#agnes kraus

[rwpohl]

leichensache zernik, helmut nitzschke defa 1972

[abbysimsfun]

Sims In Bloom: Generation One Summary (Daisy)

Based on the Sims In Bloom Challenge by Tasha @a-sims-garden posted here

Gen 1 - Daisy (white, yellow)

Gardening has always been your passion. Owning a large, healthy garden is all you’ve ever wanted in life, even if your nails constantly have soil under them and you have so many broken pots you’ve lost count. Your happy place is meditating in the shade of the fruit trees that you grew yourself from tiny saplings. You sit and wonder what your family will grow to do, and hope that they will flourish just as beautifully as your garden has. This is the start of your family legacy!

Live on a lot with the lot challenge ‘Simple living’

Grow a cowplant and keep it alive for as long as you live (if it dies, immediately plant a new one)

Grow 5 perfect plants

Marry a sim who also has the ‘loves outdoors’ trait

*Gain the Outdoorsy lifestyle

*Grow a death flower

Bonus (My own additions. I might use cheats to help complete these if I feel like it because I'm just piling on stuff to do, but I'll try to make it plot or give it some kind of difficulty.)

Befriend all seven Henford NPC townies (Lavina and Rahul Chopra, Michael Bell, Agnes Crumplebottom, Agatha Crumplebottom, Kim Goldbloom, Sara Scott) *taken from a later Sims In Bloom generation that is supposed to take place in Henford but I'll be in Chestnut Ridge instead.*

Plant all base game plants to earn gardening plaque**

Grow all 5 oversized plants to enter in Finchwick Fairs

Catch all base game fish to earn fishing plaque *not completed until after Generation 2 had technically begun*

Complete Finchwick errands and give Finchwick Favors *given to Neal who made and gave away eco-matic smog vacs. Heather completed one of the errands for Dylan Kraus, the grocery deliverer*

All challenge tasks completed. All bonus tasks also completed BUT the UFO plant was found in the gallery after I got bored of waiting for the rocket ship adventure with the UFO fruit to come around after bungling it the first time.

** Uncle Karl came about after a random sim glitched and walked into the Nesbitt home in Henford (and up the stairs to the second floor!) before promptly leaving again. The sim was randomly assigned the surname Nesbitt, so of course I had to play this up and give Neal a brother (I used MCCC to make it so).

I put a UFO fruit from the gallery on his lot, then sent Daisy over before 5am every day for three days so the plant would bloom and she could tend it until harvest. Basically cheating but not part of the official rules so I don't care. Then she grew her own and my obsessive pursuit of the gardening plaque was done! Immediately had her quit her job as an "astrobotanist" (astronaut) and go back to gardening from home, but never tried too hard with it since she'd accomplished so much and the Florist career comes back later in the In Bloom Challenge.

<- Generation 1 from the beginning Pt2 Pt3 Pt4 Pt5 Pt6 Pt7 Pt8 Pt9 Pt10 Pt11 Pt12 Pt13 Pt14 Pt15 Pt16 Pt17 Pt18 Pt19 Pt20 Pt21 Pt22 Pt23 Pt24 Pt25

Generation 2 time! ->

[rosalie-starfall]

List of random things I totally love:

Kathryn Hahn running her fingers though her hair Part 6

[rottenwoodandwiltedsunflowers]

Waffle Recap 8/6 Late

Guys! Guys! This was 1000% the most BANANAS show I have ever seen in 9 years. I have seen a show or two but this was a delightful night of total fuckery. We all had no idea what we would be witnessing this show.

Started off as a standard show. Went to the ballroom and was delighted to see Ruth Howard as Sexy witch. She is, IMO, one of the best residents currently in the hotel. She is a great dancer and actor which is less common. All the residents that pass through the McKittrick are arguably talented but there are a lot who are great dancers but less great with the acting and vice versa. I feel like I catch her Agnes a lot but not so much her Sexy witch. I also haven't looped a sexy witch in awhile so I immediately honed in on it. 

I apparently honed in too far because I failed to notice that the ballroom was missing an important resident. I followed her and Boy witch (Nate) un the stairs and they were in full on fun mode. When they got to the lobby desk Boy witch leaned over the counter and whispered to Porter before taking the Banquo letter, turning to the audience, and tossing it over his shoulder in a blasé way. WHAT?!?! Let the games begin! Nate ran over after Sexy in a playful way and they proceeded to do the Banquo/Sexy couch dance. It was shocking and fun. A total departing from the normal tone of the scene with Sexy laughing at lifts and Boy flirting around area. I’m sure if it was your first show you wouldn't be the wiser. They then both joyfully darted over to the phone booths to torment Porter. 

Ruth peeled off and as we hit the 4th floor she did a sudden about face to stare at me and smirk before continuing on. She chose someone else for the 1:1 so I watched Agnes for a few minutes. I love the Sexy bar top solo in the rep bar. It is such a good example of the power of dance to convey emotional moments and a narrative that is open to interpretation. A verbal story gives you the narrative but a contemporary dance number can give the audience so much more. Sexy witch has just come off of the rave scene which is overwhelming, high energy, and loud. It’s intentionally designed to overstimulate. Then the character is immediately launched into this beautiful, intense in a quiet way, dance. Sexy witch switched from loud and bold to heartbreakingly venerable. The imagery that the show manages to invoke with drowning and Sexy witches struggle to literally stay afloat as Hecate isolates her from her fellow witches. Ruth pulled off one of the best hair flips I’ve seen in awhile splashing many audience members in the front. 

Sidenote: When I see that hair flip post-Covid (and frankly lots of other moments in the show) I can't help but think of things I’ve seen in previous years that are 100% not Covid safe. It was a running joke before the pandemic that the building was a zest pool of germs. Now I think back to how those things may never fly again in this new post-pandemic reality. The hair flip often makes me think of how Leslie Kraus would spit water across the audience instead of a hair flip. It was perfect (in an absolutely gross way)! 

When Ruth crawled over and grabbed my hand from the floor it was heartbreaking. Then, of course, Hecate swoops in to snatch her away and set her straight. Ugh.

We headed down to the banquet which I honestly tend to skip even if I’m looping nowadays. I was very interested to see if a Banquo would be appearing so I headed down. Once we got there I realized there was no chair for Banquo. I figured out at this point that there was probably no Banquo coming. I actually saw all three ballrooms that night and each was slightly different because it was clear that there was a lot of improving going on. During the third ballroom Lady Macbeth slowly rose up and toasted Macbeth at the moment where Banquo usually does. 

I watched the trees move. It was slightly smaller forrest. Then I followed the witched up for reset. I always and forever feel awkward as hell watching that scene. I try to be vigilant of blocking other people when watching scenes and there is no good place to stand to not block views for this scene. I stood past the doorway then awkwardly craned my neck to look in. Ruth made eye contact with me as she fixed her hair and reapplied her lipstick then stepped out of the room and grabbed my face to kiss my mask. 

To add to the absolute chaos of the show, Layne was on as Speakeasy. I was hoping to catch this. They were great but it meant that there were defiantly changes to the choreography. I loved the energy of the Sexy duet but much of the choreography was altered to adjust for the massive amount of lifts that are usually in the dance. I really liked the quiet confidence that Layne exuded during the back and forth though. Very hopeful and a bit cocky only to be disappointed. 

After being looked over for the first Sexy 1:1 I decided to keep following and see what happened the second time around. Most of the dances I love most are in the beginning of the loop any who.It came time for the 1:1 and there were a few super pushy audience members. When I’m really into following I try to keep up but I am far too old to be engaging in a game of push and shove. I ended up behind a petite girl and a big bro dude who were being overly aggressive. Ruth unlocked the door, turned around, and reached through to two to grab my hand and pull me between and into the room. I don’t take it too personally when I’m passed over for a 1:1 but there is a level of vindication when a resident chooses me (or anyone else for that matter) over pushy and poorly behaved jerks. I felt a bit smug. Don’t push people out of the way.

I made my way to the Banquo murder second time simply because I wanted to see what would happen. When I got there the card game was going to start. Layne surprisingly stepped in to replace Banquo. I was very impressed they knew the rules. (Yes, there are actual rules) It was another wild moment to watch. Jeff’s Macbeth arrived and I was still standing toward the end of the speakeasy bar near the wall. The space was packed with white masks as he arrived. No one had made any attempt to move the audience toward the ledges. I can only assume the black masks were also doing their best considering the circumstances. He ended up between the card table and the pool table and started having a total breakdown. I am talking throwing himself around, on the floor, blood everywhere, wood chips flying through the air, yelling breakdown. It was a real choice. At one point Layne started to try to move the audience toward the usual wall but it was a useless endeavor. Valiant effort given though. I started to move but most people didn’t and I actually ended up closer to Macbeth so I retreated back to my original spot for slight fear of bodily harm. Some girl (by no fault of her own) almost got horse kicked in the face when Macbeth started bending over and kicking his feet in the air. There was very little breathing room but everyone was making it work.

After that I wondered around a bit. I watched the second ballroom because no Banquo and went to the 5th floor for a bit. I am so happy they finally opened the padded cell again! If they aren’t going to keep the new and amazing material then at least give us the set space back. I did notice that they replaced the door so there is no peep hole anymore which is sad. I was delighted to find Camara in the hut. It was my first Matron 1:1 since re-open and it felt wonderful. I appreciate the nuanced details of her character and that she leaves the window and door open for much of the time. I like the new picture of a nurse on the cutout page beside the desk. Found it right away. I also like all the LMB’s carved into the papers hung up. The next day I realized it’s Joy’s nurse that brings them to her.

Other fun moments that happened include Joy’s bald witch basically giving up in the third ballroom. I can not blame her one bit. No Banquo means A LOT of improving for a bald witch. During one ballroom she saddled up to a white mask like they we attending the party and whispered something before pointing up at Macbeth on the mezzanine. Third ballroom she legit hopped up on the edge of the banquet table, crossed her legs, and just watched the scene play out. After the third ballroom, the Porter had laid out 3 shot glasses with the 3 Banquo letters and when Boy and Sexy arrived they all toasted and tossed the letters. Malcolm and Macduff carried Duncan down to the crypt without a third person. 

I finished the night with Kelly Todd’s Danvers. She handed me the weirdest thing I've ever been handed and I was so very confused until a friend filled me in on the backstory for the item. It will now forever reside in my trinket cabinet. It was a wild night complete with a Macbeth strangulation finale. What a sight watching Macduff and Malcom hold down Macbeth on the stage and choke him out. No Banquo=No hanging. I had a blast and super kudos to the cast for having a real make it work moment!

[quietya]

31 Days of quietYA: YA Sci-Fi

Sci-Fi is one of my favorite genres and it never gets enough love or support. Sci-fi is such a broad genre and there’s really something for everyone within it - aliens, space, romance, parallel universes, cloning, murder mysteries, dystopian, plagues, robots, zombies. Whatever your favorite thing is, 2020′s YA sci-fi has a book for you.

Skywatchers by Carrie Arcos Glitch Kingdom by Sheena Boekweg Crownchasers by Rebecca Coffindaffer Oasis by Katya de Becerra The Stars We Steal by Alexa Donne The Sound of Stars by Alechia Dow The Art of Saving the World by Corinne Duyvis Sia Martinez and the Moonlit Beginning of Everything by Raquel Vasquez Gilliland Goddess in the Machine by Lara Beth Johnson The Other Side of the Sky by Amie Kaufman and Meagan Spooner The Extraordinaries by TJ Klune Bent Heavens by Daniel Kraus Skyhunter by Marie Lu Agnes at the End of the World by Kelly McWilliams Sanctuary by Paola Mendoza and Abby Sher Faith: Taking Flight by Julie Murphy The Loop by Ben Oliver Girls Save the World in This One by Ash Parsons Early Departures by Justin A. Reynolds Rebelwing by Andrea Tang All These Monsters by Amy Tintera Hard Wired by Len Vlahos

[klaradox]

THE TYRELL FAMILY TREE: OLENNA TYRELL (NÉE REDWYNE)

Olenna Tyrell, also known as Olenna Redwyne, is the widow of Lord Luthor Tyrell and the mother of Mace Tyrell, Lord of Highgarden. Born into House Redwyne of the Arbor, she is commonly known as the Queen of Thorns because of her sharp tongue.

Lady Olenna is in her sixties with white hair and very small. She has soft, spotted hands with gaunt thin fingers. Olenna has an old woman's sour breath. She is older than Lord Hoster Tully. She has lost her teeth. Olenna walks with a cane and claims to be near deaf, but both might be part of her feigning to be more frail than she actually is.

Olenna rarely shies from stating her opinion. She is described as a wizened, cunning old woman with a wicked wit and a sharp tongue, earning her the moniker 'Queen of Thorns'. According to her granddaughter Margaery, she is not the most patient of women. Although she regularly mocks members of her own family, she seems to be a staunch supporter of Tyrell family interests.

Olenna was betrothed to Prince Daeron Targaryen when they were both nine, but she claims she did everything she could to make sure it never came to fruition. According to maesters it was Daeron who broke the betrothal when they were eighteen in 246 AC, but Olenna speaks contemptuously of the oddness of House Targaryen.

Olenna liked her husband Luthor Tyrell well enough, as he was kind and not unskilled in bed, but she still considered him an oaf. She regrets that she did not have a chance to beat her son Mace more often when he was a child, as that would have made him more ready to heed her advice when he became an adult.

Olenna is the aunt of Paxter Redwyne, Lord of the Arbor. She has twin guardsmen named Erryk and Arryk, whom she refers to as "Left and Right" because she cannot tell them apart.

ARTIST'S NOTE: In the television adaptation Game of Thrones Lady Olenna is portrayed by Dame Diana Rigg. Since I wanted to get away from the TV show imagery, I picked another model. Now it's Agnes Kraus, one of the most-beloved actresses of the former East German Communist GDR. I grew up watching zillions of TV shows with her as the main actress. Like Olenna, Agnes was well-known for her sharp-witted tongue. She was often the image of the grumpy, yet loveable aunt or grandma.

This image will be featured on my upcoming map of THE REACH.

[benkaden]

Ansichtskarte

Nünchritz (Kr. Riesa) Karl-Liebknecht-Ring

VEB BILD UND HEIMAT Reichenbach i.V.

Foto: W[erner] Lange, Leipzig

1971

Annotation zur Karte in der FG Ostmodern

#Philokartie am Samstag - Ein Morgen in #Nünchritz

An der Begeisterung für das Buch von Renate Holland-Moritz konnte es nicht gelegen haben, dass der Texter des Neuen Deutschland in seiner Meldung Ende November 1968 über einen Besuch des Bürgermeisters von Budapest schrieb: “In der Rathausstraße besichtigten die Gäste begleitet von den Architekten Heinz Graffunda und Wolfgang Radtke den Wohnhochhauskomplex.” (Ausgabe 30. November 1968, S. 8) Denn ihr Erfolgsbuch “Graffunda räumt auf” sollte der Eulenspiegel Verlag erst im Jahr darauf in die Buchhandlungen bringen. Und im Jahr danach. Und im Jahr danach. Insgesamt gab es fünf Auflagen. Heinz “Graffunda” ist daher vermutlich Ergebnis eines Schreibens nach Gehör und er räumte ja auch weniger auf, als dass er aufbaute.

Gar nicht viel später aber, im Februar 1972, kam Renate Holland-Moritz’ Geschichte des Erwin Graffunda erst ins Kino International und dann auch auf andere DDR-Leinwände. In der Hauptrolle sah man den DEFA-Schauspielstar der 1970er Jahre (“Adonis in Jeans”) und späteren RTL-Dschungelcamper Winfried Glatzeder, dessen Erwin Graffunda als Haushaltshilfe die überraschend flügge gewordene Großmutter einer vielbeschäftigten Künstlerfamilie ersetzen und dann durchspielen darf, wie es aussieht, wenn ein Mann eine traditionelle weibliche Alltagsrolle, also Haus- und Erziehungsarbeit übernimmt. Die durchaus revolutionäre Botschaft: Alltagsorganisation und Beruf sind bei voller Beschäftigung von Frau und Mann auch in der DDR eigentlich nur mit Haushaltshilfe zu bewältigen. Und, weniger revolutionär: Männer zeigen sich für die Arbeit im Haushalt nicht unbedingt natürlich befähigt. Oder eben, wie das banale Ende des Films andeutet, so zu Höherem berufen, dass es eine Schande wäre, jemanden wie den eigentlich Akademiker Graffunda mit schnöder Hausarbeit zu belästigen.

Publikum und Kritik waren vom Filmwerk der DEFA-Arbeitsgruppe "Johannisthal" begeistert. Das lag sicher an der Zuspitzung auf den Humor der Zeit und der flotten Inszenierung durch Regisseur Roland Oehme. Aber vor allem auch am Starensemble: Ein Who-is-Who der DDR-Popkultur dieser Jahre ließ ein denkbar lebendiges Lustspiel in diesem Frühjahr 1972 durch die Kinos leuchten, mit Rolf Herricht und Marita Böhme in den anderen Hauptrollen und weiteren wohlbekannten DEFA-Gesichtern wie Fred Delmare und Agnes Kraus als aufmerksame  und missverstehende Nachbarn, Herbert Köfer als eine Art Antennenaugust, dazu Marianna Wünscher, Ilse Voigt als Oma. Dazu addierten sich Kleinauftritte von Willi Schwabe, Fritz Decho, Gojko Mitic, dem unglaublich beliebten Sportreporters Heinz-Florian Oertel und schließlich, Kompositionen von Gerd Natschinski chansonierend, Manfred Krug.

Zu den mehr als 3,3 Millionen Zuschauerinnen und Zuschauern des Films in den Lichtspielhäusern der DDR gehörte eventuell auch eine Bewohnerin eines der langgestreckten Neubaublöcke in der kleinen Industriegemeinde Nünchritz bei Riesa. Möglicherweise hatte sie ihn aber auch kurz zuvor im Fernsehen gesehen, vom ersten Programm am 13. Januar 1975 zur besten Sendezeit ausgestrahlt, als sie gut einen Monat später am Faschingsdienstag (Poststempel 11.02.1975) eine Ansichtskarte in die Berliner Nalepastraße schickte. Am Sonntag hatte der Berliner Rundfunk im Morgenprogramm nach einem Film gefragt, aus dem ein von Manfred Krug gesungenes Lied stammt. Heidi kannte die Antwort auf die zu diesem Zeitpunkt sicher nicht übermäßig herausfordernde Frage: “Der Mann, der nach der Oma kam”.

Als Motiv für die Einsendung wählte sie einen Blick im Prinzip direkt aus ihrer Haustür in das noch junge (1967-1971) Wohngebiet, das als Karl-Marx-Straße erst in Gestalt einer langen Häuserzeile Zeile die Bahnstrecke Leipzig-Dresden über vielleicht 800 Meter begleitet, um dann in einen Karl-Liebknecht-Ring zu münden, in dem sich eine Handvoll kürzer Blöcke, allesamt in Plattenbauweise und fünf Geschosse hoch, als Karree versammeln. Die städtebauliche Planung des Gebiets mit immerhin mehr als 800 Wohnungen wurde einem Kollektiv um die zu Planungsbeginn gerade einmal dreißigjährige Rita Theuerkorn übertragen, die zuvor in Coswig-Spitzgrund Erfahrungen bei der Planung von Neubaugebieten sammeln konnte. Es war im Prinzip ihr Dissertationsprojekt - 1974 promovierte sie an der Technischen Universität mit einer Arbeit zum Thema “Strukturelle Gesetzmässigkeiten der sozialistischen Stadtentwicklung”.

Wie die künstlerische Gestaltung am Giebel, möglicherweise vom Riesaer Grafiker Paul Häusler, andeutet, entstand das Quartier mit Bezug zum Chemiewerk des Ortes, sehr traditionsreich und umweltbelastend. Der Abriss der Altanlagen des VEB Chemiewerk Nünchritz zu Beginn der 1990er Jahre erwies sich als anspruchsvoller Anwendungsfall für Entsorgungsstrategien von durch Arsen und Schwermetalle schwer belastete Liegenschaften. Seit Mitte der 1960er Jahre stand dort unter anderem ein Werk für hochwertige (=chemisch reine) Schwefelsäure, die man bei Entwicklung und Produktion des damaligen Zukunftsmaterials Silikon(kautschuk) benötigt, das DDR-exklusiv in Nünchritz produziert wurde. Neu war die Säure in Nünchritz freilich nicht: Bereits für 1949 ist zu ermitteln, dass das VVB Alcid-Schwefelsäurewerk Nuenchritz den stolzen dritten Platz im “2. Wettbewerb der Schwefelsäurebetriebe” erringen konnte - hinter dem Zellstoffwerk Schwarza und der Farbenfabrik Wolfen.

Die Menschen, die der Bild-und-Heimat-Fotograf Werner Lange um 1971 halb im Licht und halb im Schatten an der zentralen Wohngebietskreuzung fotografierte, muten allerdings nicht unbedingt wie typische Chemiearbeiterinnen an, aber in Gestalt der Gruppe links neben der Laterne mit dem Doppelstachel der unbeflaggten Fahnenhalterung, vielleicht wie angehende. Hier sind es aber erst einmal vermutlich zur Oberschule gehende junge Nünchritzerinnen, deren Ziel sich direkt rechts hinter der Ecke befand und bis heute befindet. Für die Morgenstunde spricht noch ein zweiter Punkt. Bekanntlich lautete die Fotografiemaxime des Ansichtskartenwesens der DDR “Hab Sonne im Rücken” und für das Bild strahlte diese straff aus östlichen Richtungen. Dabei stellt sie eine Frau mit Kinderwagen in den Schatten dieses Morgens, die man sich, ohne ihr zu nah treten zu wollen, durchaus als betreuende Oma vorstellen kann, während Mutti bereits zur Frühschicht ging. Warum nicht? Und auch denkbar zwei Jahre später leicht genervt und übermüdet ein Filmlied summend: “Die haben doch keine Ahnung von der Hausarbeit. Ihr denkt, das macht sich von allein. // So mancher Mann, der denkt, das sei ‘ne Kleinigkeit, der müsste einmal Hausfrau sein.”

(Berlin, 03.08.2019)

[sammeldeineknochen]

Bücher 2018

2018 war mit 84 gelesenen Büchern ein Rekordjahr für mich. Wie immer bei meinem kleinen Rückblick sind die kursiv gedruckten Titel wiedergelesen und die fett gedruckten Titel stellen uneingeschränkte Empfehlungen dar:

Januar:

Steve Erickson: „Zeroville“

Didier Eribon: „Rückkehr nach Reims“

Isaac B. Singer: „Leidenschaften“

Charles Bukowski: „Roter Mercedes – Gedichte“

Jeanette Winterson: „Kunst und Lügen“

David Foster Wallace: „Vergessenheit“

Februar:

Dimitri Verhulst: „Gottverdammte Tage auf einem gottverdammten Planeten“

Philip Roth: „Professor der Begierde“

Charles Bukowski: „Umsonst ist der Tod: Gedichte 1992-1993“

Rupi Kaur: „the sun and her flowers“

Georges Bataille: „Die Literatur und das Böse“

William Faulkner: „Eine Rose für Emily und andere Meistererzählungen“

John Williams: „Stoner“

Charles Bukowski: „Der größte Verlierer der Welt: Gedichte 1968 - 1972“

März:

Philip Roth: „Die Brust“

Slavoj Zizek: „Auf verlorenem Posten“

Tom Rachman: „Die Unperfekten“

Philippe Djian: „Heißer Herbst“

Michael Angele: „Der letzte Zeitungsleser“

Roland Barthes: „S/Z“

Klaus Bittermann: „Sid Schlebowskis kurzer Sommer der Anarchie und

          seine Suche nach dem Glück

Peter Stamm: „Agnes“

Peter Stamm: „An einem Tag wie diesem“

Heinrich Böll: „Geschichten aus zwölf Jahren“

April:

Pola Oloixarac: „Kryptozän“

Gaito Gasdanow: „Das Phantom des Alexander Wolf“

Peter Stamm: „Sieben Jahre“

Theodor Fontane: „Frau Jenny Treibel“

Thomas Steinfeld: „Herr der Gespenster – Die Gedanken des Karl Marx“

Mai:

Sonia Rossi: „Fucking Berlin“

Hermann Hesse: „Eigensinn“

Paul Nizon: „Untertauchen“

Philip Roth: „Täuschung“

Vladimir Nabokov: „Einladung zur Enthauptung“

Diane Brasseur: „Der Preis der Treue“

Carlos Ruiz Zafon: „Der Schatten des Windes“

Joris-Karl Huysmans: „Die Schule der Satanisten“

Isaac B. Singer: „Old Love“

Juni:

William Faulkner: „Wilde Palmen“

Lutz Dammbeck: „Das Netz – Die Konstruktion des UNA-Bombers“

Georges Bataille: „Abbe C“

Madeleine Chapsal: „Französische Schriftsteller intim“

Luise Meier: „MRX Maschine“

Slavoj Zizek: „Der Mut der Hoffnungslosigkeit“

Peter Stamm: „Weit über das Land“

Fernando Pessoa: „Baron von Teive – Die Erziehung zum Stoiker“

Antonio Tabucchi: „Die letzten drei Tage des Fernando Pessoa“

Joseph Roth: „Die Legende vom heiligen Trinker“

Juli:

Graham Greene: „Die Kraft und die Herrlichkeit“

Irvin D: Yalom: „Das Spinoza-Problem“

Simon Strauss: „Sieben Nächte“

J.M. Coetzee: „Elizabeth Costello“

Walt Whitman: „Jack Engeles Leben und Abenteuer“

August:

Bernd Stegemann: „Das Gespenst des Populismus“

Chris Kraus: „Aliens & Anorexia“

Max Frisch: „Die Schwierigen“

Philip Roth: „Mein Mann, der Kommunist“

Marc-Uwe Kling: „Qualityland“

September:

Gotthold Ephraim Lessing: „Emilia Galotti“

Georges Bataille: „Wiedergutmachung an Nietzsche“

Ingeborg Bachmann: „Malina“

Ricardo Menendez Salmon: „Medusa“

Georges Perec: „Ein Mann der schläft“

Walter Benjamin: „Einbahnstraße – Berliner Kindheit um Neunzehnhundert“

Oktober:

Carlos Ruiz Zafon: „Marina“

Judith Schalansky: „Der Hals der Giraffe“

Karl Migner: „Theorie des modernen Romans“

Sasa Stanisic: „Vor dem Fest“

Erno Szep: „Die Liebe am Nachmittag“

Chris Kraus: „Summer of Hate“

Antonio Tabucchi: „Erklärt Pereira“

Ken Binmore: „Spieltheorie“

November:

Sigfried Lenz: „Deutschstunde“

Friedrich Hebbel: „Maria Magdalena“

Virginie Despentes: „Das Leben des Vernon Subutex“

Paul Mason: „Postkapitalismus“

Virginie Despentes: „Das Leben des Vernon Subutex 2“

Antonio Tabucchi: „Träume von Träumen“

Didier Eribon: „Gesellschaft als Urteil“

Dezember:

Christina Dalcher: „Vox“

Aurora Noir: „Things I wanted to say“

Jaroslav Kalfar: „Eine kurze Geschichte der böhmischen Raumfahrt“

John Irving: „Eine Mittelgewichts-Ehe“

Joachim Meyerhoff: „Alle Toten fliegen hoch – Teil 1: Amerika“

Auf ein buchreiches Jahr 2019 für euch alle!

[allmymusic]

45 Canciones españolas

This is a great cover.

This album (consisting of two discs) is as far as I can tell a re-release of two albums Berganza recorded in the early 1970s. The España ‘92 logo refers to Spain’s big year: Barcelona hosted the Olympics, Madrid was the European Capitol of Culture, Seville hosted the World exhibition, FC Barcelona won their first Champions’ League final, and the year also marked the 500th anniversary of Columbus’ (Cristobal Colon in Spanish) voyage to the Americas. Berganza performed along with the whole generation of Spanish operatic superstars at the opening ceremony of the Olympics - two out of the three tenors, as well as Montserrat Caballe, Alfredo Kraus, Pilar Lorengar and, erm, Agnes Baltsa - and this album was just one of many similar celebratory collections.

The context aside, this collection is pure quality. Accompanied by guitarist Narcisco Yepes and pianist Felix Lavilla (at the time of recording Berganza’s husband), Berganza takes the listener through Spanish art song from the early 13th to the mid 20th century. The booklet has the song texts (in four languages, as was the custom in the olden days), but otherwise offers very little background to the older songs - some of the composers featured don’t come with dates, and many of them have contributed only one song; the introduction mentions vihuela, but doesn’t actually explain what it is or what the historical importance of vihuelistas was, for example.

The songs on this collection are arranged in the order in which they were composed, and the first twenty or so tracks do sound a bit samey. The leap to the 19th century has been done well though, easing into Granados and Guridi via piano-accompanied pieces by De Anchieta and de la Torre. There’s a gap of couple of centuries there - what happened in the Spanish music during that time? When Yepes picks up his guitar again on disc two, it’s a very different instrument from the gentle vihuela, de Falla’s folk song arrangements sounding much like flamenco.

Favourite tracks: this is a big collection, 59 tracks in total, so picking just few is hard. The first first song of the first disc, Rosa das rosas (composed by king Alfonso the Wise) is hauntingly beautiful. I also love the three songs from Jose Guridi’s Six Castilian Songs (disc one, 29-31). All in all, the selection of songs on the second disc is more interesting, with the closing cycle, Canciones negras by Xavier Montsalvatge, being my favourite of the entire collection (24-28) - Berganza’s melancholic style suits these songs perfectly.

Canciones españolas - Spanish songs Teresa Berganza, mezzo Felix Lavilla, piano Narcisco Yepes, guitar

Available on Spotify.

[rwpohl]

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[wallpaperpainter]

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[j3s]

(Almost) everything I read in 2017

The following is a list of books I read in 2017, in approximate chronological order. I didn't track journals and magazines, so the list isn't complete.

Books with an asterisk(*) particularly affected me. My top five-ish are: Renee Gladman – Calamities, CAConrad – Ecodeviance, Julie Buntin – Marlena, Mary Ruefle – Madness, Rack, and Honey, and Chris Kraus – I Love Dick. Bonus points to Tana French for getting me into thrillers this last year.

Full list ——————————-

Anna Smaill -- The Chimes *Chris Kraus -- I Love Dick Stéphane Mallarmé -- Selected Poetry And Prose Maggie Nelson -- Bluets Hal Elrod -- The Miracle Morning Cat Marnell -- How to Murder Your Life *Anne Boyer -- Garments Against Women Wang Wei -- Laughing Lost in the Mountains Yumi Sakugawa -- Your Illustrated Guide to Becoming One With the Universe Irin Carmon and Shana Knizhnik -- Notorious RBG: The Life and Times of Ruth Bader Ginsburg Miriam Towes -- All My Puny Sorrows Jennifer Denrow -- California Howard R. Bloch -- One Toss Of The Dice : The Incredible Story Of How A Poem Made Us Modern Elizabeth Mckenzie -- The Portable Veblen Ruth Stone -- In the Next Galaxy Stuart Shedletsky -- Still Working: Underknown Artists of Age in America Sarah Manguso -- 300 Arguments Jami Attenberg -- All Grown Up *Maggie Nelson -- The Argonauts Tana French -- In the Wood Ada Limón -- Bright Dead Things Elena Ferrante -- The Story of a New Name Tana French -- The Likeness Joan Didion -- South and West *Julie Buntin -- Marlena *Lynn Emanuel -- The Nerve of It Dani Shapiro -- Hourglass: Time, Memory, Marriage Ann Patchett -- Commonwealth *Safia Elhillo -- The January Children Wendell Berry -- The Country of Marriage Denis Johnson -- Train Dreams **Renee Gladman -- Calamities Liane Moriarty -- The Husband’s Secret *Tommy Pico -- Nature Poem Jim Harrison -- Off to the Side Agnes Martin with Frances Morris And Tiffany Bell, ed. -- Agnes Martin Monica Youn -- Blackacre Kenneth Goldsmith -- Wasting Time on the Internet Daphne Oram -- An Individual Note Eve Babitz -- Slow Days, Fast Company Paul Beatty -- The Sellout Brenda Shaughnessy -- So Much Synth Felicia Yap -- Yesterday Maile Maloy -- Do Not Become Alarmed Madison Smartt Bell -- Behind the Moon **CAConrad -- Ecodeviance (Soma)tics for the Future Wilderness Ruth Ware -- In a Dark Dark Wood Morgan Parker -- There Are More Beautiful Things than Beyoncé Claire Dederer -- Love and Trouble John Berger -- Ways of Seeing *Mary Ruefle -- Madness, Rack, and Honey George Saunders -- Lincoln in the Bardo J. Diego Frey -- The Year the Eggs Cracked Tana French -- Faithful Place Karyna McGlynn -- Hothouse Claudia Rankine -- Citizen Dale Power and Jeffrey B. Snyder -- Making Wooden Boxes Jema Hewitt -- Steampunk Emporium Joyce Carol Oates -- The Accursed Saryn Sowell -- Silhouettes *Rebecca Solnit -- Men Explain Things to Me Dawn DeVries Sokol -- 1,000 Artist Journal Pages Virginia Woolf -- On Being Ill Tana French -- Broken Harbor *Kaveh Akbar -- Calling a Wolf a Wolf Roxane Gay -- Hunger Robin McKenzie -- Treat Your Own Neck Sally Rooney -- Conversations with Friends Patti Smith -- Devotion Emily Dickinson -- The Poetry of Emily Dickinson *Juliana Spahr -- That Winter the Wolf Came Manjula Martin (Ed.) -- Scratch: Writers, Money, and the Art of Making a Living

List mirrored at https://www.jesicacarsondavis.net/reading-lists/

[foryourart]

STORIES BOOKSImage courtesy of AWHRHWAR.

Thursday, October 12

Agnes Varda: Ulysse, Blum & Poe (Culver City), 10am–6pm.

Talk: Gallery Talk: The Art of Looking—Carlos Almaraz, LACMA (Miracle Mile), 12:30pm.

School of Music Visiting Artist Series: Trey Spruance, CalArts (Valencia), 2–4pm.

Garden Talk & Sale - A Garden of Surprise and Allure, The Huntington (San Marino), 2:30pm.

Latin American Film Series: "Unrest, Distance, and the Future": "Neighboring Sounds", Santa Barbara Museum of Art (Santa Barbara), 5:30pm.

A Dream within a Dream, MADE by Millworks (Long Beach), 6–9pm. 

Artist and scholar walkthroughs: Elena Shtromberg, Hammer Museum (Westwood), 6pm.

Dougall Paulson: Auraform, Blackman Cruz (Hollywood), 6pm.

Mark So: Readings 54, for Manfred, MOCA Grand Avenue (Downtown), 6pm.

S. LEE ROBINSON: Message and Intention, Keystone Art Space (Lincoln Heights), 6–10pm.

Rotem Reshef: Time Traveler, TALL WALL SPACE | UNIVERSITY OF LA VERNE (La Verne), 6–8pm.

Michael Christopher Brown – Cuba After Fidel, Annenberg Space for Photography (Century City), 6:30pm. 

Masks and the Uncanny, in Africa and Beyond, The Getty (Brentwood), 7pm.

Talk: Curator Walkthrough of "A Universal History of Infamy" with José Luis Blondet, LACMA (Miracle Mile), 7pm. Sold out.

A Conversation with artist John Rosewall, Gallery 825 (West Hollywood), 7–9pm.

James Benning: Readers World Premiere, MOCA Grand Avenue (Downtown), 7pm.

Writing Now Presents: Chris Kraus, CalArts (Valencia), 7:30–10pm.

EJ Hauser: seekers/beasts, AWHRHWAR (Highland Park), 8–10pm.

Open House Dance Concert, CalArts (Valencia), 8–10pm. Also October 13.

Karen Finley: The Expanded Unicorn Gratitude Mystery, REDCAT (Downtown), 8:30pm. Through October 15. 

Friday, October 13

Conference - The Rise of the Newspaper in Europe and America, 1600–1900, The Huntington (San Marino), 8:30am. Also October 14.

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum (Downtown), 10am–5pm. 

Director's Walkthrough, USC FIsher Museum of Art (Downtown), 11:30am–12:30pm.

Skirball After Hours, Skirball Cultural Center (Brentwood), 6–10pm.

Kon Trubkovich: Vigil, Moran Bondaroff (West Hollywood), 6–8pm. 

LAND's Feast of the Immortals, 627 South Carondelet Street (MacArthur Park), 6–11pm.

Pasadena ArtNight, various locations (Pasadena), 6–10pm.

African Masks from June Harwood Collection (Silent auction) and "Sharpener" (Faculty Exhibition), Pasadena City College Art Galleries (Pasadena), 6–10pm.

Los Angeles Poverty Department’s Movie Nights at the Museum: Pull of Gravity, Skid Row History Museum and Archive (Downtown), 7pm.

Art Party For Days Of Rage Housing Rights Protests, Women’s Center for Creative Work (Frogtown), 7–10pm.

CRAFT CLUB: MINIATURE ISLET TERRARIUM, Museum of Latin American Art (Long Beach), 7–8:30pm. $10–15. 

Film: Creepshow, LACMA (Miracle Mile), 7:30pm.

Art Garfunkel in Conversation, Grand Performances (Downtown), 7:30pm.

Canadian Stage Helen Lawrence, CAP UCLA (Westwood), 8pm. Also October 14.

Cyril Kuhn: The Return of Puppyman, Bozo Mag (Highland Park), 8–11pm.

CalArts Weekend, CalArts (Valencia), all day. $45–80.

Saturday, October 14

Katie Herzog: Rubbing the Internet Archive: Coffee and Donuts with the Artist, Klowden Mann (Culver City), 10am–12pm.

David Lamelas: The Other Side, Maccarone (Downtown), 10am–6pm.

Fernando de Szyszlo, Latin American Masters (Santa Monica), 11am–6pm. 

Family Fun Weekend, Annenberg Space for Photography (Century City), 11am–3pm. 

J. Millay & Jonathan Monk, LEADAPRON (West Hollywood), 12–5pm.  

Santa Fe Art Colony 28th Annual Open Studios, Santa Fe Art Colony (Downtown), 12–6pm. Also October 15. 

Project Management Workshop, Women’s Center for Creative Work (Frogtown), 12–3pm. $24–30.

Aztlán: A Sense of Place, dA Center for the Arts (Pomona), 12–4pm. 

Off the 405 x Pacific Standard Time: LA/LA—Helado Negro, Getty Center (Brentwood), 1–9pm.

SSP Community Council Meeting, Side Street Projects (Pasadena), 1–2pm.

PMCA 1234: Second Saturday Spotlight Talk, Pasaena Museum of California Art (Pasadena), 2pm.

The Insanity Principle, High Desert Test Sites (Joshua Tree), 2–4pm.

Franklin Williams Artist Walk-through, Parker Gallery (Los Feliz), 3pm.

Gerardo Monterrubio, Craft in America Center (Miracle Mile), 4–6pm.

HUGO CROSTHWAITE: In Memoriam: Los Angeles, MUSEUM OF SOCIAL JUSTICE (Downtown), 4–6pm.

The Great Wall of Los Angeles: Judith F. Baca's Experimentations in Collaboration and Concrete, CSU Northridge Art Galleries (Northridge), 4–7pm.

Kim Dingle: Yipes, Susanne Vielmetter Los Angeles Projects (Culver City), 5–7pm.

Kiwis in LA Art Show & Wine Tasting, Santa Monica Art Studios (Santa Monica), 6–10pm.

BEN SLEDSENS: Before the crow crows, NINO MIER GALLERY (West Hollywood), 6–8pm.

DBA, Big Pictures Los Angeles (Mid-City), 6–9:30pm.

CAFAM's Gala & Silent Auction, Craft and Folk Art Museum (Miracle Mile), 6–9pm. $200. 

Franscesc Ruiz Abad: Copy to Learn, Learn to Copy, The Lodge (East Hollywood), 6–9pm.

DIA DE LOS MUERTOS X, Cactus Gallery (Frogtown), 6–9pm. 

Replete Repeat Repeat Replete, DAC Gallery (Downtown), 6–9pm.

Duty of Care, Collective Arts Incubator (Highland Park), 6–8pm.

Art of Science/Science of Art: Frankenstein 200, El Camino College Marsee Auditorium (Torrance), 6–9pm. $5–10.

Closing for The Seer & The Stones, Infinity (West Adams), 7–10pm.

Dcypher, Lucas Raynaud, Hero, and Collin Salazar, Gabba Gallery (Koreatown), 7–11pm.

Sayre Gomez: Déjà Vu, Ghebaly Gallery (Downtown), 7–10pm.

Wanda Koop: In Absentia and Josh Callaghan: Legacy, Night Gallery, 7–10pm.

Below the Underground: Renegade Art and Action in 1990s Mexico/Más abajo que el underground: arte renegado y acción en el México de los noventa, Armory Center for the Arts (Pasadena), 7–9pm.

Wild Beast Concert Series: CalArts Alumni Big Band, CalArts (Valencia), 7:30pm.

Sunday, October 15

L.A. GOAL for the Inside Out Productions Open House & Annual Art Show, L.A. Goal (Culver City), 10am–5pm.

16th annual Art + Design Open Market, One Colorado (Pasadena), 10am–3pm.

California Mexicana: Missions to Murals, 1820–1930, Laguna Art Museum (Laguna Art Museum), 11am–5pm. 

Film: Found in Translation Film Program: No Walls, Only Bridges, LACMA (Miracle Mile), 1pm.

Design Your Own Monster Youth Workshop, 356 Mission (Downtown), 1–4pm.

Artist talk: Rotem Reshef: Time Traveler, TALL WALL SPACE | UNIVERSITY OF LA VERNE (La Verne), 1–3pm.

Beautiful Parts, CSUN Art Gallery (Northridge), 2–4pm.

Talk & Book Signing - The Invention of Nature: Alexander von Humboldt’s New World, The Huntington (San Marino), 2:30pm.

Red Bull Music Academy Presents: Ryoji Ikeda: A [for 100 cars], 131 South Olive Street (Downtown), 3–7pm. 

In Person: Professor Katherine Manthorne, Laguna Art Museum (Laguna Beach), 3pm.

Social Media For Artists, Women’s Center for Creative Work (Frogtown), 4–7pm. $48–60.

Beyond Words: Jack Kerouac's On the Road at 60!, Beyond Baroque (Venice), 4:30pm.

Dwayne Moser, Reserve Ames (Mid-City), 5–7pm.

Open workshop: Unbound Recollections: Yair Agmon and Hagar Cygler, American Jewish University (Bel Air), 7pm.

Dr. Victoria Reuveni: Orgasmic Yoga, Pieter (Lincoln Heights), 7–10pm. $20.

Here/There, FM Fine Art Gallery (Fairfax).

Monday, October 16

HDTK: California Buckwheat, Copper Mountain Mesa Community Center (Joshua Tree), 7pm.

Wark Lecture - Seeing and Knowing: Visions of Latin American Nature, ca. 1492–1859, The Huntington (San Marino), 7:30pm.

Double Vision: Recent Films by Janie Geiser, REDCAT (Downtown), 8:30pm. $6–12.

Tuesday, October 17

Laurel Atwell: Exquisite Corpse, Pieter (Lincoln Heights), 10:30am–1:30pm. $20.

Film: Mummy, LACMA (Miracle Mile), 1pm.

CURATORS IN CONVERSATION: Karen Cordero and Laura Mart, Skirball Cultural Center (Brentwood), 2pm.

Bookmaking Workshop, USC Fisher Museum of Art (Downtown), 5:30–8:30pm.

RE:IN FORCE, MART LA (Hollywood), 6–8pm. 

Suzanne Hudson, USC Roski School of Art (Downtown), 6–8pm.

The "Concrete" in Poetry and Art, The Getty (Brentwood), 7pm.

Screening: Let It Fall: Los Angeles 1982–1992 with director John Ridley, California African American Museum (Downtown), 7–10pm.

Two Films by Sarah Minter: Nadie es Inocente and San Frenesi, Hammer Museum (Westwood), 7:30pm.

Talk: Art + Tech: Stan Douglas and Michael Govan in Conversation, LACMA (Miracle Mile), 7:30pm. Sold out.

Nevins Lecture - Founding Gardeners, The Huntington (San Marino), 7:30pm.

Chamber Music Concert - Camerata Pacifica, The Huntington (San Marino), 7:30pm.

Wednesday, October 18

Painting with Nan Rae, The Huntington (San Marino), 11am–3pm. $50.

Tour and Critical Discussion, USC Fisher Museum of Art (Downtown), 2–4pm.

Curator Tour: Visual Voyages, The Huntington (San Marino), 5pm. $15.

FOWLER OUT LOUD: DAEUN JUNG, Fowler Museum (Westwood), 6–7pm.

Artist Talk: Hellen Ascoli | Artist as Mediator, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6pm.

Cosimo Cavallaro: Unidentified Space, Manhattan Beach Art Center (Manhattan Beach), 6–8pm.

A Conversation with David Lamelas, Kristina Newhouse, and Jonathan T.D. Neil, Sprüth Magers (Miracle Mile), 6:30pm.

LECTURE: HEATHER SHIREY ON PIERRE VERGER, Fowler Museum (Westwood), 7–8pm.

Journalism in Mexico: A Deadly Occupation, Hammer Museum (Westwood), 7:30pm.

Music: Art & Music: Chicano Batman, LACMA (Miracle Mile), 7:30pm. Sold out. 

Max Maslansky Book Launch, STORIES BOOKS (Echo Park), 7:30pm. 

LMAO: Comedy Show, Fais Do Do (West Adams), 8–11pm.

Ellen Cantor: Pinochet Porn, REDCAT (Downtown), 8:30pm. $6–12.

[356mission]

List of individuals and groups who have participated in an event at 356 Mission

LeanThe New Dreamz (Rose Luardo and Andrew Jeffrey Wright)

Andre Hyland

Whitmer Thomas

Jessica Ciocci

Michael Webster

Asha Schechter

Gabu Heindl & Drehli Robnik (screening)

Rachel Kushner (with parts read by Barry Johnston, Gale Harold, Karen Adelman, Paul Gellman, Stuart Krimko, Stanya Kahn, Alex Israel, Milena Muzquiz)

Mina Stone

Ken Ehrlich & Emily Joyce

Flora Wiegmann with Alexa Wier

James Lee Byars (screening)

Trisha Brown (screening)

Ei Arakawa (screening)

Jennifer Phiffer

Euan MacDonald and Henri Lucas

Fundación Alumnos47

ForYourArt

Derek Boshier

Alex Kitnick

Cherry Pop

De Porres

Aaron Dilloway

Jason Lescalleet

John Wiese

Final Party (Barry Johnston)

Crazy Band

Aram Moshayedi

Bruce Hainley

Gary Dauphin

Kathryn Garcia

Leland de la Durantaye

Sohrab Mohebbi

Tala Madani

Tiffany Malakooti

Negar Azimi

Barbara T. Smith

LeRoy Stevens

Joe Sola and Michael Webster

Math Bass and Lauren Davis Fisher

Angel Diez Alvarez (screening)

Hedi El Kholti

K8 Hardy

Anna Sew Hoy

L.A. Fog

Trinie Dalton

Rita Gonzalez

Alex Klein

Mark Owens

Tanya Rubbak

AL Steiner

C.R.A.S.H.

Lao

Mexican Jihad

Zak-Matic

Laura Poitras (screening)

Parker Higgins

Domenick Ammirati

John Seal

John Tain

Bruce Hainley

Lisa Lapinski

Kate Stewart

Sarah Lehrer-Graiwer

Ian Svenonius

Entrance Band

Allison Wolfe

Geneva Jacuzzi

Chain & the Gang

Shivas

Hunx

Jimi Hey

69

Tim Lokiec

Scott & Tyson Reeder

Total Freedom

Prince William

Kingdom

SFV Acid

Jesse Fleming

William Leavitt

Lucas Blalock

Oliver Payne

Meredith Monk

Jessica Espeleta

Rollo Jackson (screening)

Jack Smith (screening)

Noura Wedell

Sylvère Lotringer

Jesse Benson

Zoe Crosher

Alex Cecchetti

Patricia Fernandez

Jeff Khonsary

Ben Lord

Shana Lutker

Joseph Mosconi

Suzy Newbury

Scott Oshima

Kim Schoen

Clarissa Tossin

Mark Verabioff

Brica Wilcox

Michael Clark

Ben Brunnemer

Ted Byrnes / Corey Fogel

Kirsty Bell

Johnston Marklee

Emily Sundblad & Matt Sweeney

Kevin Salatino

Wooster Group (screening)

Shannon Ebner

East of Borneo

Sue Tompkins

Alexis Taylor

Leslie Buchbinder (screening)

Odwalla88

Dean Spunt

Bebe Whypz

Saman Moghadam (screening)

J Cush

Hive Dwellers

Bouquet

Dream Boys

Jen Smith

Thee Oh Sees

Jack Name

Alex Waterman and Will Holder

Jonathan Horowitz

Ali Subotnick

Brian Calvin

Dean Wareham

Gracie DeVito

Indah Datau

Jake DeVito

Sara Gomez

Luke Harris

Sarah Johnson

Julia Leonard

Jillian Risigari-Gai

Joseph Tran

George Kuchar (screening)

Andrew Lampert

Reach LA

Oscar Tuazon

Black Dice

Danny Perez

Avey Tare

Shinzen Young

Jesse Fleming and Lewis Pesacov

Mecca Vazie Andrews

Mira Billotte

Julian Ceccaldi

Oldest (Brooks Headley & Mick Barr)

DJ Andy Coronado

François Ceysson

Amanda Ross-Ho

Raphael Rubinstein

Wallace Whitney

Bradford Nordeen

Chris Kraus

Samuel Dunscombe & Curt Miller

Jay Chung

Lev Kalman & Whitney Horn (screening)

Maricón Collective

The Shhh 

Alice Bag 

Martin Sorrondeguy

Sex Stains

Kevin Hegge (screening)

Rhonda Lieberman

Lisa Anne Auerbach

David Benjamin Sherry

Eric Wesley

Tamara Shopsin, Jason Fulford, and Brooks Headley

Deborah Hay

Becky Edmunds (screening)

Kath Bloom

Erin Durant

Ben Vida

Charles Atlas

Laurie Weeks

Kerry Tribe

Renée Green

Fred Moten

The Office of Culture and Design / Hardworking Goodlooking

YUK, MNDSGN, and AHNUU

PATAO

Michael Biel

Mark Von Schlegell

Graham Lambkin

Lex Brown

Jibade-Khalil Huffman

Dan Levenson

Sarah Mattes

Carmen Winant

Gloria Sutton

John Musilli (screening)

Pieter Schoolwerth and Alexandra Lerman (screening)

Nate Young

Safe Crackers

Frances Stark

Liliana Porter (screening)

Adam Linder

Corazon del Sol

Gary Cannone

Ben Caldwell

Jacqueline Frazier

Jan-Christopher Horak

Haile Gerima (screening)

Barbara McCullough (screening)

Jon Pestoni

Andrew Cannon

David Fenster

Dick Pics

Seth Bogart

Lonnie Holley

Rudy Garcia

Dynasty Handbag

Christine Stormberg

Anthony Valdez

Kate Mosher Hall

JJ Stratford

Diana Adzhaketov

DJs Cole MGN and Nite Jewel

Casey Jane Ellison

Gary Indiana + Walter Steding

Kate Durbin

Michael Silverblatt

Hamza Walker

Wynne Greenwood

Robert Morris

Maggie Lee (screening)

Brendan Fowler

Susan Cianciolo

Aaron Rose

John Boskovich (screening)

Michel Auder (screening)

Lauren Campedelli, Leo Marks, and Jan Munroe

Klang Association feat. Anna Homler (Breadwoman), Jorge Martin, Jeff Schwartz

sodapop

Hoseh

Miles Cooper Seaton & Heather McIntosh

Drip City

Geologist

Deaken

Brian Degraw

$3.33

Angela Seo

George Jensen

Carole Kim & Jesse Gilbert & Friends

Aledandra Pelly

dublab

Mariko Munro

Emily Jane Rosen

Lana Rosen

Max Syron

Mark Morrisroe (screening)

Ramsey McPhillips

Stuart Comer

Jordan Wolfson

Kiva Motnyk

Samara Golden

Sam Ashley

John Krausbauer

Kate Valk

Elizabeth LeCompte

Lewis Klahr

Barbara Kasten

Martine Syms

Margo Victor

Studioo Manueel Raaeder

Mary Farley

Wayne Koestenbaum

Jibz Cameron

Sean Daly

Kendra Sullivan

Trinh T. Minh-ha

Johanna Breiding + Jennifer Moon

Tisa Bryant

Cog•nate Collective (Misael G Diaz + Amy Y Sanchez-Arteaga)

Bridget Cooks

Michelle Dizon

Anne Ellegood

Shoghig Halajian

Katherine Hubbard

Simon Leung

Amanda McGough + Tyler Matthew Oyer

Dylan Mira

Litia Perta

Eden’s Herbals

Matt Connors

Flat Worms

Susan

Lucky Dragons

Dos Mega

David Korty

Monica Majoli

Forrest Nash

Sophie von Olfers

Rudolf Eb.er

dave phillips

Joke Lanz

The Dog Star Orchestra

The Edge of Forever (Elizabeth Cline + Lewis Pesacov)

Lutz Bacher (screening)

Agnes Martin (screening)

Marisa Takal

Moyra Davey (screening)

Suzanna Zak

Wu Tsang, boychild and Patrick Belaga

Snake Jé

VIP

Fictitious Business DBA The Geminis

DJ M.Suarez

Asmara

Weirdo Dave

Mission Chinese

Veronica Gonzalez Peña

Thomas Bayrle

Bernhard Schreiner

Bob Nickas

The Cactus Store / Christian Herman Cummings

Atelier E.B

Iman Issa

Diana Nawi

Sqirl

Downtown Women’s Center

Earthjustice

Juvenile Justice Clinic at Loyola Law School

Loyola Immigrant Justice Clinic

N.eed O.rganize W.ork

Planned Parenthood

SoCal 350 Climate Action

St. Athanasius

WriteGirl

Sean/Milan

John Santos

Thomas Davis

Twisted Mindz

Adrienne Adams

Evan Kent 

Jasmine McCloud 

Gia Banks

Ace Farren Ford

Dennis Mehaffey

Fredrik Nilsen

Paul McCarthy

Joe Potts

Rick Potts

Tom Recchion

Vetza

Oliver Hall

Rigo 23

Gil Kenan & Vice Cooler (screening)

Cassie Griffin

Clara Cakes

Clay Tatum + Whitmer Thomas (Power Violence)

DJ AshTreJinkins

DJs Protectme

Crush

Sara Knox Hunter

Dodie Bellamy

Miranda July

Alexander Keefe

Thomas Keenan

Kevin Killian

Silke Otto-Knapp

Calypso Jete, Essence Jete Monroe, Virginia X, Leandra Rose, Naomi Befierce, Tori Perfection, Foxie Adjuis

Brontez Purnell

Kate Wolf

Adam Soch (screening)

Dar A Luz

ADSL Camels

Cold Beat

Tropic Green

No Sesso

Michelle Carrillo

Ruth Root

Timothy Ochoa

[readwithjoy]

Here's another one; you get to pick an early show and a late show but all actors must work both shows in different roles. Ex: Emily Oldak early: Lady Macduff late: Sexy With.

Jeez Louise.  I tip my hat to you, Anon, this one was actually a bit difficult. It’s easy to start, but then towards the end you start saying things like, “Okay…I need a Bald Witch who was also a Woman in Bar!”  

Early

MacBeth: Paul ZivkovichLady Macbeth: Leslie KrausMacduff: Matty OaksLady Macduff: Emily OldakBanquo: Conor DoyleDuncan: Gino GrenekMalcolm: William PoppBald Witch: Ryan VonCompernolleBoy Witch: Jesse KovarskySexy Witch: Lily OckwellHecate: Elizabeth RomanskiPorter: Eric Abbott-MainAgnes: Mallory GraceninDanvers: Hope DavisSpeakeasy: James GraberTaxi: Luke MurphyFulton: Nick BruderMatron: Chelsey NgNurse: Isadora WolfeMan in Bar: John William WatkinsWoman in Bar: Chelsea BonoskyGypsy: Onalea Gilbertson

Late

MacBeth: Nick BruderLady Macbeth: Hope DavisMacduff: Luke MurphyLady Macduff: Isadora WolfeBanquo: Eric Abbott-MainDuncan: John William WatkinsMalcolm: Matty OaksBald Witch: Chelsea BonoskyBoy Witch: Conor DoyleSexy Witch: Ryan VonCompernolleHecate: Onalea GilbertsonPorter: Paul ZivkovichAgnes: Leslie KrausDanvers: Emily OldakSpeakeasy: Jesse KovarskyTaxi:James GraberFulton: Gino GrenekMatron: Elizabeth RomanskiNurse: Lily OckwellMan in Bar: William PoppWoman in Bar: Mallory GraceninGypsy: Chelsey Ng

[libromundoes]

Clima divertido: Arte en una emergencia por Olivia Laing – revista | Libros

Clima divertido Recopila ensayos, reseñas, perfiles, escritos ocasionales y una columna para la revista de arte. Friso, que Olivia Laing escribió en la década de 2010. La mayor parte del trabajo data de la última mitad agitada de la década y, por lo tanto, está sincronizada con la seguridad de Laing en las listas de bestsellers a través de su tercera libro de no ficción, La ciudad solitariay su única novela Crudo.

Principalmente relacionado con el arte contemporáneo y la escritura de habla inglesa, la sensibilidad vinculante de la colección se indica en su subtítulo. La "emergencia" en cuestión es la que afligió CrudoEl autor-narrador de "quien vio la democracia liberal en la que había crecido para mostrarse frágil más allá de toda medida, una breve experiencia de la sangrienta historia del hombre". En un prefacio, Laing reconoce que valora el arte principalmente por sus capacidades políticas de "resistencia y reparación". El arte puede y debe cambiar el mundo, insiste; revela la vida interior de los demás, "crea desigualdades obvias" y sugiere nuevas formas de vida.

El credo da la alarma de que podríamos estar en una serie de conferencias sofocantes sobre el arte como una tarea humanitaria solemne. Y, de hecho, el sistema de valores de conciencia social de Laing ve a su campeón en personalidades como el activista LGBT David Wojnarowicz, autor de Cerca de los cuchillos, cuya causa fue tan noble y la muerte de una enfermedad relacionada con el SIDA tan trágica como su prosa fue horrible. (Probablemente sería inútil, en este punto del juego, retomar la vieja opinión de que la única desigualdad destacada por el arte es la que separa a los ricos de los talentosos de los necesitados). La seriedad política de Laing, sin embargo, es empático y una curiosidad omnívora, como fue el caso de John Berger, cuyo tono e ingenio Clima divertido A menudo recuerda, y que es alabado en sus páginas.

El método favorito de Laing para apreciar a un artista es el ensayo biográfico. El suyo no es del todo crítico en la forma de, digamos, el difunto Mark Fisher, con una idea en cada oración, sino más bien un refrigerio y una transmisión de perspectivas e información, a veces penetrante y generalmente festivo Como revisor, Laing tiende a abandonar a los lectores. Es una creadora de presentaciones, una persona apasionada que habla por personajes semi oscuros como Arthur Russell ("el mejor músico del que nunca has oído hablar"), o nos insta a mantener considerando los gustos de Derek Jarman o Hilary Mantel. Echando un vistazo a los nombres reunidos en la sección "Lectura" de la página de contenido, me pregunté cínicamente si la lista de discusión escrupulosamente de moda para cenar en Londres (Deborah Levy, Maggie Nelson, Sally Rooney, Chris Kraus, etc.) fue calibrado estratégicamente para que la costa constituya la propia capital cultural del autor por asociación. Sin embargo, cuando leí las reseñas de los apasionados libros en cuestión, me di cuenta de que Laing tenía una gran responsabilidad por la notoriedad de estos autores en este lado del Atlántico (su crítico de Nelson el Argonautas comienza: "Comencemos con una introducción").

Escéptica de la idea del genio solitario de la producción artística, ella favorece un modelo sociable y colaborativo.

Escrito entre finales de 2015 y la primavera de 2019, el Friso las columnas son urgentes y melancólicas, Laing recorre las galerías mientras transmite su angustia en vivo ante las mismas crisis políticas y sociales que Crudo. La génesis de las ideas en tiempo real también es visible en el perfil del antiguo amigo de Laing, Ali Smith. De la novela de Smith Caer, cuya actualidad no fue contemporánea con su publicación, Laing reflexiona: "Quizás un ciclo acelerado de noticias requiera arte acelerado". La pieza está fechada en octubre de 2016; un año después, Laing escribiría y publicaría rápidamente Crudo, con su cascada de noticias sin digerir en Twitter.

Escéptica de la idea del genio solitario de la producción artística, ella favorece un modelo sociable y colaborativo, y entre las piezas más animadas, aquí hay retratos grupales: pintores y poetas de "la escuela de Nueva York "; los primeros artistas conceptuales británicos; y artistas queer británicos (los dos últimos apoyan mejor la fe de Laing en el arte como un sitio de "resistencia"). Sus estudios sobre artistas dañados o solitarios como Agnes Martin y Joseph Cornell afectan, al igual que The Abandoned Person’s Tale, que se relaciona con un refugiado atrapado en el siniestro sistema de detención indefinida en el Reino Unido. Un ensayo titulado Beber, beber, beber sigue el libro sobrio de Laing sobre escritores alcohólicos, The Echo Spring Journey, considerando a sus contrapartes femeninas: Marguerite Duras, Jean Rhys, Patricia Highsmith, Jane Bowles.

La prosa de Laing está atormentada por la incertidumbre y la preocupación del zeitgeist. Las piezas más reveladoras personalmente, sobre la soledad en línea, el envejecimiento y un período de la vida salvaje del autor, elevan los riesgos emocionales. Aquí ella tiene 40 años:

"Esta es la edad en la que comienzas a notar cuán extraño es el clima, cómo se repite y regresa, cómo el grupo con el que viajas disminuye inexorablemente. Adelante, adelante, pies atados moviéndose sobre suelo húmedo. El clima no es agradable, el clima es apremiante, una ráfaga de luz cae sobre el abedul. "

En un perfil de su amiga pintora Chantal Joffe, Laing escribe que "ambos usamos el retrato como un medio para profundizar algo", aunque no siempre está claro qué es este "algo". Como suele ser el caso con libros como este, Clima divertido funciona mejor como un compendio de recomendaciones y recordatorios, si alguien con una emoción distintiva lo atraviesa.

El libro más reciente de Rob Doyle es Umbral (Bloomsbury Circus)

• Clima divertido: arte en una emergencia por Olivia Laing es publicado por Picador (£ 20). Para pedir una copia, visite guardianbookshop.com. Reino Unido gratis p & p más de £ 15

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