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  • FEMMES SANS OMBRES - An Installation by Johann Creten - -------------------------------------------------------------------------------------------------------
    that portray female heads Is it true that these heads don t throw a shadow At least it is clear that whatever shadow they may throw or might have thrown is submerged drowned out or eaten up by the shadow which the dark woven basketside closest to the window is throwing onto the inside of that respective basket And thus the sculptures in the baskets are heads without a shadow Five in all as from our position of regarding the installation it is not possible to see a head inside the basket placed on the chest of drawers rather than on the floor But we may assume that another object representing the head of a woman must be there And if that basket should be empty it may simply serve as a reminder of the endless number of baskets and heads that might still be added Empty baskets waiting for another shadowless head to be deposited in them Invisible baskets with invisible heads that simply linger and exist elsewhere As the artist revealed to a critic and that critic did not fail to tell us in the catalogue the title of the installation relates to the opera Frau ohne Schatten by Richard Strauss But it is not only in that opera that the theme of a shadowless and in fact invisible existence has surfaced The Roma women who have woven the baskets also remain in the shadow being part of a group that continued to be marginalized and discriminated against in the European Union It is a U S writer Ralph Ellison who dwelled on the same theme in his novel Invisible Man throwing light on what was for long and still continues to be in many ways the shadowless existence of Afro Americans in their native country What is

    Original URL path: http://www.art-in-society.de/AS8/sp/Creten_03.html (2016-04-25)
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  • Joris Ghekiere's Visual Story About False and True Needs, Displaced Desires and Their Source - -----------------------------------------
    providing a sort of camouflage behind which the beautiful face that could have its source in an advertisement or the poster of a film star seems to appear now no longer trivial and realistic but strange and as if surfacing in a dream How light hearted and seemingly easy this Verfremdung or intervention that makes strange what we see has occurred It is as if we discover in the midst

    Original URL path: http://www.art-in-society.de/AS8/sp/Ghekiere_03.html (2016-04-25)
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  • TRAINING: A Series of Drawings by Jenny Watson - -----------------------------------------------------------------------
    story A touch of the autobiographic seems to enter If invented it still lends the story an air of immediacy of subjective relevance a freshness the viewer can relate to and perhaps recognize his own subjective emotions in Whether the artist in this story accepts the offer to accompany the man and go for a drink is left open But the hair a symbol of female attractiveness and the undeciphered age occur in both the image and the story that could be another dreamt story To be asked by a man to go for a drink with him could underline an existing and reveal doubts about a persisting attractiveness In a way the invitation expressed at the end of the story could represent a wish a desire we all know Faintly aware how it persists in us Still another drawing departs from the post card type structure I see a large drawn frame within this frameless work Inside it a drawing showing a woman riding a horse Outside it linked by an arrowlike line the words painting on fabric of me riding In other words the constellation of text and drawing suggests that this is draft a sketchy design a conceptual presentation of another painted work that may never be realized And this because the concept or sketch in itself has all the strength and validity of a work of art and may in fact surpass any imaginable painting of this subject matter Thanks I may add to its improvised fleeting quality that seems to reject aspirations of being eternal art And perhaps even thanks to an attempt to reject commodification although such surpassing of the status of a commodity of the type which might at least potentially circulate in the art market is probably impossible to attain under present circumstances At the lower left hand edge of the frame surrounding rider and horse we see another partly overlapping frame like drawn object with the word Training inscribed in it and a second arrowlike pointing line connecting it to the words Premade small stretcher Below the suggested draft of a horse rider painting a circular toy railway line with goods train riding these tracks supplemented by what may be a station two miniature trees that come with such railroad settings and a tiny person have been drawn In the right hand lower edge of this work the words train set have been scribbled They are connected again with the set in question by a pointing line Then again there is another post card like drawing divided in the middle Again a sketchy face of a woman Again the scribbled note juxtaposed This time the text says Watching the U S open on TV made me want to be in Manhattan in the evening rather than Melbourne in the morning I was tempted to mispell morning by adding a u mourning Is is because I sense I sadness once again This time perhaps the sadness of a person nowhere at home

    Original URL path: http://www.art-in-society.de/AS8/sp/JWatson_03.html (2016-04-25)
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  • newArt-in-Society-form
    people move just a little bit faster than they would do in reality there is a slight almost unnoticeable acceleration that adds to the impression of the dreamlike the unreal And for one moment I thought even I was watching a submersed garden in some kind of sunken city a mythical Atlantis or Vineta Karin Mels does not rely on sharp cuts Her rhythm depends on soft fade outs followed by sudden beginnings of a new view This is neither the much too soft change from sequence to sequence that you are not supposed to notice a method that the better commercial directors of Hollywood have developed in the past and still master with great perfection nor the constructivist break that comes abrupt like a sharp turn of an argument The film seems to swing if not oscillate in its particular rhythm between long shots and something that is almost a close up but not quite that close Between watching the people move in a magical greenery as if in a labyrinth a garden you can meander through as if lost doolhof they would say in Flanders Irrgarten in Germany meaning a garden to err in erring around And then on the other hand a tender way of watching a random selection of individual people or small groups of people especially those particularly involved in Alain Verschueren s contribution to the Hortus project figures appearing as if out of paintings by Rene Magritte wandering around aimlessly it seems or trancelike dreamlike enchanted their head immersed or sunk in an oasis of flowers green plants that appear inside grid like open or transparent boxes structures fancifully constructed which are carried on the shoulders of these camouflaged walkers We see some young volunteers change the load of this equipment passing the flowers or green plants that will camouflage their heads from one pair of shoulders to the next and the camera catches the act briefly lovingly almost in passing with no intention to unduly intrude These are small momentary fleeting impressions quietly incorporated into the stream the flow of a movie that by its intimate rhythm does not create an advertisement for what otherwise might be seen as a performance based on a clever idea a performance referring above all to itself a happening just happening to take place in a public garden or part of a public garden Which should we see it like that would be a misconception a misunderstanding both of the performance and the film as an autonomous work of art that sprang from the garden performance while trying to capture it As I see it the film which in its own way is very much like the performance integrates the entirety of the space It transforms the space the plants the colors and forms of the garden It integrates the surrealist figures of the immediate participants of the performance into what has become quite suddenly an all but cold and rational garden dreamscape together with its accidental

    Original URL path: http://www.art-in-society.de/AS8/GreenThoughts.html (2016-04-25)
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  • Where Angels Fear to Tread - ----------------------------------------------------------------------------------------------
    the serenity of blue meanwhile gets into our eyes like smoke in the famous song and other colors add a fairy tale note to it Years ago Angelo Evelyn to whom we also owe the next work named Cetus The Whale was living in Norway painting landscapes seascapes visions of oil platforms but also large whales Sometimes memories of a warship entered his mind connected with the war he had heard about firsthand as a kid And thus there were images of the sea of destroyers and submarines None of them heroic But grim as the North Atlantic in late fall or during the winter Cetus The whale is a painting that takes up an earlier painting a metamorphosis of a painting remembered that in turn remembered whaling and what is part of it salt water factory ships the process of dissecting these large lovely mammals The colors of this work like those of some other recent paintings by Angelo Evelyn for instance The Discovery of Frobisher Bay have a distinct Northern quality the harsh or should I say hard precise brisk clarity that colors assume when objects are seen in Northern light in places like Norway or Canada on a cold very intensely sunny day And the light of the sun seems to be more intense at the coast or when you are at sea on a calm windless or at least cloudless day The monumental longish painting has certain traits of a triptych with the middle section standing out somewhat higher than the left and right section Is the formal choice of a triptych an indication that a religious reading is possible that the painting can be seen as a kind of remembrance of if not homage to the martyred crucified animal The parts of the whale afloat above sea level are grey and greenish really fishy that is to say fish meat like and rotting in the light of day The parts that are in the water are much darker A thin band of blue color indicating the intruding presence of water separates the upper and lower segments of the whale cut in parts And still the parts seem to swim as if there remained a virtual life a completeness or eternity of existing and swimming on and on that refuses to die and become portioned and sold to connoisseurs Irritating patches of red like flames glow in the corpse of the vast animal Lines connect and hold the parts together like a helpful net They are lines that connect the stars of a star constellation Forming another layer of the work they have also sunk into or are mirrored by the sea All around the animal we see angels hovering drifting in lucid blue air drifting in the dark waters of an imaginary Atlantic Ocean Do they sing a song of mourning Do they protect what can no longer be protected when it has been dissected Do they long to make nature whole again healing the

    Original URL path: http://www.art-in-society.de/AS8/AngelsFear.html (2016-04-25)
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  • am Beispiel der Kultur zu zeigen dass regionale Kooperation und Zusammenarbeit auch über die Grenzen und das Kirchturmdenken der Städte hinweg zukünftige Wege der kulturellen gesellschaftlichen und wirtschaftlichen Entwicklung der Region aufzeigen kann Gerade die freien Kulturschaffenden und zunehmend aber auch andere Bereiche praktizieren hier seit Jahren städteübergreifende regionale Kooperationsformen sei es im Bereich der Migration im Jazz in der improvisierten Musik im Film in der Fotografie beim Theater oder in der Soziokultur Die Frage einer von außen importierten künstlerischen Intendanz der Kulturhauptstadt 2010 sei es als Doppelspitze neben der Geschäftsführung noch als Festivalleiter mit eigenem Budget ist auf diesem Hintergrund zunächst erst einmal zweitrangig Darüber hinaus hätte sie schon längst zu einem früheren Zeitpunkt moderativ und in Abstimmung mit den regionalen Akteuren geklärt werden müssen Wir favorisieren eine Struktur die partizipativ moderierend teamorientiert und vor allem selbstbewusst auf die eigenen Kräfte der Region baut und die um die schwierigen Hürden regionaler Kooperation und ausgeprägten Kirchturmdenkens im Ruhrgebiet weiss Dazu gehört durchaus auch die Auswahl und Einbeziehung kulturell künstlerischer Kompetenz sei es aus dem In oder Ausland für gezielte Vorhaben und Projekte Nicht um mit großen Namen Glanz zu erzeugen und damit das anscheinend immer noch angeschlagene Selbstbewusstsein der Region zu kaschieren sondern um den jeweiligen Zielen der Vorhaben und vor allem dem Auftrag der Kulturhauptstadt 2010 gerecht zu werden Wir begrüßen daher die aktuelle Entscheidung Dr Oliver Scheytt in die Geschäftsführung der Ruhr 2010 GmbH zu berufen und so den bisher erfolgreich begonnenen Prozess kontinuierlich weiter zu führen Kultur durch Wandel Wandel durch Kultur das Ruhrgebiet ist eine faszinierende und vielfältige Landschaft mit allen Brüchen und Widersprüchen industriell geprägter Räume Die Region braucht nun die Chance sich auf ihre eigenen Kräfte und positiven Potentiale zu besinnen und davon gibt es mehr als genug Vor allem aber auch um die hier lebenden Menschen auf den Weg nach 2010 mitzunehmen Wir appellieren an die Verantwortlichen in diesem Prozess Strukturen zu schaffen die den hier dargestellten Anforderungen gerecht werden Die Kulturhauptstadt 2010 kann nur dann ein Erfolg werden wenn möglichst viele Menschen in der Region beteiligt werden sich mit einbringen können und auf Augenhöhe mitgenommen werden Kulturhauptstadt 2010 ist kein Festival und auch keine Verkaufsveranstaltung sondern viel mehr als einige Verantwortliche sich vielleicht noch bislang vorstellen können Ruhrgebiet 14 11 2006 Es folgt eine Liste mit den Namen der 121 Unterzeichner 14 12 2006 von Johannes Brackmann This appeal by more than one hundred artists from the Ruhr District is documented here for historical reasons Its immediate cause and immediate practical relevance according to one source does no longer exist Sources of the above text http www netzteil com session Appell 20der 20Kulturschaffenden pdf http www ruhrwaerts de ruhrwaerts index nsf url A5AE0B0A4A07F92AC1257243008005AC OpenDoc IS CULTURE MERELY ANOTHER ECONOMIC FACTOR IN THE CONTEXT OF COMPETING LOCATIONS NO IS IT ABOVE ALL SUCH A FACTOR WE SAY NO NO NO The attempt to see the arts and the creative activities of artists in purely commercial terms can only fill us with despair if

    Original URL path: http://www.art-in-society.de/AS7/Appell.shtml (2016-04-25)
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  • 6 8 1987 6 9 1987 Kurator Klaus Honnef Clemens Sels Museum Neuss 13 9 1987 18 10 1987 Museum Bochum 24 10 1987 19 11 1987 Mit Beiträgen von Claudia Gehrke Klaus Honnef Heiner Müller D E Sattler Marianne

    Original URL path: http://www.art-in-society.de/AS7/DSB-12.shtml (2016-04-25)
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  • Andreas Weiland, homepage
    CRITICIZING THE TWENTIETH CENTURY ed by Massimo Bacigalupo and Anna Lucia Giavotto Genova Tilgher 2001 And to several art catalogues for instance Wo bleibst du Revolution Freiheit Gleichheit Bruederlichkeit heute 1789 1989 ed by Peter Spielmann Bochum Museum Bochum 1989 And Doris Schoettler Boll Dekonstruktionen oder vom Widersprechen in Bildern ed by Klaus Honnef Cologne Rheinland Verlag and Landesmuseum Bonn 1987 Poems have again and again been published in various poetry journals among them Juergen Theobaldy s BENZIN Mike Dobbie s STREET WORD the KONKURSBUCH etc Wrote a long poem on Moses und Aron the film by J M Straub Danièle Huillet which Jean Marie translated published in German and French in an issue of the CAHIERS DE CINÉMA Having read the ms of Gedichte aus einem dunklen Land then still unpublished Erich Fried wrote in 1981 Ich habe schon seit langer Zeit nicht mehr Gedichte gesehen unveroeffentlichte oder neuerdings veroeffentlichte die ich fuer so gut und so wichtig halte Ich meine wichtig weil sie unsere nicht nur literarische Landschaft bereichern Dichten ist nicht so sehr eine literarische wie eine menschliche Betaetigung And Peter Marcuse called his poems clear sharp and didactic after reading the ms of Gedichte aus einem dunklen Land In a letter Juergen Theobaldy recalled that in a conversation Nicolas Born called him a naturally gifted lyrical poet ein geborener Lyriker quoted by W Fang Several small volumes of poetry have appeared or are due to appear most of them published by SYMPOSIUM PRESS a small publisher in Rotterdam and Aachen Check online catalogues of Deutsche Bibliothek Frankfurt and of Koninklijke Bibliotheek Den Haag SHORT BIOGRAPHICAL NOTE Oct 2000 So who am I A poet or rather somebody writing poetry amongst other things Age 56 born in Germany male Taught modern German literature in Taiwan in the

    Original URL path: http://www.art-in-society.de/AS7/weilandhomepage.html (2016-04-25)
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