DOCSLIB.ORG

In the Same Box: Unhinging Audiovisual Media in the 1960S and 1970S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In the Same Box: Unhinging Audiovisual Media in the 1960S and 1970S All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Kalani Bianca Michell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Rembert Hüser, Advisor August 2018 Kalani Michell 2018 © Abstract All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s This project examines problems in media theory in contemporary art and visual culture, specifically by arguing that there should be more of it in the visual arts. If one wants to rigorously engage with objects that don’t correspond to disciplinary boundaries and ‘high’ and ‘low’ aesthetic categories, as is the case with several multimedial artistic projects of the 1960s and 1970s, then one must accept that theories of photography, television, painting, print culture and sound objects can no longer be considered apart from one another. These kinds of projects cannot be deemed part of art history and then analyzed with a bit of Marshall McLuhan. Nor can they be claimed by film studies and peppered with Rosalind Krauss. These are projects that take relocation, or their unhinging from standard sites of production and exhibition, as their point of departure, and thus they force, in my readings, central intermedial concerns to the foreground, from questions of medium specificity to problems of storage and containment. Three such case studies structure my dissertation: 1) an exhibition of a collective ‘performance’ including Joseph Beuys on live television in West Germany in 1964 that was saved only in the form of photographs, resulting in controversial copyright cases over the last decade reaching the Bundesgerichtshof; 2) boxed magazines of the 1960s that, in their unbound forms, combined numerous medial objects, suggesting, similarly to unboxing videos on YouTube, non-linear theories of order and storage; and 3) a film by Hellmuth Costard i from 1978 documenting, over several years, experiments with Super 8, video and television in his work and on the production sets of Rainer Werner Fassbinder, Hark Bohm and Jean-Luc Godard, thematizing structural problems of institutions in making these cross-medial endeavors possible. Studying these projects from a single disciplinary viewpoint has led to a highly reductive reading of their medial practices, the constellation of media involved in their production, distribution and exhibition. Rather than nostalgically romanticizing these projects as failed historical attempts to democratize art and culture, my work finds in them continuities with the present era, a time when the rhetoric of democracy (access) and the proliferation of material and information entailed in medial expansion (excess) result in important and often irreconcilable aesthetic, cultural and political tensions. ii Table of Contents List of Figures………………………………………………………………………..v-xv. List of Media Files………………………………………………………..………xvi-xvii. Einstieg………………………………………………………….………….……........1-17. Chapter One: Taking Down Pictures Access and Excess………………………………………………………..………….18-35. Transmitting..……..…………………………………………………………..……...35-49. Storing……………………………………………………………………….………50-63. Processing ………………………………………...……..…………………….….…64-71. Chapter Two: Orders of Expansion Unboxing………………………………………………………………………….…72-93. Aspen……………………………………….………………………………………93-126. S.M.S. ……………………………………….…………………………………….127-145. Reboxing…………………………………………………….……….…….…..…145-152. Chapter Three: Antragsfilme – Film Pitches Revolting Formats…………………………………………………………..….…153-166. iii Der kleine Godard………………………………………………………...………166-203. Der ‘große’ Godard……………………………….………………………...….…203-228. Afterwork……………………………….……….…………….…………………229-242. Bibliography …………………………………………….…….…………………243-306. iv List of Figures Fig. 1. Joseph Beuys. Das Schweigen von Marcel Duchamp wird überbewertet (1964). On exhibition at the Museum Schloss Moyland (with Bettina Paust). Photo: dpa. Fig. 2. Manfred Tischer. Photograph of collective Fluxus performance with Joseph Beuys, Bazon Brock and Wolf Vostell. On exhibition at the Museum Schloss Moyland in 2009 and in 2014. Fig. 3. Reproduction of decision by the Landgericht Düsseldorf on September 29, 2010. Aktenzeichen 12 O 255/09. Graphic indication added (KM). Fig. 4. Reproduction of decision by the Landgericht Düsseldorf on September 29, 2010. Aktenzeichen 12 O 255/09. Graphic indication added (KM). Fig. 5. Reproduction of decision by the Landgericht Düsseldorf on September 29, 2010. Aktenzeichen 12 O 255/09. Graphic indication added (KM). Fig. 6. Reproduction of decision by the Landgericht Düsseldorf on September 29, 2010. Aktenzeichen 12 O 255/09. Graphic indication added (KM). v Fig. 7. Caroline Bachmann and Stefan Banz. Ein Eklat (Kampf und Urteil) (2010-11). Detail (graphic indication added [KM]). Photograph (KM) taken at the exhibition of Das Schweigen der Junggesellen, Museum Schloss Moyland, February 16-April 27, 2014. Fig. 8. Caroline Bachmann and Stefan Banz. Ein Eklat (Kampf und Urteil) (2010-11). Installation view. Photograph (KM) taken at the exhibition of Das Schweigen der Junggesellen, Museum Schloss Moyland, February 16-April 27, 2014. Fig. 9. Joseph Beuys – Unveröffentlichte Fotografien von Manfred Tischer. Installation view. Photograph (KM) taken at Das Schweigen der Junggesellen and Joseph Beuys – Unveröffentlichte Fotografien von Manfred Tischer. Museum Schloss Moyland, February 16-April 27, 2014. Fig. 10. Caroline Bachmann and Stefan Banz. Das Schweigen der Junggesellen. Installation view. Photograph (KM) taken at Das Schweigen der Junggesellen and Joseph Beuys – Unveröffentlichte Fotografien von Manfred Tischer. Museum Schloss Moyland, February 16-April 27, 2014. Fig. 11a. Joseph Beuys. Das Schweigen von Marcel Duchamp wird überbewertet (1964). On exhibition at the Museum Schloss Moyland. Photo: dpa vi Fig. 11b. Joseph Beuys. Das Schweigen von Marcel Duchamp wird überbewertet (1964). On exhibition at the Museum Schloss Moyland. Photo: dpa. Graphic indication added (KM). Fig. 12. Manfred Tischer. Photo of Fluxus group event at the ZDF-Landesstudio, December 11, 1964. Joseph Beuys Archiv/Stiftung Schloss Moyland, JBA 7 – 92838. Fig. 13. Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 14. S.M.S. 1. February 1968. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. Fig. 15. Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 16. S.M.S. 1. February 1968. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. Fig. 17. S.M.S. 1. February 1968. Screenshot from Sensate online video documentation of S.M.S. 1. vii Fig. 18. S.M.S. 6. December 1968. Screenshot from Sensate online video documentation of S.M.S. 1. Fig. 19. Kornhaber Brown and Mike Rugnetta. “What’s the Deal With Unboxing Videos?” PBS Digital Studies Idea Channel. YouTube. Screenshot. Fig. 20. IntellivisionDude. The Wizard of OZ Ultimate Collector’s Edition 70th Anniversary DVD Unboxing. YouTube. Screenshot. Fig. 21. IntellivisionDude. The Wizard of OZ Ultimate Collector’s Edition 70th Anniversary DVD Unboxing. YouTube. Screenshot. Fig. 22. Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 23. Susan Sontag. “The Aesthetics of Silence” (1967). In Aspen 5+6. 1967. Detail. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 24. Tony Smith. The Maze (1967). In Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. viii Fig. 25. Advertisement for Aspen in Evergreen Review. September 1968. Photograph (KM). Fig. 26. Advertisement for Tupperware with vice president Bonnie Wise. 1954. Fig. 27. Advertisement for CCA. Designed by “W.C.” Fig. 28. Advertisement for CCA. Designed by A.M. Cassandre. Fig. 29. Advertisement for CCA. Designed by Herbert Bayer. Fig. 30. Advertisement for CCA. Designed by Matthew Leibowitz. Fig. 31. Advertisement for CCA. Designed by A.M. Cassandre. Fig. 32. Advertisement for Aspen in Evergreen Review. April 1967. Photograph (KM). Fig. 33. Advertisement for CCA. Designed by A.M. Cassandre. Fig. 34. Advertisement for Aspen in Evergreen Review. April 1968. Photograph (KM). ix Fig. 35. Advertisement for CCA. Designed by Joseph Cornell. Part of “Great Ideas of Western Man” series, c. 1957-58. Fig. 36. Sol LeWitt. Serial Project #1. 1966. In Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 37. Brian O’Doherty. Structural Play #3. In Aspen 5+6. 1967. Photograph (KM) taken at the Deutsches Literaturarchiv in Marbach. Fig. 38. S.M.S. 2. 1968. Cover: Marcel Duchamp. Recording of Contrepetrie. Remove to play. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. Fig. 39. Paul Bergtold. Concept Bergtold. In S.M.S. 4. 1968. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. Fig. 40. Paul Bergtold. Concept Bergtold. In S.M.S. 4. 1968. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. Fig. 41. Paul Bergtold. Concept Bergtold. In S.M.S. 4. 1968. Photograph (KM) taken at the Klingspor Museum Archive in Offenbach. x Fig. 42. Kasper König. My Country ‘Tis of Thee - West Germany, 1968 (Four Views). In S.M.S. 1. 1968. Screenshot from Sensate online documentation of S.M.S. 1. Fig. 43. Kasper König. My Country ‘Tis of Thee - West Germany, 1968 (Four Views). In S.M.S. 1. 1968. Screenshot from Sensate online documentation of S.M.S. 1. Fig. 44. Kasper König. My Country ‘Tis of Thee - West Germany, 1968 (Four Views).
Load more

Recommended publications
  • Thejewish Thejewish
    THE JEWISH VETERAN Volume 72 • Number 2 • 2018 Robert Wilkie Nominated for Coming Home VA Secretary By Lance Allen Wang, Editor granted, things may have changed in the Page 4 This month’s issue is dedicated to the nearly 10 years since I left the Army). theme “Coming Home,” an important They were simply mundane briefings to Making a Difference aspect of the wartime experience. It is bored, fidgety soldiers who just wanted sometimes an occasion for celebration. to go home. Back in my Uncle Julie’s for our Jewish Service It is also sometimes its own devastat- time, the decompression of redeploy- Members Coming Home ing crucible. I had the distinct honor ment was eased in some ways by ex- Page 6 and privilege of writing the foreword to tended journeys home on troop ships. a book about my Uncle Julie’s experi- The culture shock of Vietnam veterans Project Maggid ences as a World War II B-17 navigator, – “Two days before I was in Vietnam – Page 9 One of Thousands (Lulu Publishing, then all of the sudden I was in a college 2015). I recounted my experiences classroom,” as one vet described it to South Florida Jewish growing up in awe of this man, and he me – was eased for World War II vet- was perhaps the most important influ- erans by the shared experience of be- Veterans Return from ence in my donning the uniform. But I ing on a troop ship with your comrades. Mission to Israel closed with these lines: Technological progress in transporta- Page 13 “… But equally, what I wanted to Julius Zlasner, left, with Lance Wang.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Zeughauskino
    HANDS ON FASSBINDER DISKUSSIONEN.ASSOZIATIONEN.FILME IM KINO Rainer Werner Fassbinder (1945-1982) ist einer der bedeutendsten europäischen Regisseure deutscher Herkunft. Zusammen mit dem Collegium Hungaricum Berlin, dem Zeughauskino, der Rainer Werner Fassbinder Foundation und der Bundeszentrale für politische Bil- dung möchte die Filmzeitschrift Revolver Fassbinders Werk neu er- schließen und zur Quelle von politischen, historischen, kulturellen und filmischen Visionen machen. Im Rahmen von Konferenzen, die noch bis zum November im Collegium Hungaricum Berlin stattfinden werden, sollen Ansätze und Fragestellungen, die Fassbinders mittler- weile historischen Arbeiten zugrunde liegen, auf unsere Gegenwart bezogen werden – eine Einstellung, die Fassbinders Grundhaltung entspricht. Dafür werden Film- und Medienfachleute, Schauspieler, Kritiker, Philosophen und Wissenschaftler eingeladen, aus seinem Nachlass neue Energien zu gewinnen – für das Filmland Deutschland und darüber hinaus. Abgestimmt auf die Themen der Konferenzen lädt das Zeughauskino jeweils im Vorfeld der Veranstaltungen zur Wiederentdeckung der Filme von Rainer Werner Fassbinder ein. Eine aktualisierte Fassung des Veranstaltungsprogramms findet sich unter der Adresse: www.handsonfassbinder.de. Die Veranstaltungsreihe Hands on Fassbinder wird vom Hauptstadtkulturfonds gefördert. Lili Marleen HANDS ON FASSBINDER 7 HANDS ON FASSBINDER Lili Marleen BRD 1980, R: Rainer Werner Fassbinder, B: Manfred Purzer, K: Xaver Schwarzenberger, D: Hanna Schygulla, Giancarlo Giannini, Mel Ferrer, Hark Bohm, Karl-Heinz von Hassel, 120‘ | 35 mm Die Zusammenarbeit Rainer Werner Fassbinders mit dem Produzenten Luggi Waldleitner, der vor allem als Produzent von seichten Pornos bekannt war, stellte für viele eine Überraschung dar. Papas Kino traf hier sprichwörtlich auf den Neuen Deutschen Film. Basierend auf dem Leben der Lale Anderson erzählt Lili Marleen die Geschichte der jungen Sängerin Willie, die nach Ausbruch des Zweiten Weltkriegs mit ihrem Lied Lili Marleen zum Star der deutschen Soldaten avanciert.
    [Show full text]
  • Retrospektive Viennale 1998 CESTERREICHISCHES FILM
    Retrospektive Viennale 1998 CESTERREICHISCHES FILM MUSEUM Oktober 1998 RETROSPEKTIVE JEAN-LUC GODARD Das filmische Werk IN ZUSAMMENARBEIT MIT BRITISH FILM INSTITUTE, LONDON • CINEMATHEQUE DE TOULOUSE • LA CINl-MATHfeQUE FRAN^AISE, PARIS • CINIiMATHkQUE MUNICIPALE DE LUXEMBOURG. LUXEMBURG FREUNDE DER DEUTSCHEN KINEMATHEK. BERLIN ■ INSTITUT FRAN^AIS DB VIENNE MINISTERE DES AFFAIRES ETRANGERES, PARIS MÜNCHNER STADTMUSEUM - FILMMUSEUM NATIONAL FILM AND TELEVISION ARCHIVE, LONDON STIFTUNG PRO HEI.VETIA, ZÜRICH ZYKLISCHES PROGRAMM - WAS IST FILM * DIE GESCHICHTE DES FILMISCHEN DENKENS IN BEISPIELEN MIT FILMEN VON STAN BRAKHAGE • EMILE COHL • BRUCE CONNER • WILLIAM KENNEDY LAURIE DfCKSON - ALEKSANDR P DOVSHENKO • MARCEL DUCHAMP • EDISON KINETOGRAPH • VIKING EGGELING; ROBERT J. FLAHERTY ROBERT FRANK • JORIS IVENS • RICHARD LEACOCK • FERNAND LEGER CIN^MATOGRAPHE LUMIERE • ETIENNE-JULES MAREY • JONAS MEKAS • GEORGES MELIUS • MARIE MENKEN • ROBERT NELSON • DON A. PENNEBAKER • MAN RAY • HANS RICHTER • LENI glEFENSTAHL • JACK SMITH • DZIGA VERTOV 60 PROGRAMME • 30 WOCHEN • JÄHRLICH WIEDERHOLT • JEDEN DIENSTAG ZWEI VORSTELLUNGEN Donnerstag, 1. Oktober 1998, 17.00 Uhr Marrfnuß sich den anderen leihen, sich jedoch Monsigny; Darsteller: Jean-Claude Brialy. UNE FEMME MARIEE 1964) Sonntag, 4. Oktober 1998, 19.00 Uhr Undurchsichtigkeit und Venvirrung. Seht, die Rea¬ Mittwoch, 7. Oktober 1998, 21.00 Uhr Raou! Coutard; Schnitt: Agnes Guiliemot; Die beiden vorrangigen Autoren der Gruppe Dziga sich selbst geben- Montaigne Sein Leben leben. Anne Colette, Nicole Berger Regie: Jean-Luc Godard; Drehbuch: Jean-Luc lität. metaphorisiert Godaiti nichtsonderlich inspi¬ Musik: Karl-Heinz Stockhausen, Franz Vertov. Jean-Luc Godard und Jean-Pierre Gönn, CHARLOTTE ET SON JULES (1958) VfVRE SA VIE. Die Heldin, die dies versucht: eine MASCULIN - FEMININ (1966) riert, em Strudel, in dem sich die Wege verlaufen.
    [Show full text]
  • The Politics of Space in the Cinema of Migration
    The Politics of Space in the Cinema of Migration Barbara Mennel, Gainesville, Florida ISSN 1470 – 9570 Barbara Mennel 40 The Politics of Space in the Cinema of Migration Barbara Mennel, Gainesville, Florida This article offers a reading of three films associated with migration and mobility between Turkey and Germany organized around the cinematic representation of space. Focusing on the politics of space, instead of national and/or ethnic identity, I propose, allows us to account for larger cultural shifts from a national to a transnational framework for cultural production, but also to be mindful of representational continuities from filmmaking in Turkey to Germany. My reading of Tevfik Başer‟s 40m² Germany (1986) in the context of Yilmaz Güney‟s The Father (1973) and Fatih Akın‟s Crossing the Bridge: The Sound of Istanbul (2005) proposes that the film was significantly misread by the West German public at the time. The comparison of the three films reads their spatial aesthetics as responding to the shift from national to transnational contexts and left-wing ideological to multicultural politics. 1. From “Cinema of Duty” to “Pleasures of Hybridity” In scholarship on Turkish-German cinema, it has become commonplace to read the brief history of films by and about Turkish migrants in Germany as a shift from, in the words of Deniz Göktürk, the “cinema of duty” to a cinema portraying the “pleasures of hybridity” (1999: 7). Films and literature by and about the first generation of labor migrants who arrived in Germany in the 1960s portrayed one-dimensional alienated Turks in Germany, either embodied by a figure of a silent male guestworker or by an oppressed female victim of Turkish patriarchy.
    [Show full text]
  • POCHWALA MILOSCI Pressbook
    Nowe Horyzonty POCHWAŁA MIŁOŚCI Éloge de l'amour RE ŻYSERIA JEAN-LUC GODARD W KINACH OD 10 STYCZNIA 2003 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (+4822) 636 25 00, 636 25 02, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.com.p POCHWAŁA MIŁOŚCI scenariusz i re żyseria Jean-Luc Godard zdj ęcia Julien Hirsch Christophe Pollock muzyka nieoryginalna Ketil Bjornstad David Darling Karl Amadeus Hartmann Maurice Jaubert Arvo Pärt Georges Van Parys monta ż Raphaëlle Urtin dźwi ęk Gabriel Hafner Christian Monheim François Musy kostiumy Marina Thibaut wyst ępuj ą Bruno Putzulu Edgar Cecile Camp kobieta Jean Davy dziadek Françoise Verny babcia Audrey Klebaner Eglantine Jérémy Lippmann Perceval Claude Baignieres pan Rosenthal Rémo Forlani burmistrz Forlani oraz Mark Hunter, Jean Lacouture, Philippe Lyrette, Bruno Mesrine, Djéloul Beghoura, Violeta Ferrer, Valérie Ortlieb, Serge Spira, Stéphanie Jaubert producenci Alain Sarde Ruth Waldburger film wyprodukowany przez Les Films Alain Sarde Avventura Films Périphéria Le Studio Canal+ arte France Cinéma Vega Film AG Télévision Suisse-Romande festiwale Cannes 2001 Montreal 2001 Toronto 2001 Nowy Jork 2001 Londyn 2001 Pusan 2001 Tajpej Golden Horse 2001 Valladolid 2001 Rotterdam 2002 Mar del Plata 2002 Nowe Horyzonty - Cieszyn 2002 Buenos Aires 2002 nagrody MFF Valladolid 2001 – nagroda specjalna jury Francja/Szwajcaria rok produkcji: 2001 czas trwania: 98 minut czarno-biały/kolor - Dolby SR – 1: 1,37 Pochwała miło ści – zaprezentowana w konkursie festiwalu w Cannes w 2001 – to najnowsze dzieło współtwórcy Nowej Fali – Jean-Luc Godarda. Jest to esej filmowy, zawieraj ący przemy ślenia klasyka kina na temat pami ęci, czasu i uczu ć.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies Permalink https://escholarship.org/uc/item/1j63p2wq Author Vitalone, Antonio Isidoro Lorenzo Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science by Antonio Isidoro Lorenzo Vitalone 2021 © Copyright by Antonio Isidoro Lorenzo Vitalone 2021 ABSTRACT OF THE DISSERTATION Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies by Antonio Isidoro Lorenzo Vitalone Doctor of Philosophy in Political Science University of California, Los Angeles, 2021 Professor Michael F. Thies, Chair In recent years, developed Western democracies have seen the rapid rise of new political forces, including movements commonly described as “populist”, “nationalist” or “sovereigntist”, but also new forms of opposition against these movements. A growing body of research identifies these changes as the product a realignment driven by the differential impact of globalization on these societies. In this dissertation, I build on this research by arguing that geography plays a key role in shaping this realignment. The benefits of globalization tend to concentrate in large metropolitan areas, while the rest of the country bears the brunt of its negative effects. As a result, developed democracies see the rise of a political cleavage opposing these two geographic entities, with large urban areas increasingly distinguishing themselves from less-dense communities in their voting patterns and other political behaviors.
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Vita Michael Post
    VITA MICHAEL POST BIOGRAPHIE 1952 geboren in Wiesbaden 1972 - 1976 Studium der bildenden Kunst an der Fachhochschule Wiesbaden bei Prof. Robert Preyer, Examen 1980 - 1981 Studium der Kunstgeschichte an der Universität Mainz 1981 - 1982 Organisatorische Leitung der Galerie Harlekin-Art, Wiesbaden 1981 - 1984 Mitarbeiter des Museums Wiesbaden (u.a. techn. Leiter der Ausstellung Fluxus 62-82) 1986 - 1988 Kurator der Ausstellungsreihe Kunst in der Ifage in Wiesbaden, Unter den Eichen 2001 Balmoral-Stipendium der Kulturstiftung des Landes Rheinland-Pfalz 2005 1. Preis / Skulpturenpark Mörfelden-Walldorf Der Künstler lebt und arbeitet in Ippenscheid, Rheinland-Pfalz. PROJEKTE (Auswahl) 1987 Brunnenarchitektur Wiesbaden-Sonnenberg Synode, 13-teilige Außenskulptur, Haus Belmonte, Rheingau 1988 Kulturpyramide für die Ausstellung 40 Jahre Bundesrepublik Deutschland (Ausstellung des Bundesarchivs im Auftrag der Bundesrepublik Deutschland) 1992 Entwurf einer Gedenkstätte für Verfolgte des NS-Regimes und Widerstandskämpfer/Innen in Amöneburg, Kastel, Kostheim (AKK) im Rahmen eines Wettbewerbs der Landeshauptstadt Wiesbaden Atelier im Seminar / Michael Post Objekte (Veranstaltung der Fachschaft Kunstgeschichte im kunsthistorischen Institut der Justus-Liebig-Universität Gießen) 1994 Kunst verbindet, Aktion in Zusammenarbeit mit der Kreissparkasse Pinneberg zur Förderung der Landdrostei Pinneberg Werkplanung für das Gedenkstättenprojekt in Zusammenarbeit mit dem Architekturbüro Hasselbach, Wiesbaden Der Störung annähern, Grafikedition für das Gedenkstättenprojekt,
    [Show full text]
  • Download Press Notes
    Strand Releasing presents THE EDGE OF HEAVEN AUF DER ANDEREN SEITE A FILM BY FATIH AKIN Winner – Best Screenplay Award, Cannes Film Festival 2007. Winner – Best Screenplay Award, European Film Awards 2007. Winner – Best Picture, Best Director, Best Screenplay, Best Editing 2008 German Film Awards (LOLA) 35 mm / 1:1.85 / Color / Dolby Digital Surround EX 116 min / In German, Turkish and English, with English Subtitles NY/National Press Contact: LA/National Press Contact: Sophie Gluck / Sylvia Savadjian Michael Berlin / Marcus Hu Sophie Gluck & Associates Strand Releasing phone: 212.595.2432 phone: 310.836.7500 [email protected] [email protected] [email protected] [email protected] Please download photos from our website: www.strandreleasing.com/pressroom/pressroom.asp SYNOPSIS Retired widower Ali (Tuncel Kurtiz) sees a solution to loneliness when he meets prostitute Yeter (Nursel Kose.) Ali proposes to the fellow Turkish native to live with him in exchange for a monthly stipend. Ali’s son Nejat (Baki Davrak,) a university professor, seems disapproving about his boorish father’s choice. But the young German man quickly grows fond of kind Yeter, especially upon discovering most of her hard- earned money is sent home to Turkey for her daughter’s university studies. The accidental death of Yeter distances father and son even more, emotionally and physically. Nejat travels to Istanbul to begin an organized search for Yeter’s daughter, Ayten (Nurgul Yesilçay.) He decides to stay in Turkey and trades places with the owner of a German bookstore who goes home to Germany. What Nejat doesn’t know is that 20-something political activist Ayten is already in Germany, having fled the Turkish police.
    [Show full text]
  • Reservat Pfälzerwald - Nordvogesen Ergebnisse Des 14
    Ann. Sci. Rés. Bios. Trans. Vosges du Nord-Pfälzerwald — 17 (2013-2014) : 29 - 69 Eine Momentaufnahme aus der Flora und Fauna im grenzüberschreitenden Biosphären- reservat Pfälzerwald - Nordvogesen Ergebnisse des 14. GEO-Tags der Artenvielfalt am 16. Juni 2012 Theo BLICK, Ernst BLUM, Ronald BURGER, Julia BURKEI, Jörn BUSE, Birgit CRUSAN, Uwe DE BRUYN, Loïc DUCHAMP, Muriel DUGUET, Oliver ELLER, Martin H. ENTLING, Peter FISCHER, Wolfgang FLUCK, Wolfgang FREY, Michael-Andreas FRITZE, Ludovic FUCHS, Jean-Claude GENOT, Hans GÖPPEL, Franz GRIMM, Matthias HAAG, Christine HARBUSCH, Sylvia IDELBERGER, Peter KELLER, Matthias KITT, Udo KOSCHWITZ, Uwe LINGENFELDER, Hans-Helmut LUDEWIG, Franz MALEC, Sébastien MANGIN, Michael T. MARX, Rolf MÖRTTER, Yves MULLER, Christoph MUSTER, Herbert NICKEL, Michael OCHSE, Jürgen OTT, Stefan PETSCHNER, Guido PFALZER, Manfred Alban PFEIFER, Michael POST, Lothar RADTKE, Gerd REDER, Carsten RENKER, Günter RINDCHEN, Oliver RÖLLER, Helga ROSS, Norbert ROTH, Klaus SCHAUBEL, Christelle SCHEID, Holger SCHINDLER, Jens SCHIRMEL, Sascha SCHLEICH, Christian SCHMIDT, Thomas SCHMIDT, Michael SCHMOLZ, Marc SCHNEIDER, Gerhard SCHWAB, Peter SPIELER, Christoph STARK, Josef STRUBEL, Jürgen WALTER, Claudia WEBER, Dieter WEBER & Andreas WERNO Zusammenfassung : Im Rahmen des 14. GEO-Tags der Artenvielfalt erfolgte am 16. Juni 2012 eine Erfas- sung der Flora und Fauna im grenzüberschreitenden Biosphärenreservat Pfälzerwald - Nordvogesen. Die Stiftung Natur und Umwelt Rheinland-Pfalz richtete die Veran- staltung gemeinsam mit dem Magazin GEO und den beiden Trägervereinen des grenz- überschreitenden UNESCO-Biosphärenreservates Pfälzerwald - Nordvogesen und zahlreichen weiteren Partnern aus. Die knapp 100 geladenen Experten aus Deutsch- land und Frankreich durchstreiften bei geeignetem Fangwetter je nach Spezialgebiet die ausgewählten Untersuchungsgebiete rund um Fischbach/Dahn (D), Eppenbrunn (D), Hirschthal (D & F) und Wingen (F).
    [Show full text]
  • Leseliste V – Deutschsprachige Filme
    Leseliste V – deutschsprachige Filme Der Student von Prag (1913; Hanns Heinz Ewers, Stellan Rye und Paul Wegener) Der Andere (1913; Max Mack) Anders als die Anderen (1919; Richard Oswald) Der Golem, wie er in die Welt kam (1920; Paul Wegener u. Carl Boese) Das Cabinet des Dr. Caligari (1920; Robert Wiene) Nosferatu (1922; Friederich Wilhelm Murnau) Die Nibelungen (1924; Fritz Lang) Der letzte Mann (1924; Friedrich Wilhelm Murnau) Berlin – Die Sinfonie der Großstadt (1927; Walter Ruttmann) Metropolis (1927; Fritz Lang) Die Büchse der Pandroa (1929; Georg Wilhelm Pabst) Der blaue Engel (1930; Josef von Sternberg) Menschen am Sonntag (1930; Robert Siodmak und Edgar G. Ulmer) Berlin – Alexanderplatz (1931; Phil Jutzi) Emil und die Detektive (1931; Gerhard Lamprecht) Mädchen in Uniform (1931; Leontine Sagan) M – Eine Stadt sucht einen Mörder (1931; Fritz Lang) Das blaue Licht (1932; Leni Riefenstahl; Béla Balázs) Vampyr – Der Traum des Allan Grey (1932; Carl Theodor Dreyer) Kuhle Wampe oder: Wem gehört die Welt? (1932; Slatan Dudow) Liebelei (1933; Max Ophüls) Kleider machen Leute (1940; Helmut Käutner) Münchhausen (1943; Josef von Báky) Die Feuerzangenbowle (1944; Helmut Weiss) Die Mörder sind unter uns (1946; Wolfgang Staudte) Unter den Brücken (1946; Helmut Käutner) Die Sünderin (1950; Willi Forst) Das doppelte Lottchen (1950; Josef von Báky) Das kalte Herz (1950; Paul Verhoeven) Der Untertan (1951; Wolfgang Staudte) Des Teufels General (1955; Helmut Käutner) Lola Montez (1955; Max Ophüls) Sissi (1955; Ernst Marischka) Der Hauptmann von
    [Show full text]