Daniel Richter Biography
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The German Technical Museum in Berlin and Its Railway Collection Alfred Gottwaldt
Feature World Railway Museums The German Technical Museum in Berlin and its Railway Collection Alfred Gottwaldt were 30 German locomotive builders, and Deutsche Reichsbahn based in the German Railway History a specified architecture for German Deutsche Demokratische Republik (East stations and other railway buildings. Germany). This situation continued after The 19th century development of railways At the end of the 19th century, some the Berlin Wall was built in 1961 and in what is now Germany is very much like railways in Germany were state-owned onwards when it came down in 1989— the story of any other European country— while others were built and operated by railway systems in the east and west of except Great Britain—and German private capital. However, the state railway the country were not reunited until 1995. railways played an important part in the systems became omnipresent and in nation’s history. Only 6 years after the 1910, German railways were employing famous Rainhill Trials near Liverpool in more than 1 million people. They Berlin Railway History England, demonstrating the practical operated 30,000 locomotives, and had feasibility of steam locomotive traction, the 20,000 stations on a total track length of The first railway line in Berlin, the Prussian first German railway was opened in 1835 55,000 km. German railways were the capital at that time, opened in October in Nuremberg, Bavaria, a kingdom in what backbone of transportation during WWI 1838, only 3 years after construction of the is now southern Germany. (At that time carrying troops, munitions, supplies, and Nuremberg line. -
This PDF Is Part of the Catalogue of the Exhibition Wolfgang Tillmans
This PDF is part of the catalogue of the exhibitionWolfgang Tillmans. Moderna Museet, Stockholm, 06.10.2012 – 20.01.2013 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 02.03.2013 – 07.07.2013 2 – 17 Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans 18 – 116 Installation views Moderna Museet 117 – 125 Captions Moderna Museet 126 – 131 List of works Moderna Museet 132 – 133 Biography 134 Colophon Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans Prelude: How a visitor may be led Warsaw, January 2012. Ascending the majestic staircase of the classicist art palace built between 1890 and 1900 for the Towarzystwo Zachęty Sztuk Pięknych, the then Society for the Encouragement of the Fine Arts, and now home to the Zachęta Naradowa Galeria Sztuki, Poland’s National Gallery, I make my way up to Wolfgang Tillmans’ exhibition Zachęta. Ermutigung (Zachęta. Encouragement). En route I see large paper-drop pictures hanging in niches that must originally have been intended for paintings. These close-ups of sheets of curling, curving photographic paper with shimmering and gleaming polychrome surfaces are unframed, held in position by the foldback clips that Tillmans uses to present his works on paper. With the three-dimensionality of the images and the three-dimensionality of the physical objects, the paper-drop pictures perform a dance of gravity, materials, reflections and shadows. They show what they are, even if not completely. For the difference between the materiality of the photographic paper ‘in’ the pictures and the archival sheets exhibited here (207 × 138 centi- metres) that have absorbed the ink-jet prints, prevents any over-hasty identification. -
Tanja Zimmermann (Ed.) Balkan Memories Media Constructions of National and Transnational History
From: Tanja Zimmermann (ed.) Balkan Memories Media Constructions of National and Transnational History September 2012, 270 p., 33,80 €, ISBN 978-3-8376-1712-2 This book gives an insight into the media constructions of historical remembrance reflecting transnational, national or nationalistic forms of politics. Authors from post-Yugoslavia and neighbouring countries focus on the diverse transnational (such as Austro-Hungarian, Yugoslav etc.) and na- tional (such as Bosnian, Croatian, Serbian etc.) memory cultures in South- Eastern Europe, their interference and rivalry. They examine constructions of memory in different media from the 19th century to recent wars. These include longue durée images, breaks and gaps, selection and suppression, traumatic events and the loss of memory, nostalgia, false memory, reactiva- tion, rituals and traces of memory. Tanja Zimmermann (Junior Professor; PhD in art history and Slavic studies) teaches East-European literature and art history at the University of Constance (Germany). For further informationen: www.transcript-verlag.de/ts1712/ts1712.php © 2012 transcript Verlag, Bielefeld 2012-08-30 14-48-05 --- Projekt: transcript.anzeigen / Dokument: FAX ID 03a2313724081992|(S. 1 ) VOR1712.p 313724082000 Inhalt Acknowledgements | 9 Introduction | 11 Tanja Zimmermann (Konstanz) NATIONAL MEMORIES Public Monuments, Memorial Churches and the Creation of Serbian National Identity in the 19th Century | 33 Nenad Makuljević (Belgrade) Banknote Imagery of Serbia | 41 Ivana Živančević-Sekeruš (Novi Sad) City Identity -
I WANT to SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg)
I WANT TO SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg) The exhibition at the Hamburg’ Deichtorhallen will be the first extensive presentation of the JULIA STOSCHEK COLLECTION shown in the context of a museum worldwide. The exhibition, which will commence April 16, 2010, will feature 65 works by 54 artists from this very young private collection in a space extending of over 3,000 square meters. The main focus of the presentation will be on film and video works produced in the last 40 years, a time range which applies to the entire Julia Stoschek Collection. Classics of video art, such as Marina Abramović’s Art must be beautiful/ Artist must be beautiful dating from 1975-76, Vito Acconci’s Openings (1970) and Chris Burden’s Shoot (1971 are conjoined with more recent works of younger artists, giving viewers the opportunity to relate to the history of the still rather young genre of video art. The majority of the works were actually produced after 2000. They range from lyrical pieces such as Heike Baranowsky’s Mondfahrt and complex animation films such as Björk’s Wanderlust in 3D up to elaborate spatial installations by artists such as Monica Bonvicini, Anthony McCall, and Nathalie Djurberg. The video works are accompanied by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). The title of the exhibition I Want To See How You See was derived from the work in the show by Pipilotti Rist (2003) of the same name. -
Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas: -
The Art of Dissident Domesticity Julian Assange, King Prempeh, and Ethnographic Conceptualism in the Prison House
The Art of Dissident Domesticity Julian Assange, King Prempeh, and Ethnographic Conceptualism in the Prison House Khadija von Zinnenburg Carroll, Michał Murawski, and Jesse Weaver Shipley What happens to domestic life when the state turns a troublesome sub- ject’s home into a prison, when an outlaw evading custody turns an extra- territorial space, such as an embassy, into a home? How is a foreign sov- ereign transformed into an imperial citizen- subject through exile, house arrest, and return? Exile and forced domesticity have long linked sover- eignty to the power to determine intimate life. Centuries- old practices of house arrest and diplomatic asylum have taken on new forms in recent decades in the wake of emerging surveillance technologies and changing relationships between information, territory, and sovereignty. This article examines two quite distinct, high- prole celebrity instances of what we call dissident domesticity. In the rst case, Prempeh I, the last sovereign king of Asante, is exiled by the British from his capital of Kumasi, in what is now Ghana, and placed under house arrest in the Seychelles to end a war of British imperial conquest. In the second case, WikiLeaks founder Julian Assange, the twenty- rst century’s iconic dissident, seeks asylum in the Ecuadorian embassy in London to avoid arrest and extradition. Prempeh’s exile on the edge of empire and Assange’s connement at its center show how the ght over the control of information, and those who circulate it, converges with the struggle for the control of territory, and those who police it, transverse it, and are trapped by it. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Daily #3 Als PDF Downloaden
Daily Nr. 3, 28. Juli 2010 Dionysos Klangrausch und Bilderekstase mit Johannes Martin Kränzle als N., Martin Kränzle mit Johannes Bühnenbild: Meese, Jonathan Foto:Walz Ruth Dionysos SALZBURGER FESTSPIELE 2010 Szene aus Szene SALZBURGER FESTSPIELE 2010Daily Nr. 3, 28. Juli 2010 Regisseur Christian Stückl, Jedermann Nicholas Ofczarek und Buhlschaft Birgit Minichmayr nach der erfolgreichen Künstler der Salzburger Festspiele, Präsidentin Helga Rabl-Stadler, Landeshauptfrau Gabi Burgstaller und Rudolf Jedermann-Premiere Foto: wildbild.at Zrost, Präsident der Industriellenvereinigung Salzburg, feierten im M32. Foto: wildbild.at n Pferdekutschen fuhren die Darsteller des Jedermann nach der umjubelten Premiere zur Pre- fter the celebrated premiere, the Jedermann actors took horse-drawn carriages to the post-pre- mierenfeier in den Gasthof „Krimpelstätter“. Jedermann-Darsteller Nicholas Ofczarek nahm, miere party at the restaurant “Krimpelstätter”.Jedermann actor Nicholas Ofczarek was assist- Iassistiert von Buhlschaft Birgit Minichmayr, den traditionellen Bieranstich vor. A ed by Buhlschaft Birgit Minichmayr in the traditional task of opening the first cask of beer. Für den alljährlichen Festspielempfang der Industriellenvereinigung fand sich auch heuer The annual Festival Reception of the Federation of Industries saw an assembly with many repre- wieder zahlreiche Prominenz aus Kunst, Politik und Wirtschaft im M32 am Mönchsberg ein. sentatives of the arts, politics and business once again at the M32 on Mönchsberg. Festspiele Inside Ehrungen und -
Biografie Von Jonathan Meese
Biographie / Biography JONATHAN MEESE 1970 Geboren in Tokio / born in Tokyo Lebt und arbeitet in Berlin und Hamburg / lives and works in Berlin and Hamburg Einzelausstellungen / solo shows 2007 „Fräulein Atlantis“, Sammlung Essl Privatstiftung , Klosterneuburg 2006 „Mama Johnny“, MAGASIN Centre National d'Art Contemporain , Grenoble „Jonathan Meese – Dr. Saint Just de Fort Knox“, Galerie Daniel Templon , Paris „Jonathan Meese, Dr. Father Brown in Sankt Maria Pfarr. Malerei. Installation", Hospitalhof , Stuttgart „Ritter Johnny“, Marstall , Ahrensburg „Schergentoni Suzy Wong”, Galerie Haas , Zürich „Mama Johnny“, Deichtorhallen , Hamburg „Jonathan Meese“, Galerie Rodolphe Janssen / Sorry we’re closed , Brussels „Sherwood Forest“, with Jörg Immendorff, Frans Hals Museum / De Hallen , Haarlem „Die Peitsche der Erinnerung“, with Daniel Richter Kunsthaus Stade , Stade „Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy)” Modern Art , London 2005 „Dr. Dracula”, Regina Gallery , Moscow „Dr. Socrates“ Arario Gallery , Cheonan, South Korea „General Tanz – Drei Streifen für ein Halleluja“, Contemporary Fine Arts , Berlin “Mor”, Statens Museum for Kunst , København (with Tal R) 1 „Jonathan Meese ist Mutter Parzival“, performance and stage design, Staatsoper Unter den Linden , Berlin „Vive Fantomas“, Galerie L’Art du Temps , Clermont-Ferrand Sies + Höke Galerie , Düsseldorf 2004 „Das Bildnis des Dr. Fu Manchu“, Contemporary Fine Arts , Berlin (cat.) „Képi blanc, nackt“, Schirn Kunsthalle , Frankfurt am Main „Dr No`s Son“, Leo Koenig -
October 22, 2011 Participants
EYES WIDE SHUT: CONTEMPORARY DRAWINGS FROM GERMANY September 15 – October 22, 2011 Participants Andy Hope 1930 was born in Munich and lives and works in Berlin. Recent solo exhibitions include the Contemporary Art Center Malaga, Malaga; The Freud Museum, London; and Sammlung Goetz, Munich. His work has recently been included in exhibitions at the MMK Museum für Moderne Kunst, Frankfurt; Hamburger Bahnhof, Berlin; and the Kunsthalle Düsseldorf. Ulla von Brandenburg was born in Karlsruhe and lives and works in Paris. Recent solo exhibitions include Art : Concept, Paris; K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf; and Le Plateau, FRAC, Ile de France, Paris. Her work has recently been included in exhibitions at 11e Biennale de Lyon; the Museum of Contemporary Art, Detroit; and Hamburger Kunsthalle, Hamburg. Ralf Ziervogel was born in Clausthal-Zellerfeld, Germany and lives and works in Berlin. Recent solo exhibitions include the K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf; ARNDT, Berlin; and Galerie Charim, Vienna. His work has recently been included in exhibitions at the Deutsche Bank Collection, Frankfurt am Main; La maison rouge, Paris; and K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Marc Brandenburg was born in Berlin and lives and works in Berlin. Recent solo exhibitions include Hamburger Kunsthalle, Hamburg; Galerie Thaddaeus Ropac, Paris; Museum für Moderne Kunst, Frankfurt. His work has recently been included in exhibitions at the Museum of Modern Art, New York; Middlesbrough Institute of Modern Art, Middlesbrough; and Sammlung Harald Falckenberg, Hamburg. Jonathan Meese was born in Tokyo and lives and works in Berlin. Recent solo exhibitions include Galerie Daniel Templon, Paris; the Museum of Contemporary Art, Miami; and the Contemporary Art Centre of Malaga, Spain. -
Jonathan Meese
JONATHAN MEESE Born in 1971, Tokyo Lives and works in Berlin and Hamburg Solo Exhibitions 2008 DICTATORBABY MARY POPPIN’S CATS, DOGS and EGGPIES. (THE REVOLUTIONBABY de Large IS back), Bortolami, NY Ufo go Home – Fasching der Kunst, La Caixa, Barcelona Jonathan Meese, 23 Januar 1970, Contemporary Fine Arts, Berlin General Sweetie (Polly revolution, south, cookie), Galerie Mirchandani +Steinruecke, Mumbai 2007 MARQUIS d'OVERKILLY'S Revolution de Baby LIEBESEISVERKÄUFERTIERKIND HUMPTY-DUMPTY, bitte 3 Kugeln Eis: 3x babybunt mit 4 süssen Saucen (Pony, Waldmeister, Schnute und Earl Grey), beaumontpublic, Luxembourg L’Amour de Monte-Cristo, Daniel Templon, Paris MARQUIS de SCHNURRKUSS "MILCHMÄDCH' MEESIE (BABYBOUNCER) DIE ULTRAGROSSEN ABENTEUER von LOLLY, POLLY, SÜSSESÜSSESÜSSES, OKTN de PONY, NONNIE-DARLING, STUPSNÄSCHEN-TONI, Sweetsweetie, Hulla-Hulla-Flashy im süssen rechtsfreien Raum vom Babypotentaten "Colonel d'on Hymyngys", hau...Kunstraum Innsbruck, Innsbruck DON’T CALL US, WE CALL YOU, Galerie Krinzinger,Wien Fräulein Atlantis, Sammlung Essl Privatstiftung, Klosterneuburg Gundling, Schloss Neuhardenberg, Neuhardenberg DE ZEUZ – DEINE GETREIDEGÖTTIN = ERNTELICHT AUS FLEISCH, dieses geometrische EI UND ERZTIERKIND AUS WALDBEEREN UND DE PHARISÄER SCHAU aus MILCH. (Das Bermudadreieck lebt), Trinitatiskirche, Köln JONATHAN ROCKFORD (DON’T CALL ME BACK, PLEASE), De Appel Centre for Contemporary Art, Amsterdam Jonathan Meese. Das Gruselkabinett des Dr. Erzmarx (Der Getreidedaddy), Karl-Marx- Geburtshaus, Trier SEI LIEB, MUMIN. (TANZ DE DEPUTY), Staatliche Kunsthalle Karlsruhe, Karlsruhe Napoleon, Galerie Daniel Blau, München Jonathan Meese – Meistersinger. Präsentation anlässlich des Gastspiels am Det Kongelige Teater in Kopenhagen, Louisiana Museum, Kopenhagen 2006 Mother, with Tal R, Bortolami Dayan, New York Mamma Johnny, MAGASIN Centre National d’Art, Grenoble Jonathan Meese – Dr. Saint Just de Fort Knox, Galerie Daniel Templon, Paris Jonathan Meese, Dr. -
Hamburger Bahnhof – Museum Für Gegenwart Receives 166 Contemporary Artworks, Donated by Friedrich Christian Flick
STIFTUNG DER PRÄSIDENT PREUSSISCHER KULTURBESITZ Referat Presse- und Öffentlichkeitsarbeit Berlin, 19 th February 2008 Press release: Hamburger Bahnhof – Museum für Gegenwart receives 166 contemporary artworks, donated by Friedrich Christian Flick The art collector Friedrich Christian Flick and the President of the Stiftung Preußischer Kulturbesitz (Prussian Cultural Heritage Foundation), Klaus-Dieter Lehmann, today signed a contract in Berlin on the gift to the Hamburger Bahnhof of 166 important works by 44 contemporary artists. This is the result of a period of constructive and successful collaboration between the Hamburger Bahnhof - Museum für Gegenwart and the collector, a period that began in September 2004 with the first large-scale exhibition, broad in compass, of Friedrich Christian Flick's art collection and has since continued with a succession of thematic and monographic displays. The Friedrich Christian Flick Collection is indisputably one of the best and largest collections of contemporary art in the world today. There are no particular conditions attached to the private collector's gift, whose sheer size and quality render it unique amongst post-war art donations. Most of the oeuvres are already familiar to the museum-going public from the Hamburger Bahnhof displays comprising works from the Collection. With 250,000 visitors last year the Museum is one of the best-frequented museums for contemporary art. Friedrich Christian Flick explains: "We selected the works for their importance as museum pieces, most of them key works in the careers of their respective artists. Whenever I've developed an interest in a particular artist and decided that I like his or her art I've always tried to collect the artist's work in depth and put together blocks of works.