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Auf ihrem 2. Welcome to Zocalo! Zocalo hopes to provide a daily changing menu using pure, wholesome ingredients and local growers when available, keeping the food fresh, interesting and as low glycemic as possible. We also think Zocalo has the best tasting water in Blanco. Taste for yourself and take some home with you! Its Ken's Andree's last gig in town before he splits for Austin. Tammy West is on first and The Tangelos are closing. See you there! We'll even play a Waylon song since its Rodeo! He left Club Congress here after the last 5 years there Bruce Halper dieses Mal nicht an den Drums bei den Luminarios Come support your loco musicians.

It seems like this move was motivated by love, family and financial security. I love Ken and will miss him dearly. We have fought and loved and traveled the world making great music. Ken has been, consistently, my most loyal band mate for the last 12 years since he joined the Sand Rubies on our first tour of Europe in He understands what my music needs cuz he is a part of the music.

This is not goodbye though. I expect to keep on playing with him in Texas and wherever. Good luck, bro! L isa and I have also been really busy opening up a European style cafe in Blanco, Texas. Our web site is: www. Even though this is a dream come true for me, I have had lots of business, decorative and recipe advice from Lisa for which I am grateful. This eclectic cafe is based on all the great places I have eaten at around the world, especially all the great breakfast cafes we have experienced in Germany.

We are open for breakfast and lunch Wed-Sunday. I plan on building a German-style beer garden in the back of the cafe so we can grill steaks and bratwursts and serve cold beer on those warm Texas nights. We serve only the best coffee, desserts, and food. We also have a back porch for live music that will be starting up later this spring. What else? Release date is scheduled for May, I have started writing for a new album.

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I am getting back to my rock roots on this album. I promise you all that. This album is going to be loud and full of fuzzy, dirty and distorted lead guitar solos! Bye, bye Kennie! Man sieht sich Es gibt Stunden im irdischen Leben, die fallen einem wirklich nicht ganz leicht. So auch am heutigen Nachmittag zwischen 15 und 16 Uhr. Eigentlich fehlen uns die richtigen Worte angesichts der unendlichen Trauer! Deshalb, lieber Gert, nur noch so viel: Wir werden Dich vermissen! Jedoch - wir sehen uns - irgendwann im Rockolymp! Bereits am Es bedeutet uns wirklich viel, zu wissen, dass ihr ihn in guter Erinnerung behalten werdet!

The people love the food. Lisa has done allot to help with decor and cake recipes. We have all done allot to make it beautiful. I plan on building a German style beer garten this spring to make it cozy for the folks! He has been my right hand man for a long time. We have been recording allot lately.

He and I are even writing a song together which is really gonna be good! Bereits 7!!! Songs resultieren daraus. I am also going to be playing March 5 with Duane Hollis ex? So i will see how the old Greyhound Soul rythm section is!? It's been fun so far Duane has quit Greyhound Soul - he said. I have 7 songs recorded in various stages so far. Sollte man sich nicht entgehen lassen!!! Dave has canceled the last 3 shows we have booked. Edgar Heckmann helped me get the gig which was really cool. Gut, all das zu wissen! Danke, RICH! Und das ohne uns ;-. Wir trauern um einen uns sehr nah stehenden und guten Freund, ausgewiesenen Fan und Kenner guten Musikgeschmacks, treuen Konzertbesucher, Musiksammler per excellance und einen ganz tollen Menschen.

Marion und ich werden Gert am Samstag auf seinem Weg auf die andere Seite begleiten. Wir leiten es gern an die Hinterbliebenen weiter. Please pass on my sympathy to his wife Brigit and family. Of coarse I remember him even though I did not speak to him very much. His face said it all I am honored by his support.

If there is anything I can do, please don't hesitate to ask me. Wir wissen nicht was wir sagen sollen-uns fehlt die Sprache. Es tut sehr weh dieser Verlust. Ecki und ich wir haben uns schon gewundert, dass er nicht in Erfurt bei Miller Anderson war! P Gert!!!!!!!! Wir haben uns immer darauf gefreut, Gert bei Konzerten zu treffen und zuletzt an Holger's Geburtstag. We miss you :- ". Ingrid kondoliert mit "R. Peace to you and your family. Wer dieses Highlight trotzdem verpasst haben sollte, dem bieten wir eine Kopie unseres dieses Mal Mitschnittes an Oktober Nur fast komplett deshalb, weil der Gig an dem damaligen Abend insgesamt 92 Minuten dauerte.

Das war die damalige komplette Setlist:. He is working out the details. Eigentlich unbezahlbare Momente gemastert im B-Village-Studio! Lasst uns also noch ein wenig Zeit. God willing. Lisa and I worked very hard this weekend up in Blanco. I pray that this vison of mine will be recieved and loved by the Texans! I feel very positive about everything. Lots of work and many hours are being put into this project but it is coming along nicely and my cheesecake recipe will be on the menu!

I think Rich is pleased. He is letting me be creative with recipes and painting and decorating and he is handling all of the business side and having the final say on everything which is great! Started recording again and writing. I will make another fucking great rock album! Konstanz zahlt sich halt aus! Alter Wein Ihr wisst schon! Maybe a historic performance! Hinweis: vor dem Aktivieren des Videos bitte unseren Musikplayer obenstehend abschalten! Auf ewige Freundschaft! Im Namen aller Deiner Fans und Freunde. All your fans and friends from Germany and whole Europe congratulate you from the bottom of our hearts.

It is nice to know you, to admire and to love your music. To an eternal friendship! We wish you health, joy, passion, fun and peace. We are often in thought by you and we thank you for this many wonderful moments which soooooo enrich our life! Enjoy your birthday with Lisa, Bailey and your friends! In the name of all your fans and friends. Hier das bisher offiziell Bekannte von DPA 9. Die Polizei sucht nach einem Komplizen. Zustand ist weiter kritisch: Giffords ist weiter in kritischem Zustand. Der Fernsehsender CNN berichtete, sie sei operiert worden.

Der gesamte US-Staat sei traurig. Zuvor hatte die Demokratin Mandate in Arizona inne. The identity of the 9-year-old tragically killed in this morning's deadly rampage is Christina Taylor Greene. Family says she was vibrant, excited about life, and she was the "best daughter in the world.

Greene attended Mesa Verde Elementary School. She was the only girl on the CDO baseball team - she loved the sport, as well as horseback riding and swimming. The Pima County Sheriff's Office has released the identities of the six people killed in this morning's tragic shooting. Church of Christ. The suspect is being interviewed at PCSO headquarters currently, and will be transported to jail later this evening, deputies say. Macht endlich Schluss mit diesem Waffenwahnsinn!!! David Slutes via Facebook: "My sincere apologies to you folks who came out to our show tonight in Tempe.

The days events were just too insurmountable. We will make it up to you The map that was criticized as an incitement to violence? Und die spielen an den beiden kommenden Wochenenden. Allerdings leider nicht in unseren Breiten. Thanks again to all my friends and fans in Germany.. As we all know, change is something we can either go with the flow or fight so let's go with the flow! I am in the slow process of moving out to Texas to live in Blanco and open up a european style cafe.

The name is being decieded at this moment so excuse me for the wait! Right now I am here in Tucson watching my lovely daughter blossom into a young adult. Soon Bailey will be on her way to graduating from high school here in Tucson this May and is applying for some colleges back east and in Colorado. When she gets herself situated in her next big move, then I will be moving out to Texas to check things out.

Baby steps! I plan on making a new album this year but again expect some changes in my music and the people I will play with. It is inevitable and healthy. The future is truly in God's hands so I am praying allot and know that God laughs at plans. Have a great holiday season and know that I love you all in my special way! Danke nochmals zu all meinen Freunden und Fans in Deutschland Ich bin gesegnet! Da der Name ist in diesem Moment noch nicht entschieden ist, bitte ich um Entschuldigung wegen der Wartezeit!

Das Baby entwickelt sich! Es ist unvermeidlich und heilend.


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Kommt danach gut in das besagte Jahr hinein. Und jetzt gibt es sogar ein neues Album von ihm, mit dem wohl die wenigsten gerechnet haben, auch wenn er mal eine Platte namens "All That May Do My Rhyme" aufgenommen hatte. Es dauerte auch nicht lange und Jon machte einen ersten "Inspektionsrundgang" durch den Club. Wohlwissend, dass neben mir auch noch Julia Vetter von der Band "Fan The Fire" unter den Besuchern weilen wird, entdeckte er uns auch gleich.

Jon weihte mich auch gleich ein, dass Roky maximal Minuten spielen wird. Was er allerdings mit seiner Band in den vorausgesagten 75 Minuten bot, war schlichtweg berauschend - psychedelic eben! Er ist der eigentliche Bandleader! Dann ist Schluss, auch wenn es die Fangemeinde nicht so recht wahrhaben will. Roky gab sich lieber dem Schlaf der Gerechten hin!

Julia und ich tingeln mit Jon noch 'ne ganze Weile durch den Club, bevor es an das erneute Abschiednehmen geht. Ist schon ein toller Typ, dieser Jon Sanchez! Februar ab 1. Man kann also Jon Sanchez nach dem 7. Bereits jetzt schon kann man auf der Seite des Rockpalast Roky im Interview erleben. Mehr Fotos von mir gib es hier! We'll see! Zum einen gibt es die 45 Minuten, die 3Sat am 7.

Dezember sendete. Klar erkennbar, dass da noch die ersten 8 Songs des Sets fehlen s. News vom Februar 0.

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Wer also Interesse an einer Kopie hat, der schreibe uns kurz eine Mail bitte Postanschrift nicht vergessen. House of Mercy radio December 4th Tourmanagment : Go Ahead Tours Hanstorf. Bruce Halper via Facebook: " Thanks for coming to the Casa Maria benefit last night and supporting people in need and bringing food and love! Thanks to the musicians who participated, too! God Sham God.. Well, how was the tour to Germany and beyond?

The 17 hour trip home from Frankfurt to Houston to Tuscon was painfull but hey, i am home and it's sunny outside! Also playing a bit lower volume by turing my amp around and now blowing everyone away.. I did apologise.. I think so but we have no shows right now. I think pretty good.. I like playing the smaller towns.. Berlin is the exception.. Plus we are playing dec. The Hut cuz of Finnie one of 3 owners who is the coolest guy around..

I like playing free shows at Gudalupe's Casa Maria.. Will you make another Luminarios album? And what do the people expect from you musically and are you delivering this? First off, me and Pres. Edgar Heckann from Blue Rose get along really well.. He and I have a good relationship. No contracts.. We are family really. I think Edgar wants me to record a heavier record next time and I am going to deliver just that. In the last 3 years since i have been dating Lisa Novak and writing and singing with her, I have been allot more conscious about singing and learning to write different kind of songs and i think we have done that Lisa is a great singer who does the majority of harmonizing with me now.

I am very proud of our singing together plus Ken's harmonies really make the band sound different and special.. Singing this well was never a priority before in the Luminarios especially during the Mike Davis era when were very loud. As far as what the fans want.. I know a few people miss the old days of being really loud but that is life. I am almost 53 and my musical priorities have changed but I will return with another blistering rock album.. I love him.. In the 15 years of touring Germany, have you become more succesful?

No, not really. Like all business' there have been ups and downs and I think I have held steady with the German fans. I feel like I have weathered some tough times. What makes your relationship between the German fans and you so special? They accept me for who I am and they like my songs and guitar playing. In my music, i share my soul with them and they seem to enjoy my spirit. I am deeply honored to my fans. I made it home safely tonight. Rich and I talked about how sweet the birthday party and being at your home was on Sunday. Thank you for everything you do!

Jon is still somewhere in Europe! It is hard to believe we were all together for breakfast and now 12 hours later back in Houston We will miss you and Marion and everyone's love! George schreibt via Facebook kurz und knapp: " I feel the same way about you and Marion as you guys feel for us Lisa too! We love you and honored to be a part of your lives too. Your birthday s were amazing and I hope to remember it forever. Tell frau marion to start making some more potato salad!

We love you and will miss you dearly. I recieved some invites and I think for May might be the time before European world cup. After 15 hours of travel. It was a great moment. I had fun hanging out with you and your family too. Stay in touch! Thanks for a great time and the potato salad! We miss you guys already! I was glad to get to share your special birthday with you! It was a great tour Thanks to everyone who sent me photos from the shows! Jon und seine Freundin Claire sind inzwischen nach Holland weitergereist und werden gemeinsam mit ihrer Band namens "Paraguay" welch interessante Namensparallele 5 Konzerte bei unseren Nachbarn bestreiten.

Rich Hopkins im "N. Blues" aus dem Album 'Ka-Ju-Tah'. Mag sein, dass der eine oder andere es als cool empfindet, seinem Hero so nah zu sein. Und insbesondere Ken merkt man das auch da oder dort an. Jon seine Freundin Claire weilt ab heute an seiner Seite; warum? Geburtstag begeht. Ja, lieber Dirck! Nobody is perfect! Auch Du nicht! Eigentlich 'ne Zumutung! Die zweite Zugabe war gesichert!

Wenn man allerdings nicht seperieren kann, wo man denn was gelesen hat, dann wird's schwierig! Eine Schande!!! Playtime: Min. Ok, damit mussten und konnten letztlich alle gut leben. Dem war letztlich auch so s. Und das ist auf geniale Art und Weise voll gelungen! Alle sind auf wunderbare Weise ausgezeichnet drauf, ausgeglichen und vor Spielfreude strotzend. Da jedoch hatte er schlechte Karten und die Rechnung ohne das -trotz mangelnder Masse- fantastische Publikum gemacht.

Dieser letzte Song ist so genial und auf Initiative von Thomas L. Und schlug selbst den Song vor. Den die Band dann im Tourbus!!!

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Auch Lisa selbst!!! Sie schlug z. Blues" vor. Many many other Tourimpressions here! Denn es kommt nicht so oft vor, dass uns eine lokale Zeitung ohne Aufforderung direkt Fotos von einem Gig schickt. Tausend Dank an Christoph! Rich Hopkins brachte den "Briloner Rockpalast" zum Beben.

Eine wahre Sensation erlebten am Mittwoch, Jegliche andere Nutzung ist kostenpflichtig. Was letzteres betrifft, so kann man da schon Zweifel hegen. Ja, der Reihe nach. Auch Thomas wirkte locker und entspannt. Laut Chef Gisbert Kemmerling, der gestand, voll auf diese Mucke zu stehen, waren sogar 90 Besucher in der kleinen Kneipe. Und auch sonst war immer Grinsen, Experimentieren bei diversen breaks usw.

Was soll man da noch sagen? Die Band on Tour! Das ist ja ein sehr interessantes Kennzeichen L-HS Wer kann helfen??? Und dem ist letztlich auch so! Toll instrumentiert vor allem der straighte Basston, der den Song praktisch wie ein roter Faden durchzieht, wird von Ken genial umgesetzt , brilliant gespielt. Klitzekleine bandinterne Tensions sind on Stage sowieso weggeblasen.

Alle Achtung! So dass selbiges mehrfach nachjustiert werden musste. One of my favorite cities. Cool guy. Thank you Ina and Julia. I just had some Vietnamese food and medicine from Marion and am feeling better. Too bad the pic didn't come out, Holger. Lots of tattoos! Thanks for trying. Thanks for bringing all the medication. I appreciate it very much and it's helping. You are a great friend! Hier die Playlist der Sendung:.

To short - but great. Gisela: 6 von 6 Points. Wenzel: 4,5 von 6 Points. Damit war es knapp und keine weitere Zugabe mehr zu erwirken. Aber ein sehr guter Auftritt, von mir und Christine mit 5 einhalb bewertet.

Hitler und der Papst German DOKU 720p

Ein unbekanntes girlie nicht 5 oder 6 wie in der Bluesgarage tanzte sogar ganz selbstvergessen bei den Zugaben. Er improvisierte an der red guitar meisterhaft mit ganz neuen Varianten. Sehr lobenswert!! Die gut 70 Besucher in unserem kleinen Neuenkirchen waren begeistert. Support macht Folksinger Hucky Peters aus Bremen! Infos u. Tickets: Ich hoffe, wir sehen uns!!! Playtime: 95 Min.

Dabei fing gestern doch alles bestens an. Birthday zu gratulieren. Trotzdem war innerhalb des Bandtrosses nicht alles so "clean" wie zu Beginn der Tour. Beide ziemlich heftig! Und die schien wirklich nicht ohne zu sein. Nein, nein! Ob Ihr es glaubt oder nicht: Es zeitigte Wirkung! Die war bisher auf dieser Tour ohne Ausnahme immer von Lisa gezupft worden. Die Band wirkte nach dem Break wirklich wie ausgewechselt. Oh ja, es "rollte" wieder! I got to kick it w Herman Rarebell's replacement in Hanover last night The drummer from The Scorpions.

They're apparently based in Hannover and are embarking on a 3. Besoders der 2. Set ging richtig in die Beine Freue mich schon auf die Tour !!! Ihr macht einen wirklich sooooooo tollen Job! Ihr wart Spitze! Walter: Set Set Werner: Set Jon feiert heute seinen Enjoy it, dear Jon, by your fans and friends in Germany and maybe a little bit on the road! If you had told me I'd be turning 44 in Hamburg, I wouldn't have believed it. Much love to all my old and new friends! Lots of love to you all, and forgive the spelling! Let me tell you, that was a birthday to remember. Again, my deepest thanks!

Beginn des Gigs , wieder 2 Sets mit kurzer Pause. Ende ist kurz vor 23 Uhr, rauf auf die Bahn, durch den Regen wieder nach Berlin, see you again on Sunday. Playtime: - Min. Rich hat ein gradiosen gig gespielt! P, liebe Katja! Beide Songs mit der semi-akustischen Gitarre beginnend, entwickeln diese durch den Wechsel an die "Elektrische" eine solche Eigendynamik, dass das Haus erzittert - ja erbebt. Da bedarf es keines "Like A Hurricane"! Und was Jon Sanchez nunmehr an seiner Elektrischen abliefert, potenziert das Ganze noch um ein Erhebliches. Nur hier in Germany! Die Band zeigte an diesem Abend soviel musikalischen Teamgeist wie selten zuvor!

Die Chemie stimmt! Sounds and looks great. I like this city. Sweet sweet rider action mit Indian dinner to boot. I sure hope the election surprises us w a hard left turn. Fingers crossed. That was an very special and emotional gig. Thanks for this very great performance! George Duron: I'm glad you enjoyed it, Holger. In my opinion, the best show by far of the whole tour.

Very interesting persons! So recht war wohl den Siegenern oder zumindest zweien davon nach dem Gig dann doch nicht zum Feiern zumute! Wobei die Band auch in "Mitleidenschaft" gezogen wurde. Die Band besonders Lisa wasn't amused!!! Lisa darf man mit Fug und Recht als den ausgleichenden Pol zwischen diesen 4 Rock'n Rollern bezeichnen. Danke, dass Ihr alle da wart! You're sooooo very fantastic! Every new motivation on every night!

You make Germany feel like home when you are at a show! Das gebe ich gern an Euch alle weiter.

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Many thanks! Jesus, sind die aktuell!!! Aus derStandard. Ebensee - Gleich und gleich gesellt sich gern. Benannt ist das Album nach dem Studio, in dem die beiden die Platte einspielten, produzierten und sich alle Aufgaben brav halbe-halbe teilten. Weniger bekannt und aus Texas stammt Lisa Novak.

Ein Hoch der Liebe. Was die Besucher-"Meute" anbetrifft, so legt Frankfurt mal wieder ja leider wieder einen Negativrekord hin. Was ist da nur los? Wir hoffen allerdings nicht, dass die Falschmeldung aus dem letzten Blue Rose-Katalog dazu beigetragen hat. Eigentlich wirklich schade, denn das ist eine tolle Lokation! Thomas P. Rich hat einen grandiosen Gig hingelegt und einen very special Guest on Stage! Aber wie!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Eigentlich schade!

George Duron on Facebook: "Wynn joined us for our encore. Neil Young song. Video forthcoming. I'm a big Dream Syndicate fan. It was pretty cool. One of my all-time favorite albums is 'Days of Wine and Roses'. Thomas nicht Thomas P. Und so rockte Rich mit seinen tollen Lumiarios u.

Atemberaubend gut. Ich bin immer noch von dem begeistert, was Rich, Lisa und die Jungs gestern im Sinkkasten geleistet haben. Eine Schande ist, dass sich bei Diese Musiker haben soviel mehr verdient. Es waren ca. Rich hat es sehr gefallen und der Sound war great. Damit war der Gig nach Minuten beendet Ein paar Bilder hab ich auch noch Trotzallem ist der Franziskaner jede Reise wert.

Tolle Leute Manch einer erinnerte sich daran, dass Rich vor 12 Jahren schon mal in Bad Saulgau auftrat Das war ja so erstaunlich Das nennt man wahre Fanclubtreue! Oder einfach als lockere Session befreundeter Musiker; immer handelt es sich dabei um ein klares Rich Hopkins-Ding, im Gegensatz zu seinen anderen Projekten wie Sidewinders, Sand Rubies, Underbelly, Woodcocks undundund. Calexico bis Neil Young, mit dem wir ihn nicht vergleichen wollen, alles da. Alles und viel mehr: Rich Hopkins-Style eben, inklusive seine besten Soli ever.

Ihr werdets nicht bereuen. Aus einem Guss. Turn it around! Und auch der 5. Gig auf dieser Tour kann mit gutem Recht zu den Gelungenen gerechnet werden. Der Sound stimmte, die Band war mehr als gut drauf und so spielfreudig, dass es nur so krachte! Einen kleinen Wermutstropfen gab es dennoch. Denn bereits nach 60 Minuten beendete er den Hauptteil des Konzertes. Es hatte den Anschein, dass man ein zweigeteiltes Set spielen wolle. Da aber hatte er die Rechnung ohne seine Fans gemacht.

Rich's fans are the best! This is the first hotel with a computer so wanted to say hi and thanks to everyone who is following us on this time! Danke Euch treuen Seelen We're a so fantastic family! Many many Tourimpressions here! Hier nochmal der Artikel zum besseren Nachlesen aus dem Net:. Foto: Andreas Sommer. Leider kein Paraguay und kein Steve Wynn, aber trotzdem sehr gut. Wie Thomas schreibt Rich ist immer ein Ticket wert. Ganz lieben Dank an Markus Member !!! Klar anfangs verhaltener Die Setlist, die sich so langsam in Minuten-Dimensionen bewegt:.

Danke auch an Soundguy Jan Support: Fan The Fire 30 min. Und so wurden eben aus 70 Minuten ein klein wenig mehr als 90 Minuten. Denn fest steht: mehr Sendeminuten als 70 wird es im TV nicht geben! Und hier kommen schon mal -sozusagen mehr als uptodate- die ersten beiden Sendetermine:. Dezember - 2. WDR: 6. Februar - 0. George Duron schrieb on Facebook: "I guess the highlight so far is playing on Rockpalast, the German tv music show that's been around since ' Bowie n T Rex I believe were some of the first performers?

I need to do double check when they did it, but pretty much most of the big names of the last 35 years. I think it airs on Dec 6. I assume there's streamy interwebby action for it. Rocking here. You can see a song from the Rock Palast t. Miss you. Have some cards for you from friends. See you in a couple of weeks. Go Sand Rubies!!!! Ihr wart umwerfend, Guys!!! Ein riesen Kompliment!!! Und das Publikum war keinen Deut schlechter: tolle, euphorische Stimmung nicht nur von Reihe 1 ausgehend!!!

Irgendjemand hatte sie vertauscht und war damit "durchgebrannt". Weitere Tourimpressionen gibt es hier! Blues geht ja in der Bonner Harmonie immer. Das neue Material machte sich in diesem Umfeld aber gar nicht so schlecht. Gerade letzteres war bei diesem Konzert der Fall, so dass immer wieder gespielte Rich Gassen-Hauer wie z. Insgesamt sahen wir an diesem Tag einen gut gelaunten Rich, der mit einer Portion Selbstironie sein musikalisches Schicksal akzeptiert hatte. Der Mann ist immer noch mit sich im Reinen.

So muss das sein! Playtime: 92 Min. First Band:. Was wiederum beweist, dass es auch an einem solchen Tag was geht und dass alles andere nur faule Ausreden sind! Allerdings ohne Insassen! Ja, wie denn - was denn? Als erstes kam allerdings das Luminarios-Neumitglied zumindest was Europa betrifft ganz aufgeregt auf mich zu. So, nun aber angepackt. Um Wobei die Liste der angespielten Songs schon fast der Anzahl eines abendlichen Sets gleicht.

Und unter Beachtung dieses Aspektes geschieht ab Darauf folgen 4 Songs aus dem neuesten Machwerk, die nur "unterbrochen" werden von einem Song von "Loveland". Weitere Tourimpressionen hier! The system works! Und am Try not to get any more fat and stupid while I'm gone. Opening Gig:. Und dann noch 4 Wochen umgeben von 4 Rock'n Rollern. Sie braucht unser aller Beistand. Hier ein paar Fotos davon:. Wenn wir uns richtig erinnern, wurde es bereits zum ersten Mal verwendet und es gab sogar auch ein Mousepad davon. Blue Rose Records schien die Verwendung des aktuellen Album-Covers wohl zu "anonym" und so setzt man auf das bekanntere und anziehendere Poster.

Eine gute Wahl! Ob Lisa auch zugegen war, wissen wir noch nicht. Deshalb tut jeder Tag einer solchen Tournee weh, der nicht mit einem Gig untersetzt ist. Irgendwie ist das alles etwas unlogisch und kaum nachvollziehbar, oder? Passender geht es eigentlich nicht. Am Ende sind wir noch neun. Drei haben es nicht geschafft. Weg von den Flutlichtern der US-Grenzpatrouillen. Niemand erwidert etwas. Auf einem errichteten die ersten Konquistadoren eine Kirche, die zum Mittelpunkt El Albertos wurde. Um 20 Uhr sind wir mit Poncho an der Kirchenmauer verabredet. Er kommt mit zwei weiteren Schleppern.

Alle drei sind dunkel gekleidet und maskiert. Sie tragen Sombreros. Keiner nennt seinen vollen Namen. Warum die Masken? Nach einer Dreiviertelstunde redet Poncho immer noch, ohne Punkt und Komma. Dann wird die mexikanische Flagge ausgebreitet. Drei mal, aus ganzer Kehle. Als man sich schon fragt, was das Ganze soll, heulen Sirenen los und ein Wagen kommt mit Blaulicht angerast.

Anfang der achtziger Jahre begann das langsame Sterben El Albertos. El Alberto wurde ein typischer Auswandererort. In jeder Familie gab es mindestens einen, der in den USA arbeitete. Dort verdient man heute im Durchschnitt acht Mal mehr als in Mexiko, wo die einst so stolzen Bauern immer mehr verarmen. Es gibt heute keine Gemeinde mehr in Mexiko, die nicht von Abwanderung betroffen ist. Von dort fuhr er nach Nuevo Laredo an der Grenze. Sie waren nun gezwungen, sich Schleppern, den sogenannten Coyoten, auszuliefern. Deren Krieg gegen den Staat und untereinander hat in den vergangenen vier Jahren 18 Menschen das Leben gekostet.

Die Banden wissen mittlerweile auch, dass manche Frauen ihr Geld in der Vagina verstecken. Hybrid ist auch die Wissensgeschichte, die uns vorschwebt: Komplizierte, dichte, miteinander verwobene Geschichten, die im Kollektiv entstehen. Online unter: www. And yet they are entangled, in multiple ways, with their surrounds; for they are complex assemblages, where technology and nature, science and society, futures and pasts intimately intertwine.

The best response to the so-called crisis of scientific publishing, we believe, is new formats that bring together print and digital. The history of knowledge, as we imagine it, likewise is hybrid: dense, involved, ramified stories — products of a collective. Online at: www. She works and conducts researches on different types of artistic, editorial or institutional practices, visual cultures, and connections between artists, critics, periodicals, galleries, and museums in the 20th century, chiefly in Italy and with special attention to the political context.

Conte and V. Martini; Milan, Between and Carla Lonzi set aside her work as an art critic to found, along with artist Carla Accardi and journalist Elvira Banotti, one of the most radical movements in Italian feminism: Rivolta Femminile Female Revolt. HD Video, color, 8 min Quinn Latimer is a poet, art critic, and editor from California whose work often explores feminist economies of writing, reading, and image production.

Her most recent book is Like a Woman: Essays, Readings, Poems Berlin, , and she was editor-in-chief of publications for documenta In Doubling the Line , Latimer will discuss the constant loop between poetic and critical writing practices as they approach or attempt to narrate visual art production. Her talk will focus on feminist literary and art practices in particular, as examined in her most recent book.

From to she was a fellow of the Swiss Institute in Rome. Qui si fa sul serio, diceva; la mia presenza era per lui un ingombro. Ma io non dubitavo di essere al posto giusto, anche se pensavo alla Sardegna e alla mia famiglia con il rimorso di un tradimento. Arturo Martini was still from that generation that did not give women space in art. But I did not doubt that I was in the right place, even though I was thinking of Sardinia and of my family, with the remorse of a betrayal.

Quando un operaio per andare a lavorare fa sempre la stessa strada, non si accorge che il suo sguardo tocca le opere architettoniche che vede. Ma in questo modo lo sguardo acquista un ritmo. He gave me an image, and I started from there. He said that art must reach the man in the street. However, in this way his gaze acquires a visual rhythm.

As a videographer, she combines video art and performance exploring feminist questions, which are at the heart of all her artistic endeavors. In she was awarded a residency at the Swiss Institute in Rome. During that year, she produced an experimental short film, Concettina, based on the Lutheran Letters of P. Pasolini, with her two daughters as the main actresses. Since , she has undertaken a practice of critical artistic transmission through a new series of works.

Sputiamo su Hegel is also the title of the book-length manifesto of Rivolta Femminile, the seminal group in Italian feminism, written by art critic Carla Lonzi. Photo: Stefan Jaeggi Donatella Bernardi b. Nicola Genovese is an artist and musician from Venice, Italy. He mainly works with installation and performance. The male fear of losing power and the anxiety this creates are topical issues that are ripe for scrutiny as feminism becomes increasingly mainstream and deradicalized. As a corollary to this, hypermasculinity does not allow any form of weakness.

Grab them by the pussy. Power issues inevitably lead to conflicts or exploitation, and what about sexual impotence and slippers? Nicola Genovese would like to come to a deeper understanding of the fragility and ambivalence of the contemporary male, who is — fortunately — facing the slow decline of patriarchy. Brick, brick fragments, glue and archival digital print. In light of recent developments in the feminist movement, Claire Fontaine will explore the issue of emotional exploitation and the possibility of striking within the context of care work.

The labor of love will be approached as one that is constantly submerged, an invisible effort undertaken by women to hold society together. This work is the secret core of capitalism, which thrives on its charity and generosity and, by denying its importance, threatens every workforce with the prospect of going unremunerated, perpetuating the lie contained in the supposed equivalence of time to salary and money in general. Her work is predominantly concerned with the aesthetic possibilities offered by the contemporary discourse of artistic research.

Using this discursive field of research as a foundation, Schonfeldt is concerned with interacting site-specifically in spatial environments to create informative, contemplative situations, which seek to enact alternative modes of experience within the production and reception of knowledge. The overriding impulse behind her work is the generation of alternative possibilities of interacting with history and the construction of new narratives in juxtaposition to accepted cultural orders.

Or Rather, Speak: Diary of a Feminist , Schonfeldt offers the audience a minor performative gesture to share her personal discovery of Lonzi through La Rocca. Elisabeth Joris b. Video still This performance examines the relationship between language, voice and power.

Negotiating the materiality of speech and gestures, it investigates the power of the disembodied voice and its relationship to other bodies and find agency in this relationality. The piece deals with questions around the constitution of subjectivity and becoming an active agent through language both in a political or civil sense.

It is important to mention the set up of the performance: the gallery consists of a ground floor space and a lower ground floor gallery, connected with a tight staircase. The audience was led downstairs where the dancers were in place. The actor was upstairs, unknown to the audience. They would only hear her voice. The performance is based on rehearsed improvisation, by which I mean there was a script and a choreography but each time the piece would be different through the interaction between the three performers.

The piece is about how we can each find a language, a form of expression through different means, by language as well as an embodied vocabulary. Dance choreography by Patricia Langa. Delphine Chapuis Schmitz poems fRom our time s Delphine Chapuis Schmitz will be reading from a collection of texts she is currently working on under the title poems fRom our time s , and will give a short presentation of her practice at the crossroads of visual art and experimental writing.

This in-betweenness is the condition of taking place and the mechanism of giving meaning. The event is part of the curatorial research by Dimitrina Sevova, On the Politics of Language and the Aesthetics of Affect — Thinking of Art Beyond Representation in Contemporary Art Practices and Production , a qualitative curatorial research that maps out a cluster of artistic positions and reflects on their practices by means of relational and analytical techniques, from the perspective of the affective politics of the performative and the politics and aesthetics of language, conceptualizing further the relation between contemporary art, plural performativity, and the singular plural.

The research explores the potentiality of language as an artistic material and reflects on the relation between the performative and performance, practices and discourse, in voice-based and text-oriented art practices. The research asks how they relate a politics of place and the possibilities of language in the trajectory of the plural performative as a proliferation of difference. The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production.

The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm. The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space. The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields.

I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation. The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre. Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts. For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work.

I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect. Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art.

At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life. There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters. It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research.

Text: Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia. Collection Musei Capitolini, Rome. Jeder Streifen ist mit dem Namen eines Engels bestickt. Hier gibt es nur eine. Four hundred and ten samples of what things could be like — hue, texture, printed pattern or monochrome surface, opaque or transparent, smooth or striated. When a child is named, two lists are traditionally composed before the birth. Here there is only one. The complete intro including a list of contributions can be found on our materials website.

We have found ourselves in our localities sensing translocally. We want to move instead of being ordered into something. We want to do something in common, to come together, being many and so different, to make feminist media urgent and her voice heard. Johanna Bruckner, Scaffold , The Blackout Magazine invites artists, historians and theoreticians to reactivate editorial formats emerged around industrial utopias. They focus on industrial and cultural labour, Olivetti, visual arts and post-industrial conditions.

I am a Lahore based artist. I currently teach at the National College of Arts, Lahore and also contribute to various art publications. In , I engaged some young people to help me make work for a new exhibition. I felt that the safe social space that formed during that time was transformative and healing for everyone. This experience shifted my work from an object based practice to a participatory approach. So, in my next art project I tried to recreate that safe social space. But I found galleries to be stressful spaces that put pressure on people to behave in a certain way.

So I grew dissatisfied with the gallery system. When I arrived in Zurich in for a residency, I thought it would be better that, instead of working from this problematic position, I use the opportunity to find a solution. I conceived Zurich Konversationen as a collection of conversations with people who employ the arts as a tool in their own practices in an attempt to make the world a better place.

Through these conversations I am trying to better understand the role of art and artists in life and how the approaches discussed in the conversations can help me in my own practice. As I am nearing the end of the project it is becoming clear to me that I cannot call myself an artist anymore, nor can I make and exhibit art in galleries. So I have decided to call myself a facilitator and to independently hold one-on-one and group sessions to facilitate self-healing through the arts.

Having been through my own self-healing process and continuously working on my own awareness I understand the challenges that arise through such a process. As a facilitator I have two main roles: to ensure that a safe social space is created for the participant s ; and, to hold the psychological space for inner healing to take place.

The series of conversations I had with people concerning the same are archived as audio recordings. These can be accessed online at the website www. Dimitrina Sevova has kindly invited me use Corner College's space to present my final project. It will be structured like a panel discussion. She will mediate and there will be 2 or 3 other people on the panel. It will be a group discussion about the same questions that I have posed during the project and also a reflection on the project itself. It will be held on 16 December at PM. Opening: Samstag, 9. Dezember , Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7.

Nicole Bachmann, I say , Video still. But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works. I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them. It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance.

Do-Sa h - h oder nach Vereinbarung Vom Dezember geschlossen. The research project Art Work ers began from a set of historical facts and some intuitions: the concurrent deskilling of art and industrial labour; the parallel emergence of applied research in the arts and in utopian industrial plans; the observation that art did not enter the factory only once production was over, as an alternative or a gentrification agent. Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials. Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project.

The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice. The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression. Book as Performance in conversation with Georg Rutishauser.

The Sympodium strives to generate an energetic open space for aesthetic experience and exchange of knowledge between the current active practitioners in the field of Performance Art s : artists, curators, performance study researchers, educators, and their publics. Those committed to Performance Art will share their practices, experience, reflections, thoughts, and research. The Sympodium is a podium that encourages invited participants to give a very direct subjective response from the material objectives of the event itself.

The Sympodium is quasi-academic and brings together practitioners inside and outside Academia to publicly present and discuss their practices and modes of articulation and action. The Sympodium operates within the local, interregional and international Performance Art scene. It strives for different perceptions and a new ontology of the relation between Performance and Art, and a pattern of branching that expands the field of live practices.

Das Sympodium operiert mit der lokalen, interregionalen und internationalen Performance Art-Szene. But we also ask if this these are states beyond criticality where historical reflections on gold refinements and colonial settings are muted. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy.

The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. Saturday, 5 - Thursday, 31 August Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten.

To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place. Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event. Site-specific installation, video, archive materials, wallpapers. She then founded the journal La Fronde The Sling , a journal solely written and edited by women.

Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack. Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition.

My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall. In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.

Stuart Hall — war ein Kulturtheoretiker und marxistischer Intellektueller. Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Ein Teil daraus findet sich in dieser Publikation. Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert.

Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.

Installation view: Looking After Freedom. Michaelis Gallerie, Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection. Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals: the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose.

The second denounces what the West has done and continues to do to Africa in the name of these definitions. These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added. Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.

Rohit Jain. Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism.

On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler. Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities.

The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism. Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics.

Stand Up! Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm. These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan. This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well. Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks.

The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order. Mai , h Finissage Samstag, Samstag, Mai - Samstag, Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt.

Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.

Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture.

RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters. Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants.

It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era. In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism.

This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants. Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country. These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism.

In , the Nationalist Party came to power and apartheid became the official state policy. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them. The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid.

They have been reframed as tourism destinations and sites of post-apartheid nation building. Stoler, Duress , The talk is concerned with such histories of South African colonial formations. They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses. It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers. The two exhibitions will resemble and question each other.

There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits. The second one tries to draw the line. Der Verdienst. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in As freelance curator he has mandates for various institutions in Europe and the US. He is an alumnus of the Postgraduate Programme in Curating. The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics.

Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe. Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space.

Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.

These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity.

A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland. Veranstaltung im Corner College am 8. Die Einnahmen von der Bar gehen an die Druckkosten. Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch.

Zine-Vernissage und Auktion am 1. Mai im Corner College. The income from the bar will go towards the printing costs. DJ Sweatproducer: Street sounds, household noise, women trumpetists in the apartments. The thinking and feelings seem already now to buzz, as house walls and floors shake and crash.

Bushes in the wind. Railing out the window, songs, poems and furious speeches reach the neighbors upstairs. Through air, so dominant, one can hear it, even the slightest sound! Zine release and auction on 1 May at Corner College. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it. The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event.

In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. They will then be transported to Corner College for a public mise a nu par un objet.

Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later. Vadim Levin, Spirits Call. Performance, Doors open h h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose , co-curator Miwa Negoro and the audience. Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images.

Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. Invitiation card for the exhibition. Graphic design: code flow. They will then be transported to Corner College for a public mis a nu par un objet. The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4.

Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K. At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.

Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.

There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it. In Deleuze, they are transformed into the positive affirmation of No!

The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics. Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth. We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters.

Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away.

Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision.

But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse.

And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit , or as a distant coastal zone as in Distant Riders.

This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening as opposed to social anaesthesia , psychical continuity as opposed to schizoid fragmentation , and develop ethical care as opposed to moral cynicism. The Great Western Possible , ed.

Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. It is doubtful whether this course ever took place.

During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy. This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing.

The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event Plumbing , and the Hand. In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting.

The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves.

We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes.

Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Video installation. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning.

The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others.

The work implies the oppressed subjects and bodies in the history beyond any boundaries. An orientation device Installation, table, cloth. Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The panel discussion will be held in German and in English.

Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden? Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen?

Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor.

What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today? How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? At the same time, how can sociality be seen as an expanded or scattered studio?

How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life. What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production.

It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment. How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.

The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working.

The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings. How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes?

What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art? How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions?

Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert. Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist?

Worin besteht ihr Wert? But: Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio.


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Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years. But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society. In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren.

The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich.

This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.

You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years. This book is an attempt to translate new understandings of transcultural connections into a dialogue.

Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore. Happy Tropics I consists of two parts that run literally parallel throughout the book.

As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state. The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals. Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture.

Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept. Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe.

Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book. If you are interested in our reading session please contact us! We will write you back with a copy of the book, and warmly recommend you to read it before the session.

Contact: Miwa Negoro Corner College , miwa. Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at h Finissage: Sunday, 19 February at h Artist talks and other accompanying events to be announced. The studio might be a space where a certain degree of autonomy can be detected. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor.

It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality. It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc.

Work is here used not necessarily to designate an art object. The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity. The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.