Liebeslieder No. 3 - Vor lauter Lauschen - Score

Ruhe (song)
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He took part of the jury of Estareye Afghan Afghan Star and is the most famous dari singing popstar of the new generation. By Ethiopian Records on August 29, It was not easy finding videos after — some are older, much older. I have tried to pick music and video that moves me, I hope you like it and it moves you to. Artist: Melaku Belay Track: Ahun. Melaku Belay is a traditional and experimental dancer and owner of the famous Fendika in Kazanchis in midtown Addis.

The video says it all. This song in particular Neckatchelehu, meaning I am awake, is my favorite. I feel this instrument gives me a sense of peace and tranquility. Its meaning is not something I can translate in a few lines. By Norient on August 25, Check out statements by the involved musicians and producers. We asked the musicians and producers of this years summer playlist, what is most important for them in their selected track.

See below what some of them answered via email. The old lady on bus aisle singing eternity folk song seeking to earn it bribing death, salesman selling encyclopedias extolling the value of information over a mere rupees, transactions tying the city together, each element exuding its own space, signalling tranquil musical interiors flows, deep currents, merging noises giving rise to weird sense of unconscious harmony.

Writing credits to Shafni Awam. The fun element. Links: Facebook , Website , Soundcloud.

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The track to me is also about a metaphor for two lovers in the form of a call and response. Their main topic of conversation being their dreams. Links: Facebook , Bandcamp , Soundcloud. Every bit is important. We aim to impress ourselves when we make a track, to satisfy ourselves internally is the goal, and that too was the case with lighter machis.

Links: Facebook , Soundcloud. The poet is overtaken by the beauty of a woman, named Mariam, picking dates in a grove of trees. Rather than addressing Mariam directly, he pleads with her friend, Heydana, to sing for Mariam in order to attract her attention. Links: Website , Soundcloud , Facebook , Bandcamp. I have been working on a microtonal saxophone, wich is an alto saxophone without the original mechanisms and keys that I replaced with water, gas, and compressed air taps.

I can move the tuning of any note and play microtones. A sustain pedal allows me to create several sonic layers while using circular breathing. This track is a remix made by Miguel Bustamante on a track I sent him and is one of the first recordings of this saxophone. Links: Soundcloud , Website , Facebook. Simon Berz: For me, this work shows a way, to collaborate with kids. Links: Soundcloud , Facebook. Links: Soundcloud , Twitter.

The Bern based photographer sought out abandoned industrial areas and subterranean canals that have been gradually retrieved and sprawled by nature. These pictures of deserted industrial spaces inspired the music collective Mathon for their new — already 6th — release Lieus Pers. The photographs show places such as the old town-hall canal of Bern, dating back to the 17th Century, which was allegedly used as an escape route for the city government. By Hannes Liechti Norient on August 22, August am Lucerne Festival.

Unsuk Chin hat eine sehr bunte und eigene Sprache. Sie schreibt Musik, die im besten Sinne von einer ziemlichen Freiheit beseelt ist. Ich glaube man kann sagen, dass sie keine Angst vor Direktheit hat und das verbindet uns wahrscheinlich. Diese Direktheit ist aber keine hingerotzte, sondern eine genau kalkulierte. Doch lassen wir jetzt Unsuk Chin selbst sprechen. Als Komponisten haben wir eigentlich keine Ahnung davon.

Gerade bei meinem Werk gibt es keine Schublade, wo alle meine Kompositionen rein passen. Wenn aber eine Klangfarbe funktionieren soll, braucht sie auch alle anderen Parameter dazu: Struktur, Rhythmus, etc. Da gibt es vermutlich keine Grenzen. Ich glaube daran und hoffe, dass es so ist. Aber ich kann diesen Klang nicht mit Worten beschreiben. Jeder und jede spielt an seinen Grenzen, man wird wirklich herausgefordert — nicht nur die Solisten.

Ich will, dass alle Beteiligten schwitzen. Die balinesische Musik hat mir aber die entscheidenden Ideen und Impulse geliefert. Ich habe sie Mitte der 90er-Jahre kennengelernt und war sogleich fasziniert von ihrer Struktur. Kombiniert mit dem Solo-Schlagzeug entsteht so ein ganz neuer Klang. Dazu kommt das ganze Ensemble, dass sehr viele verschiedene Farben spielt. Es gibt aber daneben noch viele andere Arten. Ich habe neulich in Berlin die Ausstellung zu David Bowie besucht. Seine Musik beeindruckt mich nicht besonders. Damit erreicht er einfach unheimlich viele Leute.

Unser Publikum will nicht auf Anhieb etwas bekommen. Es ist gewillt, tiefer zu gehen und immer etwas Neues zu entdecken. Dort bekommt man auf Anhieb alles und die Musik selbst ist auch sehr kurz und plakativ. Bei der Kunstmusik ist das nicht so. Aber das war in der ganzen Tradition der Kunstmusik wohl schon so. Ich will nicht irgend etwas Intellektuelles schreiben. Diese intellektuelle Ebene gibt es einfach.

Das ist sehr schwierig. Was ist Europa? What is Europe? This is a good and confusing question. I actually have no idea anymore, so I started digging into popular music videos and of course, where to start from if not from the capital of the European Union which is actually only a small portion of Europe-as-a-continent? This song has been everywhere in French-speaking Europe. Whenever I heard it in a public place, I saw people smiling because the drunken mumblings turned into lyrics are so witty.

It shows Stromae himself wandering around drunk during the day, as captured by hidden cameras. Artist: I Cani Track: Hipsteria. Europe is also well, history, as we know. This long long history that we had the whole world to learn, willingly or not; it starts with the Romans, the ones which first brought Europe together in a huge empire, before the barbarians destroyed it all.

This is Rome itself, in all its Hipstamatic splendour, in the video of I Cani. Die Goldenen Zitronen might be the most intelligent band in Europe, their music is politics and their politics is music. Europe also means boredom, repetition, small shops, special offers and low wages and all the frustration connected to that, maybe enhanced by consuming too much sugary fizzy drinks, as these three Finnish girls seem to convey here.

That might be it. Listen up to some sounds of Algeria. Artist: Abdelmadjid Arab Track: 3laach raa7 i ghamer Artist: The Crossfaders Track: Eulogy By Ariel Altamirano V. There is not just this great new video from Chilean Rapper Ana Tijoux in collaboration with the Palestinian Shadia Mansour that made some furore even across the boarders from their home country Chile. Welcome to this colorful journey through Hip-Hop and Electronica. The best rapper of Chile, with her latest album she has achieved a very personal and fascinating language. This video shows the power of her music.

Perhaps the best artist in portraying the Chile of today, with its melancholy and injustice, but hard and speech. Artist: Fredi Michel Track: Marinero. A myth in the local underground, released their debut this year, with its mixture of Latin dance rhythms and electronic music derived from house. A bet with a great sense of humor and cunning of Santiago. Artist: Dementira Track: Last video of our label, Discos Pegaos, and advancement of Sucedaneo EP out soon, Dementira represented by many names, drive electronics with denomination of origin standing in hiphop and one foot in the club.

One of the best electronic music projects, cut and paste, complex rhythms and many influences are drawn from Doble Ola EP. By Arshia Fatima Haq on August 5, We discuss his journey from the underground Los Angeles hip hop scene to a rediscovery of his childhood treasury of Iranian cassette tapes, the recent explosion of vintage Iranian music on the global circuit, and a certain iconic Persian ice cream shop in the heart of LA.

Mashti Malone is a famous Persian ice cream shop in the heart of Los Angeles. Featured flavors include rosewater saffron, orange blossom and pistachio, and sour cherry sorbet. Join us! By Lucia Farinati on August 1, With her new solo show Beyond Voice. Me, you and everyone who is listening sonic and radio artist Anna Raimondo is exploring the relational horizon of voice and its linguistic and political implications.

On the occasion of the screening of Raimondos show at Arte Contemporanea in Brussels curator Lucia Farinati spoke on March 20 th with Raimondo about her project, the idea of resonance and feminism. This is why I chose Beyond Voice. However, what I am interested in the most is what follows the voice, its implications, what voice could provoke.

What is the difference, if any, between using the voice as a radio broadcaster and as an artist? When I am there, with my voice and body, I launch questions which, most often, are not immediately answered; but I like to think that my voice arrives at the people around and, if they decide to listen to me, they can create their responses within themselves. In some of my sonic interventions and performances, I even give instructions to the public… but in other cases, and more and more often now, the exchange has become more conceptual, more metaphoric.

In this sense I also use the expression beyond voice. So, all of these examples relate to the phenomenon of beyond voice. I wonder if for you there is any difference to listen to voice rather than any other sound. How do you listen to voice? In this case I can have an experience of voice as any other sound; in general, though, when I am listening to voices, independently from what they are saying and I can understand or not, it is a different experience.

Even when I am listening to just a laugh, a cry, or a scream, my experience is totally different, because voice always implies a human behind it. It is easier that voices reveal to me a sense of empathy or a sense of repulsion. This is my experience, of course. I would like to read you a passage from his book A voice and nothing more Dolar talks about those manifestations of the voice outside speech such as coughing, hiccups, laughter, babbling, screaming which are defined as pre and post linguistic acts.

Again this can be perhaps a way to understand voice beyond the common notion of language and meaning, and instead embracing an idea of voice which is more oriented towards body, affect, memory, as you said. In this new body of work it seems that the voice has become a tool to provoke a situation, to explore different modes of communicating or even to create a possibility for an encounter.

Toward a philosophy of vocal expression In this book she talks about female myths related to voice, the siren, for example. Cavarero argues that the vocal expression has often been associated with the feminine and the body, and consequently removed from discourse, from logos. The work is clearly about female identity. I wonder if this is a conscious decision because I know you have been involved in feminist activism in the past, collaborating with Radio Mujer in Madrid for example.

What does feminism mean for you today? I started with being a feminist activist whilst working with radio. I respect a lot activism, but at some point I felt that the militant language was no longer the one I wanted to use and that I needed to open, and to be open, to what I see as the outside.

This is probably why I decided to move to art. In the performance, I am telling what I am, though whatever I am saying, even my name and surname, are at the same time socially given definitions. Here the splashes of water thrown at me represent both a gesture of derision and purification that expresses my desire for freedom, to be free to change.

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Whatever I embody now would not probably be the same in ten years, and I think that, if there is feminism here, it is because it makes me intimately and deeply free and aware of the possibility of transformation. The best thing I can expect is a kind of political reaction to what I am proposing. In this sense, the space of my actions becomes a territory of negotiation with others. Sometimes, it is a kind of call, clearly a direct call. In Gender Karaoke , for instance, people are invited not just to the playful experience of singing, but to think about the cultural representation of women in music.

Here, my desire is clearer, whereas in Mediterraneo I repeat this word endlessly like a mantra and at a given moment my voice is interrupted by the submersion of my mouth and the voice under water. So what I am saying goes under water and that word and voice, in particular my voice, becomes something else. In this case, what I expect from the public is for them to experience the sound of this metamorphosis and give to this moment their own interpretation by negotiating, through their own cultural backgrounds, memories, and sensations, its meaning.

I wonder if this image or gesture is a call for empathy. Probably, my deepest desire when I use the voice is to be heard and to generate something, to launch something… The best thing that could happen is probably to generate empathy with another, even a stranger, someone whom I never saw before and perhaps would never see again. This is why my work is based on interactive scripts and why I allow for a lot of silence in them, so that the listeners can have enough space for their own memories and sensations. The choice to expose myself in public spaces without reservation is in itself a way of looking for empathy.

The work in which that is best made clear is the performance in front of the Tate Modern, Untitled a stranger, the water and what I am. By Ed Linton on July 29, Bhutan is a small kingdom in south asia squeezed between India and China. But what does this country sounds like? Ed Linton, owner of the small internet record label Avant-Garbe Records , gives us a brief insight into some really amazing bhutanese videos and sounds from the past few years. Artist: Dechen Zangmo Track: Hingtshaway.

A very westernized song. This one was very popular and a big inspiration for our collaboration with Pakistani rapper Sheikh Areesh. This features famous bassist Daniel Kulasignham. Both clips are filmed Thebong in the Mongar district of Bhutan. By Meg on July 24, For our five video clips from Italy we asked the Naples-born electronic musician and singer Maria Di Donna alias Meg , ex-voice of the late 99 Posse group.

Her selection shows, that Italy is an inspiring place for electronic music, which, in turn, invites to strong experimental imageries. Artist: Godblesscomputers Track: Nothing to me. I love the delicate organic sounds Nada uses in all his tracks, he does fields recordings and then chops the little sounds he likes, to build up drums loops, in such an elegant way. Check out his new album Veleno. He is a restless musician, with hundreds of parallel projects, always experimenting.

He also records elements from nature in order to have unique kicks and snares sounds. He will make you dance with a smile on your face, because his music is so joyful! Check out his last crazy project: Clap Clap. This in the coolest duo of the moment, they were the only Italian band on Glastonbury Festival stage this year. They are fresh and full of light. Mario is an eclectic musician from Naples, he has his roots in house music.

Artist: Meg Track: Estate. I decided to sing this famous song from the 60s by Bruno Martino and arrange it in the most minimal way possible: just two synthetizers and the voice. I love contrasts. The video is a surreal love story between me and a canary bird. By Norient on July 22, Manipulating Oriental melodies and rhythms with digital software seems in vogue - once again. Is this yet another Orientalist Trap?

Or do many of these tracks go beyond Electro-Arab-Tracks of the late s and early s? I tried to build that with the rhythmic structure and Mauritanian vocal samples.

By Thomas Burkhalter Norient on July 18, On his new music programme, Nova, he combines contemporary music, history, Zeitfragen and politics to intense Radio Art pieces. Later, I heard his amazing work via Soundcloud. Moved by his works, I decided to send him a few questions via email. It also has the power within the listening moment to present lies as truths and truths as lies, where even jesting Pilate stays for an answer. Its rich sonic history is also dazzling: a journey into the archives is very illuminating, not only for accents, styles of presentation, the dead and so on; but also for noises on and noises off, microphone placements, jingles, theme tunes.

But my dreams are far ahead of my abilities, so I spend a lot of time trying to realise even a shadow of them. One did not grow out of the other, though both are now almost warring siblings, or at least estranged. God pondered. But not to be too pessimistic: subject matter is now absolutely everything for me and dictates form, tempo, mood, colour. One piece true to that stance is Tracing A; one completely opposite it is the he and the she of it.

Both work, though I still wince and hide behind the sofa. Hear more piece via Soundcloud. Tracing A is a radiophonic impression of a new documentary film in progress working title A by the young Polish director Maciek Klich. It grew out of a conversation with Maciek: in Auschwitz last year he met survivor Eva Mozes Tor and interviewed her concerning her experiences at the hands of the infamous Doctor Joseph Mengele. I was intrigued and inspired by what he told me and set out to render such a dual style of narrating a story in sound. I divided my sources into old and new, black and white. That said I also wanted these voices and sounds to work sometimes in opposition and sometimes in complimenting each other.

Bernard Clarke B. By Jacek Szczepanek on July 15, Disco polo became popular in the early s. It is still doing well and growing. Norient presents this Polish electronic dance music culture in a series of two posts. Part one: Disco polo today. Try asking a Pole whether they listen to disco polo. Nobody does. Yet everyone knows at least a few songs and is ready to quote snippets of lyrics.

You can also encounter disco polo on a Saturday night at a village or small town discotheque. Hundreds of people flock to these to party to a live show of a disco polo act, which typically features a vocalist or two , a few synchronised dancers, and a DJ. The show is the climax of the night, with resident DJs taking care of the crowd before and after. Discotheques aside, it can often be heard at small town and county fairs and at spring festivities on university campuses in the big Polish cities. No major radio station dares play it, and the local ones that do tend not to stay on air for too long if disco polo songs per hour is exceeded.

It has traditionally been a taboo subject for music journalists. With the spread of the Internet, which brought with it sky-rocketing Youtube playcounts of disco polo tunes, this began to change. Since then, disco polo channels have mushroomed, popping up at a rate of about one a year. Even if it is only just increasing its presence in the media and in the cities. The first big disco polo venue, Explosion Club , only opened in Warsaw in Disco polo musicians have never been poor. Most of them started in or as wedding bands and then gradually expanded to playing discotheques and festivals, often moving freely between both worlds.

This means that even small local acts have enough paying gigs, and that the big shots regularly have their Saturday nights packed with two or three shows at different locations. On the threshold of fame there has always been fierce competition, but this intensified with the emergence of the disco polo TV channels. So if you are a disco polo act, it makes sense to try not to offend the public. In case something goes wrong you can still land on your feet with weddings and company events.

It was released in late by an act that is neither top nor small, and has gathered a moderate number of just over a million views in half a year. It is exactly BPM and has a classic romantic minor harmony progression in the chorus. The video is shot in a small town and the images reflect the lyrics accurately.

Avinion Dance is a young act, who make sure their mobile phone number stands out so that they get more bookings. The beat is more cheerful as the love is still burning, and there are references to old school musicianship in the video. On July 9, , South Sudan turned three years old. Decades of civil war, high flying hopes, disillusionment, humor and creativity shape the musical creation of South Sudanese artists. For many South Sudanese, the end of the second Sudanese civil gave reason to be optimistic about the future. The civil war lasted from to , killed roughly two million people by force, famine or diseases, and made millions flee their homes.

The civil war let its traces in musical creation. The internationally most known example is Emmanuel Jal. He released several songs about the civil war songs are also important throughout his memoir titled Warchild. As a child, he experienced the atrocities of war. At around seven years of age, he was separated from his mother and later learnt she was killed. In the SPLA, songs were important not only for political mobilization and unity among the recruits, but also to raise the spirits:.

Jal fled back to South Sudan and then to Kenya before finally participating in fighting around Juba, eager to kill and revenge what happened to his family. He later addressed his experiences in a song called Warchild:. McCune protected Emmanuel Jal and smuggled him to Nairobi where he was sent to school and started recording music. One song is dedicated to Emma. Nairobi was and still is a centre where South Sudanese artists live and record songs. One example is Lam Tungwar , who, like his cousin Jal, is a child soldier-turned-rapper-and-memoir-author. When his unit was spread Lam fled to the Kakuma refugee camp in Kenya and later started to sing about his experience as a child soldier.

Other refugees revived the old cultural form of personal songs. Songs composed as audio letters and distributed on tape allowed keeping vastly dispersed clan groups in touch and communicating new concerns. These audio letters were handed over through personal networks who formed a worldwide system of communication, independently from the internet and still largely absent from it.

Individuals were keen of accumulating a repertoire of personal songs and commissioned the writing of the text or the melody, if they lacked talent. Emmanuel Jal, to come back to him, no doubt is a gifted singer and entertainer. The first song he recorded together with Lam and Mnasseh was called Gua. The original Gua song was a hit song in Kenya, while the Ceasefire album circulated among Western World Music enthusiasts. The catchy song spreads a unitary vision and a dream of peace.

In contrast, other musicians strongly supported separation and the independence of South Sudan. One example is Queen Zee in her song Referendum. In another of her songs she celebrates the SPLA. However, when independence was declared, Emmanuel Jal joined the celebrations for the newest country on this planet with a concert in London. Another musician celebrating hopefully was Emmanuel Kembe. Other artists were more prosaic. Nevertheless, Silver X promotes the capitalist ethic of hard work.

In Boda Boda, he praises manual jobs helping young people to survive without relying on others. Other musicians sing about what they consider social problems. Nyandeng, the girl in Mr. Queen Zee was roped in by one among the myriads of NGOs active in South Sudan for advocating child registration in a kitschy song.

There are of course also the obligatory songs about women, especially in the popular Ugandan-inspired ragga genre. Not missing on the list is of course Nairobi-based Babyone who praises a girl with an African figure. After seeing all the bling bling in this video, you would be forgiven for being surprised when learning that Babyone is actually a teetotaller.

However, his impressive fleet of luxury vehicles is perhaps better known in Nairobi than his music. Lam Tungwar, according to rumours circulating in May last year in Nairobi, drives a Hummer. This would not be surprising, as his uncle is governor of the Unity State, the administrative unit between the central government and the counties. Emmanuel Jal is less privileged but still quite lucky compared to most of his peers.


He is able to travel the world and meet people — and to explore party time Electronic Dance Music, as he did in the song Wanekulu featuring Silvastone. The party was already over in South Sudan when I visited Juba one year after independence. The flags from the independence celebrations were faded and torn and there was not much left of any spirit of optimism. It turned much worse. These two factions of the ruling party started fighting.

Since then, thousands have died and more than a million people have fled their homes. An estimated four million will have to face critical food shortages in the next months. By her third birthday, South Sudan was considered the most fragile state in the world. An effective stop of the fighting as agreed by the two warring factions would probably be the most wonderful birthday present for the country and its inhabitants.

By Miguel Hilari on July 8, Producing an album or making a video-clip is not really a moneymaking activity in Bolivia. However, there is important production going on at the margins of traditional industry standards. Artist: Gato Diablo Track: Nunca tendremos mar.

Our national trauma is thematized in this instrumental piece by one of the finest bands playing in La Paz these days. The images are a lucid mixture of footage from both classic Bolivian and Hollywood films and old VHS tapes. Artist: Llajtamayu Track: Kallpawan. The images made me feel entering a childhood dream. Cosmic energies are being invoked. Pure and beautiful punk energy from Cochabamba. Of all charangueada singers I heard from Chuquisaca, Ivan Nava has the finest voice. Mind-blowing, like the chicha they drink in the video. Artist: Nonsum Track: Esparavan. Many names for many projects.

Behind is one of the hardest working guys in the music scene, he keeps on surprising every now and then with a new album, new band, new clip… Definitely somebody to follow. By Serge Yared on July 4, Musicians in Lebanon challenge traditional gender roles and work around topics like suicide bombers, military officers, devastated industrial landscapes, girl punk bands, and alienation at work. They have released their third studio album last year Raasuk and have successfully been touring around the world. Artist: Chyno Track: O. P Directed by Pedros Temizian , a great clip tackling alienation at work and suicide-bombers with hip hop local legend Chyno from Fareeq El Atrash.

Here is a clip from the very popular Who Killed Bruce Lee. Unbeatable energy and synergy. Here is the second installment of the road movie directed by Gigi Roccati for the Incompetents. The inept plot is about the Incompetents being chased and beaten up by an all-girl punk band trying to steal their identity…. Charlie Rayne is a personal favorite. The best guitar player and one of the greatest songwriters too! He lives in Berlin and is currently recording his second album. The second one is directed by Henri-jean Debon who recently passed away from cancer.

Debon was a wonderful and demanding guerrilla artist… He directed for the Incompetents a paranoid clip on a relation turning sour between a high ranked military man and his wife. By Thomas Burkhalter Norient on July 2, Some artists created pan-African fan bases and perform in Europe and the US. Others work long hours to fullfill their dreams one day.

Hear and watch latest tracks and clips from the Equator: Ragga-flavoured songs, hardcore rap, Kitsch and some Bling Bling. Jose Chameleone is one of the international stars from Uganda. I met him at Audio1 Records in Kampala. The video was produced by Frank JahLive. DAXX Kartel. I visited rapper Keko in a studio with her producer The Weezy. Du hast 'ne Pollenallergie? Nicht zu fassen! Wirkt ja toll! We have to talk. Right now. I have a pollen allergy. It has worked like a charm! For me, rain would be a real blessing right now. Because rain washes the pollen out of the air.

And so, on this spring day, we both silently leave the park and find out way to the pharmacy. Then we go home. She to hers, and me to mine. And here in the same vein, but without the same light touch of irony, is. Here it is, with a translation. The English is crude and ugly, while the German rhymes and alliterations keeps the crude content in check and the sarcasm is more clever than crude. For me that remark is an attempt to make him less than he is. His talent puts him easily into both of these categories. Loveparade is the electronic street festival that was once held annually but got cancelled after one got out of control, leaving twenty-one people dead and injured in Duisburg in This version was clearly written before that event.

Liebste sag, wollen wir nicht im Park ein wenig spazieren geh'n? Dort ist der Ort, wohin jeder gern geht, besonders zur Loveparade. Sieh nur, wie hier jeder Technofreak, sich lieblich im Takte des Technos wiegt. What a gorgeous day. The sun is shining so beautifully. Honey, what do you say, shall we take a little walk in the park? From a distance already we can hear the sounds of techno music alternatingly, lovingly and tenderly working its way into our ears.

Look how every techno freak is moving in rhythm with the beat of the technos. What an esthetic poetic dance, filled with charm and elegance. A loving aroma fills the air. The smell of puke and urine. I breathe it in. We stroll through this familiar idyllic place, across a never ending sea of garbage and fresh puke on this weekend in the sunshine. Another song, showing how his talent has matured, is another social commentary:.

Du solltest sie echt mal sehn! Alter Schwede! Du fragst dich sicherlich: Oh Mann, wie macht sie das nur? Kaum kommt er abends von der Arbeit nach Haus, probiert er erstmal gleich den neusten Trend an ihr aus. Und ob! Es kommt bei Frauen im Grunde einzig auf drei Eigenschaften an: 90 — 60 — Ich kenne keine, deren Popo so poetisch ist. Ich glaub ich bin ein Popo-Fetischist. She shakes my nerves and she rattles my brain. Goodness, gracious, great Deswegen sieht sie so gut aus, der Mann verdient Applaus, denn er hat den Bogen raus! Peinlich, peinlich!

Oh Mann, war mir das peinlich! Das brachte mir ein blaues Auge ein - augenscheinlich. Komm, egal, Hauptsache: sie sieht gut aus! She is visually beyond compare. The nicest things about her are doubled: her eyes, ears, hands and extremities. And then her two — you know what I mean. So he always operates for no fee. No sooner does he come home in the evening, he tries out the latest trends. Whether buxom and sexy or rather demure, whether slightly underweight or downright anorexic, she always has her father make her body correspond to the latest style.

She outdoes in beauty by far even the girls on the cover of the TV magazines. Marvelously flawless from head to toe. And how! And all that without photoshop. When it comes to women, it comes down to just three features: By the way, the typography of her backside is more photogenic than Jennifer Lopez. I know nobody with such a photogenic bum. A phenomenon! The man deserves a round of applause. The problem is only that each time she comes from being with her father, I hardly recognize her anymore. For example, when I asked her what she thinks of spontaneous sex.

Terrible, terrible. Oh man, was that hard on me. I got a black eye out of it because when I want to kiss her, I always ask her, just to be sure, what her name is. No matter. I want to end with two songs that show Bodo Wartke has developed the ability to enrich an evening of comedy by infusing it with a change of pace. He does this in.

Unfortunately, I have been unable to find the music in its entirety online, but here are the words:. Ich hab eine Schwester die ist zwar nicht mehr hier, aber Sie ist da I was too small. I was just three years old, the elder of the two of us. Three years old must have seemed like a considerable amount compared to you, since you were only a month and a day. We knew that it was coming, right from the start. Still, it rolled over us like an avalanche. I never got to see you, Christine.

When Mama came home that day, she took me up in her arms without a word and I sat for hours in her lap. She held me tight and since then has never let me go. You do what you have to do, despite the melancholy, somehow. You put up a good front and get through it all mechanically by finding things in the daily routine. We miss you, Christine. Now and then I ask myself, what would it be like if you were still here, and how it would be to know you.

What would you think? How much would we be alike? Where would you be now? Or would you, like me, do theater. But she exists. The other serious piece is a song about the world from the perspective of a monument:. Wir sind die Zeugen der Gezeiten des Geschicks. Es scheint mein Los, in stummer Stille zu verstauben. Ich bin ja ohnehin umringt von lauter Tauben und die geben auf mich einen Dreck. The likes of me are found in nearly every land. We are witnesses to the ebb and flow of fate. But the people who wander leisurely past barely give me any notice. It seems to be my lot to gather dust in the stillness.

Personal experiences, texts of authors enter the titles of the works of art and enable possible associations for charging the formally reduced objects with a content, which, however, always remains ambiguous and indefinite. They seem to appeal in an almost excessive degree to the old concept of art as a dream world.

Bell deliberately aims at formal and substantial connotations that at first look like a faux pas.

  • Peek A Boo : It Looks Like The Letter…;
  • Wörterbuch Teil I: Englisch-Deutsch.
  • Schiller (band) songs!

In the installation at the Kunstverein these are for example Kitsh motives from popular-culture, teenager-rooms, but also the supercharging effect of light. He arranges a small altar, next to painting, drawings and objects creating the idea of diverse narratives. By painting on found paintings he, too, poses the question of a subjective filter, which every reception represents. The Film The Black Room by Melvin Moti combines a fictional interview with Robert Desnos about his experiments in automatic writing under self-hypnosis, done in the circle of Paris Surrealists in , with a very slow tracking shot panning along the walls of the Roman Villa Agrippa near Pompeii.

A place where grotesques were for the first time used as wall decoration. They represent the transformation from realistic illusion towards a new imaginary power and free representation of the world.

Disqus for Hepzibah

In The Black Room imagination is shown as part of the psyche and the social reality, thus becoming a productive counterweight in times of fictionalization and virtualization. Unterschwellige, unberechenbare Aggressionen explodieren, aus einer scheinbar kindlich naiven Haltung entstehen subtile Bilder der Gewalt, erschreckend bekannt und unbesehen gesellschaftlich akzeptiert. Helter Skelter zeichnet ein Bild in der sich die emanzipatorische Kraft der Selbstinszenierung, wie sie die Gendertheoretikerin Judith Butler schildert, in steter Gefahr steht in neue Macht- und Ausschlussmechanismen umzuschlagen.

In Helter Skelter Stephanie Thiersch designs a perfidious choreographed arrangement combining elements of fragmented video stills, live music, recited text and dance as a critical commentary on everyday stereotypes of traditional and contemporary female roles and images. Five physically very different female dancers try on various roles whereby socially accepted behaviour and oppressive regimes are questioned. Subdued and unpredictable aggressions explode, subtle images of violence emerge from a seemingly naive childlike attitude, alarmingly familiar and socially accepted. Helter Skelter draws a picture of an emancipatory power of self-determination, as sketched out by gender theorist Judith Butler, that is itself in constant danger to turn into new mechanisms of power and exclusion.

James Beckett geb. Der Ausstellungsraum selbst dient ihm dabei als Vitrine. Vor den doppelten Modellen steht jeweils ein Spaten. Im Ausstellungsraum sind diese Spaten verstummt und nur noch Reminiszenz des in der Performance erzeugten Tons. James Becketts Interesse an Sound hat sich aus seiner installativen Arbeit entwickelt. In his installations, Mark Bain born , Seattle, USA presents the self-oscillation of matter, particularly that found in architecture.

By amplifying the seismographic oscillations of the ground or architecture either acoustically or using vibrators, he ultimately liberates the perception of space from the dominant form, namely observation. The viewing distance we have when looking at something is lost as a result of the physical or acoustic experience of architecture. By presenting the machines used as minimal objects, he shifts the view from the world of products, which was so important for pop and concept art, to industrial devices, which dominate our everyday lives in a much more structural manner.

With his work — which attacks, or topically addresses, architecture — and using industrial machines, he has already made himself a name internationally in the area of media art. The Industrial Revolution also plays an important role in his artistic research. The invention of synthetic dyes and its link to BASF, for example, or the cultural implications of vacuum cleaner tubes for the Dutch concern, Philips. When he tells these stories, which also question customary artistic media, such as colour and images, based on the representation of the personal sphere of experience, he strips them of their power over our everyday lives.


Alabama - Sunday Drive Stadtklangfluss Musical group Germany : Haenssler Classic, p The ambivalent and exclusive mechanisms of television, its ambiguous methods of communication and an attitude of expectation emerge particularly clearly in childlike role-playing, reflecting the desire for participation and an exaggerated cultivation of image. Das Buxtehudejahr neigt sich dem Ende entgegen. But in fact it must have been the other way round because Bayly's song only appeared 10 years after the opera. De Ahna was famous for being eccentric, snobbish, ill-tempered and outspoken.

In other works as well, Beckett transforms scientific standards and units of measurement and order into aesthetic ones and questions their indisputability in doing so. Bain and Beckett are characterised by an experimental approach to new technologies and media as well as a sensitive examination of specific places.

To this end, Beckett will duplicate architectural models of the Cologne-based architect, who deals with the vocabulary of modernism as if it were Lego. Mark Bain will amplify the character of the exhibition space as a display cabinet for the city by making the vibrations of the window glass audible. In doing so, he will transmit sounds from the inside to the outside and vice-versa. Also on display will be Partial Museum of Noise by James Beckett and a new version of the Feed carnivore video work by Mark Bain, which works with a fear-provoking super-positioning of television images.

With their work, both artists question the principles of social organisation in terms of traffic, industrialisation, engineering and mass media. To this end, they touch on central topics for the future development of western democracies, which will also play an important role in our curatorial programme.

Der Ausstellungstitel ist einem Film von Kurt Kren entliehen. Kurt Kren hat aus den grundlegenden Faktoren des reinen Kinos — Bewegung, Material, Licht und Wahrnehmung — seine Filme entwickelt und dabei nicht nur mit Licht und Wahrnehmung, sondern auch mit den Apparaturen des Filmemachens experimentiert. Sein Blick gilt den Auswirkungen dieser rituellen Praktiken auf die Psyche und das Alltagsleben, ebenso wie der ihnen immanenten Phantasie und Poesie.

Cameron Jamie, geboren in Los Angeles, lebt und arbeitet in Paris. Peter Kogler, geboren in Innsbruck, lebt und arbeitet in Wien. Seit der Mitte der er Jahre nahm er an internationalen Filmfestivals teil und war international als einer der wichtigsten Underground-Filmemacher bekannt. The exhibition Keine Donau No Danube unites three generations of artists and relates their works to one another. Cameron Jamie and Peter Kogler have integrated works by the underground filmmaker Kurt Kren, who died in , into their jointly developed exhibition focusing on the interrelationships between art, film and architecture.

Experimental films by Kurt Kren, who is considered one of the most important representatives of the international film avant-garde and a pioneer of structural film, are shown in a dialogue with the most recent spatial works by Peter Kogler and work by the American artist Cameron Jamie. He developed his films from the very foundations of cinema — movement, material, light and perception — and experimented not only with light and perception, but also with technical equipment.

Beginning of the s Peter Kogler had already started experimenting with the then newly emerging computer technologies and with these tried to find new ways of artistic expression. His transformations of all-encompassing signs, images and spaces point a perfect permeation of public and private spheres with these signs and an ultimate merging of the two. American backyard wrestlers, spook houses or other eerie theatrically staged productions dealing with death, denial, fear and violence are only a few of the rituals of everyday culture that Cameron Jamie explores with his art.

He focuses on the effects of these ritual practices on the psyche and everyday life and on their inherent imaginings and poetry. Of the interplay between different artistic positions results an exhibition on transgressions and expansions of boundaries. It reflects on uncanniness and the abysmal in our society, whose representation in everyday life can suddenly evoke an irritating and anxious dimension.

This is also a reference to the great cinematic tradition of the Kunstverein building. Cameron Jamie, born in Los Angeles, lives and works in Paris. Peter Kogler, born in Innsbruck, lives and works in Vienna. Participation in international film festivals beginning in the mids.

Die Ausstellung wurde in Kooperation mit der Galerie im Taxispalais, Innsbruck realisiert, die die erste umfassende Einzelausstellung von Sanja Ivekovic gezeigt hat. Sanja Ivekovic, geboren in Zagreb, lebt und arbeitet in Zagreb. Mi, Oktober, 19 Uhr. Sa, Sylvia Eiblmayr zeigte die erste umfassende Einzelausstellung von Sanja Ivekovic. On first impression the photographs, videos, objects and performances, that Sanja Ivekovic has created since the mid-seventies, seem to follow the laws of a glamorous pop culture.

Inscribing herself as a person and thus the private into public discourse, in her work Sanja Ivekovic pursues the question of how the routines of everyday life are influenced by the dictate of fashion, advertising and the star cult. At the same time, for the artist the body is always only the body in the representation — an image surface dominated by the gaze. Sanja Ivekovic purposely exposes herself to the male gaze, emphatically placing the body, sexuality and gender in the context of the political.

Wednesday October 4, 7 pm. Saturday October 7, 7 pm.

die wir gemeinsam kennen

In , Sylvia Eiblmayr presented the first comprehensive sole exhibition of the works of Sanja Ivekovic. A large part of these works will also be on display at the Kunstverein. Sie ist aber doch mehr als eine Malerin. Der Katalog mit Seiten umfasst ca. Ausstellung: Keine Donau , Ich bin an beiden Sprachen interessiert. Die Statisten werden ungewollt und unwissend zu Hauptdarstellern, das Filmteam agiert wie Marionetten nach einem ungeschriebenen Drehbuch.

Die Freistellung einer Situation und deren Transfer in einen neuen Kontext findet sich auch in der Ausstellungsgestaltung Wedemeyers wieder. Transferiert von der Kinosituation in den Ausstellungsraum, fungiert die von Clemens und Henning von Wedemeyer entworfene Ausstellungsarchitektur wie die Struktur eines Filmes. Fiktion entsteht als Trennung zwischen den Bereichen. Der Katalog wird am Mai, 19 Uhr. I am interested in both languages. Both of them together make it possible to find a practice that provides new spaces for new investigations.

In his first major solo exhibition Clemens von Wedemeyer shows works from recent years. With the selection of works he explores a direction while simultaneously establishing references to the architecture of the Kunstverein building, which is regarded as one of the outstanding architectural monuments of the s and is devoted to art and cinema. A large number of extras and a film crew come together at night in an unidentifiable location. The extras unwillingly and unwittingly become the main figures, the film crew operates like marionettes following an unwritten script.

Transfered from the cinema situation to the exhibition space, the exhibition architecture designed by Clemens and Henning von Wedemeyer functions like the structure of a film. The exhibition walls serve as a division, as incisions between the different zones.

Fiction results as a division between the areas. Both films appear as though from an in-between world, in which the images do not allow surrendering to an illusion, even though they are far from documentary. This is more the way an absurd fairy-tale or dream is experienced. In a space that Wedemeyer has inserted between the two projection spaces, it becomes clear how much fiction is needed to convey subjective realities.

The room opens up a view of the city of Cologne, thus also establishing an architectural connection with the apparently real of everyday life. Catalogue A catalogue will be published for the exhibition with essays in German and English by Ekaterina Degot and Beatrice von Bismarck.

The catalogue will be presented on May 5th at 7 pm in conjunction with the exhibition discussion. Der Ehemann behandelt seine Frau wie einen Packesel. Der Migrantin kam darin eine zentrale Rolle zu. Der Schauspieler Gandi Mukli ist anwesend. Detaillierte Informationen zu den jeweiligen Flimen: www. Januar Trisha Donnelly wurde von einer internationalen Jury, bestehend aus Chen Y.

Beinahe obsessiv spielt sie mit einer Mischung aus Faszination und Ratlosigkeit. Trisha Donnelly erforscht in ihren Arbeiten immer wieder die Grenzen der Sinneswahrnehmung. Das was uns eigentlich Immateriell erscheint, wird nun zum architektonischen Element, das ganze Raumteile voneinander zu trennen vermag — dessen Wirkung sich allerdings erst im Besucher selbst entfaltet. Trisha Donnelly was nominated by an international jury consisting of Chen Y.

With the promotional prize amounting to Euro The basis for her work Rio from , for instance, is a sunset. In this video work Trisha Donnelly stands sideways in relation to the camera, while a colored lamp behind her creates the impression of an artificially staged home-made sunset. A song is heard that was written to convey a sunset to a blind person. To the sound of this song with its Latino rhythms, Trisha Donnelly apparently begins to translate the lyrics of the song into sign language. One might think that she is communicating the atmosphere of the music to an imaginary deaf person, who is able to see the artificial sunset but not hear the song.

Yet instead of translating the lyrics of the song word for word, she gives directions for finding the way to an idyllic location in the mountains of Rio de Janeiro. In comparison, some of her other works appear uncanny, almost foreboding. Screening: Familien Bande , Stock eines Sozialbaus emporzuheben. Cezary Bodzianowski wird die Dokumentationen am Freitag, den The polish artist Cezary Bodzianowski, who has recently been distinguished with the renowned Polish Art Prize Polityka , is an unusual artist, who is still too little known outside Eastern Europe.

One reason for this lies in the resistiveness, with which his artistic work rejects the expectations and the tendencies to appropriate and categorize that are found in an international exhibition practice increasingly oriented to the laws of the art market. This rejection is expressed not only in his choice of performative intervention as his preferred artistic medium. The transience of this chosen medium also corresponds to the transience of the actions or the situations that he creates in this way.

Some of his interventions go completely unnoticed, others have chance observers; they are rarely directed to a — pre-informed- audience that expects them and can put them into an art context. He is not concerned with duration, has no fear of long passages, does not worry about the audience or a spectacular finale.

The countless actions take place almost entirely unnoticed by the art business and independent from it, as a kind of expression of a daily artistic necessity. What they all share is the intentional limitation to the simplest means, which also makes it possible to spontaneously react to found situations. He knocked on the windows, waking the residents, greeting them and leaving his regards to wish a good morning to all the other residents. Special examples for his poetic, subversive interventions, as well as his skepticism with regard to conventional exhibition practices are found in contributions to exhibitions to which he has been invited.

For his part in an exhibition in a gallery in Lublin in , he persuaded the staff to lock themselves in the gallery during the opening hours of the exhibition, unplug the computers and telephones and stop working. In the meantime, the artist took a long walk through the sunny streets of Lublin.

The assertion of alternative readings of what is seemingly assured harbors a subversive potential in a society, whose self-understanding is substantially based on the unambiguousness and incontrovertibleness of what is generally agreed to be true. Although this subversive potential is overlaid with the great poeticalness of the interventions, it is specifically inscribed into critical awareness through this immanently poetic pictorialness lastingly and ineradicably.

Cezary Bodzianowski will comment on the documentations in a performance on Friday, 18 February at 7. Hier treffen verschiedene Projektionen aufeinander, die sich je nachdem von welcher Seite man blickt voneinander unterscheiden. In einigen der gezeigten Filme ist die Grenze bzw. Zwei amerikanische Undercoveragenten schleusen sich in einen Schlepperring ein, der zwischen der amerikanisch-mexikanischen Grenze operiert.

For those who are unwelcome, crossing it represents a life-threatening risk. This is where projections meet, which differ from one another depending on which side one is looking from. The film series shows works that deal with the border and its effects in different ways. In some of the films the border or border region is the main setting; in others it is less immediately present, but still an important point of reference.

The locations that Chantal Ackermann shows in tranquil pans and tracks are charged with this. A City of Sadness Hou Hsiao-hsien Taiwan , min, original version with German subtitles The story of a Taiwanese family caught up in the whirl of events in the post-war era. The film begins in with the end of Japanese occupation and depicts the brief transitional period until , when the country is oppressed again by the authoritarian politics of mainland China. In Tangier Serge, Sarah and Said cross paths.

Two American undercover agents infiltrate a ring of human smugglers operating between the American-Mexican border. Zeit der trunkenen Pferde Bahman Ghobadi Iran , 79 min, original version with German subtitles This feature film shot with amateur actors depicts with naturalistic force the rough existence of five orphans in the north of the Iranian part of Kurdistan.

A life-saving operation for the eldest, handicapped orphan Madi is to be paid for with money earned by smuggling across the border. For this operation Madi has to achieve the impossible: to reach the other side of the border. Godard decided to make a film about the loneliness of a state. After the disappearance of the German-German border, the aged agent Lemmy Caution wanders through the former GDR territory and approaches the west.

His path is strewn with traces of German history. Durch die performative Inszenierung hat der Ort eine narrative Aufladung erfahren, obwohl die Spuren der Akteure nach der Performance dem Besucher wie weggewischt erscheinen. Wie Anspielungen funktionieren auch die Bilder und Arbeiten im anderen Ausstellungsraum, die einen umfassenden Einblick in Cosima von Bonins Arbeitsweise der letzten Jahre geben. Die Abbildungen werden von einem Text von Manfred Hermes begleitet.

Der Katalog mit ca. Zehn Designer, zehn Shows. Es gibt gebrochenen Okkultismus. Es gibt ein Aggressionspotenzial, das einigen innewohnt. Oder Kultstrukturen. Filme, die jenseits von Kategorien wie Spiel oder Autorenfilm etc. Etwas, das Selbstaufhebung verursacht.

Etwas teilt sich unabsichtlich in seinen Werken mit. The selected films are not merely based on a single idea, but are a fabric of cinematic ideas and genres—indeed, the films are themselves nearly unclassifiable artefacts. It is the blurring and new formation of an art form as a world between worlds, in which loss can also be experienced as liberating.

There are expressions of forms of non-insight that come precisely from these intermediate worlds. There is fractured occultism. There is a potential for aggression inherent in some of the films. Or cult structures. In any case, the most personal subject matter intermingles with the extremely general. Something that causes the Aufhebung denial of self. Something is communicated unintentionally in the works of this series.

Psychoaesthetic effects become clear in the process. There is a mixing of effects. I consider such events to be a reinforcement of the practical-political mysteries of artistic work, as rituals from which artistic action can arise. Each film is its own existence on probation; each has its own unique elements of tragedy and parody, and its own vivid, momentary revelations of the inexplorable. This is considered one of the most significant French films of the s. He eventually seems to exchange personalities with the musician. Paganini, Klaus Kinski, I , 82 min.

The framework of the film is a spectacular concert during which Paganini simultaneously experiences the past and the future. The film stood apart when it was shown at the Cannes Film Festival in This film combines aspects of the western with film noir. Medea, Lars von Trier, DK , 77 min. Lars von Trier based his television adaptation on an unfilmed screenplay by Danish director Carl Theodor Dreyer. It is an atmospheric and powerfully visual version of the classic Greek tragedy, in which Medea seeks bloody revenge for betrayal by her husband Jason. With the aim of creating the widest possible open framework, nine curators from different regions of Germany were each invited to nominate three young artists.

These should be little known or not yet established in the art scene, yet their work should be significant to current developments in contemporary art. In addition the curators each proposed an established artist to provide a historical or artistic reference, who could contribute to a clarification of the works chosen. The conceptual openness of the exhibition, the approach which spans generations, as well as the absence of any excluding thematic stipulation, allows a variety of work to be considered. Being exhibited together makes possible a discussion about consensus and differences.

Not only economically and politically, but also mentally, Germany seems at the moment to be searching for its role in a fundamentally changed world. This search for identity is at present increasingly reflected in various television programms, newspaper commentaries and discussions. The work of 40 artists will be shown, which as well as using a variety of media like painting, installation, film, photography and objects, develop extremely different ideas in form and concept.

KG Iserlohn. Dornbracht, internationally active as a producer of designer bathroom fittings, accessories and interiors, has since regularly documented its image as a concern with cultural competence. Its commitment to culture falls into three categories: the Limited Statements Edition assembles many-sided interpretations of bathing rituals and bath culture and offers an international forum to the participating artists. The works are documented in variable medial forms, and presented internationally in exhibitions and galleries. With Dombracht Sponsorship the medium-sized company also supports international exhibitions and projects, and with its financial and personal commitment is recognised as one of the group of international art sponsors.

Sie wurde als Aufforderung verstanden, sich in einer bestimmten Weise zu verhalten und durch diesen performativen Akt selbst Teil der Ausstellung zu werden. Wie alle anderen Postkarten auch, wurden sie von Touristen erworben und in die ganze Welt versendet. Auch hier entsteht ein Erfahrungsraum voll von Verschiebungen, Schwellen und unerwarteten Ausblicken. Massenszenen gelten im klassischen Hollywood-Kino als ein Ausweis hoher Produktionskosten. Einzelausstellung: Cosima von Bonin, 2 Positionen auf einmal , Harun Farocki und Antje Ehmann.

Man meint, diese Geschichte bereits zu kennen. Contemporary cinema in France takes a particular look at issues concerning migration. In many of these films, as in many other films by young French filmmakers, France is portrayed well as being both a country of cinema and of immigration. Yet our aim was not to track down and screen rare or obscure films, but to show good, interesting, key works of this socially relevant style of film-making—regardless of whether they are new or rediscovered—as a basis for discussion.

Harun Farocki and Antje Ehmann. This pilot cinema beur film about the friendship between the Maghrebi Majid and the Gallic Frenchman, Patrick, abounds with cinematic brilliance and remains powerful and contemporary to this day. With documentary-style precision, the film conveys how illegal immigrants are exploited. The film tells the tale of two siblings, Nenette and Boni, while also portraying the real life of the working class in Marseille.

Their future looks dim. The story seems familiar, yet we have seldom, perhaps never, seen this kind of tale told in such a visually and narratively impressive way. Der Film wurde mit dem Prix Jean Vigo ausgezeichnet. Er versetzt sie in eine andere Existenz als Sklavin auf einer Zuckerrohrplantage in Jamaika. Stattdessen jedoch gehen diese ins Meer. Tschechoslowakei lebt und arbeitet in Bratislava. It is perhaps most comparable with the universe of a Marcel Broothaer. With his projects he has inscribed this kind of step-by-step, active transformation of real life into reality.

It comprises text-pictures, objects, collages, photo works, manifestos and a video documentation. In Europa wurde jedes Land der Kamera zu klein. Filmfestivals sind Knotenpunkte teils virtueller teils realer Migrationen. Und wieder ist es der Film, der eine Chance keine Garantie! Im Kino vollzieht sich eine Bewegung zur Emanzipation. Sondern in der Offenheit. Im Kino ist das, ganz direkt, eine Frage der Einstellung. Ihr Sohn ist besessen von der Idee in Japan zu arbeiten, um dort reich zu werden — ein Traum, der unter den Jugendlichen im Iran weit verbreitet ist.

In diesen Landschaften sind alle Menschen Emigranten. Die essayistische und filmische Reflexion der drei Themen Suburb — Emigration — Massenmedien untersucht diesen Prozess anhand des schweizerischen Mittellandes. Schweizer Filmpreis Er verliebt sich in den Transvestiten Lola. Mit vielen Facetten reagiert er auf die kulturelle Spannweite — als Schauspieler in eigenen und fremden Filmen sowie als Autor und Regisseur. Als nun auch noch Bayos Mutter und seine Kinder auftauchen, ist das Chaos perfekt.

Gerade im Entzerren der forcierten Spirale scheinen sich Restfreiheiten des Subjekts als vage Utopien abzubilden. Nur der Ort, an dem eine Filmaufnahme geschieht, klassifiziert sie als Dokument. By what right, you will surely ask now. Which significance is attributed to imagination? Both the exhibition and the state of the building mirror this process, the building site becomes a metaphor for the current cultural political situation in Cologne.

Screening: Selbstbilder — Fremdbilder , Innerhalb der Arbeit entsteht ein narrativer Zirkelschluss der individuellen Lebensgeschichten. Vielmehr liegt es am Betrachter, zu beobachten und zu reagieren.

Deutsches Liebeslied ft. Sarah Connor

Kunstgriff zugleich ist. Sie lebt und arbeitet in Berlin. Following the collapse of Communism and the opening of the borders in , a new business sector developed at this geopolitical intersection: mass prostitution. The artist expands the documentary shots with architectonic, sculptural, photographic and performative dimensions into a conceptual whole and sets them in an interrelationship to one another in a spatial architecture.

The manifold formal modes of expression enter into an interaction, resulting in a network of different perspectives and focal points that captivate us and grant insights into a closed, secret world that otherwise remains hidden. She lives and works in Berlin. Screening: Forces of Circumstance , Dieser Gedanke ist der rote Faden, der sich durch die Filme dieser Reihe zieht. Deutsch English.

The annual Lumpenball was canceld for the year The Kunstverein wishes all members, friends and visitors a Happy New Year! The event takes place in German. June Opening: Thursday, February 19th , 7. February , 7pm March Opening: Friday, February , 7pm The photographic work of Talia Chetrit B. Wednesday May 11, , 7pm Are we entertainment? A presentation by Alexey Vanushkin Starting with images and texts gleaned from pop culture, advertising, and literature as well as personal materials, Alexey Vanushkin explores existential themes such as the pursuit of meaning and happiness in his film works and installations.

The presentation will take place in English. The programm: October — December Opening: Friday, Photo: David Regen. October—November MI Entrance is free of cost and open to all. Refreshments will be provided. Foto: Simon Vogel. Februar — November bis 6. September bis Konzert Freitag, Ausstellung Juni bis 9. Juni , 19 Uhr.

Konzert Mi April bis Einzelausstellung im Rahmen von Die Letzten ihrer Art Ausstellungen: Bonner Kunstverein Filmscreening Performance Literatur Performance Lecture Performance Musik Lecture Kuratiert von Christine Nippe. Kuratiert von Radmila Joksimovic. Gast: Stefan Hoderlein I The room opens up a view of the city of Cologne, thus also establishing an architectural connection with the apparently real of everyday life. Programm: Kleine Familie Bundesrepublik Donnerstag, 8.