DOCSLIB.ORG

Radio-Activity Collective Approaches to Art and Politics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Radio-Activity Collective Approaches to Art and Politics RADIO-ACTIVITY COLLECTIVE APPROACHES TO ART AND POLITICS 18 February – 23 August 2!2! INTROD"CTION Taking its cue from Bertolt Brecht's theory of radio, the exhibition Radio-Activity turns the spotlight on artistic and political collectives that launched their own publications and charted new channels of communication. "It is a very bad thing," Brecht said in 1932 about the radio of his time. "It was suddenly possible to say everything to everybody but, when one thought about it, one had nothing to say." Ten years after the $rst public radio broadcasts, a disillusioned Brecht proposed repurposing the new medium, transforming an apparatus of distribution into one of communication. Instead of merely broadcasting a single feed, it was to receive as well% more than making hearers listen, it would empower them as speakers and producers. Brecht's ideas for an "uprising of the listeners" came at the exact moment when radio broadcasting in &ermany was brought under state control and increasingly taken into service as an instrument of propaganda. 'tarting in the late !()s, Brecht's theory of radio sparked a vigorous debate. The concern at the heart of his critique had lost none of its urgency+ Who determines how a society makes sense of the world? Who speaks, and who is spoken to- The utopian vision of boundless communication untainted by relations of power was electrifying. The exhibition puts the focus on pro.ects from the 1920s/30s and the !()s/70s, when various collectives emerged that, instead of accepting language and the societal status *uo as a given, aimed to rethink them and pioneer forms of anti/ national and international communication. #$ % Ass&'ia $&( re)&lu $&(+rer b$*,e(,er -.(stler Deu s'%la(,s /AR0-D12 T&3as& 0$(ga2 Ha(s 0r$(43a(2 Cash3ere Ra,$& 0er*$(2 0e y Da(&(2 Isa 5e(64e(2 5ru77e SP"R2 -ur 5.( %er2 #$*%e*3 Heise2 Ra*8 Ho3a((9:a(uela "()er,&rbe(2 I(st$ u e 8&r C&37u a $&(a* Va(,alism2 ;a'<ue*$(e ,e ;&(g2 Lab&ra &r$& P2 -a r$( :ayer2 -ar&*$( :eu(ier2 S e7%a(ie :.ller2 A(,rea Lesja42 -alas L$eb8rie,2 S e8a(ie :.ller2 Ra,$& Pa7esse2 :a> Ra,ler2 -e y La R&''a2 Ru$(e :.('%e(2 Ru,&*8 S'%*$'% er2 ?ul S&lar2 -ur #e$(%&*,2 A(,reas @eising2 H. PA @$33er2 L$(a @ylla Presse4&( a4 : C*au,$a Weber /9 T +DE 8E 233 32!2! /9 presse-*e(ba'%%ausF3ue('%e(A,e RADIO IN THE #EI:AR REP"0LIC The radio emerged from the development of radio communication, especially as a military apparatus, dominated in Germany by the Telefunken company, founded in 1903 as a monopolist. 1fter the 2irst ,orld ,ar, there was an “army” of *uali$ed radio operators or signalmen. 1lthough the technical possibility existed to transmit “to everyone,” the state and the economy feared its use by forces of the 5ovember 6evolution of 1918 and the workers movement. It was only as a conse*uence of the 8nabling 1cts of 1923 that the government, strengthened by these laws, allowed radio to become a mass medium. 9n 9ctober #!, !#", the $rst state/controlled radio broadcast in Germany was aired from the :ox ;ouse in Berlin: 1n infantry regiment played Deutschland, Deutschland über alles. The 2unk/'tunde 1G subse*uently took up its regular broadcasting operations. The new form of communication met a social need+ ,ithin a year, there were ten broadcasting stations, covering almost the entire territory of the 6eich. The new medium was conceived as a non/commercial entertainment service. In their self/ portrayals, the creaters propagated neutrality, both in terms of party politics and religious denomination. 2rom the beginning, the state monopoly and the “capitalist class<s” sovereignty over interpretation were targets of criticism. The radios available on the market were expensive. This made it difficult for blue and white/collar workers—not to mention the unemployed—to partake of the new medium. 9ne remedy was the do/it-yourself construction of radio receivers. ,orkers< radio associations .ointly constructed crystal radio receivers to listen to local radio stations% the bourgeois radio associations devoted themselves to tube receivers that could also receive more distant stations, for which high fees had to be paid. In any event, radio *uickly found its way into the private sphere. By the end of 1925, there were over one million registered listeners% despite the reduction of broadcasting fees the year before, countless users still remained unregistered. ,ithout much e@ort, vacuum tube receivers could be converted into transmitting stations, which allowed every technically experienced person to construct his or her own “private broadcasting station.” In !#A, an emergency radio law put a stop to this 3radio piracy,” and a mandatory broadcasting license was introduced. 2rom then on, the content and scope of radio programs were sub.ect to state control. The ,orkers< 6adio Bovement and the Communist Darty of Germany EFDGH in particular formulated a policy of co/determination and their claim to a democratic radio alternative–ultimately without success. In !"#, the newly elected government under 2ranz von Dapen fully nationalized broadcasting, centralized its organization, and implemented a uniform regulation. 1fter the 5ational 'ocialists began their rule, the instrumentalization and harmonization of radio for propaganda purposes was further expanded, including the distribution of the inexpensive Volksempfänger Epeople<s radioH, which, in 1932, counted four million o=cial listeners in 1932 and, by !A", sixteen million. Presse4&( a4 : C*au,$a Weber /9 T +DE 8E 233 32!2! /9 presse-*e(ba'%%ausF3ue('%e(A,e -ur 5.( %er 5era 18E3 – S a, r&,a 1EGG The Ra,$& Lis e(er /Ra,$&(ist12 192H S aa *$'%e :usee( zu 0er*$(2 Na $&(a*galerie In addition to the amusement, edification, and instruction of the population as a whole, radio certainly also had educational aspirations. 5evertheless, the impression of “light entertainment,” which was intended to distract from existing grievances and everyday problems of modern life, dominated. The 'ocial Gemocratic newspaper Vorwärts commented ironically+ “But now we have radio, stay decorously at home, and listen to the most pleasant and beautiful things.4 ,ith his Radionist, also known as etty !ourgeois at the Radio, Furt &Knther presented what was ostensibly precisely this situation of pacifying the bourgeois through radio culture+ a narrow living room with a box radio, headphones, a bottle of red wine, a cigar, and an opera textbook. Through his active participation, the radio listener is at least exemplary in the sense of Brecht’s radio theory+ listening and reading along with the opera booklet. What distinguishes &Knther<s Radionist from Bax 6adler<s working class Radiohörer E6adio ListenerH are his clearly bourgeois attributes. The depiction of the listener is based on one of &Knther<s neighbors, who was bound to a wheelchair—information that again casts doubt on the caricature/like nature of the depiction+ 2or those con$ned to their apartments, the radio does in fact open a window to the world. -ur #e$(%&*, 0er*$( 18EI – Ca*J 1EIG :a( J$ % Ra,$& /Ho3& sa7ie(s12 192E Pr$)a e C&lle' $&( In the early days, radios were a@ordable for only a few. 9ne of them was presumably the naked Bann mit 6adio EBan with a 6adioH in Furt ,einhold<s painting. ,einhold depicts radio as a pastime for the well-to/do middle classes+ :isibly relaxed and pu=ng a cigar, ;omo sapiens Eas he is called in the subtitleH sits in his apartment and listens. The headphones are connected to a crystal radio receiver. The model is a Berlin-based lawyer from ,einhold<s circle of friends. 5ot only Brecht, but also the authors of the various workers< radio magazines of the time regarded public entertainment radio, in which recipes, travel reports, and :iennese waltzes were broadcast, as a diverting exertion of influence and political sedation, tailored to the bourgeoisie. The apparatus was switched on, while those who listened were switched o@. 1fter the 'econd ,orld ,ar, ,einhold himself drew a connection between his Mann mit Radio and 5ational 'ocialism+ 36adio as a means of stultifying the people, as this was extensively exploited during the Third 6eich. 1 brain-erosion machine, coercion to switch o@ one<s own thinking.” In his portrayal of a naked, cabled man, he also aimed at the contradiction between technology and the body, a common theme at the time. Presse4&( a4 : C*au,$a Weber /9 T +DE 8E 233 32!2! /9 presse-*e(ba'%%ausF3ue('%e(A,e #$*%e*3 He$se #iesba,e( 18E2 – :.('%e( 19IG #$ %er$(g S7r$(g – Se*8 P&r ra$ as a Ra,$& T$(4erer2 192I Le(ba'%%aus :u($'% ,ithout a human counterpart, the artist works his way through the chaos of ob.ects in front of him, which includes not only painting utensils and potted plants, but also components of the latest technology of the time. The tangle of cogs, screws, and connecting parts seems to be taxing. It is not an easy task to establish contact with the outside world. Initially, only the well/to/do could a@ord the e*uipment approved by the 6eich Telegraph 1dministration, as well as the high broadcasting fee. The great mass of those a@ected by the inflation constructed their own receivers and thus dodged the fee. 6adio hobbyists were—in contrast to ;eise<s isolated $gure—often organized in clubs. They initially came together without any political motivation to exchange experiences in constructing their own simple crystal radio receivers. In !#A, the broadcasting fee was reduced to two marks Ethe ,orkers< 6adio Bovement had demanded one markH, and many now registered their homemade receivers.
Load more

Recommended publications
  • Cosmonauts of the Future: Texts from the Situationist
    COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263.
    [Show full text]
  • New Objectivity: Modern German Art in the Weimar Republic, 1919–1933
    New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 New Objectivity: Modern German Art in the Weimar Republic, 1919-1933 Press images, full captions 1. Max Beckmann Dance in Baden-Baden (Tanz in Baden-Baden), 1923 Oil on canvas; 42 1/2 x 26 in. (108 x 66 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: bpk, Berlin/Bayerische Staatsgemäldesammlungen/Art Resource, NY 2. Max Beckmann Self-Portrait in Tuxedo (Selbstbildnis im Smoking), 1927 Oil on canvas; 54 15/16 x 37 5/8 in. (139.5 x 95.5 cm) Harvard Art Museums/Busch-Reisinger Museum, Association Fund © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: Imaging Department © President and Fellows of Harvard College 3. Max Beckmann Paris Society (Gesellschaft Paris), 1931 Oil on canvas; 43 × 69 1/8 in (109.2 × 175.6 cm) Solomon R. Guggenheim Museum, New York © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo © The Solomon R. Guggenheim Foundation, New York 4. Aenne Biermann Ficus elastic: Rubber Plant (Ficus elastic: Gummibaum), c. 1927 Gelatin silver print; 18 2/5 x 13 3/4 in. (46.7 x 35 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne Photo: Bayerische Staatsgemäldesammlungen, Fotoarchiv 5.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence Permalink https://escholarship.org/uc/item/2c73n9k4 Author Boyle, Michael Shane Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence By Michael Shane Boyle A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Anton Kaes Professor Shannon Steen Fall 2012 The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence © Michael Shane Boyle All Rights Reserved, 2012 Abstract The Ambivalence of Resistance West German Antiauthoritarian Performance After the Age of Affluence by Michael Shane Boyle Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Jackson, Chair While much humanities scholarship focuses on the consequence of late capitalism’s cultural logic for artistic production and cultural consumption, this dissertation asks us to consider how the restructuring of capital accumulation in the postwar period similarly shaped activist practices in West Germany. From within the fields of theater and performance studies, “The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence” approaches this question historically. It surveys the types of performance that decolonization and New Left movements in 1960s West Germany used to engage reconfigurations in the global labor process and the emergence of anti-imperialist struggles internationally, from documentary drama and happenings to direct action tactics like street blockades and building occupations.
    [Show full text]
  • Mehr Mode Rn E Fü R D As Le N Ba Ch Ha Us Die
    IHR LENBACHHAUS.DE KUNSTMUSEUM IN MÜNCHEN MEHR MEHR FÜR DAS MODERNE LENBACHHAUS LENBACHHAUS DIE NEUERWERBUNGEN IN DER SAMMLUNG BLAUER REITER 13 OKT 2020 BIS 7 FEB 2021 Die Neuerwerbungen in der Sammlung Blauer Reiter 13. Oktober 2020 bis 7. Februar 2021 MEHR MODERNE FÜR DAS LENBACHHAUS ie weltweit größte Sammlung zur Kunst des Blauen Reiter, die das Lenbachhaus sein Eigen nennen darf, verdankt das Museum in erster Linie der großzügigen Stiftung von Gabriele Münter. 1957 machte die einzigartige Schenkung anlässlich des 80. Geburtstags der D Künstlerin die Städtische Galerie zu einem Museum von Weltrang. Das herausragende Geschenk umfasste zahlreiche Werke von Wassily Kandinsky bis 1914, von Münter selbst sowie Arbeiten von Künstlerkolleg*innen aus dem erweiterten Kreis des Blauen Reiter. Es folgten bedeutende Ankäufe und Schen- kungen wie 1965 die ebenfalls außerordentlich großzügige Stiftung von Elly und Bernhard Koehler jun., dem Sohn des wichtigen Mäzens und Sammlers, mit Werken von Franz Marc und August Macke. Damit wurde das Lenbachhaus zum zentralen Ort der Erfor- schung und Vermittlung der Kunst des Blauen Reiter und nimmt diesen Auftrag seit über sechs Jahrzehnten insbesondere mit seiner August Macke Ausstellungstätigkeit wahr. Treibende Kraft Reiter ist keinesfalls abgeschlossen, ganz im KINDER AM BRUNNEN II, hinter dieser Entwicklung war Hans Konrad Gegenteil: Je weniger Leerstellen verbleiben, CHILDREN AT THE FOUNTAIN II Roethel, Direktor des Lenbachhauses von desto schwieriger gestaltet sich die Erwer- 1956 bis 1971. Nach seiner Amtszeit haben bungstätigkeit. In den vergangenen Jahren hat 1910 sich auch Armin Zweite und Helmut Friedel sich das Lenbachhaus bemüht, die Sammlung Öl auf Leinwand / oil on canvas 80,5 x 60 cm erfolgreich für die Erweiterung der Sammlung um diese besonderen, selten aufzufindenden FVL 43 engagiert.
    [Show full text]
  • Die Malerei Der Neuen Sachlichkeit 1918 - 1933
    Die Malerei der Neuen Sachlichkeit 1918 - 1933 Im Jahr 1923 versandte der Direktor der Städtischen Kunsthalle Mannheim Gustav Friedrich Hartlaub ein Rundschreiben an alle Maler, die "in den letzten zehn Jahren weder impressionistisch aufgelöst noch expressionistisch abstrakt, weder rein sinnenhaft äußerlich, noch rein konstruktiv innerlich gewesen sind ...“. Zwei Jahre später, im Sommer 1925, konnte er mit den Rückmeldungen auf sein Rundschreiben eine Ausstellung ins Leben rufen, der er den Namen "Neue Sachlichkeit“ gab. 124 Bilder von 32 verschiedenen Künstlern hatte er zusammengetragen. Merkmale: Die Nüchternheit und Schärfe der Darstellung, die weitgehend frei ist von Emotionen und Sentimentalität Die Darstellung des Alltäglichen und Unspektakulären, meist in Nahsicht Ein statischer Bildaufbau, der Personen wie erstarrt wirken lässt und ohne Licht- und Schattenwirkung auskommt. Detailgenaue dingliche Darstellung Keine Spuren des Arbeitsprozesses bleiben sichtbar. Der Pinselduktus verschwindet komplett unter einer fast metallisch glatten Oberfläche, die den sterilen, luftleeren Charakter vieler Bilder noch verstärkt. »Es gilt die Dinge zu sehen, wie sie sind.« (Otto Dix) Die Maler reagierten mit ihren Bildern auf das traumatische Erlebnis des Ersten Weltkrieges und eine aus den Fugen geratene Welt: die Künstler der Neuen Sachlichkeit. »Brutalität! Klarheit, die wehtut! Zum Einschlafen gibt's genügend Musiken! […] Pinsle, was das Zeug hält – fang die rasende Zeit ein …«, forderte George Grosz. Wie zahlreiche Zeitgenossen distanzierte er sich von den vergeistigten Strömungen der Malerei, kritisierte deren »Wolkenwanderungstendenzen« und monierte, dass »deren Anhänger über Kuben und Gotik nachsannen, während die Feldherren mit Blut malten.« Architekten wie Walter Gropius und Ludwig Mies van der Rohe strebten nach einer sachlich- schlichten Formensprache und diskutierten die sozialen Aspekte des Neuen Bauens.
    [Show full text]
  • Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D   S I
    G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H.
    [Show full text]
  • MUSEEN UND AUSSTELLUNGSHÄUSER 01 Alte
    26 Schellingstraße 15 Augustenstraße Luisenstraße Theresienstraße Schellingstraße Arcisstraße 20 8 Augustenstraße Barer Straße Gabelsbergerstraße Universität U3, U6 31 Luisenstraße Türkenstraße > Theresienstraße 31 1 Arcisstraße 27 6 7 Gabelsbergerstraße 30 30 Stiglmaierplatz 10 2 17 U1, U7 31 Barer Straße 13 11 Brienner Straße 14 Luisenstraße 3 4 28 Türkenstraße Brienner Straße Gabelsbergerstraße 27 19 24 23 Amalienstraße Königsplatz 31 U2 Arcisstraße Oskar-von-Miller-Ring 9 Barer Straße Augustenstraße Königsplatz Brienner Straße 4 12 5 Türkenstraße 16 Karolinenplatz Karlstraße 18 Luisenstraße 21 25 Brienner Straße Max-Joseph-Straße Oskar-von-Miller-Ring Katharina-von-Bora-Straße Hauptbahnhof Karlstraße U1, U2, U4, U5, U7 29 Brienner Straße � Barer Straße Ottostraße Karlsplatz (Stachus) Odeonsplatz U4, U5 22 Maximiliansplatz U3, U4, U5, U6 � > Elisenstraße Maximiliansplatz Einbahnstraße Deutsche Bahn U-Bahn-Station S-Bahn-Station Trambahnhaltestellen der Linien 27 und 28 Bushaltestellen der Linien 100 und 154 MUSEEN UND AUSSTELLUNGSHÄUSER KULTURELLE EINRICHTUNGEN HOCHSCHULEN KUNST � KULTUR � WISSEN = ERLEBNIS3 01 Alte Pinakothek 15 AkademieGalerie 26 Akademie der Bildenden Künste München Was ist das Kunstareal München? Barer Straße 27, 80333 München Zwischengeschoss der U-Bahn-Station Universität Akademiestraße 2–4, 80799 München (Ausgang Akademiestraße) Das Kunstareal München liegt direkt im Herzen von München und ist 02 Geologisches Museum München 27 Hochschule für Musik und Theater München mit seinen Museen und Hochschulen einer der wichtigsten Kultur- Luisenstraße 37, 80333 München 16 Amerikahaus München Arcisstraße 12, 80333 München (Hauptgebäude) standorte Europas. Auf einer Fläche von 500 � 500 Metern – mitten Karolinenplatz 3, 80333 München Standort Luisenstraße 37a, 80333 München im lebendigen Stadtbezirk Maxvorstadt – trifft der Besucher auf eine 03 Glyptothek einmalige Verbindung von Kunst, Kultur und Wissen.
    [Show full text]
  • Dramatizing Trauma in Resistance to Post-Colonial Hegemonic Culture : a Magic(Al) Realist Reading of Toni Morrison's Beloved
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2015 Dramatizing trauma in resistance to post-colonial hegemonic culture : a magic(al) realist reading of Toni Morrison's Beloved, Love and Frida Kahlo's selected paintings. FENG Yi, University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the English Language and Literature Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yi,, FENG, "Dramatizing trauma in resistance to post-colonial hegemonic culture : a magic(al) realist reading of Toni Morrison's Beloved, Love and Frida Kahlo's selected paintings." (2015). Electronic Theses and Dissertations. Paper 2241. https://doi.org/10.18297/etd/2241 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. DRAMATIZING TRAUMA IN RESISTANCE TO POST-COLONIAL HEGEMONIC CULTURE: A MAGIC(AL) REALIST READING OF TONI MORRISON’S BELOVED, LOVE AND FRIDA KAHLO’S SELECTED PAINTINGS By FENG Yi B.A., Heilongjiang University, 2003 M.A., Beijing Foreign Studies University, 2006 A Dissertation Submitted
    [Show full text]
  • MUNICH POP. Der Maler Michael Langer Und Sein "Absurder
    MUNICH POP Der Maler Michael Langer und sein „absurder Realismus“ 1965–69 Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Luisa Nicolina Seipp aus München 2021 Erstgutachterin: Prof. Dr. Burcu Dogramaci Zweitgutachter: Prof. Dr. Andreas Kühne Tag der mündlichen Prüfung: 22.01.2020 Michael Langer in seinem Atelier in München-Schwabing, 1967. Abb. in: Keller 1968, S. 40 TEIL I.: TEXT 1. Einleitung 1.1. Utopien, Krawalle und Krautrock – Michael Langer, München und die 1960er Jahre.......................................................................................................................1 1.2. Forschungsüberblick..............................................................................................6 1.3. Fragestellung und Methodik................................................................................13 1.4. “What is Pop Art?” Definition und Eingrenzung von Pop-Art…...……………19 2. Das Frühwerk und die Suche nach der verloren gegangenen Figuration...22 2.1. L’art informel und ihr vermeintliches Freiheitsversprechen: Die Ausgangssituation................................................................................................23 2.2. Kunstpolitischer Protest und groteske Köpfe: Langers Wiederentdeckung der menschlichen Form..............................................................................................32 2.3. Targets und der Aufbruch zum Pop....................................................................47 3. Der
    [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]
  • Geschäftsbericht 1960
    .. GE SCHAFTSBERICHT der ~-- ~ I DEUTSCHEN BUNDESBANK für das Jahr 1960 Wir beklagen, daß wir durch den Tod verloren haben die Mitarbeiter Hans- ]oachim Becher t 20. Jan. 1960 OttoBelmns t 19. Aug. 1960 Karl Gilbert t 7. Febr. 1960 ]osef Franck t 20. Aug. 1960 Friedrich Böhm t 8. Febr. 1960 Otto Koob t 21. Aug. 1960 Otto Franke t 24. Febr. 1960 Margarete Götz t 27. Aug. 1960 Rudolf Scheuermann t 27. Febr. 1960 Hermann Sdtmitz t 2. Sept. 1960 Wilhelm Heise t 3. März 1960 Eckhard Löbel t 20. Sept. 1960 Wilhelm Hoevel t 17. März 1960 Herta Oehlmann t 21. Sept. 1960 Heinrich MoormanH t 19. März 1960 ]osef Deutschmann t 30. Sept. 1960 Rudolf Gattermann t 27. März 1960 Alois Löffler t 5. Okt. 1960 Charlotte ]ackert t 18. April1960 Brich Werther t 5. Okt. 1960 Hermamt Dreyer t 4. Mai 1960 Ridtard Büher t 6. Okt. 1960 Kar! Haller t 8. Mai 1960 Albert Mahlschein t 7. Okt. 1960 Heinrid1 ]äkel t 16. Mai 1960 Karl Schubert t 13. Okt. 1960 Karl Neumann t 16. Mai 1960 Hellmut Laube t 14. Okt. 1960 Otto Ritter t 19. Mai 1960 Hans Lüdtke t 18. Okt. 1960 Otto Rattunde t 31. Mai 1960 Rudolf Cuno t 7. Nov. 1960 Maria Schmidt t I. Juni 1960 Victor Pempel t 15. Nov. 1960 Otto Salomon t 5. Juni 1960 ]osef Jung t 20. Nov. 1960 ]ohann Zensen t 7.Juni1960 Eduard Schulz t 20. Nov. 1960 Karl Schmidle t 13. Juni 1960 Werner Busd1 t 7. Dez. 1960 Michael Wiimer t 15.
    [Show full text]
  • The Blue Rider
    THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction.
    [Show full text]