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ourdallasvideofestthings · 6 years ago

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Greetings folks,

This is the season of festivals, festivals and more festivals. The EarthX Film Festival continues throughout the week and weekend with screenings all-around Dallas. Also this week, we have the USA Film Festival coming to town at the Angelika Theater and if that was not enough, in Waxahachie, Texas there is the Crossroads Film and Music Festival. On top of all that, The Texas Theatre has some amazing programs this week.

EarthX Film, which started as DIFF ended, is going on this week at the Alamo Cedars, The Perot, and then hits Fair Park for the bulk of the programming. This festival mixes film with the Earthx experience. Speaking of experiences, I would recommend you check out the VR/AR Exhibit. This is one of the best places to see this type of new media in town. It is somewhat hidden and hard to find, but worth it, so give yourself time to explore.

As for the films, they are worldwide and far-reaching. The Video Fest is the community partner to several of these films. The only one I have seen is The Border and The Wall which was screened at SXSW. It beautifully documents the journey of four folks traveling down the Rio Grande border from El Paso to the Gulf of Mexico. It’s kind of an environmental road trip, with political overtones. You can see with your own eyes how absurd it would be to build this wall and understand what it would mean to the people, the jobs, the communities, and the plants and animals of the region. This is the kind of film that plays well with an audience and it will have a special screening at The Perot Theater. The Serengeti Rules documents a group of scientists as far back as the 60’s who traveled the world to understand the cycles, patterns, and rules of life on earth.

Thirst for Power shows us the worldwide history of water and how important it is for our lives. In the future, cheap water will be more valuable than oil if we don’t set up safeguards to protect our water sources and prioritize our access to it over companies who buy it up from municipalities who are too cheap to fix their old pipes and sell out their precious resource. Then there is Tigerland, a film that shows two stories of preservation of these majestic mammals. One in India and the other in far east Russia where guardians of the last Siberian tigers risk everything to save the species.

Of course, there are many more great films to experience. Don’t stay away because you feel you will receive a lecture; come and experience the world you want to know more about.

The USA Film Festival also begins this week. While I have not seen most of the programs, there are two films I would heartily recommend. As you can see its focus is on celebrity, at least that is what the flyer is telling you. One film worth seeing is Naked Kiss by Sam Fuller, which has one of the best beginnings of any film, ever. Actress Constance Towers will be here for that screening. The other film is a local documentary, Shatter the Silence by Cheryl Allison, which goes into detail on the #MeToo Movement in the North Texas area. We should note that they have many free programs, so go check out this festival.

If you want to venture a bit south, the Crossroads Film and Music Festival is being held in Waxahachie. Some films include Boyhood, True Stories and No Country for Old Men.

And that is just the film festivals.

At the Texas Theater on Wednesday, they have Nowitzki: The Perfect Shot to honor Dirk’s years of bringing joy to Dallas. Later that night, they are showing Her Smell which I still have not seen but have heard great things about. On Saturday, they are showing The Apartment in its 4K restoration (I wonder how the values of that film hold up to today’s #metoo movement?) and to honor the spirit of Agnes Varda, they will screen her classic from the French New Wave, Cleo from 5 to 7. Clearly, this is the cool place to be on Saturday. On Sunday, they have Some Like it Hot, another great Billy Wilder film, followed by Faces Places Agnes’ last film. A pretty good week at The Texas! At the Angelika they are showing Lolita on Wednesday as part of their Kubrick series, and the same night they have a live theatrical version of All About Eve. Hmmm, not sure about that, but if you want to see the film, it is showing as The Big Movie at The Magnolia Theater on Tuesday night. With all this going on, I have not had a chance to see Peterloo the new film by Mike Leigh, but I hope to soon. The Alamo this week will be showing Terry Gilliam’s The Man Who Killed Don Quixote. Wow, I am excited to see that.

It appears that Amazing Grace, the performance film with Aretha Franklin, is finally being shown here. This is documentation of two evenings of Aretha singing in a church in LA shot by Sydney Pollack in 1972. It is a powerful and moving document, in more ways than one. See the film and let’s have a conversation.

One last thing before I sign off. Women in Film Dallas has a new program called Women Wednesdays where they meet at a female-owned business. This Wednesday at 7 PM they are meeting at Chocolate Secrets—sweet!

Well, that was exhausting. There’s so much to see! Have a great week. See you at the movies.

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athingcalledbliss · 6 years ago

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Angelika Maciołek by Noémi Ottilia Szabo for Wilderness Notion Magazine July 2018

#noémi ottilia szabo #fashion editorial #editorial #notion magazine #angelika maciołek #next models #giorgia toscani #giuly valent #eddy scudo

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siderealxmelody · 1 year ago

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The darkness that spilled into the kitchen was older, darker and wilder than the two little shadows. Sebastian's eyes looked into theirs, a wild fury that had served him well. That had kept him going when nothing else had.

"They'll learn to like you or they won't survive."

Maybe it was too violent answer but that magic in them. That darkness in them was rising. They needed to get home before it showed somewhere they couldn't escape from. He'd heard the countless stories. Valg trying to blend in, cornered, loosing control....

They were collared, killed or worse. Whisked away to Midgard, to the secret cells of the Asteri's dungeons and white rooms.

--------

Septimus gazed at the boys kneeling before them. Sebastian stood between them his wings out. Natalia had taken the other two up to Elena and his grandparents. He was sure his grandmother would be thrilled for another fire bearer in their family.

"Well aren't they precious."

"Septimus."

His cousin grinned to him and stood, rolling his shoulders back.

"I'll train them on one condition."

Sebastian rose an eyebrow at him.

"What?"

"Call Solmir home -"

Sebastian moved, forcing Septimus to step back. He barred his teeth, he couldn't be soft here. He couldn't show fear or gentleness here. They'd both told the children that, this place wouldn't allow such things to survive - not in the open. Not till they'd proven themselves useful.

He hadn't told the twins that last part, maybe foolishly hoping he hadn't need to.

"Let him rot."

Septimus sighed and stepped around him. He twisted, twirling a cigarillo in his fingers.

"I wish I could cousin. Alas, our grandparents grow old and are feeling sentimental -"

"Why don't you want Uncle Solmir here Papa?"

Azriel's question cut the tension. Septimus looked delighted that seemed to be paying attention. Sebastian resisted the urge to snap his cigar and bash his head in.

He would need to pace himself here. This wasn't a war, this wasn't - this was a family he hadn't seen in years.

Septimus glanced to him and rose an eyebrow. Well that was kind, letting him tell the story. Or it was a test to see how he'd sanitize the story for them.

Sebastian looked to them, he resisted the urge to run a hand through their hair. Or move to kneel before them. Or even -

Gods he really did coddle then didn't he?

"Solmir is the reason my parents are dead."

Flat, to the point. Even if he mentally cringed at it. He had told them it would be a mask. That he would have to be like when they ran. At least for the first few weeks, only when they were in public. Elena had insisted on giving them an entire wing. And when he tried to say they'd be fine she'd held a dagger to his ribs.

At least with an entire wing they'd have time to decompress. At least they'd have time to focus on the children, maybe they'd even have their own rooms. He didn't think the four would want that but he could pretend.

Septimus still watched them, his lips twitching.

"Will you not to tell them about Thetis cousin? Surely her memory shouldn't be -"

His lightning was quick burning his cigarillo to ash. Septimus hissed and glared at him. He shook his hand out, trying to ease the burns.

"No need to be hasty Sebastian."

"Are you going to begin training them or just waste our time?"

They both turned at the messenger.

"Your mother requests you Your Grace."

Septimus sighed and looked to Sebastian. His smile was lopsided, prick.

"Unfortunately, family calls. You understand? Or maybe you -"

"She said it was urgent Your Grace."

Sebastian didn't react to the messenger, not till Septimus strolled away. The servant remained, their head bowed for a long moment before they straightened and exhaled.

"They're beautiful Sebastian, all of them."

He twirled the pen he'd swiped from Gavin's desk. He smiled sliding it in his pockets as he put his hands on his son's shoulders.

"Azriel, Aleksander, this is Angelika, an old friend."

Well, she'd been more than that once. But then their mates had appeared and friendship had been simpler.

"I take my cousin is still a prick?"

She stepped into the room rolling her shoulders back. She snorted and leaned back against the wall.

"That isn't what you wanted to ask me."

"How are the others? Is Natalia -"

"Papa who is Thetis?"

Angelika stiffened and cursed. Sebastian looked to Azriel. He got the distinct impression even at 8 he'd be insulted if he knelt before him and sugar coated the end.

"She - she was my sister. Solmir lead soldiers to the house where she and our grandparents lived....she didn't survive it."

There had been more than that. The way she'd laid there, her clothes torn. The glassy look in her eyes and the jagged cut at her neck.

More than 10 years ago now, the last trip he and Natalia had taken when their children had been small, manageable even. A happy one, they'd sailed on one of Tharion's ships. Their children fast friends. He wondered if Aleksander still remembered little Annie. How she'd insisted on holding his hand when they'd watched the Starlight's on the deck.

"It's what couples do."

That had been her reasoning, it had made him laugh. Even if it made Tharion uneasy. But then he didn't comment on it.

He didn't comment on the end either. How he and Peleus had held Solmir down, only 14 to make him tell them everything. His sister's mate away fighting. Coming back to that like him. They'd spent hours, and Sebastian would have finished him off had Viren not appeared and ordered him to stop.

A Blood-oath demand that he couldn't stop. Even when Peleus had lunged and Viren had cut him down.

He couldn't forgive his brother. Even if the soldiers had tortured him as he claimed. Even if when he'd finally hissed that Peleus had been the one leading it.

He didn't care, he didn't care if it was rational or not. He didn't care if the rumors from Night whispered that he was settling in, maybe even courting one of Viren's endless brood.

Every time he saw him, he saw their sister, their parents dead. If he'd known, then he should have fought. Not hid, not whined that he'd wanted to survive. Cowards shouldn't have survived.

He looked to his boys, exhaling. He clasped his hands behind his back.

"What else would you both like to know?"

Because he might as well ask that now. At least he had Angelika for some kind of support - and a reminder not to snap and kill someone.

Namely Septimus.

Aedion and Aelin stilled looking to him too. He mentally cursed of course Aleksander would ask the questions he didn't want to answer.

Aedion knew the answer, more of less of it. Aelin did, maybe. Bits of pieces of things she'd picked up over the years. Over the trails of bodies and blood.

He sighed picking Aleksander up and setting him in his lap. He ran a hand through Azriel's hair. He was watching his twin, his hands.

Maybe it was foolish to want to keep these secrets. To protect what little of their innocence was left.

He wouldn't answer those last two questions, he couldn't really. Aelin had finally left, walked out the door. It was too much, too much. He nodded to Aedion who followed her out. Who would protect her even if she snarled she didn't need it.

Hadn't needed it for the four years.

"We haven't gone to my family because they're...they're not like your mother or you all. They're like me, they mean well but they....they can hurt by accident."

He thought of his aunt Elena's sweet face. How visicous she was with a sword. She wouldn't mean to. But she was abrasive to those who didn't understand her. Septimus, her son was sly, wily - a snake Natalia had hissed the first night they'd met. He meant well too, but he - he was always looking for welanesses. Things to protect himself, his kin. If he knew their weaknesses he could plan around it.

"And for why we run? We run because even worse people are trying to hurt us. My family will protect us but they...does the violence you boths saw scare you?"

Cyrus had examined the bodies again, after everything. He couldn't, he would have ripped them apart if he had.

"Cut like Natalia's shadows on three of them."

"And the other two? The older ones?"

Cyrus had glanced away, not scared, worried.

"Like our magic. Drained and left horrified."

They'd both done that, both survived. Azriel had slept maybe exhausted from using that magic. Or maybe content that he'd finally allowed it free. Between them and Alein's fire, Aedion's anger. It wasn't safe, it wasn't safe. And they couldn't wait any longer to formally train them..

The last question mostly confused him. Did they not remember, but Azriel watched as the third question hung between the three of them. He gripped them boloth tighter. His words were soft, trying not to scare them. Trying not to pain himself as her another monster for their nightmares.

"They hurt you both. I went to make sure they'd never hurt someone else again."

And to punish everyone else who hadn't stopped it.

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starfoxrry · 6 years ago

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who do u watch on youtube?

i spend so much time on youtube omg here’s my whole entire sub box

the og legends are of course: jenna marbles, shane dawson, philip defranco, simplynailogical, safiya nygaard, good mythical morning (((honorary mention to pewdiepie bc he’s my problematic fave)))

youtubers i hate to love :/ : dan & phil :/, james charles, jeff:/ree :/st:/ar, the dolan twins, nikkietutorials, angelika oles

buzzfeed shows that are worth watching: buzzfeed unsolved (but only when its shane and ryan), the worth it boys (but only when its steven and andrew) and ofc the try guys

some science/edutainment stuff that i sub to bc im a nerd: doctor mike, scishow, true food tv, animal wonders, asapscience, its okay to be smart, pbs eons, periodic videos, smartereveryday, thebrainscoop, minute earth, brave wilderness

movie channels: cinemasins/musicvideosins, cinemawins, screen junkies, how it should have ended, movie flame, supercarlinbrothers

some channels that dont grind the youtube game but i will always sub to: garret watts, luke cutforth, emma blackery, alex bertie, connor franta, superfruit

and of course my lord and saviour freddieismyqueen

#anonymous #answered

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responsivesites · 5 years ago

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New Post has been published on Website Design Naples Florida Webmaster

New Post has been published on https://vinbo.com/wordpress-5-4-adderley/

WordPress 5.4 “Adderley”

Here it is! Named “Adderley” in honor of Nat Adderley, the latest and greatest version of WordPress is available for download or update in your dashboard.

Say hello to more and better.

More ways to make your pages come alive. With easier ways to get it all done and looking better than ever—and boosts in speed you can feel.

Welcome to WordPress 5.4

Every major release adds more to the block editor.

More ways to make posts and pages come alive with your best images. More ways to bring your visitors in, and keep them engaged, with the richness of embedded media from the web’s top services.

More ways to make your vision real, and put blocks in the perfect place—even if a particular kind of block is new to you. More efficient processes.

And more speed everywhere, so as you build sections or galleries, or just type in a line of prose, you can feel how much faster your work flows.

Two new blocks. And better blocks overall.

Two brand-new blocks: Social Icons and Buttons make adding interactive features fast and easy.

New ways with color: Gradients in the Buttons and Cover block, toolbar access to color options in Rich Text blocks, and for the first time, color options in the Group and Columns blocks.

Guess a whole lot less! Version 5.4 streamlines the whole process for placing and replacing multimedia in every block. Now it works the same way in almost every block!

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Speed! 14% faster loading of the editor, 51% faster time-to-type!

Tips are gone. In their place, a Welcome Guide window you can bring up when you need it—and only when you need it—again and again.

Know at a glance whether you’re in a block’s Edit or Navigation mode. Or, if you have restricted vision, your screen reader will tell you which mode you’re in.

Of course, if you want to work with the very latest tools and features, install the Gutenberg plugin. You’ll get to be the first to use new and exciting features in the block editor before anyone else has seen them!

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5.4 helps with a variety of privacy issues around the world. So when users and stakeholders ask about regulatory compliance, or how your team handles user data, the answers should be a lot easier to get right.

Take a look:

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See progress as you process export and erasure requests through the privacy tools.

Plus, little enhancements throughout give the privacy tools a little cleaner look. Your eyes will thank you!

Just for developers

Add custom fields to menu items—natively

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Blocks! Simpler styling, new APIs and embeds

Radically simpler block styling. Negative margins and default padding are gone! Now you can style blocks the way you need them. And, a refactor got rid of four redundant wrapper divs.

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In embeds, now the block editor supports TikTok—and CollegeHumor is gone.

There’s lots more for developers to love in WordPress 5.4. To discover more and learn how to make these changes shine on your sites, themes, plugins and more, check the WordPress 5.4 Field Guide.

The Squad

This release was led by Matt Mullenweg, Francesca Marano, and David Baumwald. They were enthusiastically supported by a release squad:

Editor Tech: Jorge Filipe Costa (@jorgefelipecosta)

Editor Design: Mark Uraine (@mapk)

Core Tech: Sergey Biryukov (@sergeybiryukov)

Design: Tammie Lister (@karmatosed)

Docs Coordinator: JB Audras (@audrasjb)

Docs & Comms Wrangler: Mary Baum (@marybaum)

The squad was joined throughout the release cycle by 552 generous volunteer contributors who collectively worked on 361 tickets on Trac and 1226 pull requests on GitHub.

Put on a Nat Adderley playlist, click that update button (or download it directly), and check the profiles of the fine folks that helped:

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throughaforestwilderness · 7 years ago

Photo

Eröffnung / Opening: 24 Aug 2017, 19.00 Ausstellung / Exhibition 25 Aug – 3 Sept 2017, Mi - So / Wed – Sun, 14.00 - 18.00 Symposium 1, 2 Sept 2017 Anmeldung / Registration [email protected]

THROUGH A FOREST WILDERNESS.

Aktionen im Wald. Performance, Konzeptkunst, Events Actions in the Forest. Performance, Conceptual Art, Events 1960 - ∞ Ein Projekt von / A project by DOWN WITH ART! e.V. In Kooperation mit / in cooperation with Brandenburgischer Kunstverein Potsdam e.V. Freundschaftsinsel, 14467 Potsdam Künstler / Artists: ANK 64/SOUP 69/Visarid (EE), ARTPROSPEKT P.O.P. (SK), Eugen Blume/Erhard Monden (DE), Bård Breivik (NO), CLARA MOSCH (DE), Vladimír Havlík (CZ), Geoffrey Hendricks (US), Wolfgang Henne/Michael Kunert/Steffen Volmer (DE), Lumír Hladík (CZ/CA), Aleksandar Battista Ilić in collaboration with Ivana Kesser and Tomislav Gotovac (HR), Villem Jahu (EE), Milan Knížák (CZ), Kollektive Aktionen (RU), Hilde Krohn Huse (NO/GB), Reiner Maria Matysik (DE), OHO (SI), Yoko Ono (JP/US), Carolee Schneemann (US), Petr Štembera (CZ), Dezider Tóth (SK), Margita Titlová Ylovsky (CZ), Jiří Valoch (CZ), Robert Watts (US), Vadim Zakharov (RU/DE), Jana Želibská (SK), GORGONA (HR) and others - scroll down for English version - „The clearest way into the Universe is through a forest wilderness“, erkannte der schottisch-amerikanische Naturforscher John Muir schon 1890 – gut siebzig Jahre bevor Künstler auf der ganzen Welt den Wald als Aktionsraum für sich entdeckten. Die in der – oft existenziellen – Auseinandersetzung mit der Natur entstandenen künstlerischen Werke und Aktionen nimmt die nur für kurze Zeit in Potsdam zu sehende Ausstellung THROUGH A FOREST WILDERNESS erstmals in den Blick. Dabei geht es vor allem um minimale, aber nicht weniger spektakuläre Arbeiten aus Konzeptkunst, Performance, Minimal Art und Fluxus. Vor allem den Künstlern Mittel- und Osteuropas diente der Wald in den 1960er bis 1980er Jahren als Rückzugs- und Alternativraum – er wurde zum Schauplatz und oft einzigen Zeugen ihrer im öffentlichen Kulturleben unerwünschten Aktivitäten. Zur gleichen Zeit waren die Künstler Westeuropas und Amerikas daran interessiert, neues Terrain außerhalb etablierter und kommerzialisierter Institutionen für sich zu entdecken. Wie radikal die Auseinandersetzung mit der Natur sein kann, zeigt die Arbeit von Petr Štembera, der sich 1973 einen Zweig in die eigene Blutbahn pflanzte (Štěpování – Pfropfen). Eine Verbindung eher spielerischer Art hatte Milan Knížák im Sinn, der 1980 dazu einlud, Freundschaft mit einem Baum zu schließen. Andere Künstler interessierte vor allem der Kontrast zwischen organischen und geometrischen Formen, so arrangierte die slowenische Künstlergruppe OHO ihre minimalistischen Interventionen im Wald mit Holzstäben, Metallbändern, Seilen und Toilettenpapier (1969). Die Aktion, Bäume mit Mullbinden zu verbinden (Tabarz Recycling, 1983) der Gruppe CLARA MOSCH aus Karl-Marx-Stadt spiegeln ein neu erwachtes Umweltbewusstsein zu Zeiten des Waldsterbens wider. Und auch heute setzen zeitgenössische Künstler ihre Arbeiten oder sich selbst der Natur aus. So dokumentiert das Video Hanging in the Woods (2014) der Norwegerin Hilde Krohn Huse, eine ungeplant-existenzielle Situation. Es zeigt den verzweifelten Versuch der nackten Künstlerin sich aus einem Seil zu befreien. Die Besucher der Ausstellung sind auch selbst zur Aktivität eingeladen – so können sie ihre Wünsche dem Wish Tree (ab 1996) von Yoko Ono anvertrauen. Begleitet wird die Ausstellung von einem internationalen Symposium (1., 2. September) mit Vorträgen, Künstlergesprächen und Performances. Themen sind “Kunst und Natur in Mittel- und Osteuropa”, “Konzeptkunst in Norwegen”, "Kunst und Ökologie" sowie “Ausstellen in der Natur”. Mit Beiträgen von: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, und Petr Štembera. Eine spätere Publikation sowie eine Ausstellungstour ist geplant. ---- “The clearest way into the Universe is through a forest wilderness” – such was the observation of Scottish-American naturalist John Muir as far back as 1890, seventy years before artists around the world discovered the forest as a creative space for themselves. The exhibition “THROUGH A FOREST WILDERNESS”, to be presented in Potsdam for a short time only, takes an original look at the artistic works and performances that have come about through the exploration of nature. The focus is on minimal yet often spectacular works of conceptual art, performance, minimal art and Fluxus. It was for the artists of Central and Eastern Europe, in particular, that the forest functioned as a retreat and an alternative space during the period of the 1960s to 1980s; it became their stage, often serving as the only witness to activities that were prohibited in public cultural life. At the same time, the artists of Western Europe and America were engaged in discovering new territory outside of established and commercialised institutions. The work of Petr Štembera, who planted a tree in his own arm in (“Štěpování” - “Grafting”, 1973), shows just how radical this exploration of nature can be. Milan Knížák, who in 1980 invited spectators to form a "Friendship with a Tree", had a connection of a more playful nature in mind. Other artists explored the contrast between organic and geometric forms, among them the Slovenian artist group OHO, whose minimalist interventions in the forest were formed of wooden rods, metal strips, ropes and toilet paper (1969). The bandaging of trees with gauze (Tabarz Recycling, 1983), by the CLARA MOSCH group from Karl-Marx-Stadt, reflected a new brand of environmental awareness during times of forest decline. Still, today, contemporary artists are pitting themselves and their work against nature and the questions it poses. This is especially evident in Hilde Krohn Huse’s video work “Hanging in the Woods” (2014), an unplanned existential scenario, depicting the desperate attempt of the naked artist to free herself from a rope. The exhibition will be accompanied by an international symposium (1 and 2 September) that will explore topics such as “Art and Nature in Central and Eastern Europe”, “Conceptual Art in Norway”, "Art and Ecology" and “Exhibiting Art in Nature”. With Contributions by: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, and Petr Štembera. There are plans for a subsequent publication and a presentation in further venues.

Kuratorin / Curator: Petra Stegmann Förderung / Funding: Landeshauptstadt Potsdam; Ministerium für Wissenschaft, Forschung und Kultur des Landes Brandenburg; Goethe-Institut Mit freundlicher Unterstützung / Kind support: Norwegian Embassy in Berlin, Czech Centre Berlin

#minimalart #conceptural art #opening #eröffnung #artproject #ausstellung #exhibiti #art #performance #performance kunst #kunst #künstler #fluxus #comingsoon #artintheforest #forest #nature #natur #greenery

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downwithartev · 7 years ago

Photo

Eröffnung / Opening: 24 Aug 2017, 19.00 Ausstellung / Exhibition 25 Aug – 3 Sept 2017, Mi - So / Wed – Sun, 14.00 - 18.00 Symposium 1, 2 Sept 2017 Anmeldung / Registration [email protected]

THROUGH A FOREST WILDERNESS. Aktionen im Wald. Performance, Konzeptkunst, Events Actions in the Forest. Performance, Conceptual Art, Events 1960 - ∞

Ein Projekt von / A project by DOWN WITH ART! e.V. In Kooperation mit / in cooperation with Brandenburgischer Kunstverein Potsdam e.V. Freundschaftsinsel, 14467 Potsdam

Künstler / Artists: ANK 64/SOUP 69/Visarid (EE), ARTPROSPEKT P.O.P. (SK), Eugen Blume/Erhard Monden (DE), Bård Breivik (NO), CLARA MOSCH (DE), Vladimír Havlík (CZ), Geoffrey Hendricks (US), Wolfgang Henne/Michael Kunert/Steffen Volmer (DE), Lumír Hladík (CZ/CA), Aleksandar Battista Ilić in collaboration with Ivana Kesser and Tomislav Gotovac (HR), Villem Jahu (EE), Milan Knížák (CZ), Kollektive Aktionen (RU), Hilde Krohn Huse (NO/GB), Reiner Maria Matysik (DE), OHO (SI), Yoko Ono (JP/US), Carolee Schneemann (US), Petr Štembera (CZ), Dezider Tóth (SK), Margita Titlová Ylovsky (CZ), Jiří Valoch (CZ), Robert Watts (US), Vadim Zakharov (RU/DE), Jana Želibská (SK), GORGONA (HR) and others

- scroll down for English version -

„The clearest way into the Universe is through a forest wilderness“, er erkannte der schottisch-amerikanische Naturforscher John Muir schon 1890 – gut siebzig Jahre bevor Künstler auf der ganzen Welt den Wald als Aktionsraum für sich entdeckten. Die in der – oft existenziellen – Auseinandersetzung mit der Natur entstandenen künstlerischen Werke und Aktionen nimmt die nur für kurze Zeit in Potsdam zu sehende Ausstellung THROUGH A FOREST WILDERNESS erstmals in den Blick. Dabei geht es vor allem um minimale, aber nicht weniger spektakuläre Arbeiten aus Konzeptkunst, Performance, Minimal Art und Fluxus.

Vor allem den Künstlern Mittel- und Osteuropas diente der Wald in den 1960er bis 1980er Jahren als Rückzugs- und Alternativraum – er wurde zum Schauplatz und oft einzigen Zeugen ihrer im öffentlichen Kulturleben unerwünschten Aktivitäten. Zur gleichen Zeit waren die Künstler Westeuropas und Amerikas daran interessiert, neues Terrain außerhalb etablierter und kommerzialisierter Institutionen für sich zu entdecken.

Wie radikal die Auseinandersetzung mit der Natur sein kann, zeigt die Arbeit von Petr Štembera, der sich 1973 einen Zweig in die eigene Blutbahn pflanzte (Štěpování – Pfropfen). Eine Verbindung eher spielerischer Art hatte Milan Knížák im Sinn, der 1980 dazu einlud, Freundschaft mit einem Baum zu schließen. Andere Künstler interessierte vor allem der Kontrast zwischen organischen und geometrischen Formen, so arrangierte die slowenische Künstlergruppe OHO ihre minimalistischen Interventionen im Wald mit Holzstäben, Metallbändern, Seilen und Toilettenpapier (1969). Die Aktion, Bäume mit Mullbinden zu verbinden (Tabarz Recycling, 1983) der Gruppe CLARA MOSCH aus Karl-Marx-Stadt spiegeln ein neu erwachtes Umweltbewusstsein zu Zeiten des Waldsterbens wider.

Und auch heute setzen zeitgenössische Künstler ihre Arbeiten oder sich selbst der Natur aus. So dokumentiert das Video Hanging in the Woods (2014) der Norwegerin Hilde Krohn Huse, eine ungeplant-existenzielle Situation. Es zeigt den verzweifelten Versuch der nackten Künstlerin sich aus einem Seil zu befreien.

Die Besucher der Ausstellung sind auch selbst zur Aktivität eingeladen – so können sie ihre Wünsche dem Wish Tree (ab 1996) von Yoko Ono anvertrauen.

Begleitet wird die Ausstellung von einem internationalen Symposium (1., 2. September) mit Vorträgen, Künstlergesprächen und Performances. Themen sind “Kunst und Natur in Mittel- und Osteuropa”, “Konzeptkunst in Norwegen”, "Kunst und Ökologie" sowie “Ausstellen in der Natur”. Mit Beiträgen von: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, und Petr Štembera.

Eine spätere Publikation sowie eine Ausstellungstour ist geplant.

----

“The clearest way into the Universe is through a forest wilderness” – such was the observation of Scottish-American naturalist John Muir as far back as 1890, seventy years before artists around the world discovered the forest as a creative space for themselves. The exhibition “THROUGH A FOREST WILDERNESS”, to be presented in Potsdam for a short time only, takes an original look at the artistic works and performances that have come about through the exploration of nature. The focus is on minimal yet often spectacular works of conceptual art, performance, minimal art and Fluxus.

It was for the artists of Central and Eastern Europe, in particular, that the forest functioned as a retreat and an alternative space during the period of the 1960s to 1980s; it became their stage, often serving as the only witness to activities that were prohibited in public cultural life. At the same time, the artists of Western Europe and America were engaged in discovering new territory outside of established and commercialised institutions.

The work of Petr Štembera, who planted a tree in his own arm in (“Štěpování” - “Grafting”, 1973), shows just how radical this exploration of nature can be. Milan Knížák, who in 1980 invited spectators to form a "Friendship with a Tree", had a connection of a more playful nature in mind. Other artists explored the contrast between organic and geometric forms, among them the Slovenian artist group OHO, whose minimalist interventions in the forest were formed of wooden rods, metal strips, ropes and toilet paper (1969). The bandaging of trees with gauze (Tabarz Recycling, 1983), by the CLARA MOSCH group from Karl-Marx-Stadt, reflected a new brand of environmental awareness during times of forest decline.

Still, today, contemporary artists are pitting themselves and their work against nature and the questions it poses. This is especially evident in Hilde Krohn Huse’s video work “Hanging in the Woods” (2014), an unplanned existential scenario, depicting the desperate attempt of the naked artist to free herself from a rope.

The exhibition will be accompanied by an international symposium (1 and 2 September) that will explore topics such as “Art and Nature in Central and Eastern Europe”, “Conceptual Art in Norway”, "Art and Ecology" and “Exhibiting Art in Nature”. With Contributions by: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, and Petr Štembera. There are plans for a subsequent publication and a presentation in further venues.

Kuratorin / Curator: Petra Stegmann

Förderung / Funding: Landeshauptstadt Potsdam; Ministerium für Wissenschaft, Forschung und Kultur des Landes Brandenburg; Goethe-Institut

Mit freundlicher Unterstützung / Kind support: Norwegian Embassy in Berlin, Czech Centre Berlin

#exhibition #minimalart #conceptualart #forest #nature #artproject #performance #performanceart #artintheforest #fluxus #kunst #künstler #performancekunst #opening #comingsoon #eröffnung

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downwithart · 7 years ago

Photo

Eröffnung / Opening: 24 Aug 2017, 19.00 Ausstellung / Exhibition 25 Aug – 3 Sept 2017, Mi - So / Wed – Sun, 14.00 - 18.00 Symposium 1, 2 Sept 2017 Anmeldung / Registration [email protected]

THROUGH A FOREST WILDERNESS.

Aktionen im Wald. Performance, Konzeptkunst, Events Actions in the Forest. Performance, Conceptual Art, Events 1960 - ∞ Ein Projekt von / A project by DOWN WITH ART! e.V. In Kooperation mit / in cooperation with Brandenburgischer Kunstverein Potsdam e.V. Freundschaftsinsel, 14467 Potsdam Künstler / Artists: ANK 64/SOUP 69/Visarid (EE), ARTPROSPEKT P.O.P (SK), Eugen Blume/Erhard Monden (DE), Bård Breivik (NO), CLARA MOSCH (DE), Vladimír Havlík (CZ), Geoffrey Hendricks (US), Wolfgang Henne/Michael Kunert/Steffen Volmer (DE), Lumír Hladík (CZ/CA), Aleksandar Battista Ilić in collaboration with Ivana Kesser and Tomislav Gotovac (HR), Villem Jahu (EE), Milan Knížák (CZ), Kollektive Aktionen (RU), Hilde Krohn Huse (NO/GB), Reiner Maria Matysik (DE), OHO (SI), Yoko Ono (JP/US), Carolee Schneemann (US), Petr Štembera (CZ), Dezider Tóth (SK), Margita Titlová Ylovsky (CZ), Jiří Valoch (CZ), Robert Watts (US), Vadim Zakharov (RU/DE), Jana Želibská (SK), GORGONA (HR) and others - scroll down for English version - „The clearest way into the Universe is through a forest wilderness“, erkannte der schottisch-amerikanische Naturforscher John Muir schon 1890 – gut siebzig Jahre bevor Künstler auf der ganzen Welt den Wald als Aktionsraum für sich entdeckten. Die in der – oft existenziellen – Auseinandersetzung mit der Natur entstandenen künstlerischen Werke und Aktionen nimmt die nur für kurze Zeit in Potsdam zu sehende Ausstellung THROUGH A FOREST WILDERNESS erstmals in den Blick. Dabei geht es vor allem um minimale, aber nicht weniger spektakuläre Arbeiten aus Konzeptkunst, Performance, Minimal Art und Fluxus. Vor allem den Künstlern Mittel- und Osteuropas diente der Wald in den 1960er bis 1980er Jahren als Rückzugs- und Alternativraum – er wurde zum Schauplatz und oft einzigen Zeugen ihrer im öffentlichen Kulturleben unerwünschten Aktivitäten. Zur gleichen Zeit waren die Künstler Westeuropas und Amerikas daran interessiert, neues Terrain außerhalb etablierter und kommerzialisierter Institutionen für sich zu entdecken. Wie radikal die Auseinandersetzung mit der Natur sein kann, zeigt die Arbeit von Petr Štembera, der sich 1973 einen Zweig in die eigene Blutbahn pflanzte (Štěpování – Pfropfen). Eine Verbindung eher spielerischer Art hatte Milan Knížák im Sinn, der 1980 dazu einlud, Freundschaft mit einem Baum zu schließen. Andere Künstler interessierte vor allem der Kontrast zwischen organischen und geometrischen Formen, so arrangierte die slowenische Künstlergruppe OHO ihre minimalistischen Interventionen im Wald mit Holzstäben, Metallbändern, Seilen und Toilettenpapier (1969). Die Aktion, Bäume mit Mullbinden zu verbinden (Tabarz Recycling, 1983) der Gruppe CLARA MOSCH aus Karl-Marx-Stadt spiegeln ein neu erwachtes Umweltbewusstsein zu Zeiten des Waldsterbens wider. Und auch heute setzen zeitgenössische Künstler ihre Arbeiten oder sich selbst der Natur aus. So dokumentiert das Video Hanging in the Woods (2014) der Norwegerin Hilde Krohn Huse, eine ungeplant-existenzielle Situation. Es zeigt den verzweifelten Versuch der nackten Künstlerin sich aus einem Seil zu befreien. Die Besucher der Ausstellung sind auch selbst zur Aktivität eingeladen – so können sie ihre Wünsche dem Wish Tree (ab 1996) von Yoko Ono anvertrauen. Begleitet wird die Ausstellung von einem internationalen Symposium (1., 2. September) mit Vorträgen, Künstlergesprächen und Performances. Themen sind “Kunst und Natur in Mittel- und Osteuropa”, “Konzeptkunst in Norwegen”, "Kunst und Ökologie" sowie “Ausstellen in der Natur”. Mit Beiträgen von: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, und Petr Štembera. Eine spätere Publikation sowie eine Ausstellungstour ist geplant. ---- “The clearest way into the Universe is through a forest wilderness” – such was the observation of Scottish-American naturalist John Muir as far back as 1890, seventy years before artists around the world discovered the forest as a creative space for themselves. The exhibition “THROUGH A FOREST WILDERNESS”, to be presented in Potsdam for a short time only, takes an original look at the artistic works and performances that have come about through the exploration of nature. The focus is on minimal yet often spectacular works of conceptual art, performance, minimal art and Fluxus. It was for the artists of Central and Eastern Europe, in particular, that the forest functioned as a retreat and an alternative space during the period of the 1960s to 1980s; it became their stage, often serving as the only witness to activities that were prohibited in public cultural life. At the same time, the artists of Western Europe and America were engaged in discovering new territory outside of established and commercialised institutions. The work of Petr Štembera, who planted a tree in his own arm in (“Štěpování” - “Grafting”, 1973), shows just how radical this exploration of nature can be. Milan Knížák, who in 1980 invited spectators to form a "Friendship with a Tree", had a connection of a more playful nature in mind. Other artists explored the contrast between organic and geometric forms, among them the Slovenian artist group OHO, whose minimalist interventions in the forest were formed of wooden rods, metal strips, ropes and toilet paper (1969). The bandaging of trees with gauze (Tabarz Recycling, 1983), by the CLARA MOSCH group from Karl-Marx-Stadt, reflected a new brand of environmental awareness during times of forest decline. Still, today, contemporary artists are pitting themselves and their work against nature and the questions it poses. This is especially evident in Hilde Krohn Huse’s video work “Hanging in the Woods” (2014), an unplanned existential scenario, depicting the desperate attempt of the naked artist to free herself from a rope. The exhibition will be accompanied by an international symposium (1 and 2 September) that will explore topics such as “Art and Nature in Central and Eastern Europe”, “Conceptual Art in Norway”, "Art and Ecology" and “Exhibiting Art in Nature”. With Contributions by: Maja Fowkes, Reuben Fowkes, Adrienne Goehler, Sabine Hänsgen, Hilde Krohn Huse, Ingvild Krogvig, Reiner Maria Matysik, Pavlína Morganová, Angelika Richter, Michael Saup, and Petr Štembera. There are plans for a subsequent publication and a presentation in further venues. Kuratorin / Curator: Petra Stegmann Förderung / Funding: Landeshauptstadt Potsdam; Ministerium für Wissenschaft, Forschung und Kultur des Landes Brandenburg; Goethe-Institut Mit freundlicher Unterstützung / Kind support: Norwegian Embassy in Berlin, Czech Centre Berlin

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ourdallasvideofestthings · 5 years ago

Photo

Bart Chat 710/2020

Greetings all,

In last week’s chat, I talked about how long or short my chats should be and the feedback was split 50/50, so I will try to alternate between just the facts and rambling thoughts. This week has been a good week for my 1970’s self. One of my students offered to transfer some audiotapes I made years ago, some from a band I played the drums, and some electronic music I composed at the Columbia Princeton electronic music center. So, I added some ambient pictures and posted them on Facebook, and an old friend/teacher heard it and asked to put it on a soundtrack, which made me incredibly happy. Then I saw the poster for a series of film screenings at Top Ten Records for some of my old 16 mm films, which was great. Then I realized I was in the same series as Craig Baldwin, Woody Vasulka, Chick Strand and Bruce Connor, which is some serious company—My 1970’s self would never have believed that my 1970’s work would be that relevant today. That was the 1970’s and as many of you know, in the 1980’s I was a VJ at On the Air and Video Bar. For the opening night of the Best of Fests, I will VJ as Video BARt—so, don’t miss it! The Best of Fests will be coming in a few weeks and I will share more details next week. We have 23 festivals in the Dallas Fort Worth area putting on ONE festival. VAD will have two screenings—International Falls, with Women’s Texas Festival and Flannery. In both cases, the filmmakers will be in attendance. So what is going on cinematically this week? The Angelika (and perhaps others) is playing The Assistant, the film for the moment. Instead of making a noisy stand about Weinstein-esque behavior, it quietly lets you feel what it’s like to work in this world. It’s a must-see. Probably no film is further away from the DC/Marvel Universe than this. At the Angelika, is Incitement, which takes us into the mind of the assassin who shot Prime Minister Rabin. They also have The Big Lebowski, Cyrano de Bergerac and the Bolshoi Ballet doing Swan Lake. The Texas Theater has another screening of the black and white version of Parasite, which I recommend. Also, they are showing the Life of Brian from the Pythons on Sunday. But the big news is another film by Matthew Barney called Redoubt: The new film by acclaimed artist and director Matthew Barney, creator of the CREMASTER Cycle and the film opera ‘River of Fundament’, unfolds as a series of hunts in the wilderness of Idaho’s Sawtooth Mountains. The characters communicate a mythological narrative through dance, letting movement replace language as they pursue each other and their prey. The Magnolia is still showing Citizen K, which I also highly recommend. You can hear our interview with Alex Gibney about this film on Fog of Truth. Go see some films and have a great week.

Bart Weiss

Artistic Director, Dallas VideoFest

0 notes

throughaforestwilderness · 7 years ago

Text

conference: THROUGH A FOREST WILDERNESS

THROUGH A FOREST WILDERNESS Aktionen im Wald. Performance, Konzeptkunst, Events. 1960 - ∞ Actions in the Forest. Performance, Conceptual Art, Events. 1960 - ∞ Brandenburgischer Kunstverein Potsdam, 1 – 2 Sep 2017

Mit der Aktionskunst, Konzeptkunst und Land Art begannen Künstler in den 1960ern weltweit eine intensive, oft existenzielle Auseinandersetzung mit der freien Natur. Besonders der Wald wurde zu einem Alternativraum zu etablierten und kommerziellen Institutionen, der körperlich erfahren und in den Schaffensprozess mit einbezogen wurde. Auch ein neu entstehendes Umweltbewusstsein spielte eine wichtige Rolle. Für die Künstler Mittel- und Osteuropas wurden Wälder besonders oft zum Schauplatz und bisweilen einzigen Zeugen ihrer im offiziellen Kulturbetrieb unerwünschten Aktionen. Die Konferenz THROUGH A FOREST WILDERNESS nimmt den existenziellen Dialog von Künstlern mit dem Wald in den Blick. Dabei geht es vor allem um ephemere Werke und Aktionen. Die Konferenz findet im Rahmen der gleichnamigen Ausstellung mit Arbeiten aus Performance, Fluxus, Minimal Art und Konzeptkunst von 1960 bis heute statt.

Since the 1960s, conceptual, land and action artists throughout the world began an intensive, at times existential engagement with the natural environment outdoors. The forest in particular became an alternative space to established and commercial institutions. It was experienced with the body and involved in the creative process. Also a newly established ecological awareness played an important role. For artists in Central and Eastern Europe, forests became the scenery and sometimes only witness of their actions that were not tolerated in official cultural life. The conference THROUGH A FOREST WILDERNESS explores the existential dialogue between artists and the forest. It focuses especially on ephemeral works and actions. The conference takes place in the framework of an exhibition of the same name with works of performance, Fluxus, minimal and conceptual art from the 1960s until today.

Programm | Programme

1 September 2017 13.00 BKV: Begrüßung | Welcome address Petra Stegmann (DOWN WITH ART!, Potsdam): Einführung | Introduction I. Kunst und Natur in Mittel- und Osteuropa | Art and Nature in Central and Eastern Europe 13.30 Sabine Hänsgen (Universität Zürich): Feld und Wald bei den „Kollektiven Aktionen“ | Field and Forest in the “Collective Actions” 14.30 Pavlína Morganová (Akademie výtvarných umění, Prag): Der Baum in der tschechischen Performancekunst | The Tree in Czech Performance Art. Petr Štembera and Margita Titlová-Ylovsky 15.30 Künstlergespräch | Artist talk Petr Štembera (Prag) 16.30 Pause | Break 17.00 Angelika Richter (Berlin): Rebellisches Grün. Kunst und Umwelt in der DDR | Rebellious Green. Art and Environment in the GDRMetamorphoses of a Tree“ Art and Environment in the GDR 18.00 Maja Fowkes, Reuben Fowkes (Translocal Institute for Contemporary Art, Budapest): Silviphilie in der Kunst Osteuropas | Silviphilia in East European Art

2 September 2017 10.00 Einführung | Introduction II. Konzeptkunst und Performance in Norwegen | Conceptual and Performance Art in Norway 10.30 Ingvild Krogvig (Nasjonalmuseet, Oslo): Konzeptkunst in Norwegen | Conceptual Art in Norway 11.30 Künstlergespräch | Artist talk Hilde Krohn Huse (London): Hanging in the Woods: Manipulating and Being Manipulated 12.30 Pause | Break III. Kunst und Ökologie | Art and Ecology 14.00 Performance Reiner Maria Matysik (Burg Giebichenstein Kunsthochschule Halle): Implant. Die Pflanze in mir | Implant. The Plant in Me 15.00 Adrienne Goehler (Berlin): Über die Kunst die Nachhaltigkeit mit Entschleunigung und Grundeinkommen verbinden | Connecting Deceleration and Basic Income through Art 16.00 Künstlergespräch | Artist talk Michael Saup (Berlin) 17.00 Pause | Break 17.30 Roundtable: Ausstellen in der Natur | Exhibiting Art in Nature

Veranstalter | Organiser DOWN WITH ART! e.V.

Konzeption | Concept Petra Stegmann

Kooperationspartner und Tagungsort | Cooperation and venue Brandenburgischer Kunstverein Potsdam Ausstellungspavillon auf der Freundschaftsinsel 14467 Potsdam

Anmeldung | Registration [email protected]

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