered just one lecture on photography. Addressed to students at Black Mountain College, “Photos as Photography and Photos as Art” began:

I suppose some of you have seen the advertisement of commercial photo dealers saying, “You push the button, and we do the rest.” This promotes a taking of pictures with the least care possible. Such a way of looking at photography, I believe, is of the lowest level possible and should not be our way of approaching and understanding photography.

Josef Albers, “Erdmannsdorfer Mannequins” (1930), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

Albers spoke those words on Feb 24, 1943, about a decade after he had finished a series of his own photographic work that exemplifies this belief — a series rarely seen, created in a medium for which he is not very widely known. It consists of 70 photocollages; made between 1928 and 1932 — the year before he moved to the United States — each one presents at least two black-and-white photographs mounted to a cream-colored, A3 board. Although they capture quotidian subjects — portraits of Albers’s family and friends; pictures of mannequins, stairwells, the beach, the Eiffel Tower — the carefully constructed collages meld the mechanics of then-young, handheld Leica cameras with the artist’s hand, representing the unity of art and technology inherent to the Bauhaus.

For the first time, the collages are now all published together (some have never been printed before) by MoMA Publications, collected in One and One Is Four: The Bauhaus Photocollages of Josef Albers. The book accompanies an ongoing, eponymous exhibition of the works at the Museum of Modern Art, which was the first to display Albers’s photographs in a 1988 show curated by Jon Szarkowski. The photocollages first emerged in the 1970s, part of a hidden trove of Albers’s art found in a New Haven storage room, unlocked after his death with the supervision of Anni Albers.

Albers had never spoken of, written about, or exhibited his photocollages, and it remains a mystery why exactly he mounted these works (in an accompanying essay, MoMA curator Sarah Hermanson Meister posits, among other reasons, that they may have been intended as gifts). But close examination of them, especially together as a collected body of work, suggests that they provided a space for experimentation with the same concepts that Albers continued to focus on in his paintings, such as seriality and how varying tones may shift perception. His renowned Homage to the Square series, for instance, which began in 1950, engages with similar concerns, most obviously with the subtle shifting of rigid forms to create different compositions.

“[G]rids and rectangular forms — suggesting building and framing — are also a through-thread in Bauhaus work, in photocollage and in other mediums,” as art historian Elizabeth Otto writes in another essay included in the publication. “In Albers’s work, the structure of the photographic frame offers a calmer, more contemplative visual space in which to explore narrative, perspective, time, and the nature of photographic representation itself.”

Josef Albers, “Hotel staircases, Geneva” (1929), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

While many at the Bauhaus, including László Moholy-Nagy and Marianne Brandt, reworked photography to depict images that don’t exist in reality, for Albers, manipulation occurred through selection and assemblage alone: there was no experimental camerawork, no retouching, and no splicing of pictures. Instead, it is the particular placement of pictures on the boards and the measurement of gaps between and around them (or lack thereof) that establish new visual dialogue. If you look closely at some of the photocollages, you can make out carefully marked graphite lines that served as Albers’s guidelines.

The majority of the photocollages consist of just pairs, many of which shake your understanding of them after prolonged viewing. One of a hotel staircases in Geneva, for instance, appears as a negative paired with a positive photograph, but both pictures are positive, merely cleverly matched so their tones play with your eyes. Set closely together, they also appear almost as a continuous set of impossible staircases, deceiving like an M.C. Escher vision. A handful of photocollages are more complex, melding many more photographs of the same setting or subject but from various vantages or over longer periods of time. A particularly arresting one replicates the structure of an action-packed sports complex through its individual pictures. It captures the energies of a bullfight in San Sebastian, pasting together the rounded architecture of the arena with the rows of spectator in hats and tiers of parked vehicles. Composed of six images, the photocollage demonstrates an approach to photography handled with the utmost care: it shows Albers’ ability to produce memorable visions through order and simple variability of representation, even amid the increasing flood of easily and fast-produced pictures.

Josef Albers, “Paul Klee in his studio, Dessau” (1929), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

Josef Albers, “Biarritz” (1929), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

Josef Albers, “Oskar Schlemmer, April 1929; Schlemmer in the Bauhaus Masters’ Council, 1928; Schlemmer with Hans Wittwer, Ernst Kállai, and Marianne Brandt, Preliminary Course Exhibition, 1927/28; Schlemmer and Tut, summer 1928; Schlemmer, April 1930; Schlemmer, 1928,” the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

Josef Albers, “Eiffel Tower, Paris” (1929), the Museum of Modern Art, New York, acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker

One and One Is Four: The Bauhaus Photocollages of Josef Albers is available through the MoMA Store. The accompanying exhibition continues at the Museum of Modern Art (11 West 53rd Street, Midtown, Manhattan) through April 2.

The post A Book and Exhibition Reveal Josef Albers’s Rarely Seen Photocollages appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2jppLcn via IFTTT

[fuckyeahvl]

10 December 2014 - Sebastian Schlemmer (Sebastian von Lahnstein) for the “20 Years of Verbotene Liebe" photocall in Cologne.

Haaaaate Seb's new hair, sob. It really ages him and he looks cuter when it's shorter!

[trollandgarros]

Miriam Lahnstein and Sebastian Schlemmer play couple Tanja von Lahnstein and Sebastian von Lahnstein in the German soap opera Verbotene Liebe (Forbidden Love). They're posing here during filming of a guest appearance on the hospital drama In aller Freundschaft (In All Friendship).

[iesastra]

I SHIP THEM SOOOOOOOOO HARD.

[mar-nu-falmar]

[tristanundhelena]

Sebastian: Typisch. 

Lydia: Wieso typisch? 

Sebastian: Solange ich mich erinnern kann gabs für Helena immer nur Tristan und für Tristan immer nur Helena. 

Rebecca: Das kann mal wohl so sagen. 

[nonsensicalname]

This is Sebastian Schlemmer, another German actor.

I was bored this afternoon, this is what I did. I dig through my pics on computer when I had enough of one person, I did a wallpaper with it. Well, I don't I 'm ever gonna use them, but I though I 'd share them with you! ;) To show you how much I was bored! xD

[fuckyeahvl]

Current Mood: skeptical

(Episode #4558, 3 September 2014)

[fuckyeahvl]

They are TOTALLY doing it.

(Episode #4538, 28 July 2014)

[fuckyeahvl]

Some TanSeb gifs for those of you who like TanSeb. Made from VL's opening credits from last year.

...ngl I totally like their evil cougar + pocket husband vibe :D

P.S. I am wholly against watermarking gifs because trying to "claim" a gif with a watermark when you don’t even own the broadcast rights for what you just gif-ed is  stupid in my opinion. I'd much rather prefer to leave the option of "giving credit" up to you, so if you would like to show your appreciation, please consider reblogging this post instead of reposting these gifs in a new post. :)

[fuckyeahvl]

Lahnsteins Gone Wild