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  • constellation somehow is like the horizontally deposed skeleton of the dead body represented by the sculpture like shape The abstraction in this way is carried even further Those who could not continue to exist on earth are no longer skeletons now They are gone Something of them is recalled or remembered or even in starkly reduced form preserved in the lines we imagine as we connect the twinkling stars F17 A uniformity a universal harmony or rather an equality is achieved here It is the equality of the dead It is a fathomless tristesse There are the reminding sculptures Frozen into concrete they are the remains of memory the traces left by the artist who remembered who created the Figurenfeld or field of figures In their pastel color a color approaching a pale violet with traces of green and blue mixed into it they are the rocklike counterpoint of the bushes represented by a turquoise green A wall all turquoise green is limiting the scene creating a strong barrier Above it hover two threatening black patches two clouds the artist says Ominous clouds In them appear the stars of the night that covered the scene of death and buried the dying I see lightnings flashing But is only the starry constellation imagined I see a face appearing threateningly in the left cloud But it is no punishing god No demon No image of a dead soldier watching the site of his death from on high It is only the constellation of stars half hid in the cloud the menacing dark cloud of night The comforting dark cloud This work is not on newsprint paper but on good paper F 2 A very painterly work and yet we see the strength of the charcoal drawing The two media a tender pastel ochre the strong black of the charcoal contrast and relate beautifully A certain coarseness of the charcoal traces suggests the quality of rock surfaces Indeed the sculptures so much land art already in Wuensche Mitterecker s ensemble have been turned even more so into a facet of nature F 3 In the next work F3 the pieces of stone that form the sculpture suggest not only rocks but a fossile a strange being transformed into stone by the ages To Angelo what he has seen is a centaur And he has superimposed that star constellation Centaurus Views of the landscape are inserted The work is using frames within the frame lines that suggest an open space The complex including the star constellation is set apart juxtaposed not superimposed with reference to the larger lefthand figure but it is also partially superimposed across a small righthand figure The tensions between the diverse elements are clearly felt In view of the lines and frames within the frame the impression of a sketch or architectural drawing is enhanced F 6 Here in F 6 the summer landscape seems to meet or confront that is contrast with the same landscape visited in winter As

    Original URL path: http://www.art-in-society.de/AS4/AF/Angelo-Figurenfeld.shtml (2016-04-25)
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  • netscaPE PROBE
    the dancing petal of a wild flower briefly caught my attention Trees threw short shadows The shrubs on the opposite slope formed dark knots on the short grass The greys light and dark shadows gave way to sunlit stone recalled a distant time full of crowds clad in grey dusted uniforms As I took in the figures spread on the ground below me I thought of massacres Wounded Knee Custer s battlefield near the Little Bighorn a French village its population murdered by the SS a penal company wiped out except for 3 soldiers on a day in May in the marshlands near Leningrad A girl sits in the shadow regarding the dead How long is it they have been lying here A generation Two even Longer Shorter I don t know Their memories have merged with the grass Their brains washed out by the rain The skulls empty remain a cup of bitterness ready to catch a tear Blue plastic of a push cart placed next to the grey concrete The little girl skips and laughs She does not know today the intensity of the marriage of flesh and earth as the tired bones cling so closely now to the tender ground Such a young body Its shattered chest ripped open laying bare the ribs Sad Surrender the face expressed it a surrender in the bloom of life a surrender to the senseless inanity the senseless futilty the senseless scandal of a violent premature death below your soldier s coat opened wide I counted your ribs They opened you like a pig is opened by the butcher below your soldier s coat I saw your legs the joints of the hip the knee cap the bones They lay visibly before me as visible as your soldier s boots As I stare at you trying to comprehend yet unable to comprehend you stood there still after so many years your hands raised your face sorrowful the look a reproach your slanted mouth shut unable to speak to cry out loud your wounds your pain your short protest So many years have passed since you died They are still killing each other Nothing has been learned yet The moment caught again and again a moment of surprise a moment of Ah it s me You saw so many die next to you in a day in a week in a year Now struck out of the blue of an endless day you know suddenly It is your turn The memory goes on and on The turn of a century was hardly 3 years old when you were born The big massacre started when you were not yet twelve When you were 36 the slaughter started anew millions driven into the fields of slaughter of Europe millions into those of China of the Pacific When you survived it all and came back the unforgettable asked forget me not it asked Tell tell it on that mountain Today people come to this mountain

    Original URL path: http://www.art-in-society.de/AS4/AWP.htm (2016-04-25)
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  • museums It has a lot to do with what is being pushed by the media and that means in many cases not only and not even mainly the art media This retrospective which centers on Yugoslav cinema of the late 1960s and early 70s on a Mexican film made it 1973 and on experimental films by West German and British filmmakers from more or less the same period goes against the grain There is no material and thus commercial interest involved There is an interest however to let a public rediscover something that was vital in what was a vital period of European if not world history I m talking about 1968 what preceded it and what followed it timewise About the spirit of the time its social eruptions that culminated in the anti war movement in the US the decolonization of Angola Guinea Bissao and Mozambique the attempted and then partially aborted democratization of Spain and Portugal the overthrow of the military junta in Greece the straw fires of emancipation in Chile Argentine El Salvador Nicaragua and Guatemala Art in this period a period that began in the early or mid 60s I think was especially vital more provocative

    Original URL path: http://www.art-in-society.de/AS3/Editorial3.shtml (2016-04-25)
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  • Pavel Branko on the Yugoslav Film Festival in Pula (1968)
    especially the case in the two initially mentioned pictures When I Shall Be Dead and Pale is a cruel probe focused on the social periphery which probably constitutes a part of every society admittedly or not You feel here the roughness as well as the humanism of Maxim Gorky s pictures of the social bottom enriched by the very existential sense of life a sceptical outcome of the realization that the irrational forces of history equal in strength the rational ones if they are not in fact exceeding them The Noon instead is a ballad whose creator dared to replace the supernatural mythical forces by political powers finding courage to entangle the balladic texture with such non poetical and in this respect defying material as political resolutions His story of a Yugoslav Julia and a Soviet Romeo is set in one day and one night of the year 1948 when the anti Yugoslav resolution of the Informbureau was published The extensive quotations of documents make the picture a pamphlet in which the characters represent types of political attitudes Nevertheless this feature complies excellently with the ballad principle as well as the tragic accent that is similarly typical of ballads Thus in conclusion the only real reproach appears to be its half joking frame indicating that after all it has just been a game A movie in a movie Nevertheless it was not a game on the festival s opening day when the picture was shown while the pressure of the Warsaw Pact s emissaries on the Czechoslovak Socialist Republic was reaching its peak it was perceived by everyone with deep intensity exceeding the strict territory of art The picture sounded nearly like a prophecy as well as a materialization of Yugoslav sympathy towards post January Czechoslovakia because the quotations sounded literally like the Warsaw letter just published despite their being 20 years apart That s why the frame appeared to be especially inappropriate The third picture with features of greatness Mali vojnici Little Soldiers by the director Bata Čengi Tshenghitsh has already represented Yugoslavia in Cannes This depiction of a war orphans s home in the post war years reminds the viewer of the rough pathos of Tarkovsky s Ivan s Childhood with its portrait of the war deformed child s psyche The combination with motives of a revolutionary character immature and not up to the tasks assigned to him is akin to the subdued pathos of The First Teacher by Michalkov Končalovskij Mikhalkov Kontshalovsky based on Čingiz Ajtmatov Tshinghiz Aytmatov Here we approach the neighbourhood of the war and partisan topic based on its classical heroic form that is already practically extinct Mount Olive implements the partisan theme above all by the differentiation of moral aspects reflecting solidly the conflict between the various concepts of party affiliations and party discipline The March treats in a weaker analogy the existential philosophy developed in our Slovak film The Bells Toll for the Barefooted 1 Only The Wolf from the Damned Mountain

    Original URL path: http://www.art-in-society.de/AS3/Y-film.html (2016-04-25)
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  • Critical and Destructive: Zelimir Zilnik's Early Works
    force they also want to kindle the revolutionary spark in the villages And as long as they help the farmers in the way of small reforms repairing old machines informing about contraceptives they are tolerated and get help themselves But when they pronounce that the decline of the small farmers is inevitable that the cultural revolution must start and the ruling position of males must be abolished the farmers beat them out of the village They recognize that their humanism was abstract train themselves to suffer tortures and prepare guerilla war Allusions to the feared invasion of the Warsaw Pact Armies are sarcastically voiced but soon the young revolutionaries are caught and their long hair is cut under police supervision Now they return back among men If they cannot change anything because they find no base of mass support they at least want to be at the material base of the masses and share their fate with them They go into the factory they work and they decide If you accept this life you are yourself to blame Once again they attempt agitation after work they want to point out to the workers their intolerable living conditions and win them for the fight against the red bourgeoisie But no one listens to them The girl returns to her family where she is forced to accept her food on the doorsteps like a dog The others are shown asleep or dozing lying on the floor the camera travels along their resting bodies as if along people lying in state dead while alive But even now the girl is a provocation for them They shoot her pour gasoline over her body and set her aflame A quotation of Saint Just at the end The revolutionaries who perform the revolution only half way

    Original URL path: http://www.art-in-society.de/AS3/Schuette.shtml (2016-04-25)
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  • From James Dean to Che Guevara. An Interview...
    But this discontent can also be a stimulus for new progress Obviously a new generation is appearing on the stage It brings with it in my opinion a new relation towards reality If directors like Petrovic Berkovic and Makavejev deal with the most intimate spheres of life and problems of their heroes the new generation turns more strongly towards the political aspects of life The most telling film in this respect is Zilnik s film Early Works In my opinion Zilnik s film is a direct echo of the students unrest Q Here in Beograd or in general Novakovic Here in Beograd and then in the entire world Q Do you see each other as you are sitting here now as a group which has specific things in common concerning things political and filmic or are there contradictions between you Novakovic The affinities are diverse The worlds of the authors are different ones Bogdan Mihic creates film fairy tales Zilnik does political theater The colleague from Zagreb as much as the Zagreb bunch of filmmakers as a whole concerns himself with metaphysical abstract problems So their worlds are entirely different It s the critical relation towards their object they have in common Peterlic Despite very different affinities it is nonetheless the tendency of all of us not to color any historical social or psychological facts of our society in a rosy light Novakovic I believe that the Yugoslav film by growing more critical politically starts to be in touch with international developments I am furthermore of the opinion that the new problems in the field of film can be dealt with correctly mainly by the young It is they who are entitled to speak in the name of their generation Editor s note Apparently they were refuting for good reason the false explanations and myths of the Titoist regime while being seduced perhaps at least in some cases by the mythological images of freedom propagated by the West 1960 and 1961 when the first films of intimate character originated there still existed all over the world the myth of James Dean Dean was the idol of a generation as a rebel without a cause certainly without a socialist cause He has carried out his supposedly private conflicts with and inside his family Today at the beginning of the seventies the ideal of the younger generation is no longer the James Dean type but a rebel of the type of Che Guevara being no longer in conflict with the traditional family but with the traditional society in general Editor s note The conflict thus seems to be not class society vs classless society but traditional against modern society Yugoslavia Novakovic seemed to imply at the time must modernize perhaps this also implied a turn towards Western liberalism and perhaps some Yugoslav intellectuals at the time thought that it would be great if Western late capitalism and US style democracy would help bring this about Certainly this was not the position of Zilnik But it is a position that has gained wide acceptance among conformist clerks the so called intellectual elites in many second and third world countries ever since Q May we perhaps continue with a question regarding Zilnik Exactly this Che Guevara attitude the attitude sic of the permanent revolutionary seems to be expressed in your film Early Works at least as a tendency The young people attempt to make something like a revolution as they do understand it But in their revolutionary Odyssey through society they discover that this revolution cannot under the given circumstances be realized This attitude in a film is probably new here Zilnik The main difference between the films you have previously mentioned for instance those of Djordjevic and Makavejev and the films we make is that these directors turn to individual fates and reject the subjugation under an ideology or politics whereas for instance in my film young people take a stance towards ideology politics socialism and communism as their own problems They have neither the complexes nor the ambitions that would make them admit that anyone else could govern their fate Whereas for a time it was thought to be courageous to shun official phrases or Marxism as ideology today there are no such complexes Meanwhile you can for instance also make fun about it You can do everything out of love and affection and not out of contempt My film shows that political revolutions today cannot be carried out by the classical means and that the political revolution is no longer meaningful as long as it does not effect global social transformations Changes on the verbal level do not yet imply general change The tragedy of the socialist revolutions so far lies in the fact that they are indeed successful in the area of political power political power structures have been changed by them On the other side the society in which we live remains attached to so many backward turning elements that revolutionaries in this society frequently play very comical roles We can for instance say that the student demonstrations which took place in June 1968 in Beograd had also a tragic ending because they were radical without seriously touching the problems of this society on all levels of social and political backwardness Q How can you intervene with your film in this cumbersome conflict Zilnik One of the main theses of my film is that two kinds of preconditions are necessary for a revolutionary transformation the basis which can no longer endure its degrading class status and a ruling class sunken in hypocrisy Not until both are given can there arise a revolutionary act Lenin too knew that with uncorrect preconditions revolutions can only be hindrances within history With us anyway the preconditions were not given therefore the revolutionary attempts of the students bore tragi comic traits During the student demonstrations all of us filmmakers intellectuals etc were phantastically enthusiastic about their courage to criticize their discipline But it became

    Original URL path: http://www.art-in-society.de/AS3/Interview.shtml (2016-04-25)
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  • Paul Leduc's Reed - Mexico insurgente (1973)
    Reed nachdem dieser auf die Frage Wirst du die Waffe in die Hand nehmen und mit uns kämpfen geantwortet hat Ich habe einen anderen Auftrag wie die Freundschaft zu Longino impliziert Longino der sich für ihn einsetzt Erinnern wir uns der Steigerung im Gespräch mit Longino Wir sind Freunde dann Wir sind Gevattern dann Brüder ein Thema der Verbrüderung das später in anderem Kontext fortgesetzt wird als Reed von den Wachen an der Brücke spontan angerufen wird Laß ihn der ist tot Gevatter Diese sich ihrer Herkunft nach so fremden Menschen an der Brücke sind sich sofort nachgerade spontan nah weil sie sich auf derselben Seite wissen Etwas das versinnlicht wird dadurch daß während des Angriffs nachdem sie sich aus den Augen verloren haben sie sich zufällig hinter der gleichen Bodenwelle wiederfinden die zwei mit ihren Karabinern in der Mitte der Kriegskorrespondent der über ihre Revolution berichten wird Der andere schon genannte Themenkomplex zeichnet sich wie der das Verhältnis von Intellektuellem und Massen betreffende durch eine Ambiguität aus die eigentlich eine dialektische Spannung ist Nehmen wir Longino er kämpft für die Revolution er erweist sich praktisch als solidarisch gegenüber dem gringo Reed was objektiv wie man so schön sagt revolutionärer ist als der Rigorismus des Revolutionärs der Reed fragt Willst du mit uns kampfen oder nicht auch wenn es subjektiv als Grundlage vielleicht ein Bewußtsein impliziert das eingenommen nämlich geblendet ist von der Fortschrittlichkeit der USA Sein subjektives Bewußtsein könnte man in dieser abstrakten Dichotomie von subjektiv und objektiv verharrend sagen ist der Revolution noch unangemessen begreift diese nicht er sieht sich als Minenbesitzer als reich Aber was heißt das Wie weit kann man das denn zählen Zählt etwa die Angst von der Reed zugibt daß er sie hat als er betrunken ist Oder zählt vielmehr daß er als Journalist waffenlos ganz vorne ist der Gefahr ausgesetzt wie jeder der Revolutionäre Zählen Longinos Wunschträume die er gleichfalls besoffen von sich gibt die doch vielleicht nur der schlechte schiefe inadäquate nach Bildern und Worten suchende Ausdruck seiner Sehnsucht nach einem menschenwürdigen Leben frei von Mangel und Not sind Oder zählt daß er für die Revolution fällt In den Augen der Reichen jedenfalls ein armes Schwein Sicher mit dieser eindeutigen Praxis der Aufständischen korreliert oft eine Art Sprachlosigkeit So wenn Reed im Hauptquartier von Gen Urbino die Stabsoffiziere alle zwischen 20 und 30 fragt Was ist Freiheit und sie ihm antworten Wenn du das nicht weißt warum bist du dann hier Was anscheinend die einzige aufrichtige und vollständige Antwort ist die sie ihm geben können weil sie eine gelebte Erfahrung beinhaltet verknüpft mit durchtränkt von dem Gefühl dieser Vorstellung dessen wofür sie real fühlbar kämpfen ohne daß sie wirklich wissen können wofür sie kämpfen Was dann die insisistierende Wiederholung der Frage Reeds zeigt Aber ich will es von euch hören die nur unzureichende Artikulationsversuche erbringt dank derer sie sich im Gefolge weiterer Fragen schnell in Aporien verstricken Tun und lassen können was man will Und wenn es die Freiheit eines anderen verletzt Dann setz ich mich durch mit Gewalt Diese Schwierigkeit konkret zu wissen was die Revolution bedeutet was sie bedeuten kann erscheint immer wieder bei dem verunsicherten Priester der davon spricht daß Gott in Spanien gütiger ist als in Mexiko und der nur ein Wer weiß auf den Lippen hat oder bei dem desillusionierten Lehrer im Dorf der sowohl für die erste wie jetzt die zweite Revolution in seinem Leben gekämpft hat und der ahnt daß die kleinen Leute die Zeche werden bezahlen müssen der also sehr pessimistisch ist was sich und die Leute die um ihn herumstehen und die ihm zuhören angeht Und der doch gleichzeitig optimistisch ist wenn er sagt Unseren Kindern oder deren Kindern wird das Land gehören Womit er als einziger klarer als alle Revolutionsgeneräle das Bewußtsein der Massen artikuliert die das Problem und Ziel der Revolution als ein Problem des Landes des Widerspruchs von Großgrundbesitzern und landlosen Bauern begreifen das heißt der Revolution ihre untergründig sozialistische Perspektive geben wie sie außer von ihnen bloß noch von den Hazienderos und den intervenierenden ausländischen Mächten erkannt wird Jedenfalls stärker so scheint es als von Carranza dem Präsidenten der Revolutionsregierung der tatsächlich oder aus taktischen Gründen die Augen davor verschließt Die Generäle überhaupt die Soldaten die zu Wort kommen scheinen diesen Aspekt der Revolution wenig zu begreifen Sie neigen eher zu der Auffassung daß wenn militärisch alles gut steht auch sonst alles gut steht wenn es dagegen militärisch schlecht steht auch sonst nichts gut stehen kann Trotzdem Fragen wie die von Spontaneität und Erstarrung Institutionalisierung sind keine Randfragen der Revolution Und wenn Villa sagt Zuerst waren wir bloß Banditen alles ging wie von allein wir waren wie die Wespen die irgendwo zustachen und wieder verschwanden dann aber langsam wurden wir stärker und sie schwächer es wurde Disziplin erforderlich Regeln usw dann zeigt das ein qualitatives Umschlagen auf eine Problematik der sich jede Guerilla Bewegung überhaupt jede Revolution die siegen will stellen muß etwas gegen das sie sich einerseits absichern muß um Herrschaftsverhältnisse die den alten fatal gleichen vorzubeugen und auf das sie sich andererseits vorbereiten muß als auf einen Übergang von einer Form zu einer neuen die schwierig zu finden sein wird die aber um nichts weniger revolutionär sein darf als die ursprüngliche spontane Übrigens die Disziplin die Villa in jener neuen Stufe einführt hebt sich wohltuend ab von jeder bürgerlichen und die Art wie er sie im Film durchsetzt bekräftigt das Sowohl die Frage einfacher Soldaten Warum arbeiten wir hier wo wir doch gekommen sind um für die Revolution zu kämpfen wäre in einer bürgerlichen Ordnung so direkt an einen bürgerlichen General gerichtet undenkbar wie auch die Antwort Villas aus dem Munde dieses bürgerlichen Generals undenkbar wäre Eine Antwort die abgesehen davon daß sie den Rangunterschied nicht betont dialektisch ist erklärt was den Fragenden bewegt und zwar den Job des Revolutionärs sehr umfassend erklärt als einen wo man schießt wenn der Feind zu bekämpfen ist aber wo man in Momenten der Ruhe genauso gut Brot backen Eisenbahnen bewachen

    Original URL path: http://www.art-in-society.de/AS3/Reed.shtml (2016-04-25)
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  • After the Goldrush
    Klaus Wiborny Nach dem goldrausch fiel alles in eine tiefe traurigkeit als ob sie gespielt verloren hätten begannen die leute sich selbst fremd zu werden in ihrem versuch etwas zu

    Original URL path: http://www.art-in-society.de/AS3/Weiland/ag.shtml (2016-04-25)
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