On the other hand, if one knows the historic background of Bach interpretation, one has to confess that many readings of the text of the compositions in whole must be dependent on the style of harpsichord, spinet, and clavichord playing, especially articulation and phrasing. These readings cannot directly be produced on a concert grand piano. One has to verify and reproduce these readings in another manner by pointing out the original meaning in a relative manner, but one that is convincing in relation to the new instrument.
To play Bach in historic academic style absolutely has to be defended, and these interpretations surely have their absolute justification. But if you already make the jump to play Bach on the piano, you have to do this with all the consequences. Tell me about your new recording. I recall you mentioning in an earlier conversation we had that there were two different engineers who produced the SACD—one for the standard two-channel layer, the other for the multi-channel surround sound layer. Can you explain how and why that came about? I wanted to deliver something state-of-the-art.
So, the tasks have been divvied up, and each of my technicians did a great job! It was mainly Julian Schwenkner who mixed the Surround version. Each of these three layers is individually engineered and has its own character and sound. That way, the listener becomes part of the music, the artist, the interpretation, the acoustic of the hall, and the complete experience. More Bach, more Schumann, more Chopin? Or are you ready to branch out into different repertoire? The program promises to be something special.
But Bach and Chopin will continue to be central and keep me busy the rest of my life. Gibt es eine Interpretation, die richtiger ist als andere? Auch das Notenbild reflektiert er intensiv, erforscht Spannungen und Rhythmen, geht den der Musik innewohnenden Strukturen und Energien auf den Grund. Ob er diese Wahrheit gefunden hat, macht er an der Reaktion des Publikums fest. Angst kenne er nicht, sagt er. Ob er mit dem, was er erreicht hat zufrieden ist? Pianist Burkard Schliessmann is currently engaged in a recording project to celebrate the occasion, so this seemed an especially apt time to ask him about Chopin and about his interpretive perspective.
He was, after all, but one member of a prodigiously talented cohort of composers who created what we now think of as the high romantic movement; yet his music has lasted when the music by Herz, Felicien David, Thalberg, Heller, and Sterndale Bennet is all but forgotten. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them.
Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. Bach, Mozart, Chopin: these are the three who definitively created musical art in an allembracing and overwhelming way. He withheld himself all his life, in diametrical contrast to the openness and accessibility of his contemporary Franz Liszt.
Chopin always conveyed the impression of a suffering soul, not to say a martyr, almost as if this was to nourish or even underpin his inspiration. Striving for crystalline perfection, he never ventured outside his own domain. His playing is described by all his contemporaries as exceptionally individual. He rarely appeared on the concert platform, but he was feverishly awaited by his followers. Ignaz Moscheles, himself one of the leading pianists of the 19th century, described Chopin as follows in His appearance is altogether identified with his music, both are tender and ardent.
He played to me at my request, and only now do I understand his music…. His ad libitum playing, which degenerates into a loss of bar structure among the interpreters of his music, is in his hands only the most delightful originality of performance; the dilettantishly hard modulations, which I cannot rise above when I play his pieces, no longer shock me, because he trips through them so delicately with his elfin touch; his piano is so softly whispered that he needs no powerful forte to express the desired contrasts; accordingly one does not miss the orchestra-like effects which the German school demands of a pianoforte player, but is carried away, as if by a singer who yields to his feelings with little concern for his accompaniment; in a word, he is unique in the world of pianoforte players.
Was it simply a matter of poor health? One of his students recalled, His playing was always noble and fine, his gentlest tones always sang, whether at full strength or in the softest piano. Evidently he did not allow his pupils the license he reserved for himself. It has nothing to do with improvisation. Schumann admired Chopin very much and saw him as friend, but—what only few people know— Chopin himself had much less interest in and esteem for Schumann.
Among the multitude of composers writing for the piano at that time, only two—Weber and Schubert—stand out as original creative forces. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle.
In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures.
He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly independent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.
The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formulations and principles.
The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost-like into night and mystery. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set.
The Romantic interweaving of music and literature that was characteristic of Schumann and Liszt was a negligible source of inspiration. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor.
I asked Schliessmann to elaborate. Cortot presented very romantic Chopin interpretations—really masterly, outstanding, but confused. He was really the first to point out the classical line and structure in his oeuvre.
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And someone special: Mieczyslaw Horszowski. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. I asked him—is anything different now? My priority has been to bring out Chopin as an aspect of human realism, as I already did it with Bach and the Goldbergs.
So my new edition is a big challenge for me to surpass myself.
In this his origin, in the fate of his nation, rests the explanation of his advantages and of his faults alike. I give the work more intimacy; by maintaining the chamber-musician and classical clarity and structure in the different variations, the symphonic line is more of a single breath, and the different scenes are better proportioned. The end and stretta are much more touching, also much more virtuoso and overwhelming.
The Fantaisie now has a more virtuoso-line, more explosion and fire, so that the Agitato is transferred in a more ecstatic way; I have given much more drama to the octaves e. Schliessmann has especially strong opinions about performances of the Berceuse, which he plays with more virtuosity than other pianists do. If you lose this line in its strength as well as clarity— but also simplicity and lightness—you lose the meaning and real characterization of the whole piece and its elegance.
The key point? When we have a look to his manuscripts, we learn that Chopin worked very hard on his ideas and had something special in mind. Very often he wrote something, then rejected it and made many corrections, coming up with a completely different version, or, curiously, sometimes coming back to first version. One of the biggest changes since Chopin celebration has been the growth of the period performance movement.
Schliessmann remains committed to a modern instrument. I personally never even wanted how crazy and terrible! It has an extreme clarity and sonority, extreme colorfulness and unlimited ranges of registrations in all parts. It is an exceptional instrument that is ideal for music of classical style. Georges Ammann, world famous technician of Steinway, again did again a great job and had been on my side all the time. The works which need a more intimate atmosphere like the Berceuse, the Barcarolle, the Waltz op.
To bring out such an result requires the combination and synergy of all powers. Truth of interpretation, truth of sound, truth of the instrument, truth of the hall, truth lastly of all. I interviewed Schliessmann about this project via e-mail. Do the Goldberg Variations, in particular, adapt well to the piano, or do they present certain difficulties?
And lastly we have the great Bach with his compositions for the organ, which again is a complete other style in music, structure, and sound. On the other hand, if one knows the historic background of interpretation of Bach, one has to confess that many readings of the text of the compositions in whole must be dependent on the style of harpsichord, spinet, or clavichord. Especially articulation and phrasing. These readings cannot directly be produced on a piano concert grand. One has to verify and reproduce these readings in another manner on a piano concert grand by pointing out the original meaning in a relative manner, but one that is convincing in relation to the new instrument.
But if you already make the jump to decide to play Bach on the piano concert grand, you have to do this with all the consequences. In the case of the Goldberg Variations we are confronted with certain problems of realization on the piano concert grand: this piece really is conceived for a two-manual instrument in the original, and the crossing-over of both hands is well known for the enormous technical problems pianists have to bypass by keeping the pieces in tempo, especially the fast ones.
On the other hand, one has to realize that performing on the concert grand also is a great advantage in dynamic range, colors, and the independence of all voices. Giving each voice its own character in touch, dynamics, color, articulation, phrasing, and melodic line, you can build up a musical and artistic result that brings out a new tension, which lays itself like a net above the whole. Here the music has other priorities to be wrung out, as already mentioned, the articulation and phrasing.
The Goldberg Variations have always enjoyed a special status, with pianists regarding them as a touchstone of their technical and interpretative powers. The performer must play a game with particular devices, finding solutions to the problems posed by the work not in octave doublings and other playful expedients but in a tightly structured inner rigor and order. What is demanded is a particular form of internalization, of inner and outer lyricism. It is this that makes the Goldberg Variations so unique—and so demanding. This is my personal conviction of the Goldbergs.
Therefore I personally favor the interpretation on piano concert grand with its richness of all emotional ranges, which, however, does not minimize the feats in history of the harpsichord-interpretations. And last but not least: we know that the dedication of compositions to a particular instrument is to be seen relatively in Bach. Very often it was Bach himself who made transcriptions from certain works for other instruments, and, especially the cantatas and orchestral works often are based on the—for the Baroque-epoch so typically—style and manner of parody.
Also, the greatest works, the Art of Fugue and the Musikalisches Opfer, only to name two, are not dedicated to a special instrument at all. How does that color your approach to the Goldberg Variations on the piano or does it not have an effect? As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. Lastly one can say that I have been growing up with Bach, even to this day. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.
The mechanical lightness is so wonderful, which enabled me to realize the extreme virtuosity in the faster movements of the variations. But, to bring out all these qualities, all terms have to come together. My piano technician, Georges Ammann from Steinway-Hamburg, is one of the best technicians all over the world, someone who collaborates with all major pianists. As we all know, the singularity in the art of Bach is the fusion of both levels and lines, the horizontal and vertical line. As we can imagine, these are high demands on an instrument.
Perhaps you know that I played—and still do! In this special field of tension I also see many of the major composers and works in the Romantic tradition. It was no less than Schumann himself who said that great music finds all its combinations in Bach. Indeed, Schumann also builds up his works in polyphonic style, and even in his orchestral scores and symphonic movements he is a counterpointer.
As Romantic and modern his work must have seemed to people of his era and lifetime, in main he was a classicist. That means that—and only to name one typical Romantic composer—Schumann cannot be understood without Bach. Not at all! To understand Bach, one has to be at home in the whole literature of art and interpretation; one must have great experience in performing the complete literature, from Bach until the early avant-garde.
Only by this experience you can give the Bach interpretation a new balance and tension. Knowing the true worth of this condensed and nearly welded-in polyphonic structure and singular musical architecture, one ultimately knows that it is impossible to play with the variations, meaning to change voices, or make doublings. Then the music itself would be robbed of its true worth and sense, which can only be revealed by bringing out the embedded simplicity, which however is transformed to an electrified, heated atmosphere. One has to respect the internal strength.
Bach really cannot be seen, understood, and interpreted from an isolated point. Bach has to be explored as part of something complete, unique, of a universe. Would you discuss this, especially as the Goldberg Variations may relate to the question? In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that Chopin is the crowning and climax of piano-playing. Whether the Goldbergs may relate to this question?
Again we return to the theme of my piano concert grand: if the piano cannot bring out this character, you are totally lost. In conclusion: all is in the same breath, and all is part of a big coherence. Therefore, interpretation also is a question of experience. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. A hundred years later, it was Mendelssohn who about discovered Bach anew with the performance of the St.
Matthew Passion. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould—again years later—has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way.
This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the , started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs Silbermann, Arp Schnitger.
Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style.
Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented. I myself represent the style of a Bach who was a human being with all his heights and depths, who knew life very well. I had been fascinated by Gould in his explosive emotionality, which really is part of my own conception, even if today I have the possibility of another interpretation, as explained; but there are two versions that I also admire very much: those of Perahia and Hewitt.
But in answering your question: no interpretation has influenced me; moreover is my interpretation influenced by my knowing not only the whole literature, but also by my knowing the organ-Bach and his unlimited colors. And this richness is, so I hope, what I give to my listener. We still have to mention giants like Wanda Landowska and Marie Claire Alain, who were a great influence on the Bach interpretations, but not to me. Probably I have to be sorry for it, but this is my deepest artistic conviction for the rightness of an interpretation—interpretation as a summary of something unique and whole, not of a combining of details.
Intuition is a level that includes all levels of emotion, intelligence, structure, and architecture. It was he himself, who, after he had been occupied during his whole life with symbols, with numbers, with the mastering of structural and formal problems and renewals, now he saw himself confronted with a personal view into mirror. He now shows us a human being in his whole conception of life. The heartbreaking modulations from bar until the end demonstrate the horror of death. By this we also are confronted in the 25th variation of the Goldbergs.
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Look at my time: more than nine minutes. I need this time to demonstrate this mood in its endless richness in the form of a geographic panorama. It has something of the aspect of standing still. But also another variation, the 21st, is a herald of this tonal speaking, and the 15th variation ends in visionary burning. Many want to try to see in the 25th variation the nearness of Schoenberg, and by doing this they interpret this wonderful piece in a way that is academic, dry, rigid, motionless, and colorless. I fear this is the wrong insight and approach to the real and inner content of this piece, because by this it will totally lose its three-dimensionality.
The result is a universe that in its significance resembles the alpha and omega of music in general, music that evolves out of nothing and disappears back into nothing as if in a state in which time stands still. The interpretation reflects my deepest respect for the major composition of the musical literature. And in the surround-version you find the lucky result of a combination of all parameters: truth and verity of the excellent acoustic possibilities of the studio-hall, my Steinway, my technician Georges Ammann, and, in special manner, Teldex-Berlin.
For his is an intellectualism with a personal twist—as became clear from the three CDs under review, coupled with a series of conversations by phone and e-mail which, in turn, often incorporated material from his thoughtful program notes. Why do I call him an intellectual? What does this mean? When we look at the score, we find that in each repetition, Schumann placed the deepest notes of the left hand at a different rhythmical place.
When you hear the recordings of Horowitz and me, you will see that the demand of the text is fulfilled in a special manner: we play the left hand not simply in the rhythm as noted. How many can illuminate Chopin with a comparison to Kierkegaard? Few modern admirers of the Sonata take Hanslick seriously; if anything, his words are trotted out as one more example of how thickheaded critics can be.
To conclude from this supposed economy of thematic material that Liszt lacked inspiration would be to fail to recognize the improvisatory nature of his creativity. One of his models here is Michelangeli, someone with whom he wishes he could have studied. I could use this for my own playing, of Chopin, Schumann, and especially Liszt, because Liszt demands a very highly developed technique. Here you can risk anything, much rubato, many agogics. His performance of the Liszt stresses the disruptions, too. In a way, then, Schliessmann can be said to be seeking out the subjective, rather than the objective, forms of the music.
For, ultimately, personality is crucial to Schliessmann—both the personality of the artist and the personality of the performer. Moreover, the typical playing in competitions has nothing to do with the real art of interpretation, which belongs to the personality of the artist, which is a mirror of the individuality and personality of the player. In competitions, very objective playing is necessary, playing which depends on the correct playing of all notes.
There is no chance to demonstrate a personal style and there is no time for the jury to discuss the sense of a style extraordinaire. Avoiding both the architectural rigor of Pollini and the sheer intensity of Horowitz, Schliessmann offers an unusually inward account of the music, on the slow side of normal certainly he resists the temptation to race through the opening of the fugue , more likely to apply the brakes for interrogation of expressive details than to surge ahead for sheer drama.
Specifically, like Teresa Walters see , Schliessmann sees the sonata in profoundly religious terms. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. It is not a profession to be a pianist and musician. It is a philosophy, a conception of life that cannot be based on good intentions or natural talent. First and foremost there must be a spirit of sacrifice.
In part, credit is due to engineer Marcus Herzog. Schliessmann insists that the quality of the sound has its source, as well, in the quality of his piano technician, Georges Ammann. But surely the pianist deserves credit, too? Indeed, on his CD coupling Schumann and Liszt, he insisted on a different acoustic for each composer. Significantly, for all his interest in history, Schliessmann is committed to modern pianos. Each has a different sonic character, and he uses them for different kinds of repertoire.
The first—a piano much admired by Michelangeli, who would have bought it had Schliessmann not gotten there first—was used for his recordings of the Schumann and Liszt. You can also use it very well for Bach or for Beethoven, not for symphonic music, because the tone is much more fragile. He often travels with his own favored instruments especially if there is a recording or broadcast involved , and he carefully adjusts to any hall in which he plays. In his care in this regard, he has been influenced by Horowitz. This has had a great effect on me. I feel how each listener in the audience is listening to me, and I feel its warmness, for example, and I give it back to the complete audience.
I feel the intensity of hearing, of listening. This is like electricity, and this I give back to the audience. This helps me to play in a way that electrifies people. That means that I can avoid cuts; I can have a big line, a big arc of my whole interpretation. Even in the Schumann Fantasy, where we have three big movements, there are few patches. So which of these recordings should you start with? Even though the SACD is a hybrid and thus compatible with a normal CD player, on a regular CD player you only will have compressed audio reproduction format.
That means there are no room acoustics and all is reduced to a sound that has nothing to do with my interpretation. Listening in this way, you will get a wrong and false impression of my interpretation. The DVD version has an additional virtue—a bonus video clip on which he plays the Waltz in C sharp Minor, although many will find that the nearly surrealist visuals distract from the music. But whatever your starting place, you are liable to agree that Schliessmann is not a run-of-the-mill performer. In Amerika geachtet Ich spreche von Burkard Schliessmann. In Amerika, wo er gefeiert wird, vergleichen ihn Kritiker mit der Spitzenklasse.
Mit Earl Wild. Mit Svjatoslav Richter. Er bringt Intellekt, Technik und Emotion in eine Balance. Da muss man sich die Zeit nehmen, seine Chopin-Balladen zu entdecken. Da stimmt das Tempo. Da bestehen unmittelbare Verbindungen zum Da spielt er wie besessen Godowsky- und Liszt-Transkriptionen. Man kann ihm zuschauen und seine manuelle wie intellektuelle Kunst bewundern. Sind es die Gesetze des Marktes? Ist es unausgesprochener Neid der Konkurrenz? Es steht fest: Man darf ihn nicht verpassen, sonst hat man etwas verpasst. Wie kommt es zu dieser Konzentration auf Brahms, Schumann und Liszt?
Besonders die sog. Bislang haben Sie noch keine Kammermusik-CD vorgelegt. Durch diese Verfahren hat er das Mittel gefunden, musikalisch eine Art Vision oder Halluzination hervorzurufen. Am Ende des Jahrhunderts oder zu Beginn des Aber nicht nur die Kammermusik und Liedbegleitung sind "verborgene Seiten" von mir. Bach und Max Reger beherrschte. Ich bekenne mich dazu, dass meine Klavier-Interpretationen teilweise stark von diesem inneren "Gebetston" inspiriert" sind, beispielsweise der 3.
Gerade hier begegnen wir Passagen, in denen die Musik beginnt, aus sich selbst heraus zu sprechen. Zu Bach und dessen Musik habe ich ohnehin einen besonderen Zugang, mehr dazu aber an anderer Stelle. Ich bin mittlerweile fast auf der ganzen Welt getaucht und habe als Guide bzw. Tauchlehrer Tauchsafaris begleitet. Aber um die Sache von allem o. Ihre Schumann-Interpretation ist vergleichsweise kraftvoll, zum Teil sogar stark basslastig. Nach diesem Klangideal habe ich jahrelang gesucht und jage diesem Klangideal auch regelrecht besessen hinterher. Dies ist eine eigene und besondere Klangwelt.
Instrumente von heute verfolgen andere Klangideale. Zum anderen ist es die Aufnahmetechnik, die diesen Klang entsprechend transformiert. Kann man das, vielleicht in Live-Konzertprogrammen? Vor allem Bach ist ein Bereich, den man nicht ausgrenzen kann. Bach in der Endrunde. Sowohl als auch. Wie kommen Sie zu dieser Einstellung? Ich vertrete nun mal die Auffassung, dass man - macht man schon eine Einspielung - das Werk einfach "drauf haben" muss. Meine Aufnahmen sollen einen reellen und objektiven Eindruck meines Spiels, meiner Kunst hinterlassen, quasi eine Art "live"-Vortrag.
Es hat mich verzaubert, mitgerissen und nicht mehr losgelassen. Wer spannende, emotionale Geschichten mag, die einen nicht mehr so schnell loslassen und mit etwas Grausamkeit klarkommt, wird mit diesem Buch auf Wolke 7 schweben. Meine klare Empfehlung! Solange es frei war, konnte es all das sein. Apr 12, Saskia rated it really liked it Shelves: library. Ab da fliegen die Seiten auch nur so dahin ohne, dass es unglaublich spannend ist. Mar 13, Kate rated it it was amazing Shelves: books , i-own , signed-books. I'm keeping this review short, because I really don't want to spoiler anybody.
After I've read some reviews wirtten by friends who gave this book 5 stars out of 5, I just couldn't not buy this book, even iwith the horrendous amount of oney I had to spend on it silly german bookprices But now I have to say that every euro I've spend was worth it, because this book is great. It's another dystopiannovel, but this time, I good one. The characters were great, the se Worst.
The characters were great, the setting especially the plot, too. It was an enthralling read and I'm a but sad that I didn't have the time to read it in one day, because then it would have been even better. One thing I didn't like were some comma-mistakes. Don't know why, but the grammar-nazi came out of me- sory. But I liked it even with those comma-mistakes ; If you are german and looking for a nice dytsopian novel, go and read Dark Canopy. It was an amazing read! That ending!!! I'm not ok!!! This was brutal. And raw.
And really amazing. Joy is probably the most relatable character I ever came across in a dystopian novel. Full review to come, I have to start book 2 or I'm not going to sleep anytime soon. View all 5 comments. Oct 27, Lulufrances rated it it was amazing. One of the best books I've read in a while!!! View all 4 comments. Jan 05, Ann rated it liked it Shelves: dystopian. Man merkt, dass die Autorin ihre Heldin von den anderen abheben will. Aus dieser Kombination habe ich mir viel erhofft. Leider habe ist sie mir bis zur letzten Seite fremd geblieben. Sie war mir weder sympathisch noch unsympathisch.
Ich war in der Lage, seine Entscheidungen und charakterliche Entwicklung nachzuvollziehen. Auch wenn ich hier ebenfalls ein paar Moment hatte, in denen ich seine Entscheidungen nicht nachvollziehen konnte. In kriegerischen Auseinandersetzungen kann man nur selten sympathisieren, aber je nach Sichtweise trotzdem nachvollziehen. Besonders sind seit der Herrschaftsergreifung der Percents lediglich vierzig Jahre vergangen, die Sprache wirkt aber zum Teil fast schon mittelalterlich Bsp. Vielleicht kreuzt er den meinen dann und wann in Frieden. Das Buch ist in der Vergangenheit geschrieben, in der ersten Person aus Joys Sicht und wird ab und an von Matthials Perspektive in der dritten Form durchbrochen.
Es bleibt nicht bei diesem einen Beispiel, Dinge wie diese sind mir das ganze Buch immer wieder unangenehm aufgefallen. Ich mochte das Buch wirklich gerne, aber hier und da haben doch ein paar Ecken gefehlt, um ihm 5 Sterne zu geben. Der Schreibstil der Autorin ist wirklich gut und es fiel mir leicht, der Geschichte zu folgen.
Der Schreibstil bietet viele Details, aber nie zu viele, und die Ich mochte das Buch wirklich gerne, aber hier und da haben doch ein paar Ecken gefehlt, um ihm 5 Sterne zu geben. Der Schreibstil bietet viele Details, aber nie zu viele, und die Autorin schafft es, auch ruhigere Stellen interessant zu gestalten, so dass ich immer wissen wollte wie es weitergeht. Am besten gefallen haben mir wohl der Anfang und das Ende. Ich fand es spannend, die Welt kennenzulernen, in der Joy mit ihrem Rebellenclan lebt. Im Mittelteil war mir das Buch dann aber doch etwas zu langwierig.
Es war nie langweilig, aber es passierte auch einfach nicht besonders viel. Das Chivvy an sich war spannend, wild und brutal und eigentlich genauso, wie ich es mir vorgestellt habe.
Es hat mir gefallen, dass Joy - im Gegensatz zu den meisten Protagonistinnen anderer Dystopien - schon 20 Jahre alt ist und keine 16 mehr. Spannend fand ich hingegen Matthials Entwicklung. Dazu fehlte mir im Mittelteil einfach die Action. Insgesamt bekommt das Buch von mir solide 4 Sterne. Jul 24, Anja rated it really liked it Shelves: challengecover , group-reads , german-reads , challenge , lent-out.
Eine Leserunde hat es davor bewahrt, auf Ewig ungelesen dahinzugammeln, und mich das Projekt Dark Canopy endlich erneut in Angriff nehmen zu lassen. Nach den ersten Seiten des erneuten Leseversuchs war mir direkt wieder klar, warum ich das Buch damals pausiert hatte. Und was sollten die Kapitel aus Matthials Sicht bringen? Aber ich konnte nicht. Ganz besonders das Konzept der Percents hat mich nicht mehr losgelassen. Gar nicht.
Die Percents hatten mich im Griff und haben mich nicht mehr losgelassen. Mit ihr hatte ich extreme Probleme, konnte mich absolut nicht mit ihr anfreunden. Von Anfang an war sie mir unsympathisch. Sie benutzt Sex, um Menschen zu manipulieren. Aber sie ist auch stark und unbeugsam, lernwillig und tief in ihr drin hat sie wirklich Herz, auch wenn sie es selten zeigt. Das macht sie trotz aller Antipathie zu einer grandiosen Buchheldin.
- Ce François Hollande qui peut encore gagner le 6 mai 2012 ne le mérite pas (Politique) (French Edition).
- Gekommende Aus Abaddon.
- Bending the Rules (Action! Series Book 11);
Anfangs wirkt sie recht eindimensional, ist aber alles andere als das. Sie entwickelt sich, zeigt neue Facetten, verliert aber nie ihren starken Willen, verliert nie sich selbst. Joys Wandlung hat mir so gut gefallen, dass ich sie am Ende sogar fast gern hatte. Mir jedenfalls war das sofort klar und ich habe mich gefragt, wie die Autorin das verkaufen will. Immerhin ist der Kerl ein Percent Lord Voldemort, hallo.
Und wie wunderbar kitschfrei die beiden waren. Aber eines ist sicher, das Buch endet mit einem der allerallerallerallerallerallerallerschlimmsten Cliffhanger aller Zeiten. View all 3 comments. Feb 24, Bella Bella's Wonderworld rated it it was amazing. Zuerst jedoch lernt man ihr hartes und entbeerungsreiches Leben im Rebellenclan und kennen. Aus dieser Sichtweise heraus begegnet man den unmenschlichen und grausamen Percents.
Helden findet man dort, wo man nicht nach ihnen sucht. Joy ist mit ihren zwanzig Jahren recht jugendlich und begeistert mit ihrer taffen, mutigen Art. Eine traumhafte Lovestory! Mit ihm transportiert die Autorin die schlimmsten Eigenschaften zu Tage die ein Percent haben kann.
Jan 12, Carly rated it it was ok Shelves: dystopian-end-time , Inhalt: Der Inhalt dieser Dystopie ist verwirrend. Wieso auch nicht? Sie erschaffen die Dark Canopy, sodass die Sonne abgedunkelt wird. Sie werden erniedrigt und schlecht behandelt, denn die Percents sind auf Rache aus. Fehlanzeige Andere Menschen wollen sich das nicht bieten lassen und fliehen aus der Stadt. Gleich mehr zum Inhalt und der Haupthandlung. Derjenige, dessen Mensch nicht gefasst wird, gewinnt und bekommt einen hohen Posten in ihrer Gesellschaft.
Ist es auch. Sie war mir so unglaublich unsympathisch, dass ich sie gehasst habe. Warum ich sie hasse? Matthials Perspektive war saulangweilig. Es reicht, zu sagen, dass er wie ein liebeskranker Welpe um Joy herumspringt und das, obwohl sie den auch nur benutzt und das nicht gerade verheimlicht. Der Junge ist total dumm und blickt nicht durch.
AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich. This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.
You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years.
This book is an attempt to translate new understandings of transcultural connections into a dialogue. Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore.
Happy Tropics I consists of two parts that run literally parallel throughout the book. As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state.
The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals. Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture. Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept. Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe.
Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book. If you are interested in our reading session please contact us!
We will write you back with a copy of the book, and warmly recommend you to read it before the session. Contact: Miwa Negoro Corner College , miwa. Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at h Finissage: Sunday, 19 February at h Artist talks and other accompanying events to be announced. The studio might be a space where a certain degree of autonomy can be detected. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques.
There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.
It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc. Work is here used not necessarily to designate an art object.
The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity. The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.
The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Theorem 4. All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does.
Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy. Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too.
HD video. Lisa Biedlingmaier, undefined. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed. The interior, whether a home office or a study room, provides clues to the personality living or working there.
Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. Photo: Maria Pomiansky. Courtesy the artist. What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles.
Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design. It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland — from producing it, to archiving and exhibiting it. The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography.
On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book. The evening will end with a toast on the publication. Robert Lzicar is a designer, educator and researcher. In resonance with Cora Piantoni's exhibition Buon Lavoro!
Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider. Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird.
Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen. Sie studierte Philosophie an der Sorbonne. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed.
Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid. Born in Basel , lives and works in Zurich. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.
Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters.
Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment. Brimacombe, Getty Pictures Archive. Aus Anlass des Ted Serios. Ted Serios starb am Dezember in Chicago. Zum Psychiater und Parapsychologen Jule Eisenbud geb. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Jule Eisenbud starb am Stipendiat u.
Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt. November - Freitag, November , ab h. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers.
The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage. The image is sober, without formalization.
With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects. In the history of moving images and cinema, there are two main streams, one in the line of D. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives.
This latest work comes out of a residency in Genoa in , where the artist encountered a local story from the Italian antifascist resistance of the early s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.
Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past?
What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time? Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education.
This book is a compendium of assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within.
Nicolasa Navarrete Illustrating Das Kapital. Volume one, 1 The end of truth Graphite on paper. The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable.
It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money. Cora Piantoni Songs of Work 2 channel video installation, sound, min, Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative.
She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history. The table game offers a situation for curious and open people to contact with each other in a playful setting. It allows to inform each other and share and connect information and knowledge. Curious to play with us? Please register here! And: bring some values with you.
We are expecting you with pleasure and curiosity! We are there on Sunday, 30 October, for two sessions of the game, hh, and hh. August im Corner College. Photo: code flow. Es war in Ordnung. Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig! Weil wir Freunde waren. In den Lebensmitteln drin geht es zu und her wie in einer Stadt Gedichte, Texte und Zeichnungen. Zine-Vernissage am Sonntag, Oktober um h.
In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Text ist noch nicht abgeschlossen. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations.
The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation. The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement.
Diagram by Lia Perjovschi, portraits by Nastasia Louveau. Opening: Saturday, 08 October , starting at h with a performance by Gregory Hari at h. It really seemed to write itself. Frank Baum, the author of The Wonderful Wizard of Oz With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance.
The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey.
The artist situates himself on a yellow strip around one meter wide, where his performance takes place. A journey like a blank page. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.
The grass is always greener on the other side of the fence. These are the yellows of hope. The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you. Yellow is a combination of red and green light. There are no yellow receptors in the eye. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. Early s. I join the march. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope.
The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. The root of the red is life itself. I regularly lose a lot of hair. As hairs slide off, small rings form around my finger. I started collecting the rings. I decided to take this ritual into a public performance. Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of my physical transformation. This public event follows three days of a durational performance with streaming. Durational performance on 27 - 28 - 29 September. One hair is trash. Million hairs is a woven record of my self.
One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation. One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event. Where there are opinions, differences arise. The main topic of my videos could be defined as immigration, and following transformations of a personality.
I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. It became an important issue for me to learn a lot about the place where I live first Tel-Aviv, and now Zurich and try to build a dialog through my art practices video and painting. The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West.
The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel. They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere.
Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past.
Home of the Brave: Archeology of the Moving Image. Opening: Saturday, 20 August , starting at h with a performance by Discoteca Flaming Star at h. Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten — Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus.
The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit. At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience.
It does not require particular dance skills. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism. The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor.
It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i. Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it.
The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner. Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation of historiography. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. The artistic work is to be presented in the form of a video installation, a performance, and research material.
The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies. Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric.
They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. Sometimes they are concepts, or poems. In the words of DFS , they are think-text-iles.
For their live performance dance construction Love Any Out of 90 Seconds End , Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life.
Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body.
Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization.
Esther dances together with Cristina , and Wolfgang sings. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage — a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language.
Love makes the movements a dance of refusal. Love is not work! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. I die.
Gekommende Aus Abaddon | Symphony Of Horror
I leave. Dieser Raum, der immer auch ein politischer und sozialer Raum ist? With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human sub conscious. She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us.
During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind. Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions. What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings. By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness.
Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day? As the exhibition was only open in the early morning, from sunrise around 5. And indeed people took the effort to get up early; some of them even arrived earlier than the curator or was she a performing artist? Where she served breakfast, which stimulated visitors to reflect in dialogue. Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen.
This allows putting forward different forms of repertoire but also sound improvisation. Reading Why doesn't anybody notice that this chair is a nettle! Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing. Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner.
The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'. In brief: Mosh Mosh seem to be most at home when they are in tatters. And it is only thus that the codes of 'ladylike behaviour' can be redefined. Let's deconstruct and your body will follow! Finissage: Friday, 05 August , at h in the presence of the artists. Emporium of Benevolent Data.
Exhibition views from the opening. Sat It puts on display their recent works Citracit , a site-specific research-based installation by Adrien Guillet, and the two video installations IamRebekah and The Next Round by Quentin Lannes. This exhibition was made possible by the kind support of the French Embassy in Switzerland. It combines queer archival research with contemporary art contributions. Founded in by artist Karol Radziszewski. Currently designed by Martin Falck. The journal is based in Poland, published in English and distributed worldwide.