Showing posts with label history. Show all posts
Showing posts with label history. Show all posts
Wednesday, December 14, 2011
Wednesday, October 5, 2011
Monday, May 23, 2011
schützengrabenkaspar
"Im Ersten Weltkrieg gab es keine offizielle Truppenbetreuung. Viele Soldaten ließen sich aus der Heimat Handpuppen schicken. Oft wurden die Figuren aber auch aus den Dingen hergestellt, die man vor Ort fand.
Puppen von der Ostfront
Gefertigt um 1915/18 in Russland von deutschen Soldaten aus Taschentüchern und Ästen. Die Figur des Kaspers besitzt ein bewegliches Geschlechtsteil."
Musem für Sächsische Volkskunst Dresden
Puppen von der Ostfront
Gefertigt um 1915/18 in Russland von deutschen Soldaten aus Taschentüchern und Ästen. Die Figur des Kaspers besitzt ein bewegliches Geschlechtsteil."
Musem für Sächsische Volkskunst Dresden
Tuesday, December 8, 2009
herr silhouette und herr guillotine
Silhouette:
"Étienne de Silhouette war französischer Finanzminister unter Ludwig XV.
Nach ihm sind Silhouetten benannt, da er zur Ausschmückung seines Schlosses Scherenschnitte anfertigen ließ, die das Budget weniger belasteten als etwa Ölgemälde."
Guillotine:
"Die Guillotine (dt. Fallbeil) ist ein nach dem französischen Arzt Joseph-Ignace Guillotin benanntes Gerät zur Vollstreckung der Todesstrafe durch Enthauptung.
Während der Französischen Revolution wurde die Guillotine per Dekret der Französischen Nationalversammlung vom 20. März 1792 als einziges Hinrichtungswerkzeug eingeführt.
Die Hintergründe sind verschiedener Natur. Zum einen sollte die Maschine die zahlreichen Hinrichtungen rationalisieren. Ferner sollte die Hinrichtung für die Betroffenen schmerzfrei gemacht werden, denn zuvor brauchte ein Henker mit einem von Hand geführten Beil unter Umständen mehrere Schläge. Für den Namensgeber Guillotin waren humanitäre Gründe ausschlaggebend. Er meinte, dass man den Verurteilten die Angst vor dem Sterben nicht nehmen könne, wohl aber die Qualen der Hinrichtung selbst begrenzen. Die Folter und besonders grausame Hinrichtungsmethoden wie das Rädern sollten mit der Guillotine abgeschafft werden.
Zudem sollte aber der Gleichheitsanspruch der Revolution auch bei der Hinrichtung gelten: Vorher war das Enthaupten den Adeligen als „edle“ Todesart vorbehalten, einfache Leute wurden am Galgen gehenkt. Mit der Guillotine wurden alle Hinrichtungen vereinheitlicht.
Als erster Mensch wurde am 25. April 1792 der Straßenräuber Nicolas Jacques Pelletier mit der neuen Guillotine öffentlich hingerichte.
Die letzte Hinrichtung durch die Guillotine fand in Frankreich am 10. September 1977 an Hamida Djandoubi statt. Am 19. Februar 2007 wurde das Verbot der Todesstrafe in die französische Verfassung aufgenommen."
und dann gibts noch die Violin d'Ingres
"Étienne de Silhouette war französischer Finanzminister unter Ludwig XV.
Nach ihm sind Silhouetten benannt, da er zur Ausschmückung seines Schlosses Scherenschnitte anfertigen ließ, die das Budget weniger belasteten als etwa Ölgemälde."
Guillotine:
"Die Guillotine (dt. Fallbeil) ist ein nach dem französischen Arzt Joseph-Ignace Guillotin benanntes Gerät zur Vollstreckung der Todesstrafe durch Enthauptung.
Während der Französischen Revolution wurde die Guillotine per Dekret der Französischen Nationalversammlung vom 20. März 1792 als einziges Hinrichtungswerkzeug eingeführt.
Die Hintergründe sind verschiedener Natur. Zum einen sollte die Maschine die zahlreichen Hinrichtungen rationalisieren. Ferner sollte die Hinrichtung für die Betroffenen schmerzfrei gemacht werden, denn zuvor brauchte ein Henker mit einem von Hand geführten Beil unter Umständen mehrere Schläge. Für den Namensgeber Guillotin waren humanitäre Gründe ausschlaggebend. Er meinte, dass man den Verurteilten die Angst vor dem Sterben nicht nehmen könne, wohl aber die Qualen der Hinrichtung selbst begrenzen. Die Folter und besonders grausame Hinrichtungsmethoden wie das Rädern sollten mit der Guillotine abgeschafft werden.
Zudem sollte aber der Gleichheitsanspruch der Revolution auch bei der Hinrichtung gelten: Vorher war das Enthaupten den Adeligen als „edle“ Todesart vorbehalten, einfache Leute wurden am Galgen gehenkt. Mit der Guillotine wurden alle Hinrichtungen vereinheitlicht.
Als erster Mensch wurde am 25. April 1792 der Straßenräuber Nicolas Jacques Pelletier mit der neuen Guillotine öffentlich hingerichte.
Die letzte Hinrichtung durch die Guillotine fand in Frankreich am 10. September 1977 an Hamida Djandoubi statt. Am 19. Februar 2007 wurde das Verbot der Todesstrafe in die französische Verfassung aufgenommen."
und dann gibts noch die Violin d'Ingres
Monday, October 26, 2009
thomas demand
"nationalgallerie"
brilliant exhibition by thomas demand at the nationalgallerie berlin, excellent exhibition architecture by caruso st. john.
(foto: nic tenwiggenhorn)
"However, lots of artistic effort goes into restaging a moment that has passed, and only through that act does it get recognized as being significant." from a conversation between todd solondz and thomas demand in 032c.
Thursday, October 22, 2009
the individual and the system
a few notes on "hunger" by steve mcqueen
- a naked man gets beaten up by prison guards and is forced into a bath tub. this is 40 minutes into the film. we did not get to know this man, he was not introduced to us, we didn't see his personal backstory - the usual means of enabeling the viewer to identify with a person on screen and therefore feel with and for that person are not used in this film. and still we feel strong compassion for him, we suffer with him - because he is a human being (btw: embedding that scene is disabled by youtube, which, i think, is a good decision. one comment says: "How someone could do that to another person.....")
- it made me think about frederick wiseman's documentaries which are always about individuals in an institution
- an institutions becomes helpless when it is confronted with the indestructible will of an individual
- i was surprised to see that the prison guards (=the system) only used pure violence and endurance/stubborness in the attempt to break the will of that individual. no "silent torture" or psychological manipulation was used (at least the film doesn't show it).
- making loud noise brings a group together and gives it power. the film opens with such a moment and the prison guards do it before they beat up the naked man.
from an interview with steve mcqueen: "What was incorporated into the script was when Sands died and there was the banging of the dustbin lids. But that was also a ritual that they did when the army was coming. It was to allow people to know what was going on."
- "Steve McQueen remarked recently: 'It was as if the whole history of the Troubles, and of Britain's relationship to Ireland, was distilled in that moment. It came down to two opposing and immovable forces: Margaret Thatcher and Bobby Sands.'" from an article in the guardian.
reminds me of how stephen frears in "the queen" also focused on one conflict to tell a bigger story. very smart and elegant as far as storytelling is concerned.
- " 'The French government offered the Dublin government two gestures of solidarity, which Dublin declined. One was to boycott the British royal wedding, the other that President Mitterrand attend Bobby Sands's funeral.'" from the same article in the guardian
- "It's striking that Sands had an appeal that went beyond Irish nationalism. The Iranians named the street where the British Embassy is Bobby Sands Street - where, of all things, there is a Bobby Sands Snack Bar.
Yes. They named the street for Bobby Sands, and then the British government changed the entrance to the building to the street behind it. It was the same time as the revolution in Iran, and the mythology of martyrdom in Iran was huge. One of the people whom they took up was Bobby Sands." from an interview with steve mcqueen
- "I was eleven years old, and an image appeared on the TV screen every night, with a number underneath it, and the image was of him, so every night the numbers went up, and as an eleven year old kid the whole idea that, in order to he heard, someone had stopped eating was kind of weird for me. It was an oral situation - food wasn't going in, but the words were getting louder." from the same interview
- "These are people who made their bodies in some shape or form into a weapon. It's always been there. Of course, this is different from 9/11, when airplanes were used to blow up other people. This is someone who was using his body, and not hurting anyone but himself to make a point." from the same interview
- "Only a single 90-second snatch of film exists of conditions inside the H Blocks at the time, shot by an Ulster Television camera crew for a documentary that was subsequently banned by the government. It shows two prisoners, bedraggled and Christ-like, wrapped in dirty blankets, shouting out their demands from a filthy, excrement encrusted cell. From that image, the artist Richard Hamilton created the first work of art based on the H Blocks, a painting called The Citizen, which he completed in 1983. Twenty-five years later, with several former IRA men now sitting in the Northern Ireland Assembly, McQueen has created the second." from another article in the guardian
- "In the final part, in which the skeletal Sands falls into fitful reveries and remembrances, there are hallucinatory scenes of his childhood that struck me as the only false note in a film that otherwise eschews any kind of easy romanticism." . i agree. also from that article in the guardian
- a naked man gets beaten up by prison guards and is forced into a bath tub. this is 40 minutes into the film. we did not get to know this man, he was not introduced to us, we didn't see his personal backstory - the usual means of enabeling the viewer to identify with a person on screen and therefore feel with and for that person are not used in this film. and still we feel strong compassion for him, we suffer with him - because he is a human being (btw: embedding that scene is disabled by youtube, which, i think, is a good decision. one comment says: "How someone could do that to another person.....")
- it made me think about frederick wiseman's documentaries which are always about individuals in an institution
- an institutions becomes helpless when it is confronted with the indestructible will of an individual
- i was surprised to see that the prison guards (=the system) only used pure violence and endurance/stubborness in the attempt to break the will of that individual. no "silent torture" or psychological manipulation was used (at least the film doesn't show it).
- making loud noise brings a group together and gives it power. the film opens with such a moment and the prison guards do it before they beat up the naked man.
from an interview with steve mcqueen: "What was incorporated into the script was when Sands died and there was the banging of the dustbin lids. But that was also a ritual that they did when the army was coming. It was to allow people to know what was going on."
- "Steve McQueen remarked recently: 'It was as if the whole history of the Troubles, and of Britain's relationship to Ireland, was distilled in that moment. It came down to two opposing and immovable forces: Margaret Thatcher and Bobby Sands.'" from an article in the guardian.
reminds me of how stephen frears in "the queen" also focused on one conflict to tell a bigger story. very smart and elegant as far as storytelling is concerned.
- " 'The French government offered the Dublin government two gestures of solidarity, which Dublin declined. One was to boycott the British royal wedding, the other that President Mitterrand attend Bobby Sands's funeral.'" from the same article in the guardian
- "It's striking that Sands had an appeal that went beyond Irish nationalism. The Iranians named the street where the British Embassy is Bobby Sands Street - where, of all things, there is a Bobby Sands Snack Bar.
Yes. They named the street for Bobby Sands, and then the British government changed the entrance to the building to the street behind it. It was the same time as the revolution in Iran, and the mythology of martyrdom in Iran was huge. One of the people whom they took up was Bobby Sands." from an interview with steve mcqueen
- "I was eleven years old, and an image appeared on the TV screen every night, with a number underneath it, and the image was of him, so every night the numbers went up, and as an eleven year old kid the whole idea that, in order to he heard, someone had stopped eating was kind of weird for me. It was an oral situation - food wasn't going in, but the words were getting louder." from the same interview
- "These are people who made their bodies in some shape or form into a weapon. It's always been there. Of course, this is different from 9/11, when airplanes were used to blow up other people. This is someone who was using his body, and not hurting anyone but himself to make a point." from the same interview
- "Only a single 90-second snatch of film exists of conditions inside the H Blocks at the time, shot by an Ulster Television camera crew for a documentary that was subsequently banned by the government. It shows two prisoners, bedraggled and Christ-like, wrapped in dirty blankets, shouting out their demands from a filthy, excrement encrusted cell. From that image, the artist Richard Hamilton created the first work of art based on the H Blocks, a painting called The Citizen, which he completed in 1983. Twenty-five years later, with several former IRA men now sitting in the Northern Ireland Assembly, McQueen has created the second." from another article in the guardian
- "In the final part, in which the skeletal Sands falls into fitful reveries and remembrances, there are hallucinatory scenes of his childhood that struck me as the only false note in a film that otherwise eschews any kind of easy romanticism." . i agree. also from that article in the guardian
Thursday, October 15, 2009
plan of action
i didn't know they prepared their battles so minutely - or it was drawn afterwards. in any case: amazing details.
from Musee de Bretagne.
from Musee de Bretagne.
Sunday, August 30, 2009
Friday, July 3, 2009
Tuesday, June 23, 2009
travel reports
in may09, a friend of mine sent me pictures from his trip to iran.
"... any other conceptions you hold you'll probably have to revise" he wrote. it made me want to go there immediately. and i wish now a had done so.
representation
a pattern still in use *
from an exhibition about maps and travel reports.
* hartz4 hieß mal stütze - ein wort, das eine zukunftsperspektive beinhaltet. ich bin mit einem anderen bild von arbeitslosigkeit aufgewachsen als das, das jetzt in den medien gemalt wird.
*und auch mein bild vom islam war anders gefärbt als es das jetzt wird.
Saturday, June 20, 2009
analog=real?
most articles about the internet talk about "the internet and the real world". what is "not-real" about the internet? didn't anybody coin a good phrase for the "offline world" or the "analog interaction" or the "non-digital communication" or "physical research" yet? there must a good word for it somewhere out there.
i remember the first time somebody showed me photoshop. i was totally disappointed. i expected a completly new and for me strange way of interaction and creation. instead i found a pencil, a brush, a rubber and a ruler and many more features i knew from the "real world".
facebook profiles = poesiealbum
sms = sending notes on the back of your name card with a messanger in eg paris of the 19th century
bounced email = rohrkrepierer
i remember the first time somebody showed me photoshop. i was totally disappointed. i expected a completly new and for me strange way of interaction and creation. instead i found a pencil, a brush, a rubber and a ruler and many more features i knew from the "real world".
facebook profiles = poesiealbum
sms = sending notes on the back of your name card with a messanger in eg paris of the 19th century
bounced email = rohrkrepierer
Saturday, June 13, 2009
die pflichten der frau
"Radsessel von Kaiserin Elisabeth Christine
Nußholz, Buche gebeizt, Porzellanziernägel, um 1740
Elisabeth Christine von Braunschweig-Wolffenbüttel wurde 1708, nachdem sie zum Katholizismus übergetreten war, mit Erzherzog Karl, König von Spanien, dem späteren Kaiser Karl VI. vermählt.
Um ihre Fruchtbarkeit zu erhöhen, verschrieb man ihr Eßkuren, durch die sie an Leibesfülle zunahm. In späteren Jahren durch Krankheiten wie Gürtelrose, Rheutmatismus, Rotlauf und offenen Beinen gesundheitlich angeschlagen, wurde sie zusehends immobil und war auf Bewegunshilfe angewiesen." Museumstext
Thursday, May 28, 2009
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