Framed Memories of Berlin
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Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
The Research of Motifs in Interactive Media Art Concerning the Visual
The Research of Motifs in Interactive Media Art Concerning the Visual Aspect Penesta Dika Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy April, 2008 Institute of Interface Cultures at the University of Art and Industrial Design in Linz, Department for Media Studies Supervisors: Prof. Christa Sommerer & Prof. Oliver Grau Table of Contents 1. State of the Art: Books and Online Sources 2. Introduction to Interactive Media Art Digital art and new media art Forms and origins of interactive media art Origin, meaning and forms of interaction Interfaces as GUI, or as devices and environments equipped with sensors The history of the technology of interactive media art Mechanical calculators, electronic computers Software developments Inventions in form of devices/equipments 3. Introduction to Motifs, Visual Motifs and the Methods for their Research Categories of Visual Motifs 4. Objective Visual Motifs 4.1. Human Motifs: Historical Overview 4.2. Human Motifs in Interactive Media Art 4.2.1. Portrait and Bust in Interactive Media Art 4.2.2. Author‐Visitor‐Portrait and Visitor‐Portrait Invitation to be touched and the Touch ‐ Screen 4.2.3. Interactive Video‐Portrait and Interactive Bust Interactive Self‐portrait 2 4.2.4. The Inside of the body: the trip through our insides 4.2.5. Body Parts Dancing sculptures of legs “Talking” virtual hands and “real” third hand 4.2.6. Résumé 4.3. Animals or Plants as Motifs: Historical Overview 4.4. Animals and Plants as Motifs in Interactive Media Art 4.4.1. Evolutionary Designed Biological Motifs 4.4.2. -
Jonathan C. Got Berlin Perspectives on Architecture 1 Olympiastadion
Jonathan C. Got Berlin Perspectives on Architecture Olympiastadion – Germania and Beyond My personal interest with the Olymiastadion began the first week I arrived in Berlin. Having only heard about Adolf Hitler’s plans for a European Capital from documentaries and seen pictures of Jesse Owen’s legendary victories in the ill-timed 1936 Summer Olympics, I decided to make a visit myself. As soon as I saw the heavy stone colonnade from the car park I knew it could only have been built for one purpose – propaganda for the Third Reich beyond Germania. Remodelled for the 1936 Summer Olympics in Berlin by Hitler’s favorite architects Werner March (whose father, Otto March, designed the original 1913 stadium) and Albert Speer, the Olympiastadion was a symbol of power for the National Socialist party and an opportunity to present propaganda in the form of architecture. Being the westernmost structure on Hitler’s ‘capital city of the world’, the stadium was designed to present the then National Socialist Germany to the rest of the world as a power to be reckoned with. Any visitor to the stadium doesn’t only see the gigantic stadium, but also experiences the whole Olympic complex. Visitors would arrive at a 10-platform S-Bahn station able to serve at high frequencies for large events and then walk several hundred meters with a clear view of the huge imposing stone stadium as soon as visitors reached the car park. Though some might argue that neither the U- nor S-Bahn stations named after the stadium provided convenient access to the sports grounds, one has to consider the scale of the event. -
Miller, Schwaag, Warner the New Death Strip Blaster of Architecture № ① 1.MMXI
Miller, Schwaag, Warner The New Death Strip blaster of architecture THE HEURIS GONZO BLURBANISM T IC JOURNAL FOR № ① THE 1.MMXI NEW DEATH StRIP THE NEW DEATH StRIP MIller, Schwaag, Warner SLAB Magazine The Heuristic Journal for Gonzo Blurbanism Imprint Content Published by: Arno Brandlhuber, Silvan Linden akademie c/o Architektur und Stadtforschung, Forward 4 AdBK Nürnberg Method 6 Editors: Oliver Miller, Daniel Schwaag, Ian Warner Re-Coding the Environs 8 All photos: the authors Rewe + Aldi =Rewaldi 18 Layout: Blotto Design, Berlin Europarc.de 20 Typefaces: Vectora, News Gothic, LiSong Kernel Memory Dump 28 Cover photo: Traffic police filming motorists on A Future Squat 30 the A113 in south east Berlin Color Plates 33 Printed by: Druckerei zu Altenburg Distribution: www.vice-versa-vertrieb.de La Dolcé Ignoranza! 49 © Publishers and authors, Hashing out the Grey Zone 56 Nürnberg / Berlin, January 2011 Landscape Rules: The Lessons of A113 60 Free Form 68 Die Deutsche Bibliothek verzeichnet diese Publikation in der National bibliografie; Hyperbolic Seam 69 detaillierte bibliografische Daten sind im Internet Striptonwickburgshirehamwaldetinow 72 abrufbar. Postscript: For Unreal 76 http://dnb.ddb.de List of Projects / Bibliography 78 ISSN 1862-1562 The Authors / Slab Magazine 79 ISBN 978-3-940092-04-5 fied Berlin, land that very quickly became prime real estate once the geopolitical FORWARD map of the Cold War was trashed in ’89. OlIver MIller The concern of this study, however, is to look elsewhere: to the forlorn corners of the death strip in 2010. To be sure, this is not the death strip from ten, twenty or thirty years ago. -
Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music. -