Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri,
left figure
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri,
both figures
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri,
face and moving lines (of typography)
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri,
Clodia and Lorelei (edit or remove)
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail I
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail II
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail III
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail IV
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail V
Paris Street Art
March 24, 2016, Paris, Rue Saint-Martin / Rue du Cloitre Sanit-Merri, mask detail VI
Perceptual-Identity of Street and Stage II
What we see is the simultaneity of perception – fixed on a stage (the stage of remembrance).
Perceptual-Identity of Street and Stage III
The aim is to fix the moving simultaneity as a line in the presence (a line which is constantly available). The fixing should be done as a poetical construction, i.e. as a poem or a notation of lyrical order.
Perceptual-Identity of Street and Stage VI
Reading is to put the vivid movement back into our perception.
This is Moving Poetry.
Perceptual-Identity of Street and Stage I
The perceptual-identity of a street and a stage (for example, the street corner Rue Rue André Mazet / Saint-André des Arts) while you are watching out of a coffee shop window what happens outside...
Perceptual-Identity of Street and Stage V
Lineation dictates when a line of poetry stops and a new lines begins.
Perceptual-Identity of Street and Stage VI
Lineation also dictates when the walk along the line has to be stopped and when the participant has to jump to another lines (directly to one of the crossing points, he has to decide which he will choose).
Perceptual-Identity of Street and Stage VII
»Two roads diverged in a wood, and I -
I took the one less traveled by,
And that has made all the difference.«
The Road Not Taken by Robert Frost
Perceptual-Identity of Street and Stage VIII
The poem moves from lineation to lineation, the poetry itself is moving us in a physical sense, while we are reading. Moving poetry is, to move and to be moved by reading, with no other aim than to stay in movement.
Perceptual-Identity of Street and Stage IX
We are reading what happens on stage: on the stage of our mind as well as on the stage of the streets, the rooms, the spaces between the interacting people, things, and thoughts...
Leaving the Audience Room
»At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.
But they pulled me out of the sack,
And they stuck me together with glue.«
Daddy by Sylvia Plath
Mandrake – Beliefs and Practices I
Many superstitious beliefs and practices are connected with temporary blindness and the perception of foreign sounds which remembers at a vivid voice: Close your eyes and listen to the whisper of the wind in the trees or murmur of the roots under the ground.
Mandrake – Beliefs and Practices II
Reports of the effects of consumption of mandrake are blurred vision, dilation of the pupils, dryness of the mouth, difficulty in urinating, dizziness, headache, vomiting, blushing and a rapid heart rate as well as hyperactivity and hallucinations.
Mandrake – the Bible , Genesis 30:14,15
„And Reuben went in the days of wheat harvest, and found mandrakes in the field, and brought them unto his mother Leah. Then Rachel said to Leah, Give me, I pray thee, of thy son's mandrakes.
And she said unto her, Is it a small matter that thou hast taken my husband? and wouldest thou take away my son's mandrakes also? And Rachel said, Therefore he shall lie with thee to night for thy son's mandrakes."
Mandrake – the Bible , Genesis 30:16
"And Jacob came out of the field in the evening, and Leah went out to meet him, and said, Thou must come in unto me; for surely I have hired thee with my son's mandrakes. And he lay with her that night.“
Pulling the Mandrakes
Josephus (circa 37–100 AD) of Jerusalem gives the practical directions for pulling the mandrakes up:
„A furrow must be dug around the root until its lower part is exposed, then a dog is tied to it, after which the person tying the dog must get away. The dog then endeavours to follow him, and so easily pulls up the root, but dies suddenly instead of his master. After this, the root can be handled without fear.“
"Let's hang ourselves immediately!"
Anselm Kiefer
Anselm Kiefer (born 1945) is a German painter and sculptor. In 1999 the Japan Art Association awarded him the Praemium Imperiale for his lifetime achievements. In the explanatory statement it reads:
» Only a few contemporary artists have such a pronounced sense of art's duty to engage the past and the ethical questions of the present, and are in the position to express the possibility of the absolution of guilt through human effort.«
Anselm Kiefer at Centre Pompidou, Paris I
From December 2015 to April 2016 the Centre Pompidou had staged a retrospective of Anselm Kiefer’s work, the first in France for 30 years.
Anselm Kiefer at Centre Pompidou II
The exhibition consisted of close to 150 works, with a selection of approximately 60 paintings, including iconic works from the 1970s and ‘80s.
Anselm Kiefer at Centre Pompidou III
»Kiefer’s Paris Retrospective Is Testament to the Regenerative Power of Art – « Emily Nathan, artsy.net, 2015
Anselm Kiefer at Centre Pompidou IV
»Like all those of his generation struggling with their parents’ Nazi pasts, Kiefer was unsure of his responsibility as a German artist—but a room full of massive architectural paintings from the 1980s marks the reintroduction of history into his work.«
Anselm Kiefer at Centre Pompidou V
»Because most Nazi buildings were leveled by the Allied bombings, Germany lacked ruins—an absence that aided the country in its will to forget.«
Anselm Kiefer at Centre Pompidou VI
»Kiefer addressed these omissions by imagining the destroyed Neo-Classical edifices built by Nazi architects like Albert Speer as ruins.«
Anselm Kiefer at Centre Pompidou VIII
»The sumptuous Innenraum [Interior] (1981) envisions the empty interior of the New Reich Chancellery as both gold-tinged and deeply scarred, its water-stained walls seeming to sag with the weight of history.«
Anselm Kiefer at Centre Pompidou IX
Anselm Kiefer is a German Painter, Sculptor, Photographer, and Installation Artist, he is considered as one of the movement of Neo-Expressionism.
Anselm Kiefer at Centre Pompidou X
Anselm Kiefer's monumental, often confrontational canvases were groundbreaking at a time when painting was considered all but dead as a medium.
Anselm Kiefer at Centre Pompidou XI
The artist is most known for his subject matter dealing with German history and myth, particularly as it relates to the Holocaust.
Anselm Kiefer at Centre Pompidou XII
These works forced his contemporaries to deal with Germany's past in an era when acknowledgment of Nazism was taboo. Kiefer incorporates heavy impasto and uncommon materials into his pieces, such as lead, glass shards, dried flowers, and strands of hay, many of which reference various aspects of history and myth, German and otherwise.
Anselm Kiefer at Centre Pompidou XIII
Influenced by his contemporaries Joseph Beuys and Georg Baselitz, as well as by postwar tendencies in Abstract Expressionism and Conceptual art, Kiefer is considered part of the Neo-Expressionist movement, which diverged from Minimalism and abstraction to develop new representational and symbolic languages.
Anselm Kiefer at Centre Pompidou XIV
Anselm Kiefer is a history painter in a traditional sense. His art often deals with themes related to German history and national identity, including Norse legend, Wagnerian opera, and the Holocaust.
Anselm Kiefer at Centre Pompidou XV
The relation to the Holocaust was an attempt to bring the Nazi period to the forefront of national and international conversations, often causing controversy in Germany.
Anselm Kiefer at Centre Pompidou XVI
Kiefer's repertoire of imagery is wide ranging, incorporating representational and symbolic motifs, such as sigils, occult icons, architectural interiors, and landscape elements to provoke an emotional and psychological effect on the viewer.
Anselm Kiefer at Centre Pompidou XVII
Many of his themes makes direct references to aspects of Germany's past, such as the forests that evoke famous battles or the fairytales of the Grimm Brothers.
Anselm Kiefer at Centre Pompidou XVIII
Kiefer is drawn to various and often unusual media for their symbolic potency. Natural materials such as straw, earth, and tree roots reference both time and patterns of life, death, and decay. Lead also has resonance for the artist both as a medium and a subject matter.
Anselm Kiefer at Centre Pompidou XIX
Lead was the base material used in alchemy. He considers that lead is the only material heavy enough to bear the burden of history.
Anselm Kiefer at Centre Pompidou XX
Derived from his interest in mythology, history, and knowledge, Kiefer often uses books as subject matter representing knowledge and civilization.
Anselm Kiefer at Centre Pompidou XXI
He frequently incorporates text into his paintings, including excerpts from poems, novels, and nationalist slogans as well as names of seminal figures, written in a scrawling script.
»As an architect you are a builder. You are of course more than a builder. You need to be a militant, you have to be a poet, you have to be a visionary, you have to be an artist. But certainly you have to be a builder. Everything starts from there.« Renzo Piano
»One of the great beauties of architecture is that each time, it is like life starting all over again.« Renzo Piano
»Architects spend an entire life with this unreasonable idea that you can fight against gravity.« Renzo Piano
»Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.« Renzo Piano
»If you have total freedom, then you are in trouble. It's much better when you have some obligation, some discipline, some rules. When you have no rules, then you start to build your own rules.« Renzo Piano
»Architects have to dream, we have to search for our Atlantises, to be explorers, adventurers, and yet to build responsibly and well.« Renzo Piano
Körpermaschine 01
Das »Manifest« grenzt die Körpermaschine ein, stellt sie aus und wird sie in physischem Sinn verwirklichen; in Konstruktion und Bau einer externalisierten Körpermaschine (Riesenschreibmaschine, vitruvianischen Maschine etc.).
Körpermaschine 02
Die Körpermaschine =
eine Verlustmaschine.
Der Verlust =
elementare Bedingung jeder Sprache.