#Thomas Lempertz

[dance-world]

Friedemann Vogel - Stuttgart Ballet - photo by Thomas Lempertz

[eddy25960]

Friedemann Vogel - Principal with the Stuttgart Ballet

"Die Seele am Faden" by Thomas Lempertz

photo © Thomas Dashuber, Anna Pawlak

[lorenabaricalla]

From Monaco to Paris, Milano, Rome, Cannes, Marrakech and more a long fashion love story as a 🇺🇸 Fashion Ambassadress and Endorser

🇮🇹 Fashion Testimonial 🇫🇷 Ambassadrice de Mode

I collaborated with more than 30 Fashion and Jewellery brands for red carpets, international events, fashion shows, or photo and video shootings: Dany Atrache, Raquel Balencia, Seyit Ares, Uel Camilo, Eles Italia, Gianni Versace Private Collection, Genesia Walle, Nordic Angels by Marketa Hakkinen, Didimara, CréaZen by Sophie Rouault, Sveta, Gianni Calignano, Gaetano Navarra, Viktoriia Nosach, Fabiana Gabellini, Agnes Wuyam, MO.YA by Barbara Piekut, Svetlana Kushnerova, To Be New-York by Simone Vannuzzi, Goldknopf Couture by Thomas Lempertz; and also Duccio Venturi Bottier, Joshua Fenu shoes, Burak Uyan shoes.

For the Jewellery: Century luxury watches, Montblanc Haute Joaillerie, Pia Mariani Haute Joaillerie, Amato Teresa Gioielli, Gold&Roses, Stroili Gioielli, Nehro, Marina Corazziari...

🇺🇸As well I am an Ambassadress for numerous fashion shows in Monaco, Milano, Rome and Paris.

🇮🇹 E’ anche Madrina per numerose sfilate a Monaco, Milano, Roma e Parigi.

🇫🇷 Elle est aussi la Marraine de nombreux défilés de mode à Monaco, Milan, Rome et Paris. Produced by @promoart_montecarlo_production #lorenabaricalla #LB #fashionicon #fashion #ambassadress #endorser #testimonial #moda #ambassadrice #mode #photoshooting #redcarpet #backstage #fashionshow #videoshooting #event #promotion #advertising

[starlitblack]

Thomas Demand Dashboard 2004

lempertz

[landscapeusa]

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[theseustempel]

Referenzsystem WK-Eins (1914–1918)

Jeder Krieg hat seine Erzählungen, seine Lieder und seine Bilder. Und jeder, der Krieg betreibt, braucht derartige mediale Formen, um seine Narrative durchzusetzen. Natürlich änderten sich im Verlauf der Jahrtausende und Jahrhunderte neben den Waffensystemen die Informations- und Speicherformate; mit diesen Entwicklungen erfuhren auch Komplexität und Organisationsgrad der mehr oder weniger unmittelbaren Berichterstattung vom Krieg einen Wandel: zwischen der antiken Teichoskopie und der Manipulation von Information in Echtzeit liegen nicht wenige Kulturräume und -zeiten. So wie ›der Krieg‹ seine vermittelnden Darstellungsformen erfuhr, bedurfte er neben anlassgebenden Bezugssystemen, Vermögenswerten, Kriegern, Waffen, Bereitschaft zum Mord, Nachschub, Befehls- und Verständigungsketten als Parallelstruktur auch zumindest irgendeiner Form der Verwaltung, die Güter und Informationskanäle sicherstellte. Im Ersten Weltkrieg erfahren diese Anstrengungen und Erfahrungswerte, die über viele Jahrhunderte gesammelt wurden, eine bis dahin nicht gekannte Akkumulation an Kräften; es entsteht – teils aus reiner Notwendigkeit und Zufall und weniger aus strukturierter Planung heraus – eine völlig neue Form der Verschaltung von Handlungsfeldern und Subsystemen. So unterhielten etwa mit Fortdauer des Krieges bald alle kriegsführenden Mächte Informationssysteme und manipulierten die öffentliche Meinung nach Kräften. Am Beispiel des k.u.k. Kriegspressequartiers (der ersten Einrichtung dieser Art) [*] erweist sich exemplarisch, mit welcher Ahnungslosigkeit – und zugleich: umfassenden Wirkung – Medien erstmals, per Anordnung der Militärbürokratie, tatsächlich zu Medienverbünden verschaltet wurden. [**] Dabei konnte auf einer Verwaltung mit jahrhundertelanger Tradition und zugleich Entwicklung aufgesetzt werden – einem System der Bürokratie und des Interessensausgleichs, das längst auch sämtliche militärische Strukturen einschließlich ihrer Truppenkörper vereinnahmt hatte; da wie dort geht es wesentlich auch um Erregung, Impulskontrolle und Übertragung.

Eliten der österreichisch-ungarischen Bürokratie waren wesentlich und willentlich an der Auslösung des Ersten Weltkriegs beteiligt, weshalb Medien, Verwaltung sowie deren Schaltkreise schon umfassend zur Stelle waren, als der Krieg mit der Übertragung eines Telegramms aus dem »k. u. k. Hoftelegraphenamt« – in der Hofburg zwischen Amalienhof, Schauflergasse und Franzens Platz (heute Innerer Burghof) gelegen –, auf Veranlassung des »k. und k. Ministeriums des kaiserlichen und königlichen Hauses und des Äußern«, ein- und mehr als bloß die Monarchie unter Strom setzte.

»Über die Kästen gebückt stehen die Setzer und backen gleichgültig das morgendliche Brot für die Seele des Volkes. Dampfende, stinkende Worte. Als die ersten in dieser Nacht erzitterten die Setzer. Aus den unermeßlichen Vorräten bleierner Mikroben, in denen, zerschlagen in Atome, die Weltgeschichte ruht, griffen die Setzer auf einmal fünf Buchstaben heraus. Jeder dieser fünf Buchstaben – jeder für sich ohne Bedeutung – ergibt zusammen mit den anderen das chemische Zeichen des Unheils. Während des Setzens zitterte die Hand eines Setzers. Dann versagte für einen Moment sein Verstand. Und als er nach einer Weile das Bewußtsein wiederfand, rieb er sich die Augen und begriff, daß er ein Wort ohne Sinn zusammengesetzt hatte: Klieg. Mit Bedauern klaubte er den Buchstaben l heraus und warf ihn wieder in das Gefach zurück, in dem Hunderte von brüderlichen l schlummerten. Mit dem Gefühl einer Schuld, mit irren Fingern nahm er die richtige Type heraus und gab Zeugnis einer Wahrheit, an die er nicht glaubte. Dann wusch er sich die Hände. [/] Der Satz fiel schief aus und wanderte so in die Maschine. Das schreckliche Wort ging aus der Presse in die Welt und schleppte den Trauerflor der Druckerschwärze hinter sich her. […] Plötzlich fuhren die Trambahnen an den belebtesten Punkten der Stadt nicht weiter. Grünliche Funken zischten unter den Oberleitungen wie bei Kurzschluß. Der Strom floß durch die Nerven der Fahrgäste, Schaffner und Wagenführer. Sie hielt es nicht einmal bis zur nächsten Haltestelle. Sie stiegen aus und stürzten sich über die Zeitungen. Zum erstenmal schienen sie zu merken, wie schwarz die Buchstaben sind.« [***]

Der »Rotationsbestie« [****] verlangte es nach Futter; dieses so unmittelbar als nur möglich, frisch gepresst und aufgeschnitten, zu liefern, waren das Armeekommando und sein Kriegspressequartier (KPQ) bemüht – eine neue mediale, »normative Kraft des Faktischen« (Georg Jellinek) griff um sich, deren Dynamik der systematischen Verbindung von Medien, Verwaltung und Krieg geschuldet war. Einerseits wurde die Organisation und Kontrolle printmedialer Zugänge geschaffen, andererseits musste sich weit über die ursprünglichen Absichten hinaus und unter dem ständigen Druck von ›Ereignissen‹ eine hochkomplexe Behörde entwickeln, die im Laufe der Jahre sämtliche Text-, Bild- und Tonmedien der Zeit erfasste, produzierte und auslieferte.

Bei der militärischen Öffentlichkeitsarbeit dieser Jahre hat man es mit einem Abschnitt der noch zu schreibenden Kulturgeschichte der Verwaltung zu tun (die damit verbundene Organisation stellte abseits moralischer Zuschreibungen [*****] zweifelsfrei Kulturtechniken wie -leistungen von Amts wegen zur Verfügung). In medienhistorischer wie -theoretischer Hinsicht geht es um den ersten systematisierten Medienverbund hinsichtlich Personal, Organisation, Aufgabengebiete und Verzahnung sämtlicher verfügbarer Medien der Zeit; die Verbindung von Technik, Krieg, Medien und Propagandaabsicht erreichte in diesen paar Jahren eine völlig neue Dimension.

– – –

[*] Von Juni bis Oktober 2014 wurde in Wien (Palais Porcia) von Bundeskanzleramt und Österreichischem Staatsarchiv eine Ausstellung gezeigt, die eine Vielzahl der recherchierbaren Fakten zusammentrug und zur Schau stellte: »›Extraausgabee –!‹ Die Medien und der Krieg 1914–1918« (Idee und Konzeption durch Verf.; Kuratierung durch Wolfgang Maderthaner). Vgl. hinsichtlich aktueller Aufarbeitungen des Verhältnisses von Medien und Krieg im Ersten Weltkrieg, allgemein sowie speziell hinsichtlich des k.u.k. Kriegspressequartiers, u.a.: Repräsentationen des Ersten Weltkriegs in zentraleuropäischen Literaturen. Hg. v. Milka Car, Johann Georg Lughofer. Zagreb 2016 (Zagreber Germanistische Beiträge 25); Kulturmanöver. Das k.u.k. Kriegspressequartier und die Mobilisierung von Wort und Bild. Hg. v. Sema Colpan, Amália Kerekes, Siegfried Mattl, Magdolna Orosz, Katalin Teller. Frankfurt/M.: Peter Lang 2015; Erster Weltkrieg. Kulturwissenschaftliches Handbuch. Hgg. v. Niels Werber, Stefan Kaufmann, Lars Koch. Stuttgart, Weimar: Metzler 2014 (für den vorliegenden Zusammenhang sei insb. auf Hüppauf, Bernd: Medien des Krieges, S. 311–339 sowie Käser, Bernd: Medienkultur: Entwürfe des Menschen, S. 434–447, verwiesen); Thomas Jander, Veit Didczuneit: Netze des Krieges. Kommunikation 1914–1918. Königswinter: Brandenburgisches Verlagshaus, Edition Lempertz 2014; Wolfgang Maderthaner, Michael Hochedlinger: Untergang einer Welt. Der Große Krieg 1914-1918 in Photographien und Texten. Wien: Brandstätter 2013; Musen an die Front! Schriftsteller und K��nstler im Dienst der k.u.k. Kriegspropaganda 1914–1918. 2. Bde. Hg. v. Jozo Džambo. München: Adalbert Stifter Verein 2003.

[**] Verf. geht für einen aktuell in Arbeit befindlichen Aufsatz von bislang vier eigenen Beiträgen zum Themenkomplex ›Medienverbund Erster Weltkrieg‹ aus, auf die hier insofern verwiesen werden soll, da die dort je vorgetragenen Thesen, Daten, Zusammenhänge und Nachweise wesentliche Grundlagen für ho. zu Referierendes darstellen (einschließlich des Hinweises darauf, dass dieser Krieg – durchaus im Wortsinn – die Initialzündung der Digitalisierung darstellte): Annotation, Bleistiftspur und Cetologie. In: Christian Huber, Roland Innerhofer (Hg.): Spielräume. Poetisches. Politisches. Populäres. Wien: Löcker 2016, S. 54-62 (insb. der Abschnitt »Verzettelter Gehirnphosphor«, S. 56-58); Der Medienverbund Kriegspressequartier und sein technoromantisches Abenteuer 1914-1918. Eine Auflösung. In: Repräsentationen 2016, S. 255-270; Als die Bilder in den Krieg zu laufen lernten. Die Rolle des Films im Medienverbund des Kriegspressequartiers 1914-1918. In: Ernst Kieninger, Armin Loacker, Nikolaus Wostry (Hg.): Archiv der Schaulust. Eine Geschichte des frühen Kinos in der k.u.k. Ära 1896-1918. Wien: Filmarchiv Austria 2016, S.363-377; »Extraausgabee –!«. Vom Medienverbund k.u.k. Kriegspressequartier und seinem technoromantischen Abenteuer 1914-1918. In: Kulturmanöver 2015, S. 355-369.

[***] Jozef Wittlin: Das Salz der Erde. Roman. Übers. v. Izydor Berman. Frankfurt/M.: Suhrkamp 2000, S. 21f.

[****] Karl Kraus: In dieser großen Zeit. In: »Die Fackel« H. 404 v. 5.12.1914, S. 1–19, hier S. 10.

[*****] »Wie immer, es spricht viel dafür, dass die Moral vom Teufel ist.« (Niklas Luhmann: Wirtschaftsethik – als Ethik? In: Ders.: Die Moral der Gesellschaft. Frankfurt/M.: Suhrkamp 2008, S. 196-208, hier S. 207.)

[lorenabaricalla]

As a 🇺🇸 Fashion Ambassadress and Endorser

🇮🇹 Fashion Testimonial 🇫🇷 Ambassadrice de Mode

I collaborated with more than 30 Fashion and Jewellery brands for red carpets, international events, fashion shows, or photo and video shootings: Dany Atrache, Raquel Balencia, Seyit Ares, Uel Camilo, Eles Italia, Gianni Versace Private Collection, Genesia Walle, Nordic Angels by Marketa Hakkinen, Didimara, CréaZen by Sophie Rouault, Sveta, Gianni Calignano, Gaetano Navarra, Viktoriia Nosach, Fabiana Gabellini, Agnes Wuyam, MO.YA by Barbara Piekut, Svetlana Kushnerova, To Be New-York by Simone Vannuzzi, Goldknopf Couture by Thomas Lempertz; and also Duccio Venturi Bottier, Joshua Fenu shoes, Burak Uyan shoes.

For the Jewellery: Century luxury watches, Montblanc Haute Joaillerie, Pia Mariani Haute Joaillerie, Amato Teresa Gioielli, Gold&Roses, Stroili Gioielli, Nehro, Marina Corazziari...

🇺🇸As well I am an Ambassadress for numerous fashion shows in Monaco, Milano, Rome and Paris.

🇮🇹 E’ anche Madrina per numerose sfilate a Monaco, Milano, Roma e Parigi.

🇫🇷 Elle est aussi la Marraine de nombreux défilés de mode à Monaco, Milan, Rome et Paris.

Produced by PromoArt MonteCarlo Production

#lorenabaricalla #LB

[landscapeusa]

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