Galerie Wedding transforms into an immersive landscape consisting of amorphous organic and mechanic sculptures that move within the space: With this exhibition Anne Duk Hee Jordan aims to illuminate new perspectives and the tangible effects of climate change on sea and land.
Jordan, who has a professional background in marine ecology, sustainable cooking and art, presents a humourous and well researched perspective on processes of adaptation that go beyond human time. Tour through the exhibition on 27 September at 4. Auch der Standort der Galerie selbst wird in der Ausstellung reflektiert. And Berlin mixologist Herr Lindemann will serve specifically conceived drinks to introduce the idea of a social food sculpture by Anne Duk Hee Jordan. Nuclear Sanctuary by Markus Hoffmann. Kuratiert von Julia Katharina Thiemann. Stockholm uses sculpture as an interface, link, or passage through which places and bodies — across temporal as well as spatial distances — are set in relation to each other.
Architecture is a frequent reference point of his work, as he centers on on the conceptual fields of present and past, presence and absence, fleeting and enduring. Thus, objects which emerge in different temporal moments are concentrated. They begin to embody the analogy of the inscription of light traces in the photographic negative that maintain an indexical relationship to the past.
It serves as sculptural containers fixing a presence like an imprint and so transposing the sculptural object into the present even when it is only a fleeting glimpse that materializes so enduringly in this way. The process ends with Stockholm translating this act of touching into object form by producing a number of negative plaster casts of his hands. The casts are fixed by metal rods, which simultaneously offer protective anchorage and oppressive restriction.
Metal scaffolding connects the floor and ceiling of the exhibition space and serve as displays for his organic plaster sculptures. In spite of the dangers faced in Syria, Nourhan has been collecting architectural fragments from all over Damascus. The fragments are compiled from a wide spectrum of constructions: Also on view in the show is the interactive site specific glass work: Trapped between two panes of glass, colored ink changes its form and concentration according to the tilt of the exhibition space and the movement of the audience who are invited to walk on the glass.
Hier werden Sie unterhalten. Dazu sind wir hier. Es gibt nichts Besonderes zu sehen. Wir alle sind mittendrin in unserer selbstgeschaffenen Welt des Konsums, des Internets, der Zerstreuung, der Selbstoptimierung. Was macht das mit uns? Was lassen wir zu? Welche Doktrinen beherrschen uns? Passiert da etwas mit uns, ohne dass wir es merken oder geben wir uns dem Spektakel des Alltags lustvoll und sehenden Auges hin? Die, die neben mir steht oder der am Ende des Raumes? Eine traurige Clownin, ein Divus?
Oder ein Unicum, das man heimlich bestaunen kann? Why is it only possible to conceive the future in slogans of static protection and demarcation today? The speculation in Would Have Been allows for transgression of spatial and temporal boundaries, to introduce the past into the present via the medium of a trace that can put the future in motion. Hybrid and transcultural perspectives draw the focus towards parallel realities.
Everyone constantly constructs his or her own reality, there are trillions of parallel microuniverses. The world is made up of the ideas of the world. The imagination has many sources and techniques at its disposal. Open Studios is a collaborative venture: Villa Romana Fellows Noss Noss — stories, traces, passages. Noss Noss - stories, traces, passagesGroup Show Opening: Thousands of displacement experiences have their origin or their outcome in these three cities which, facing the sea, are interfaces between worlds. How does the migration experience fit into historical, public or personal objects, documents or stories?
This is one of the central questions dealt with in the exhibition. The exhibition in Marseille is the continuation of this project. Intersections of Common Space and Time. Intersections of Common Space and Time is a collaborative approach in addressing where and what public space is in contemporary urban settings in megacities of Asia.
As urbanization, urban population and density continue to grow and privatization becomes a norm, shared space and time for public shrinks in all aspects. This second collaboration further rethinks and reimagines public spaces from small in-between spaces of temporal and mobile coincidences to larger open stationary spaces and all the way to online spaces of manipulated encounters.
These spaces reflect and cohabit with coincidences, manipulation, stationary and mobile forms constantly breaking boundaries between private and public in its urban landscape. The basis for this project are micro-surveys implemented in Haebangchon, Intersections of Common Space and Time extends its discourse with artists, architects, filmmakers and local communities in forms of lectures and panel talk, Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions; participatory workshops, Reimagining the Future of Common Space with Micro-Communities and various activations of public spaces from public screening Indecisive Cinema II; rooftop video installation, in, around and beyond a gaze; mobile video installation and performance, Ten Second Glance.
Program I 28 August , 7 — 9: Das zum zweiten Mal stattfindende kollaborative Projekt Intersections of Common Space and Time soll den Teilnehmerinnen und Teilnehmern einen gemeinsamen Ansatzpunkt bieten, um sich mit dieser wichtigen Frage auseinanderzusetzen. Looking at Artistic and Architectural Interventions and Immersions. Programm Teil 1 Auch von der ehemaligen deutsch-deutschen Grenze ist unser Feld markiert und das wirft weitere Fragen auf: Weltkrieg und dem Mauerfall entstehen?
The title of the show, Demi-Gros, refers both to a traditional unit of measure in foodstuffs a gross, or a dozen dozen , and to middlemen who connect wholesale and retail in commerce. All the artworks are presented in a wooden box of not even the size of a shoebox in a wall safe.
The uncurated show reflects the breadth of the Berlin art scene with artists of 17 nationalities, aged between 27 and 74 the average being 44 , working in an unusual format. Exploring the exhibition requires the collaboration of the visitor. And it can be quite difficult to reinsert the artworks in the box… Peter Ungeheuer, Berlin, July Conceived as an experimental glimpse for our upcoming season, a selection of work will be on view of artists with forthcoming solo exhibitions.
Allies of the gallery will also contribute work and discourse. Sound art will make an appearance in a live act, politics will be explored in a standup comedy night, movement and dance workshops will be followed by a sci-fi rap concert. Devised with the intent for dialogue, overlap and exchange, our summer program is not a singular position, but a multifaceted, open-ended alternative to a summer group show. Floating University — The future of the kitchen. Designing around the kitchen table. With numerous partners they experiment with knowledge transfers and the formation of transdisciplinary networks to challenge routines and habits of urban practices — Floating University Berlin.
The site is an almost forgotten place in the center of Berlin: An old, concrete rainwater basin right next to the Tempelhof airfield. A third landscape on the verge of disapearance. Here raumlaborberlin builds a generic structure, a drilling platform for a scarce urban resource: Students and scientists from more than twenty international universities come together with artists from all over the world, local experts, architects, musicians, and dancers.
Together, they research and investigate the daily routines and practices of urban living and formulate visions and ideas for a better future city In the territory around the rainwater basin Floating University is looking for contemporary, resilient forms of urban practice with a visionary focus on an unknown future.
In April, students and their teachers from Berlin, Europe and elsewhere collaborate on building the campus: Spaces are created for exchanging knowledge within experimental, educational formats. A place where transdisciplinary research teams and diverse positions come together to tackle the complex questions of urban practices. Christina Werner Discussions around the kitchen table. Christina Werner The kitchen at the Floating University.
Studierende und Lehrende aus Berlin, Europa und anderswo bauen gemeinsam ihren Campus: From the idea of I drive, associated with individualism, capitalism, and the idea of freedom represented by the automobile, to I am being driven, which embodies the mindset of Silicon Valley as it seeks to outsource numerous daily tasks in order to make life easier and smarter. Whereas we previously surrendered to our egos, we now surrender directly to cognitive networks controlled by a handful of corporations.
Our passivity stands in opposition to the necessary democratization of new technological systems — a constructive, slow, and continuous process. Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt. Ritual Reality by Elise Eeraerts. Spiele mit der Ewigkeit. The group exhibition Spiele mit der Ewigkeit Plays with eternity brings together twelve artists from Berlin and Seoul whose work engages with time and its infinity, with space and its boundaries, with forces of reality and the freedom of the unreal.
Since prehistoric times people have dealt with the question of eternity, addressing the phenomena of time and eternal life. This search is present in the exhibition. The works ask for what could be and what could happen, even besides our limits of perception. Their artistic strategies are based on everyday observations, on collecting scientific data, on traditions and rituals. The exponates revolve around visibility and invisibility, flirting with the ephemeral, and strive for eternal art, following their playful impulse: The song deals with the mortality of artworks, at the same time emphasizing their immateriality and plays with the ephemeral in art, which seems to be transient in every moment and yet claims its eternity.
Curated by Keumhwa Kim. The Image of Catastrophe since features approximately exhibits, including paintings, drawings, prints, sculptures, photographs, films and videos. As viewers make their way past blazing fires, earthquakes, floods, volcanic eruptions and sinking ships, they will take note of pictorial constants in the expression of such disasters but will also become aware of the differences in depiction from one era to the next.
The trajectory of exhibited works spans an arc from the years around to the present day. Contemporary works serve to anchor the theme in the here and now and underline its topicality. It is only in our perception, in our active engagement with such drastic events that they take on distinctive contours and reveal their typical face. Every age makes its own catastrophes and redefines the criteria by which certain events are labelled as such.
These fundamental observations form the basis for the exhibition project. Dabei spannt sich der Bogen der ausgestellten Werke von den Jahren um bis in die unmittelbare Gegenwart. Katastrophen geschehen nicht einfach, sie werden gemacht. Erst in der Rezeption, in der aktiven Auseinandersetzung mit derart einschneidenden Begebenheiten erhalten sie ihre Kontur und offenbaren ihr charakteristisches Gesicht. Diese grundlegenden Bestimmungen bilden die Basis des Ausstellungsprojekts. Now the employers have left the building, the vaults are open and the cash machines are dismantled.
This institution of faith in cash, trust in money and illusion of prosperity for the many not for the few has moved out. Within this empty shell, one cannot help asking, what else is substantial nowadays, what else is echt? In a world interspersed with spectacle, illusions, hollow visions and unfulfilled dreams, it does not get only harder to authenticate a thing, but also exchanges its meaning dynamically. Using the bank as a collective laboratory of visions and statements regarding the meaning of realness today in our society, the exhibition brings together 32 works from 25 artists and groups around the sub themes of matter, body and authenticity.
Built from the waste material produced by an analogue film lab, this installation aims to re-materialize leftovers created by the film development process. This degraded film material contains within it the seeds of its own destruction. Degraded film being degraded. Atlas, ; installation NOWs: What connects the works of these individual artists is the specific use of light, as subject and material. Saturday 2 June Press Preview and Vernissage: A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial works — including 49 new commissions — will be shown in nine different venues across Riga.
There will also be 10 public sculptures and site-specific interventions in various locations around the city. Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice. The artists participating in the public program and making performances will be announced at later date. The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city.
The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region. By doing this, 2 OG is the center of independent cultural production at Molkenmarkt 2 and always interested in developing the area and its diverse facilities as well as opening it for the public.
Pauly Read the essay on the exhibition by Adriana F. Mai , 19 Uhr Participating artists: Pauly Kurzessay zur Ausstellung von Adriana F. Man kann ein Buch aufschlagen, aber auch etwas hart zerschellen lassen, man kann an einem bestimmten Ort zu einerbestimmten Zeit aufschlagen, aber auch den Preis. Applied Autonomy by Robert Lippok. The title of the new album is a clear indicator as to what the Berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks.
Has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. The more light one lets in, the more layers become visible. Big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. Rather than meticulously devising each and every detail, Lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage.
Based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. An album culminating in a collaboration with Klara Lewis, with whom Lippok spent 2 days at the EMS studios in Stockholm, approaching the idea of autonomy from yet another angle.
During the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. Over the last couple of years, he has made a name for himself with his spectacular AV performances. Order online at Raster Media. This workshop and action series will be continued this this year in Berlin. Raul Walch invites the participants of Floating University as well as the inhabitants of the refugee shelter on the Tempelhof airfield and others interested, for his workshop and collective flying experiments.
The polymorphic flying objects will float above the fences of the airfield and expand the floating university into the sky. May 18 — 20, 11 am — 5 pm Raul Walch continuously visited the Greek border areas where he developed various flying objects together with refugees. Find more information at http: He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected.
Language Perceived From Without 1. Language Perceived From Within 1. The Multiplicity of Languages 1. Current Distribution of Languages 1. The limits of Translation Conclusion 2. Activity and Passivity Subjectivity and Objectivity 2. Unity and Multiplicity 2. Portuguese as an Investigation Tool Conclusion 3. Conversation and Small Talk 3. Poetry and Word Salad 3.
Oration and Babbling 3. History, Nature, Civilization 5. It matters what moves by Ally Bisshop. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound.
Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since The question is not whether to take part but rather how to do so and on what terms. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena.
This One is For You! PAM unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech.
PAM is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM Pre-events March 15, 11am: Press Conference, Munich March 16, 7: She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St.
Recently she has edited: Performativity as Curatorial Strategy Joanna Warsza lives and works in Berlin. April 30 Munich Olympic Stadium PAM Public Art Munich will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July.
Hybrid Matter by Andreas Greiner. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers.
On entering the exhibition space one is welcomed by insert title of artwork a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition. This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape.
Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S.
How sure are we of our fundamental convictions of life and death, right and wrong? Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work.
Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Diller realisiert worden sind. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt. Re-Imagining Berlin with Yves Mettler a. Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls.
These include spoken word dancers, comedians, dancers, photographers and visual artists. In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7. Immer noch der Lauf der Dinge by Julius von Bismarck.
Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. But in the performance Ecocentric System it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable. The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself.
Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Dwell in Other Futures. Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St.
The earth is blue like an orange greenway Public performance: April 28, pm at the Pulitzer Foundation, PXSTL site field across from the Pulitzer Foundation The earth is blue like an orange greenway is 1 a social engagement design experiment 2 a communication process for citizen based co-design agency 3 a ceremony welcoming the coming of the St Louis Chouteau Greenway. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation.
When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. This can be playful, political, philosophic or poetic. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. For the period of Berlin gallery weekend and the second time in its history, the square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography.
Temporal Shifts, stilll NOWs: In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality. Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city. Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia. Tuesday — Sunday, 12 pm — 8 pm Admission is free For more information: Temporal Shifts, installation view Clara Jo: Temporal Shifts, installation view.
Books ReBoostert Performance Lecture: Using basic equipment and partly self-built instruments, sounds were created — a conscious counter-concept to the contemporary mainstream. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium. Censorship and scarcity produced richly imaginative and frequently ironic types of work. The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances.
This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. Andreas GreinerKunstverein Heilbronn Algae light up in blue when touched; high-yield-varieties of chicken from fattening farms are bred with short, absurdly thick legs to support their heavy bodies; a squid in Japan glows at a depth of meters to find a mate: The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin.
It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid.
Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art. Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture.
As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world. In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue. In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent.
It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming. The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act. To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth.
It is, he says, as if I am looking at a flying dinosaur. From dinosaurs to high-performance chicken: Last but not least, it is also about the question of the creation of life — as an artist and also as a scientist. Andreas Greiner, born in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art. He concluded his studies in as a master student of Olafur Eliasson.
Andreas Greiner has realized a new work for this exhibition. Monument for A Contemporary Dinosaurs Ross , High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext. In ihrer Ausgabe vom Vom Dinosaurier bis zum Hochleistungshuhn: Diese Frau, ein Pfau im Schein der Baustrahler.
Sie entwirft eine Erinnerung. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien. Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. And to make an end is to make a beginning. Anne Duk Hee Jordan: Ziggy and the Starfish. In it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history.
But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight.
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A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil. It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products. From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all. Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process.
The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture. Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance. Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created.
What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area. Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants.
In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography.
Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music.
The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions. At the same time, they conjure up collective trance-like states and experiencing the transcendence of time. On the occasion of the exhibition a publication will be released.
Aber er brachte auch andere Farben: Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Juni, 19 h Vortrag von Prof. Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center. Thursday 12 April 5: The exhibition runs in two consecutive sessions.
Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles.
The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. He currently lives and works in Addis Ababa, Ethiopia. Diejenigen, die in den ersten Tagen jenes Freundesbundes die Vicomtesse um zwei Uhr besuchen kamen, fanden stets den Marquis d'Ajuda-Pinto dort.
Herr d'Ajuda aber wollte heiraten. Zweifellos ist eben nichts schwieriger, als einer Frau ein solches Ultimatum zu stellen. Die Vicomtesse hatte den Zeigefinger erhoben und wies mit einer anmutigen Bewegung dem Marquis einen Platz an ihrer Seite an. Eugen betrachtete ihn nicht ohne Neid. Ich speise beim englischen Gesandten.
Herr d'Ajuda sagte also lachend: Nachdem sie ein paar zitterig geratene Buchstaben verbessert hatte, unterzeichnete sie mit einem C. Aber ist er denn frei? Aber morgen wird keine Rede mehr davon sein. Sie sind der einzige Mensch, den ich in Paris kenne Dieser Schlag war zu heftig, die Vicomtesse erbleichte; trotzdem erwiderte sie lachend: Der Adel der Rochefide ist erst von gestern.
Wir Frauen wollen niemals das, was andere nicht haben wollen. Bei dieser unfrommen Rede, die ihr geschmacklos schien, setzte die Herzogin eine kalte Miene auf. Sie wandte sich an die Vicomtesse: Erinnern Sie sich nicht, Klara? Wie war es nur? Ist es nicht eine Blondine, die in der Oper eine Seitenloge hat und die auch ins Bouffon geht und sehr laut lacht, um Aufsehen zu erregen? Warum befassen Sie sich so eingehend mit jenen Leuten? Hat das nicht seine bestimmte Ursache?
Haben Sie, liebe Freundin, sich jemals die Frage vorgelegt, was so ein Schwiegersohn eigentlich bedeutet? Sehen wir nicht alle Tage dieses Trauerspiel? Aber das Drama des Schwiegersohnes ist entsetzlich, ganz abgesehen von unseren Ehen, die an sich schon dumm genug sind. Ich erinnere mich der Geschichte des alten Nudelfabrikanten noch recht gut. Ich glaube, dieser Foriot Er hatte so viel davon, wie er nur wollte.
Also dieser Loriot, der den Kopfabschneidern Korn verkaufte, hatte nur eine Leidenschaft. Vater wie Kinder waren Mitschuldige bei diesem kleinen Verbrechen. Unser Herz ist eine Schatzkammer; entleeren wir sie auf einmal ganz, so sind wir zugrunde gerichtet. Sie haben eine wundervolle Farbe! Dann ging sie hinaus, nachdem sie vor dem Studenten leicht den Kopf geneigt hatte.
Schon jetzt der Spott, schon jetzt der boshafte Witz! Aber — ich werde mich zu verteidigen wissen. Sie wollen sich durchsetzen, ich werde Ihnen helfen. Sehen Sie, Sie werden hier nicht eher etwas sein, als bis Sie eine Frau gefunden haben, die sich Ihrer annimmt. Die Eifersucht verzehrt sie, weil sie der Schwester hundert Meilen nachsteht.
Ihre Schwester ist nicht mehr ihre Schwester; die beiden Frauen verleugnen einander, wie sie ihren Vater verleugnen. Marsay macht sich wenig aus ihr. Man hat Sie auf die Schwarze Liste gesetzt. So werden Sie Erfolge haben. Halten Sie sich weder zu diesen noch zu jenen! Gehen Sie jetzt, lassen Sie mich allein! Auch wir Frauen haben unsere Schlachten zu liefern. Er sah die Welt, wie sie ist: Auf der einen Seite die frischen, reizvollen Bilder der vornehmsten Gesellschaft, junge, lebhafte Gestalten, umgeben von den Wundern der Kunst, der Pracht: Vater Goriot senkte die Augen und wandte sich ab, um sie zu trocknen.
Dieser Ausspruch war eine Herausforderung. Ich kenne alle die Hoffnungen, die Ihr auf mich gesetzt habt, und will sie bald verwirklichen. Meine liebe Mutter, verkaufe einige Deiner alten Schmucksachen, ich werde sie Dir bald ersetzen. Sieh in meiner Bitte nur den Schrei einer zwingenden Notwendigkeit.
Aufgeregt und verzweifelt schritt er im Zimmer auf und ab. Am anderen Morgen brachte Rastignac seine Briefe zur Post. Die Vicomtesse hatte recht gehabt. Der Student studierte nicht mehr. Er ging ins Kolleg, um beim Namenaufruf zu antworten; und wenn er seine Gegenwart nachgewiesen hatte, machte er sich davon. Er stellte Betrachtungen an, wie sie die meisten Studenten zu haben pflegen. Er liebte selbst die Schmerzen, die sie ihm bereiteten. Delphine liebte das Geld: Der Brief seiner Mutter lautete wie folgt:.
Wende dieses Geld gut an! Ich kann Dir den schmerzlichen Eindruck nicht verbergen, den Dein Brief auf mich gemacht hat. Was wird aus Deinem Studium? Mein guter Eugen, glaube dem Herzen Deiner Mutter: Meine Worte sind die einer vertrauenden, aber weitblickenden Mutter. Auch kann ich Dir furchtlos sagen: Geh, mein geliebtes Kind, schreite voran!
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Sei klug, lieber Sohn! Wir alle werden Gott bitten, Dir in Deinen Unternehmungen beizustehen. Mein Eugen, liebe Deine Tante herzlich! Aber was opferte man euch nicht? Deinem Vater geht es gut. Lebe wohl, liebes Kind! Nun also, leb wohl! Mit welchem Recht verurteilst Du Anastasia? Wer ist mehr wert, du oder sie?
Er wollte der Welt entsagen, er wollte das Geld nicht annehmen. Agathe tanzte vor Freude. Sie hatte zweihundert Franken! Ich habe Dich bestohlen. Sie sagte zu mir: Wir waren leicht wie Schwalben, als wir heimkehrten. O lieber Bruder, wir lieben Dich sehr! Da ist in zwei Worten alles gesagt. Es sind nur noch zwei Breiten zu machen. Es ist beschlossen worden, nach Verteuil hin keine Mauer anzulegen, sondern eine Hecke. Du wirst uns also, wenn Du kommst, gar vieles zu berichten haben.
Ich habe nur Hemden aus grobem Zeug. Die ganze Welt war sein! Schon hatte er seinen Schneider kommen lassen, ihn ausgeforscht und gewonnen. Ach, es gibt kein Mittelding zwischen diesen beiden Begriffen: O Alter, da alles strahlt, alles schillert und flammt! Alter der Schulden, der Furcht und der Hoffnung, die jede Freude verzehnfachen! Vautrins durchdringender Blick traf Rastignac wie ein Peitschenschlag. Vautrin tat, als lege er auf seinen Gegner an.
Rastignac wollte dem Boten ein Trinkgeld geben und fand nichts in seiner Tasche. Vautrin griff in die eigene und warf dem Manne zwanzig Sous hin. Vergeblich fragte sich der Student, weshalb. Der Erfolg ist verschieden. Sein Geistesblick war ebenso scharf wie seine Luchsaugen. Jetzt, da er seine Taschen voll hatte, setzte Eugen sich zur Wehr.
Ich habe mit Ihnen zu reden. Ich habe Sie gern, so wahr ich Tromp Weshalb ich Sie liebe? Ich will es Ihnen sagen. Wollen Sie meinen Charakter kennen lernen? Ich bin gut zu denen, die mir Gutes tun oder deren Herz zu meinem Herzen spricht. Ich habe die Memoiren Benvenuto Cellinis gelesen, — sogar auf italienisch, ob Sie es glauben oder nicht. Wappen oder Schrift, weiter nichts! Wer mit dieser Gabe ausgestattet ist, ist sicher, seinen Mann zu treffen. Nun, ich habe auf zwanzig Schritt einen Gegner gefehlt. Der Narr hatte nie in seinem Leben eine Pistole gehandhabt.
Ich glaubte noch an etwas, an die Liebe einer Frau, lauter Narrheiten, die Sie noch durchmachen werden. Ich unterwerfe mich niemandem, verstehen Sie mich? Diese Million, — ich will sie Ihnen geben. Die Tante erzieht die Schwestern. Der Papa spart seine Beinkleider, Mama kauft sich kaum ein Winter- und ein Sommerkleid; unsere Schwestern helfen sich, so gut es geht. Ehrgeiz, mein liebes Herz, ist eine seltene Gabe. Fragen Sie die Weiber, welchen Mann sie begehren. Hinter den Dieben herbellen, die Reichen verteidigen, herzhafte Leute hinrichten lassen! Widert der Betrieb Sie an, so lassen Sie uns etwas anderes betrachten.
Will der Baron von Rastignac Advokat werden? Bleibt uns noch eine Frau mit reicher Mitgift. Wollen Sie sich verheiraten? Das ist der Kreuzweg des Lebens, junger Mann. Durchdringen, durchdringen um jeden Preis! Sie haben Ihre Schwestern angezapft. Was machen Sie dann? Wissen Sie, wie man hier seinen Weg macht? Die Ehrenhaftigkeit hilft zu nichts. Der Ehrenmann ist also aller Feind. Aber wer ist nach Ihrer Meinung eigentlich ein Ehrenmann? Da haben Sie das Leben, wie es ist. Wenn Sie nur immer verstehen, sie gut reinzuwaschen; darin liegt die ganze Moral unserer Zeit.
Wenn ich Ihnen so von der Welt spreche, so hat sie mir ein Recht dazu gegeben, ich kenne sie. Sie ist immer so gewesen. Der Mensch ist unvollkommen. Merken Sie gut auf! Sehen Sie, ich habe eine Idee, einen bestimmten Wunsch. Ich schreibe sie aber nicht nieder, meine Gedichte: Mit solch einem schwarzen Kapital habe ich in zehn Jahren drei bis vier Millionen. Wenn ich es zu etwas bringe, wird niemand mich fragen: Kurzum, wenn ich Ihnen eine Mitgift von einer Million verschaffe, geben Sie mir dann zweihunderttausend Franken?
Sie werden Ihre kleine Frau in sich verliebt machen. Sie sehen mir aus, als kennten Sie den Dialekt des Herzens gut. Man kann diese Jagd auf verschiedene Art betreiben. Nun haben wir Sie so weit! Jedenfalls also ist er ein Mann mit freien Anschauungen. Derartige Ungerechtigkeiten liebe ich nicht. Ich bin wie Don Quichotte, ich liebe es, die Schwachen gegen die Starken zu verteidigen.
Viktorine ist sanft und anschmiegend, sie wird ihren Vater bald umgarnt haben und ihn mit der Peitsche der Empfindsamkeit wie einen Kreisel herumwirbeln. Sie wird Ihnen Ihre Liebe nicht vergessen, Sie werden sie heiraten. Ich werde dabei ein wenig die Vorsehung spielen und Gottes Willen kund tun. Wenn man sie Ihnen abverlangt, verkaufen Sie sie. Der Einzelmensch braucht nicht weiser zu sein als eine ganze Nation.
Ich kenne die Geheimnisse gar vieler Leute. Auf ein einziges Wort seines Papas Vautrin wird er Streit anfangen mit diesem Kerl, der seiner armen Schwester nicht einmal hundert Sous schickt, und Ich war ebenso, ja, auch ich. Sie werden eines Tages Schlimmeres tun. So sind sie, eure Gesetze! Zwischen dem, was ich Ihnen vorschlage, und dem, was Sie eines Tages tun werden, ist kaum ein Unterschied. Sie lassen mich an mir selbst zweifeln. Er hat mein Herz wie mit erzenen Krallen zerrissen.
Warum wollte ich zu Frau von Nucingen gehen? Er setzte sich und blieb lange in tiefes Nachdenken versunken. Alle Welt glaubt an die Tugend; doch wer ist tugendhaft? Ich und das Leben, wir sind wie ein junger Mann und seine Braut. Teufel, mein Kopf vewirrt sich! Ich kann das nicht, verstehen Sie? Ich sehe sie noch einmal!
Die Luft hat ihnen gut getan, sie sind rosig. Ich lebe in ihren Freuden. Ihr Anblick zersprengte mir fast das Herz vor Freude. Was soll ich damit anfangen? Ein paar Frauen bemerkten ihn. Eugen hatte sich gar zu schnell auf den Adel dieser Frau verlassen. Rastignac wollte um jeden Preis auf den Ball der Herzogin von Carigliano gelangen, — er schluckte also die Grobheit hinunter. So ist es denn wahr: Sie begaben sich miteinander in einen Speisesaal, wo der Vicomte seine Frau erwartete und wo die Tafel in fabelhafter Pracht erstrahlte, — einem Prunk, der, wie bekannt, zur Zeit der Restauration seinen Gipfelpunkt erreichte.
Sein Tisch bot also einen doppelten Reichtum: Und bedenkt man anderseits die geringe Zahl von Verbrechen, ja selbst nur von Verfehlungen, die von jungen Leuten begangen werden: Er schritt von Zauber zu Zauber. Ihre Schwester und Herr von Trailles sind auf der anderen Seite. Sehen Sie, wie ungeschickt sie ihre Lorgnette ergreift! Sie erreichen nie etwas, wenn Sie sich den Leuten so an den Hals werfen. Die strahlende Miene der Vicomtesse lehrte Eugen den Ausdruck einer wahren Liebe erkennen, die mit Koketterie und Ziererei nichts gemein hat.
Und er blickte auf Frau von Nucingen wie ein Beleidigter auf seinen Gegner. Der erste Akt war zu Ende. Sie glauben gar nicht, wie die Herzogin von Langeais und meine Cousine diese unkindliche Verleugnung geschmacklos finden. Ich habe ihnen die Szene geschildert, sie lachten wie toll. Wie sollten Sie ihn denn auch nicht lieben? Wir haben heute morgen zwei Stunden lang von Ihnen gesprochen.
Noch ein Weilchen, und wir sind altvertraute Freunde!
Frau von Nucingen fand Rastignac reizend. Aber Sie kennen meinen Vater, und darum sind Sie mir kein Fremder mehr. Was suchen Sie alle? Da sah ich meine Cousine und kam ihrem Herzen allzu nahe; sie hat mich die tausend Wonnen der Liebesleidenschaften erraten lassen. Ich hatte schon so viel an Sie gedacht! Auch ich rede tolles Zeug, — aber lassen Sie es mich sagen! Rastignac blieb bei Frau von Nucingen, bis ihr Gatte sie abholen kam. Er ist geschmeidig wie ein Aal, und ich glaube, er wird es weit bringen. So hatte er also schon vier hervorragende Beziehungen, denn er hoffte auch der Frau des Marschalls zu gefallen.
Als Rastignac vor der Pension ankam, war er richtig verliebt in Frau von Nucingen; sie erschien ihm schlank und zierlich wie eine Schwalbe. Treten Sie doch ein! Der biedere Alte drehte sich ihm zu; er lag bis ans Kinn unter der Decke. Ja, ja, sie liebt mich sehr. Frau von Restaud hat mich ebenfalls sehr lieb. Alle beide haben sie mich gleich lieb. Mir ist nicht kalt, solange sie warm haben, und ich langweile mich nie, wenn sie lachen. Mein Kummer ist nur der ihre. Kurz, ich lebe dreifach. Nun, als ich Vater geworden war, begriff ich Gott. Diese Perle von einer Frau nicht lieben, diese Gestalt, dieses Nachtigallstimmchen!
Nun, sie sind ihrer Laune gefolgt. Er war wundervoll, der Vater Goriot. Noch nie hatte Eugen ihn so strahlend gesehen, so ganz im Feuer seiner Vaterleidenschaft. Was mich betrifft, so habe ich mich heute abend in Frau Delphine verliebt. Sehen Sie, eine Frau kann nicht zweimal lieben! Aber mein Gott, ich rede ja dummes Zeug, Herr Eugen.
Sie haben sie also gesprochen? Es bestanden zwischen ihnen die einzigen Beziehungen, die imstande waren, diesen Greis an einen anderen Mann zu fesseln. Der Instinkt der Leidenschaft stellt nie eine falsche Berechnung an. Vautrin, der seit seiner Unterredung mit dem Studenten diesen zum ersten Mal wiedersah, suchte in seiner Seele zu lesen. Eine innere Stimme rief ihm zu: Da haben Sie meinen Wahlspruch! Er schlenderte fast den ganzen Tag umher, eine Beute jener fieberhaften Aufregung, von der alle jungen Leute mit lebhafter Phantasie befallen werden.
Sie sind jedenfalls heilbar. Hast du Rousseau gelesen? Jung oder alt, gesund oder gichtig, weg mit Wir werden immer Freunde sein. Wenn Sie annehmen, werden Sie ihm schon darum eine Freude machen, weil Sie ihn der Last entheben, mich ins Theater zu begleiten. Antworten Sie nicht, kommen Sie! Dessenungeachtet erwartete er den anderen Tag und die Stunde des Besuches nicht ohne eine gewisse Ungeduld. Ein junger Mann findet in seiner ersten Intrige wohl ebensoviel Reiz wie in seiner ersten Liebe.
Das Verlangen entspringt ebensooft aus der Schwierigkeit wie aus der Leichtigkeit des Sieges. Alle menschlichen Leidenschaften entstehen und bestehen durch eine dieser beiden Tatsachen, die sich ins Reich der Liebe teilen. Besonders vortrefflich aber gegen Kopfschmerz, Fettleibigkeit und andere Erkrankungen des Schlundes, der Augen und der Ohren! Treten Sie nur ein und gehen Sie zur Kasse! Brum dada, dsching dada, brum, brum! Bei diesem Namen blickten aller Augen auf den alten Nudelfabrikanten, der Eugen voll Neid betrachtete. Die Baronin war traurig.
Die Anstrengungen, die sie machte, um ihren Kummer zu verbergen, interessierten Eugen um so lebhafter, als sie aufrichtig zu sein schienen. Sagte ich es Ihnen denn nicht vorgestern? Bin ich nach Ihrem Geschmack? Sehen Sie sich meine Zimmer an! Dem Herrn Baron lassen Sie dann meinen Wagen anspannen. Das Diner soll nicht vor sieben Uhr aufgetragen werden. Er geht die Treppe hinauf; man nimmt ihm den Hut ab. Er tritt ein und erkundigt sich nach dem Roulette.
Ohne Scheu fragt Eugen, um den sich die Zuschauer versammeln, wo der Einsatz zu machen ist. Eugen wirft die hundert Franken auf die Zahl seines Alters: Ein Ruf des Erstaunens folgt, noch ehe er Zeit gehabt hatte, zur Besinnung zu kommen. Er hatte gewonnen, ohne es zu wissen. Man betrachtet ihn mit Neid. Das Rad dreht sich, er gewinnt wieder, und der Bankhalter wirft ihm nochmals dreitausendsechshundert Franken hin.
Sie sind mein Freund, nicht wahr? Ich bin zu stolz, ihn um etwas zu bitten. Man sollte niemals eine Frau verlassen, der man an einem Tage der Verzweiflung einen Haufen Gold zugeworfen hat. Man sollte sie immer lieben. Sie reines, junges Herz von einundzwanzig Jahren, Sie werden mich fragen, wie eine Frau von einem Manne Geld annehmen kann. Wenn man sich ganz gegeben hat, was bedeutet dann irgendein unwichtiger Teil dieses Ganzen? Das Geld spielt erst dann eine Rolle, wenn die Liebe verflogen ist. Ich wollte mir das Leben nehmen.
Die wahnsinnigsten Gedanken gingen mir durch den Kopf. Es gab Augenblicke, wo ich einen Dienstboten, meine Kammerzofe um ihr Los beneidete. Anastasia und ich haben ihn zugrunde gerichtet. Es gibt sogar Frauen, die sich von ihren Lieferanten falsche Rechnungen ausstellen lassen. Ach, heute abend wird Herr von Marsay nicht mehr das Recht haben, mich als eine Frau anzusehen, die er bezahlt hat! Ich lebte wie unter dem Druck einer eisernen Faust. Ich werde Ihnen gefallen, so wie ich bin, mein Freund, nicht wahr? Aber als ihm die Baronin sagte: Mein Gott, ich Sie ins Laster treiben!
Das Diner war aufgetragen. Eugen warf ihr diese Inkonsequenz vor. Er war gleichzeitig froh und unzufrieden. Eugen verhehlte ihm nichts. Ich habe noch eine Rente von dreizehnhundert Franken. Mein Gott, die arme Kleine, warum kam sie denn nicht her? Warum sind Sie nicht gekommen, mein Freund, um mir ihre Sorge zu berichten?
Woher nahmen Sie den Mut, ihre armen kleinen hundert Franken im Spiel zu wagen? Mein Gott, sie hat geweint, geweint, sagen Sie? O lassen Sie sie mir, tragen Sie eine andere, ich werde Ihnen eine kaufen! Ich werde morgen den Advokaten Derville aufsuchen. Ich kenne die Gesetze, ich bin ein schlauer Fuchs und werde schon meinen Willen erreichen.
Heben Sie sie auf — in der Weste! Goriot blickte Eugen an und hielt ihm die Hand hin. Sie wollen also auch mein geliebtes Kind werden? Gehen Sie, legen Sie sich hin! Es liegt etwas sehr Angenehmes darin, den Eingebungen seines Gewissens zu folgen. Frau von Nucingen war bereits da. Die Frauen weissagten ihm alle Erfolge. Auf diesem Ball erhielt Rastignac mehrere Einladungen. Macht zusammen schon vierzehntausend! Ich habe noch den Kammerdiener und den Groom vergessen. Soll etwa Christoph Ihre Liebesbriefe austragen?
Wollen Sie sie in Ihre Kolleghefte kritzeln? Glauben Sie einem Alten, der Erfahrung hat! Er speiste fast stets bei Frau von Nucingen und begleitete sie dann in Gesellschaft. Mit anderen Worten, ein Student wird seinen Hut mehr schonen als seinen Rock. Rastignac befand sich in solcher Lage. Der Mediziner nahm dieses Wort als Scherz auf; das war es aber nicht. Er hatte in der Seele des Studenten gelesen und ahnte eine nahe Entscheidung. War das Berechnung von ihr? Alle Hoffnungen der Frau von Nucingen waren ein erstes Mal betrogen und ihre Treue von einem jungen Egoisten verkannt worden. Seine Sorgen, seine beleidigte Eigenliebe, seine falsche oder gespielte Verzweiflung fesselten ihn mehr und mehr an diese Frau.
Vautrins Stimme brachte ihn in die grausamste Aufregung, die er jemals erlebt hatte. Frau Vauquer folgte den beiden Damen, um auf ihr Zimmer zu gehen und dadurch unten im Saal Licht und Heizung zu sparen. Eugen sah sich mit Vautrin allein. Entscheiden Sie sich nicht jetzt, nicht unter dem Druck momentaner Sorgenlast.
Vielleicht brauchen Sie tausend Taler? Hier, wollen Sie sie? Er hatte sie nicht und wagte nicht, den Abend bei Frau von Restaud zu verbringen, wo er erwartet wurde. Ich liebe diese Art junger Leute. Noch zwei oder drei Lektionen in der hohen Politik, und Sie sehen das Leben, wie es ist. In wenigen Tagen sind Sie unser! Sie wollen mir nicht verpflichtet sein, wie? Unser Jahrhundert ist verweichlicht. Ich werde Ihnen dann die Zigarren der Freundschaft schicken.
Werde ich reich, so helfe ich Ihnen. Ist das nicht Freundschaft? Aber sehen Sie, ich liebe Sie! Ich habe es schon getan. Alles Tun ist mir nur Mittel zum Zweck. Was ist mir ein Menschenleben? Aber ein Mensch ist ein Gott, wenn er Ihnen gleicht: Sehen Sie den Vater Goriot: Haben Sie wohl viele Leute gesehen, die, ohne nach dem Warum zu fragen, dem Freunde blind gehorchen? Ich habe das getan, sehen Sie, ich! Nun, es ist ja ausgesprochen: Stellen wir beide unsere Fallen! Die meine ist aus Eisen und versagt niemals, haha!
Rastignac ging in sein Zimmer, zog sich um, bestellte einen Wagen und begab sich zu Frau von Restaud. Am anderen Morgen beeilte er sich, Vautrin zu fragen, ob er seinen Wechsel noch besitze. Before Anna has worked for the International Documentary Film Festival, for an independent documentary production company and for an Amsterdam based radio station. He was head of acquisitions for Atalanta Filmes - Between and he was one of the directors, general manager and programmer of Indielisboa — Lisbon International Independent Film Festival.
Since he has changed his focus to children and youngsters. He develops educational content related with cinema to help parents and teachers in their work with children, youngsters and teenagers.
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This is a clear innovation in Portugal as in the country only the Hollywood animated films are commercially released and there are no live action film releases for children. He was born in in Romania. He has studied History and Arts and has since worked as a journalist and film director. He became an independent producer in first for the German-French company interscience film.
She joined the Grimme Institute as a freelancer in and has run the Grimme Academy since Aycha Riffi also works for film festivals incl. Her publications include educational accompanying material for fictional and documentary films. Unterberg from to He studied at the HFF Babelsberg from to , leaving with a degree in film and television directing.
He has been a lecturer at the University of Duisburg-Essen since At the dfi she has led symposiums and workshops on the situation of documentary films in Germany and on the praxis of documentary work. In she initiated, together with doxs! He has been working since in various projects that help to bring high quality films to a wider audience: BJF , the German federation of film clubs for children and young people www.
BJF is running a non-theatrical distribution with more than outstanding films for children and young people and publishes art-house-DVDs for the same target group under the label "Durchblick-Filme" www. Studied philosophy, art history and German literature in Aachen, Cologne and Paris. She has also played an important role in organizing many special events for various commercial entities.
She gives lectures at Warsaw University on management in the culture sector. She is responsible for the system of subsidies for film schools and other institutions conducting film education programs. She is also responsible for projects connected with the development of cinematic activities, including the improvement of infrastructure and digitisation, and for co-operation in the implementation of the national digitisation strategy for the audiovisual archives.
She manages a team dealing with the national promotion of Polish cinematography, art house cinemas and film clubs. She also works as a curator and programme advisor on behalf of the Goethe Institute, Diagonale film festival and the steirischen herbst festival in Graz. Within the framework of doxs!
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Various publications, most recently: She successfully coordinated the launch of 3 national projects: She leads workshops for teachers and pupils on various topics related to film education. Over the last years she has carried out several culture and education events including five editions of "Filmoteka Szkolna Festival" each of which gathered participants from across Poland and national conferences for teachers.
Prior to joining the Polish Film Institute, she worked in the arts sector developing various cultural events. Since she is coordinating all the educational projects during the festival and throughout the year. DOC U in the festival and responsible for the school program which reaches over Other activities are included in the IDFAcademy section: This includes a three day event during IDFA, the Summer School where international documentary talents are working on their own project and two extended workshops for Dutch film makers.
He has also written numerous articles and educational accompanying material and has extensive experience as a jury member for national and international festivals. He has worked on the jury of the Filmtheater-Programmpreis Rheinland-Pfalz since Since , Petra works for Kalyana Shira Foundation in Jakarta, in charge of the programming of Indonesia's international children's film festival and the production of children's documentaries.
The film productions are: He is Managing director of Jekino since ; Jekino has two departments: Jekino Distribution and Jekino Education. Jekino Distribution is a company specialized in quality films for children and youngsters. Yearly about 10 films, most of them European productions, are released. Every release goes the classic way: Jekino Education is specialized in film education. A wide range of study guides, workshops, film making projects … are offered for all age groups.
Boogiefilm produces national and international feature and documentary films. Janna Velber has been the sole managing director of Boogiefilm since September Several documentary and feature films are currently planned. My teacher told me about doxs and asked whether I would be interested in working on the youth jury.
All of my involvement has made my interest in the media and in working with it even greater and reinforces my intentions to study in this area. So hopefully I can look forward to a media-rich future and I eagerly anticipate taking part in doku.
In she switched to the documentary film department, where she was entrusted with supervising documentary films on society. At the beginning, editorial guidelines had to be formulated for documentary films for young viewers, which are much more seldom in the French film and television landscape than in Germany or Scandinavia.
Transkript "All Divided Selves". If we can be little wiser to what the notes in a tune might be, if they began to wake up to the fact that they were notes in a tune, in the brief time before they fade, and begin to imagine intimations of a melody whose existence they may just manage to infer, but which they will never hear.
Mm, I wouldn't mind coffee and cream. Oh, I'll have some. We'll all have coffee and cream! You obviously need the experience! Take that outside please,?? But anyway, as far as [I'm concerned], not much else has been??. Not going to wash them now, am I? Colin's good at making coffee.
Oh, what a nice kind boy you are, Colin! You wait till you've finished! I'll put the kettle on for you. You can make it! We all insist, Colin. We are acting parts in a play that we've never read. Whose plot we don't know. And whose end I do not dare to presume to imagine. I was very much impressed from the beginning of my life and into my teens and into my student days, with the fact that most people I met seemed to be miserable.
There didn't seem to be too much happiness around. And also people were frequently very vicious and malicious, and nasty to each other. And when I got into mental hospitals I was in a way more impressed by the lunacy and craziness and sometimes viciousness and maliciousness of the people who weren't supposed to be crazy. Would you then say that schizophrenics don't suffer from their symptoms? I've been a schizophrenic - What are you talking about?
The craziness was all around and certainly wasn't confined to the patients. The only psychological or sociological definition of reality, without going into metaphysics, is to say that reality is what most people, statistically speaking, take to be real. Or take to be the case. And so that varies from different times, different times and from different cultures, one culture to another. There have always been people who've been particularly restless at finding themselves, as they feel, in something of a prison, in experiencing the world of the senses just in one way only.
And many people have devoted the greater effort of their lives to trying to explore the alternatives. Well I would like to buy my own paper, to be exact, that I could draw in the art department. Unfortunately I find, generally speaking, the paper I believe is Hungarian, I'm not sure. I do realise the tenacity of verbosities entailed in the makeup of it. And I personally feel I like to buy paper outside. Not intransigent to the hospital management committee. Yes, do you have any pocket money? When the city chambers were being built, a quarter of the city of Glasgow lived in tenement blocks like this, except that this is a particularly nice example, the worst of them have been torn down.
When these places were first built, no water, no plumbing, no bath, no lavatory, no taps. Excrement was thrown out the window. People suffered from chronic malnutrition and vitamin deficiencies. It produced, for instance, 'the Glasgow type' - the stunted Glasgow 'wee bacle' who had never grown because his bones hadn't been formed. Bow-legged, and a hard heid they used to butt people with in fights.
Life pared down to the bone. Where in this world was there any place for Bach or Chopin? I must confess that I don't like religion very much, and I'm very glad that in the Bible the word is not to be found. There is despair at the heart of every one of us, isn't there, really? Soren Kierkegaard had called it the sickness until death. And everybody participates in this sickness.
By real life, I mean - let's say, fullness of life. What you call, in general, 'real life', is - a great part of it is only fictitious. Now, the great advances of the last 30 years have been the use of physical treatments. When I went to the Maudsley in , only one third of all schizophrenics got better.
Whereas it used to take months. Oh come on Will, the admission of depressive illness has doubled in the last eight years. It's doubled, I know, but it doesn't mean to say that you can't get better. These old asylum patients are now treated in general hospitals, and you can see how well, how worthwhile it's been. And without these new treatments, we did have psychotherapy and psychoanalysis, you know, thirty years ago, but we hadn't got these new treatments.
Without these new treatments I think we would still be in the old mental hospital atmosphere. Yes, so this is a lady with a six year history of abdominal pains, blackouts and depression. But surely - what were you doing for six years, what treatment did you have all those six years? Well, my doctor never seemed to care very much about it, he just said, have some pills, have some more pills - I think for six years you've been trying sex as the answer to all your problems, haven't you?
Yes, actually, it does work for a few hours, put it that way! No, but are you better now? I'm very much better. Well, my stomachaches have nearly all cleared up. I did have one yesterday, but I didn't try my usual practice for getting rid of it. I go through tremendous heart burnings, but I find that the only criteria I've got is this: And I think it's true to say that in all my thirty years I've tried never to use any method that I wouldn't use on myself- if necessary. I couldn't agree with quite a number of his ideas. Which ones in particular? Well, chiefly his purely personal approach, and his disregard of the historical conditions of man.
You see, we depend largely upon our history. We are shaped through education, through the influence of the parents, which are by no means always personal. We, our family, our family's families, and our school, our church, our town, our country, our state and our television and cups and saucers and display cabinet and our Aunt Jessie are real, and true, and we can trust each other, and we have a full life. The world comes to our town, and if we sometimes do wrong, we do our best. But then, what are we defending against? I agree, the word has been so widely misused that under the circumstances I think the only thing to do is to go back to the original Greek meaning of the terms: We speak about being light-hearted or heavy-hearted, one can lose one's heart.
A schizophrenic is one whose heart is broken. I contend that what we now call psychiatry deals not with any kind of disease but with human conflict, or what I have sometimes called 'problems in living'. Then, there comes the issue that commitment, as historically justified, has been supported by a very ambiguous and confusing dual justification: Now I contend that these two functions have nothing in common and must be separated. Because I know a lot of people find that the pressures of life sometimes tends to get them down.
And what you do about it, I do not know. It is certainly true to say that in Ireland we have the highest proportion of our population in mental hospitals than anywhere else in Western Europe. And a greater proportion of those tend to be diagnosed as schizophrenics.
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This is all by way of leading up to the fact that our next guest is a psychiatrist, he's probably one of the most famous psychiatrists in the world, mainly because a great number of people have learned their first bits about psychiatry from his books in layman's language, the most famous I suppose would have been… the most talked-about…. He's on a lecture tour here at the moment, indeed this is his second or third visit to Ireland, he was on a lecture tour last year as well.
Would you welcome please Dr R D Laing! Sir, how would I know that it's all getting too much for me and I was beginning to go down the slippery slope? What are the telltale signals? I think there's a great deal of confusion in many people's minds, not least in the minds of psychiatrists, as to what psychiatry is. I take psychiatry to be the healing of the mind.
And I take a great deal of psychiatric practice to be nothing of the kind. And what do we do? If they are guilty do we send them to jail? Which are imperfect facilities? You've equated jails with state hospitals, so it doesn't matter, you're saying what society is saying "let's get them out of here! This is one way of putting what other people have said, like Ivan Illich and Szasz and so on, that psychiatry itself manufactures madness, that to a considerable extent it creates the very condition that it sees as its mission to eliminate.
If we could let each other be a bit more, without being indifferent to each other, if we could help each other without being intrusive and coercive, then we feel that a great amount of the problems that are being dealt with in the domain of psychiatry would simply evaporate. Well, no-one tries to be personal with me and I don't try and be personal with them! I find that - [breathing] I want you to - I want you to drop your upper body down.
Now, I'm going to give you a very sharp blow, right here, huh? But it will not be a hateful hit, okay? Let it go, let it go, let it go. It's a rather trivial question, that, isn't it? No it's not, I don't think so. During most of the last century, that is the history of modern psychiatry, schizophrenia has been regarded very much as a medical disease.
The ideas about the origin of this disease, so-called, varied from the hereditary through the biochemical. Various other bodily causes have been proposed. In fact there's been very little evidence that any of these physical or genetic factors pertain in the case of schizophrenia. Now, over the last two decades, particularly in America and more recently in this country, we've begun to realise more and more how human factors of interaction are important in the case of this so-called disease. In particular we've become, we've been able to realise how important what happens in families is as regards generating madness or schizophrenia - schizophrenia is the most common form of madness.
Perhaps the most important disease is what some of us call psychiatrosis, the disease of psychiatry - and this is very much a matter of the compulsive categorising of people, people have to get into some prescribed form of illness. In that stress period, when we had no future, I had a talk to Wiener;cybernetics, and he said "What are you doing in California?
Neo-psychology, the descriptive manner of incognito mannerism of speech, when I was speaking to Dr Cooper, I was — what do you think are the causes of this trouble of yours? I want you to specify to me the characteristics of a machine which you will be willing to say is schizophrenic. And we invented an imaginary machine which would be like a telephone exchange.
And it could handle the voice, you would say "Connect me to number And we decided that this machine, which maltreats the nature of the message and puts it in a different category - it's not a number of pigs, it's an ordinal number - So is that where the logical types began to come in? That's where logical types came in. Wiener of course was bringing the logical types with McCulloch, I used already the logical typing… But you began to see its application. And I followed up this conversation, and said "Ah, that machine, and the pigs - how would we train that machine to that pathology?
What do you take wormwood to be? One wood is mistletoe. Not the ten gallons for parboiled pork Francis. Francis; I've got a little notion that if you put a pig in ten gallons of codeine it could be parboiled. That could be for your Malay manager fellow. Ten gallons of codeine. And it'd be parboiled. The, the the - the Greeks, and right up to and through the Scholastics were concerned with the problem for instance of the paradoxes of Xenos.
Where they observe certain things to happen but were able to identify that they hadn't got the forms of thought that could account for them. It wasn't until Descartes invented the corner geometry, you could sort of draw two lines as crossing each other, with different corners, and find the equation. Then you had found, the human mind had found a form of expressing that could accommodate itself to what was known to exist. If you've reached a stage where you're sort of crystallising things with Geometrical [inaudible] The rules of algebra.
The rules of logic and Russell, deriving the rules of what can be derived. But you're gradually getting further and further away.. From the sort of many sides of things Into the sort of reduction to points. And the gradual development of the axiomatisation. You know, I mean its the ultimate, it shows a lack of understanding, it shows the replacing of the question and not understanding.
With formalised dots which can make associations, to other sets of formalised dots which are undefined except as second order and third order and things like that. What do you think the cause of this trouble of yours is? As far as I'm concerned, I went to the labour exchange to be employed, to try and put my services to society and reality, and they informed me as such that I was rather foolish staying in the hospital so long.
It's difficult to determine what is given and what is constructed. Our adult experience is a very sophisticated product of many procedures. The laws governing our experience, I presume, are both natural and social.
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The deeper social laws are implanted, or to use another metaphor, the more hard-programmed they are, the more like natural laws they come to appear to us to be. I got the feeling when reading your book, doctor, that the so-called schizophrenic was more sane than the normal. I think that's true. His so-called delusions are attempts to express, sort of last desperate efforts to say that he's being destroyed, and being murdered.
We have to find the truth of delusions, so-called, because delusions are simply socially defined, in a very arbitrary, very false way I think. It's a matter of finding the truth of delusion, not the falsity of it; not trying to cure people of it. For instance, if doctors never ever went out of their casualty wards, and only saw people who couldn't tell them what had happened staggering in with black eyes et cetera et cetera, they might very well think black eyes was a genetically determined syndrome.
If they never ever watched someone juxtapose their fist to an eye, and that a black eye is the outcome… of a punch, say. Well what about somebody who says they want to be buried? I think there's probably a tentative in that case to achieve a state of death and then rebirth. I think this is essential to one's understanding of what psychotic breakdown means. It's always the attempt to achieve a proper death and proper rebirth. Well, the question arises - to what extent is any experience ultimately shareable?
If you take, say, the relationship of two entirely exterior things, like a billiard ball, the two billiard balls, their relationship can only be built up by an observer. The billiard balls have no inner worlds. It's the relationship between each person's inner world that establishes, if you like, the shared element in their experience, and provides the media for their communication. Given our distinctions, and our rules, we have to do a great deal of work to normalise our experience.
Now I want to consider these operations as things that we do to our experience. If experience is permitted to be pleasant or ought to be pleasant, experience will be operated upon to make it more-so. But if the rules don't permit or demand this, if pleasure for instance is forbidden, then pleasure will be sacrificed for other values higher on the hierarchy.
A very peculiar fact of these operations on experience is that they are themselves operated upon, to render them, as we say, unconscious. Now this is repression. It's not a simple operation, but it's a very effective one. So I did Nelson's portrait about that big, with him, his eyes, the left eye looked so real that it looks as if Nelson's looking at you.
There's a little boat on top left. Apart from painting, have you got any other special abilities?