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In September a new record of Martin Simpson will be released containing one of my most covered songs, end of the seventies, playing gigs in english folk pubs: the Blues have run the game. Later on in life the Samba followed, and all that Jazz, of course. With little disappointment: the double bass of Danny Thompson is hardly recognizeable, caused by a lack of bits. Weil es eigentlich um etwas anderes geht. Natalia, die ich in Studienzeiten kennenlernte und die sich gern in irreale Beziehungskonzepte hineinsteigerte, nannte den jeweiligen Mann, den sie auf eine komplizierte Art begehrte, ihren Angebeteten.

So ist es, wenn man halb bewohnte Behausungen mietet, mit ihren abgebrochenen Geschichten darin. Wir stapften durchs feuchte Gras. Die Fensterfront war riesig und der Himmel schien immer grau. Sie schienen ihr Leben als Fotostory dokumentiert zu haben.

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Und die Fotos waren richtig gut. Es gab eine CD mit seinen Musikproben, an die ich mich nur vage erinnere. Die beiden waren in der Mitte ihrer Zwanziger, und sie hatten eine ziemlich gute Zeit. Alles hatte etwas Geerdetes und zugleich etwas Schwebendes, Leichtes. Er war Fotograf, erfuhr ich.

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Lebte mal in Berlin, mal hier in Irland. This is the garden that I know. Ten thousand summers made me here. Though you are an atheist, in the song, the religious side comes out on top, largely thanks to the power of gospel music. No doubt. My side, the agnostic, atheist side, has got nothing like that.

PDF Die perfekte Ordnung der Dinge: Roman (German Edition)

The Christianization and dissolution of the Roman Empire had provoked a crisis of traditional identities and opened new spaces for identification. What were the textual resources on which new communities could rely, however precariously? Biblical models and Christian discourses could be used for a variety of aims and identifications, and the volume provides some exemplary analyses of these distinct voices. The contributions reconstruct some of this discursive matrix and its development from the age of Augustine to the Carolingians.

In the course of this process, ethnicity and religion were amalgamated in a new way that became fundamental for European history, and acquired an important political role in the post-Roman kingdoms. The extensive introduction not only draws together the individual studies, but also addresses fundamental issues of the definition of ethnicity, and of the relationship between discourses and practices of identity. It offers a methodological basis that is valid for studies of identity in general. What constitutes this desire within an ongoing process of redefinition and self-awareness? The invited institutions, all founded after and based in Egypt, Germany, Lebanon, the Netherlands, Portugal and the United Kingdom have positioned their identities not solely within expectations of the market and audiences, but through their commitment to research and focus on non-traditional programmes and formats.

Framed within, yet not defined by, socio-political, economical and spatial contingencies, this symposium presents an opportunity to reflect on how these differences and similarities can be negotiated and transformed into a productive and feasible discourse and practice. Based in Beirut LB it is conceived as a research project that shifts its attention to a new topic every 98 weeks. Since opening in , it focuses on artistic research, combining both theoretical and practical forms of inquiry. Since opening in , it considers institution building as a curatorial act. Beirut hosts artists, artworks, research projects and other institutions locally, regionally, internationally that wish to engage with shared questions concerning politics, economy, education, ecology and the arts.

It was founded in as a wish for self-reflexivity for thinking about the existing conditions for the development and perception of a so-called institutional practice. Founded in by Rhea Dall and Kristine Siegel, it investigates the objects, process and interactions that combined constitute an artistic practice, through half-year cycles centered on the full span of work of two unassociated artists. Opened in , it explores recurrent questions concerned with the constant friction between the inner self and the theoretical, professional and artistic practices that describe and inscribe us in daily life.

Die European Kunsthalle manifestiert sich als Ereignis, erscheint, um wieder zu verschwinden und andernorts erneut aufzutauchen.

Themenwochenende 8. Selbst in Abwesenheit von Licht finden einige Aktionspotenziale am Sehnerv statt, die die Empfindung eines einheitlichen dunklen Graus hervorrufen. Im Lauf eines Jahrhunderts hat das Victoria and Albert Museum eine Reihe provokativer Positionen entwickelt, die oft kritisiert wurden. Historische Anordnungen d. In mehreren Abteilungen unterstreicht die Museumssammlung nicht das historische oder politische Fortschreiten. Die minimierten Informationen zum Kontext verwandeln die Museumsexponate in frei schwebende, zusammenhangslose Objekte.

Dies ist ein schwereloses Museum. Auf 35mm gefilmt, ist dieser erste Teil mit dem aufgenommenen Studioton synchron. Ihre Unterhaltung ist durch den Gesang einer weiblichen Stimme ersetzt, die ein Familientreffen orchestriert. Ulla von Brandenburg selbst leiht den Darstellern ihre Stimme. Sprache und der Aspekt der Zeit sind dabei wesentlich. Ihre Arbeiten waren bisher u.

Spanish Ministry of Foreign Affairs and Cooperation. Die Arbeiten konzentrieren sich hierbei auf die Frage, wie sich diese bereits eingelagerten Bilderwelten heute lesen und interpretieren lassen. April zum Ausgangspunkt. Jahrhunderts in der Sowjetunion, in Russland sowie im Westen. In seinen u. Aber auch das Altern nimmt in ihren aktuellen Filmen einen selten sichtbaren Raum ein.

Workshop am The new series begins with a joint presentation of two accomplished and versatile European artists who both emerged in the late s and have exhibited extensively in Europe, not least at documenta 12 in This follows the programming principle of the European Kunsthalle, which is to develop the format and concept of the contemporary art institution by focusing on artistic practice, presenting established as well as emergent artists in exhibitions, site-specific projects and discursive events.

The exhibition juxtaposes different images: some decidedly material, others ethereal and evocative; some contextualized by a title, others deliberately uncaptioned. Together they form a visual meditation on the political. Lili Dujourie Belgium, born is known for her video works and photographic series from the s and early 80s, but also for her works on paper from the same period and her three-dimensional works from later decades.

These are often executed in techniques and materials that resonate with many centuries of tradition, such as draped velvet, marble intarsia, lead or ceramics. Lili Dujourie is continuously concerned with contemporary reinterpretations of themes, forms and gestures from art history, which is one reason why her many-faceted but dense and precisely articulated oeuvre is so visually and intellectually rewarding.

At Ludlow 38 Dujourie shows American Imperialism, a variable installation comprising sheets of steel and a painted wall that was conceived in —72 and has been realized in different permutations and dimensions throughout the years. She also shows three collages from the series Roman from , based on images torn out of glossy magazines.


Ion Grigorescu Romania, born has addressed topics ranging from political commentary and reflections on history to his own body, spirituality and religion. Grigorescu has experimented with genres, formats and techniques, producing comic strips or performances or murals. Three of his films are featured in the exhibition. Boxing from the same year could be defined as a cinematic performance, whereas The Truth about the Capitalist World from documents a rare foreign trip. Three photographs entitled Art and History illustrate a politically charged debate about an art exhibition with the same title in There is also a small preparatory drawing from for an official portrait of Ceausescu, which was refused by the commissioners for being too true to life.

April teilzunehmen. Hierbei wurde eine Vielfalt von Medien eingesetzt, um mannigfaltige Formen der Erfahrung zu schaffen und aufzuzeichnen. Transformiert in intelligente Planungsalgorithmen werden sie in Katja Davars Grafik und Animation zu einem ornamentalen Muster. Was bleibt uns in Erinnerung von einem Ort ohne Geschichte? Hunt setzt sich in seinen Performances als isoliertes Individuum unterschiedlichen Gefahrensituationen aus, denen er gesellschaftliche und soziale Handlungen oder Formen der Kommunikation wie Gesang entgegensetzt.

Die kommunikative Dimension des Songwritings geht in scheinbar leeren Gesten verloren.

Qualität braucht ihre Zeit

Ausgehend von Textfragmenten der Musikkultur entwikkelt sich ein Puzzle aus Assoziationen und Konzepten. Lloberas zeitlose Panoramen sind immer wieder mit historischen Zitaten besetzt, die er in ein universelles Bezugssystem setzt. Diese Hermeneutik erschwert eine eindeutige Definition seiner Arbeiten. Seine Panoramen verweisen auf historische und aktuelle Bedeutungen, deren dichotome Inhalte sich in der narrativen Malereistruktur andeuten. Es gelingt ihm, unser Rezeptionsverhalten subversiv in Frage zu stellen. Der nach seinem Studium in L.

Das Video endet, als der letzte Gegenstand am Boden liegt. London reproduziert in ihren Arbeiten Soundlandschaften. Der Artikel verhandelte nicht die unmittelbaren und relevanten Ereignisse, sondern das ultimativ Banale. Das statische Bild wird so zur Geschichte. Der reiche und eitle Mr.