A doctor becomes a worm through the word.
Rilke has the right to sound differently. Ballet goes without music, and brass-band music goes without trumpet. A lot is at stake — Lentz and Winter fight for each point. Therefore the listener recognizes something again, which he did never see before. Michael Lentz born works as an author, musician, and performer.
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Since he has been president of the FreeAcademy of the Arts in Leipzig. In these performances Michael Lentz reads while two puppets in the background, played by Uli Winters, constantly comment on what he is saying. By intervening in the lecture situation the puppets poke fun at the reading situation and of the performer himself. Pause… aus dem Jahre auf. Seit kurzem leitet Lengerer auch den mobilen Ausstellungsraum und das Verlagshaus Scriptings, das sich zurzeit in Amsterdam befindet.
In his live performance Achim Lengerer refers to his preceding exhibition Blows into the microphone: Is it all right? Pause… from , in which he re-enacts a lecture of the American filmmaker Hollis Frampton and his famous film Nostalgia and comments on its avant-gardistic refraction of word and image. Achim Lengerer born works with questions of language that he either thematises in his performances or spatialises within his installations. In the last years Lengerer founded different collaborative projects: labelfuerproduktion was initiated by Lengerer as a collaborative, process-oriented art project that presented performances, exhibitions and events at institutions like Kunsthalle Exnergasse, Vienna or Kunstverein Braunschweig.
The third long-term project, voiceoverhead is a collaboration with his artist colleague Dani Gal. Achim Lengerer has had various exhibitions and presentations at Kunstverein Braunschweig, Bonner Kunstverein, and others. Lengerer runs the travelling showroom and instant publishing house Scriptings — currently based in Amsterdam.
His artistic work includes performances, videos and music productions. Presented by Spex. After a long line of theoretical performances performed in an opera house, boxing ring, botanical gardens, on the internet, TV, radio, in the university amphitheatre, classroom, museum, gallery, paper and documenta 12 in Kassel, Walking Theory TkH shows its body for the last time. Its breasts, to be more precise.
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TkH Walking Theory was founded as a research theoretical-artistic group in Belgrade in Main domain of the work of the TkH Platform is to encourage the development of contemporary performing arts practices and their critical discourses through the TkH Journal for Performing Arts Theory, educational projects, an on-line platform, and artistic and theoretical projects. TkH Platform is also engaged in the cultural policy field and empowering of infrastructural and discoursive potentials of independent artistic and cultural initiatives. Dabei reagieren sie in ihren Arbeiten auf das aktuelle Kunstsystem, dessen Grenzen zwischen Produktion, Vermittlung und Kritik immer mehr verwischen.
Dass Lecture Performances nicht nur ein Thema in der Bildenden Kunst sind, sondern auch in der Choreographie, der Literatur, der Musik und der Wissenschaft diskutiert werden, wird an den Arbeiten evident. The lecture performance has become a feature of contemporary art.
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Various descriptions of the phenomenon have circulated over the past few years. Artists in this comparatively young genre work at the interface between lecturing and performing, seeking out creative ways of including traditional methods of artistic communication in presenting themselves to an audience. The technique involves elements of self-reflection, discussion and performance.
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The exhibition also includes reference works — which provides inspiration for many young artists — in the form of videos and performance documentation by the V-Girls, Andrea Fraser, Martha Rosler and the French choreographer Xavier Le Roy. Sie fragen nach aktuellen Vorstellungen von Community und Vergesellschaftung in der Stadt. The exhibition Everything, then, passes between us shows snap-shots of urban life.
It asks how forms of public or of temporary communities can be produced nowadays. The artists question fragmentary aspects of metropolises in times of global turmoil and ask for actual ideas of community and collecti-vity in the cities. Ihre unmittelbare Sprache und die Thematisierung kultureller, politischer und ethnographischer Werte durchdringen sich dabei gegenseitig. Die fragilen Skulpturen werden im hinteren Bereich des Raums um zwei Diaprojektionen erweitert.
In der Bildfolge werden sie damit aber letztlich dynamisiert und in Bewegung gesetzt. Zur Ausstellung erscheint eine Publikation. A direct language and the framing of cultural, political and ethnographic values are the parameters that mutually pervade in her works. For the exhibition room Nora Schultz has created an installation seizing fundamental sculptural questions. The installation shows several chrome-plated pipes mounted firmly on the wall or hung on a rope. Like a mobile, they sometimes arrange themselves in a perfect balance resembling a set of scales, and sometimes they loose balance and seem to struggle for their position.
Her works offer no well-balanced relation between calmness and motion, tension and relaxation, or bondage and liberty of the body. The ratio of carrier and self weight incurs imbalance. Their texture suggests an association to the unfinished, to building and travelling.
Two slide projections in the rear part of the room complement the fragile sculptures. The first series of slides records three-dimensional objects via two-dimensional photographies taken from different angles. The image sequence is consequently dynamised and put into motion. The abstract indications of an im balance of masses and values are translated into far-reaching cultural and political images. Schultz establishes associative references to the French author and ethnologist Michel Leiris who, in his travel journeys and essays, offers an unsparing self analysis and an open, immediate impression of his experiences with foreign cultures.
The rituals comment and parody European civilizations and show that there never is just one ruling point of view onto a subject, but that this point of view entirely is thrown back. Along with these new works, Nora Schultz shows further works corresponding with regards to content. Her arrow sculpture can be read as a typographic two-dimensional emblem operating as cross-reference and, at the same time, as a real object and visualisation of an arrow projectile.
The rebellious child defies all rules and educational methods of its parents and accomplishes acrobatic exercises on the chair. His attempt to balance on two chair legs fails and comes to a bad end. In the slide projection the table becomes the main player. Dieser so spannenden, weil unmittelbaren und dennoch zumeist verborgenen, Wirkungsgeschichte gilt es nachzuforschen.
Sie wurden in verschiedenen Farben hergestellt und tragen das Datum ihrer Herstellung. In the exhibition room Seth Price presents his workson suspended wall panels. Accompanying the paintings are vacuum-formed polystyrene reliefs with masks or facial imprints, looking like glamorous high-definition products. The reliefs have been produced in different colours and bear their date of production. The presentation is completed by a painterly video projection in form of a program loop showing a computer-animated sequence of black water in motion.
The video is based on a 5-second loop sold for business use, which Price purchased and treated with color and motion effects. Atmospheric as it is, the installation creates the impression of a journey through time during which the different handling and use of things, objects and pictures, is shown. Price manipulates found pictures, shows their changeability and their dependence on presentation and distribution structures and also makes his own manipulations visible. The journey of a picture from the computer screen onto a canvas and vice versa can suddenly be experienced as a tightrope walk.
He presents the reliefs as mere covers; they are negative form of the depicted objects and materialize only in their surface form. The materials Price has used in his video editions, and which reappear here in cut-up form, include manipulated film footage by Joan Jonas from the early s, a video by Martha Rosler that took up TV advertisements from , pictures from the Internet, and news footage from the assassination attempt on Ronald Reagan.
It is no longer discernable who is speaking, what is commented on, or what is inside and what is outside. Low-definition and high-definition material is equally juxtaposed. There is infinite access to and collisions of meaning and value systems. There is a plethora of choices and a surfeit of images within the cultural logic of late capitalism. Here, defined by media, image becomes material. A collaborative working method is of likewise importance to Seth Price. Last year Seth Price received the award of the city of Lyon as a special award for his work at the Lyon Biennale.
A monographic catalogue with a text by Michael Newman will be published in cooperation with the Kunsthalle Zurich. Starting point for the exhibition Many Challenges Lie Ahead in the Near Future are subconscious expectations that artists and the art coming from the Balkans encounter. When it comes to artists from the Balkan countries, the question of origin seems very often more important than other aspects or questions that their art works deal with.
During the last decade several well known exhibitions, among others I n den Schluchten des Balkan , Kunsthalle Fredericianum, Kassel, , Blut und Honig , Sammlung Essl, Vienna, , In Search of Balkania , Graz in , have presented contemporary artists from the Balkan region to a Western audience.
In such circumstances the question arises of how artists come to terms with these expectations.
The four artists presented in this exhibition put the desired images at the core of their work and discuss their artistic position from there on. In his artist book Kissing the back of your hand makes the sound like a wounded bird he comments ironically on the never changing reception of his works on the basis of his origin.
The seductive way of editing, flirting with the aesthetics of silent movies, as well as his humorous approach prevents the story from becoming overdramatic. In his video Heroes Lulzim Zeqiri born in Gjilan, Kosovo solves a double problem of legitimation.
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On the one hand he deals with the question of his position as an artist within the European context, and on the other hand with the question of his position within the Kosovo society. To solve the first question, Zeqiri offers an ironic, orientalistic staging of three musicians playing a traditional melody in traditional poses.