Korallenriff

Kinder verstehen direkt, dass es sich lohnt, Korallenriffe zu erhalten. Plastikmüll in den Meeren gefährdet die Korallenriffe und die bunte Vielfalt an Fischen, die darin leben. Ein kleines Theaterstück dazu von Kathrin Brunner begeistert Kinder, weil es sie erleben lässt, wie einfach Lösungen aussehen können. Den großen Leuten zeigen, wie traurig die Welt aussieht ohne die farbenfrohe Pracht der bunten Fische, wird sie schon zu Veränderungen bringen. Das Theaterstück und Buch dazu wurde am 16.3.2024 im FEZ in Berlin aufgeführt. Das Figurenspiel mit überleitendem Refrain, das vom Publikum gleichsam der Promenade in den „Bildern einer Ausstellung“ (Mussorgsky) mitgesungen haben, bildete jeweils eine gelungene emotionale Überleitung und Aufmerksamkeitspause. Wir wünschen uns noch viele kleine und große Besuchende für diese Aufführungen. Die Kinder werden es uns schon lehren, den blauen Planeten noch zu retten.

Family Music Days

Kids are queens, kings and princesses as well as princes at the family music days in Berlin at the FEZ. Kids can enjoy the full spectrum of musical experiences from just listening to playing themselves, if they feel like it or dare to risk a sound. Just making noise is okay, too. Building your very own version of a musical instrument is a great learning experience for the young. To make music it doesn’t always have to be an expensive instrument. Your own imagination assisted by persons with patience and passion creates marvelous sound experiences. Initiating kids to the endless worlds of sound is having lasting effects on them. Great to see a concert hall full of young enthusiasts. Learning is so much fun, if taught in accessible and inclusive ways. Professional instructors joined by many volunteers make the world go round for kids. Wish you we here. Let’s spread the message.

Berlin FEZ 2024-3-16

Magritte Symbol

“People always search for symbols in my works. There are none.” For those familiar with the work of Magritte, they know that he means precisely the opposite of what he is stating there. He applies well-known symbols like the white pigeon representing peace in his paintings to represent and make us think about peace. The image becomes surreal in the sense that we go beyond the real world of violence and war to lift our attention to the other surreal version of the world as it currently appears to us.
In times of war, it is more difficult to image a peaceful world and yet, this is the time we need to believe in the possibility of peace beyond the reality of aggression. In 1966 Magritte has painted “L’oiseau de ciel”, the year the peace movements became more than a surreal dream across the world. It remains a challenge to think beyond the cold war at the time and the hot war initiated by Russia in Ukraine. Surrealism helps us to think beyond the real state of affairs.
In Magritte’s own biography the “dove of peace” occurs towards the end of his own life. Whereas at the onset of his career as painter he dealt with depression and suicide in his family, towards the end of his career he moves beyond the autobiographical topics. Globally valid symbols gain the upper hand. The life course seems to have come full circle.

 

Symbol

What is it that makes an object a symbol? Probably, it is the widely shared perception of the meaning of a symbol that turns an object into a symbol. The etymology of the word symbol refers back to the Greek word σύμβολον. The earliest philosophical refer back to the Greek philosopher Aristoteles who deals with symbols when he writes about interpretations. Written words have become powerful symbols in the ancient world. We still have them all around us today. The interpretations of the words as symbols, however, may change considerably over time. Some symbols keep their designation and significance over centuries. Maps are well known to contain lots of symbols for roads, railways, tunnels or height. We learn about these symbols and interpret them in a specific societal context. Science is making ample use of symbols, e.g. chemistry. Different cultures define and apply their own symbols. Colonialism has been a form to impose symbols upon other societies. Throughout history symbols of power have changed as well. Each of those topics is an interesting field of application in itself. Young generations create their own symbols to establish a specific cultural identity or subculture. Urban spaces have been invaded by graffiti that tend to spread symbols as messages or symbols for their own sake.
Sociology has taken up the challenge to identify “status symbols” of groups of society. Possession of gold and silver have long ago been symbols of being rich. Maybe, even today such easily visible symbols play a role in how a person’s role is perceived in societies. Not only for priests etc. dresses have been applied as a symbol. Modern fashion is full of symbols as well. Interpretation of the meaning or even no meaning is an act of becoming conscious of the world around you. From the seriousness of symbols, we have come to the playing around with symbols as expressions of ourselves.
No matter whether we use the word, like water, we all know the chemical symbol H20. An image or art work using the symbol in whatever form will be decoded by us accordingly. However, the meaning we attach to water depends on the environment as well as specific context we (or the artists) are using it in. Cross-cultural competences consist in the awareness that symbols grow out of contexts and need to be interpreted accordingly. It needs a lot of openness, willingness to learn about differences and careful consideration in our everyday world to handle symbols. Doing culture is doing symbols.(Image of art work by Anderegg, Andi taken in 2016)

Biographies

The biographies of painters, composers or artists in general can be reconstructed by use of their major works. The biography of René Magritte by Eric Rinckhout (2017) has chosen this way of a retrospective in images and explanatory texts. The biography is built around 50 major images starting with the first one by Magritte at the age of 28. “Les réveries du promeneur” (see below) deal with the confrontation of Magritte with death, suicide and the difficulty to find rational answers to all those questions of why this happens and what becomes of people who experience such a tragedy.
His own childhood was affected by such an event concerning his own mother who suffered from depression. Coping with the evolution of psychic illness over years and the absence of a supportive father have posed a steep challenge for the young person. Creation of art became a coping strategy as well as a relief for those who manage to eventually cross the bridge into their own life leaving behind the bad experiences. J.J. Rousseau was an influence on Magritte as well.
Finding your own destiny and your own style is a process. This process evolves over years. The chronological sequence of 50 images allows to follow the path taken. Thereby, it becomes possible to open up the personal learning and working trajectory of the artist. In retrospective perspective it seems often logical that one style or period of painting follows on from another one. However, in the forward living of the creative life many choices are heavily contingent on other circumstances. Influences of friends, exhibitions, reading, cinema, private or financial situations may determine the creative choices simultaneously or one at a time.
The chronological path of images writes a biography of a special kind. It allows to think in sequences just like in a sequence analysis as sociological methodology. Description, reconstruction, analysis, causality remain a challenge in our attempts to learn and understand more about biographies or the construction and reconstruction of life courses.

Nocturnes

Contrary to some people’s belief “Nocturnes” is not only the denomination of the late opening of splendid shopping centres selling French fashion, but the name of music pieces. The origin of the Nocturnes as innovative form of composing is attributed to Irish born and bred John Field. The Polish born Frédérik Chopin developed the art form to perfection and he is the person who is also remembered for master pieces of this type of short romantic music pieces.
Mozart has left a famous piece entitled “Eine kleine Nachtmusik” and previous lesser known attempts of this kind were named Notturni, popular “Serenade” or “Pastoral”. All these Nocturnes shared the basic emotion, which we might call nowadays some kind of love-songs (Piggott, 1973, p.115). “Bel canto”, the tradition of emotional recitation of songs or arias, Paganini’s virtuous violine play were predecessors of the Nocturnes.
John Field published the first 3 pieces named “Nocturne” in 1814 and continued to produce new Nocturnes and revising former ones. These somehow more easy-going melodies or phrases often written in E or A flat major are technically less demanding for piano players than the later ones composed by Chopin, but their “charme” lies especially in their simplicity. Reducing complexity of sound rather than the virtuous effect seeking of a tune could attract large audiences. After the rebellion in France in 1830 and the foundation of independence of Belgium in the same year, so-called high culture had to address a lot widely differing emotions.
Maybe, in 2024 we are less surprised to rediscover the value of straightforward emotional tunes when even so-called high fashion shows in Paris return to more simplicity.(Image: KI Dall-E, Composer plays on grand piano Nocturnes by Chopin with romantic flair, photorealistic style on 2024-3-5).

Paris 1830s

The music life in Paris in the early 19th century, almost 200 years before now, was incredibly rich. In 1828 the young Flotow arrived in Paris to receive lessons. The pianists Liszt, Chopin, Fields and Czerny passed or lived for longer times in Paris. The innovation in this period of romantic music and operas saw also a fierce competition among those talents. It was no easy task to find your niche to thrive in composition or in both performing and composing.
The 1830s had a rich urban bourgeoisie, which animated and indulged in festive events of live music and social life. Friendships of Chopin and Sand are a testimony for this. Similarly, the young Flotow and Offenbach paired to find their place in the Paris music salons and society of that time. The biography of John Field, written by Patrick Piggott (1973, p.73-81) supports this density of musical experience. The period is also characterized by the fast industrialization and the rise of the global trade. The musical life found refuge in the romantic period and more and more artistic performances by musicians. Theatres, opera houses, concert halls and private salons were meeting points of the upper social class which practices networking in rather closed circles with rather rigid routines and admission at the time.
In architecture the Operas became meeting points and a matter of national pride with National Operas contributing even to national identities. The opulent “Palais Garnier” in Paris was started in 1861 to become an iconic place in the new Paris with the huge boulevards à la Haussmann. The wealthy citizens cultivated a new lifestyle of a networked upper class that had the leisure to participate in the masses of modernity. Cultural events of all kinds filled newspapers and specialized editions. There were inner and outer circles of influence in the economic, military, political and cultural spheres.
Recommendation letters were a real currency for entry in each of these circles. Some of these social practices, have still a lot of currency even in 2024. In short, in the 1830s Paris was the place to be. Compositions of that time still fill concert halls today and their music is abundant on the new music platforms and streaming as well.

L’échiquier

The game of chess has been subject of an ever increasing amount of literature. Not only historically the game, where two kings fight against each other, but the queens are the most powerful figures on the chessboard attracted a great deal of attention. We studied chess in books and watched live tournaments between the best players of the world. Most of this has successfully moved online and we have gotten used to losing against computers for almost all human beings some time ago. The internal federation of chess FIDE lists the top players male and female. The calendar of face to face events is still impressive. The federation operates somehow like a platform of players, as well as for players, to organize their lives as chess players. Anther kind of chess literature is the one that is constructed around the lives of chess players. Some characters get really absorbed into the mental or virtual world of the dialogue between 2 or more characters or players. The real world experience and the game on the board become intertwined or entangled. Losing or winning, to win or not to win, may unbalance whole personalities. Beyond the “Schachnovelle” von Stefan Zweig we have a new addition of fictional writing with autobiographical traits by Jean-Philippe Toussaint (2023) on our desks. « L’échiquier » is a story unfolding in 64 chapters just like the 8 x 8 spots on the chessboard. Of course, the story does not unfold in a linear fashion. It seems as if the players or opponents even change as the game unfolds. Maybe there are more than one game in action. Simultaneously as in some chess tournaments. Some games are blitz games taking just a few minutes, others go on beyond a lifetime. The experience of playing chess even against yourself has a psychological and sociological dimension. You can go round in circles for some or you are like “bowling alone” in the individualized society. About time to shed an additional light on the mystery of the chessboard. Self isolation with a chessboard was also a way of coping with the Covid pandemic. Some still suffer from long Covid and cures are not always easy to find.

L’échiquier, chessboard, Schachbrett

Folon Magritte

The exposition in Brussels on Folon and Magritte demonstrates the impact the latter had on the former artist. Both developed an iconic style of painting. Folon paintings apply pastel colors on paper. This style transforms images through the softened sometimes slightly blurred representations near a dream like realization. On the contrary in his sculptural work he uses hard materials to stimulate imagination and abstraction from reality. The side by side representations of Magritte and Folon is more a study in tracing influences and motifs across decades. The honor is just as much to Magritte as it is flattering Folon. Magritte had changed the life of Folon with his paintings and perspective on life beyond realism. Magritte‘s legacy lived on and Folon developed surrealism into a widely recognizable style with his paintings as well as sculptures. In walking around Brussels in 2024 you will inevitably come across some of the sculptures reflecting the work of Folon. The Folon foundation is continuing the pedagogical journey of the surrealist art movement well into today and tomorrow.

Folon Magritte Exposition Brussels MRBA 2024

Schubert Franz

Franz Schubert hatte ein kurzes Leben. Geboren in 1797 verstarb er bereits mit 31 Jahren. Seine Lieder werden nach wie vor viel gehört und aufgeführt. Mit 10 Jahren wurde er vom Hofkapellmeister Salieri in Wien bereits als Sängerknabe in die Hofkapelle aufgenommen, was gleichzeitig die Aufnahme ins Stadtkonvikt bedeutete. Seine Lieder wie „Der Lindenbaum“, „Die Forelle“ oder „Die Rose“ blieben lange Standards in den Musiksalons und Konzerthallen. Beeindruckend bleibt auch die Schaffenskraft des jungen Schuberts der in seinem „Liederjahr“ 150 Lieder komponierte. Seine Versuche eine Oper zu schreiben waren weniger erfolgreich. Das hat dann fast 200 Jahre gebraucht bis die Pariser Opéra Comique diesen Traum Schuberts erfüllt hat. Vielleicht hatte es etwas mit seinem Lehrmeister Salieri zu tun oder den hohen Ansprüchen der Wiener Klassik in der damaligen Zeit. Friedrich von Flotow hatte den Weg nach Paris gefunden und war sich der Bedeutung des ausdrucksstarken Librettos bewusst. Orchestrierung zur Verpackung der Lieder wird dabei bedeutsam. Flotow sollte das Oeuvre Schuberts bekannt gewesen sein. Erfolge mit eingängigen Melodien haben beide feiern können. Jeder auf seine Weise.

Schubert Sekundärliteratur

Flipbook

We all enjoy books that are real page turners. Nowadays, we still enjoy the virtual impression of turning pages when we read. Okay, that is a bit old school, I believe. For all those who prefer to hold a page turning book in their hands it is about time to try the e-versions of flipbooks. You may include the sound of turning a page just as in the real book format. Alternatively, you may listen to your favourite music on the same device.
For that reason the chronological blog entries are also available as Flipbooks.
It is still in test runs, so don’t hesitate to send me feedback at klaus(at)schoemann.org
The data base has grown rapidly. Take your time to scroll and read.
2024 January – February.
2023 September – December
2023 May – August
2023 January – April
Bigger screens allow for more comfortable reading, but make sure your eyes do not suffer too much. Adjust the light as low as possible for more relaxed reading. Print formats are evolving and so does the concept of a book or a reader. The content is the conceptual idea. The appropriate form for the content is a matter of an additional choice. Not only books have changed to electronic versions. Libraries are also adapting to the new forms of reading on screens and co-working. Flipbooks are a kind of hybrid version satisfying a readership in transition before endless scrolling will take over. The content is key and the rest is POSSE.

Paper and Pastel

Sometimes the art is in the material. At least this could be a rapid conclusion of the exhibition presented in London at the Royal Academy of Art in 2024-1. From the informative Catalogue the importance of material is demonstrated. The ease of taking your equipment with you, like a sketchbook and out into nature have been an important feature of the impressionists’ movement. With artists challenging traditional techniques of painting and paintings as such even the apparently less noble material as paper had become a statement of being different from the established art academies making use of more noble materials. The impressionists made a convincing point with their additional use of materials accessible to all. Capture the moment and capture your very own impression of it. This is one way to immortalize the emotion and essence of the scene. In the catalogue of the exhibition I spotted “The Swimmer” drawn by Caillebotte with pastel on paper. Freezing the moment, freezing the motion and emotion is evident here, too. Testing different materials is part of the journey to find your artistic impression, expression or materialization of imagination. The ways and means are manifold.

Royal Academy, 2023: Impressionists on Paper. p 32

Publishing2024

With new channels of publishing online the publishing world continues to change. Scientific research  moves also online and the reach of audiences has become a much more important factor in evaluation of success. Elite circles of in-groups publishing and quoting each other have a harder time to survive. It is a form of democratising the world of research which is by very large amounts financed by public budgets. Public radio and television now start to feel the heat as so-called influencers, some working independently, challenge the world of traditional journalism. The good news is that there are many more people active to produce news and entertainment and the two separate worlds become more and more integrated. Young people who have left the “official” media world, engage with their own peer groups and make their voices heard and more influential.  The quality of the provision of information is, however, a matter of concern. Audiences will have to check even more carefully than before which sources can be trusted. This is not an easy task. Speed of spreading information becomes an additional factor. It has always been like that, but the rhythm of a daily or weekly newspaper was very different from the publishing and consumption of news and information today.
The second factor that has drastically changed is the influence of “external” influences and information as well as disinformation campaigns that have an impact on “internal” reporting and commenting. What used to be the world of professional journalists has become an accessible possibility for many more than journalists. Publishing has become a very different world from the printing days and yet printing remains one important channel of publishing. (Link to own edited volumes of blog post for printing here).
Previously, we prepared the manuscript in paper, nowadays this seems to move online and the edited and sometimes corrected versions will be published in print later on. The challenge to science and journalism is ticking. Not accepting that there is a serious challenge is no solution either. (Image from Exposition “Books that made Europe”, 2016)

Flotow Paris1

Die Biografie von Friedrich von Flotow, verfasst von seiner letzten Ehefrau, beschreibt die erste Parisreise und den prägenden Aufenthalt für die Ausbildung des noch sehr jungen Komponisten (S.29 ff). Bereits im Februar 1828, mit erst 15 Jahren, begann der erste Studienaufenthalt in Paris. In einer den Eltern bekannten Familie wurde der junge Friedrich aufgenommen und begann sein Musikstudium am Konservatorium. Prof. Friedrich Reicha war dort sein Lehrer, der 1825 seinen “Traité de la haute composition” veröffentlicht hatte. Schon Adam und Berlioz hatten bei Reicha Kompositionsunterricht einige Jahre vorher. Die Juli-Revolution 1830 in Paris führte jedoch zu solchen Unruhen, dass die Familie den Sohn rasch nach Mecklenburg zurückrief.
Die frühe Erfahrung in Paris, und wie wir heute sagen “total immersion” in die französische Sprachwelt und Musik, eröffnete dem jungen Komponisten einen Berufsweg, der sicherlich ohne den Aufenthalt völlig anders verlaufen wäre.
Seine letzte Komposition “Der blinde Musikant” ist als reale Erfahrung des jungen Flotow in der Biografie erwähnt. Zusammen mit seinem Freund Aubry hätte er für den stadtbekannten blinden Musikanten als Straßenmusikant Geld gesammelt. Mit seiner letzten Komposition hat er im Vorgriff auf seinen eigenen Tod, dem blinden Musikanten noch ein Denkmal gesetzt. Dieser war bald nach dieser Aktion dennoch verstorben.
Schüleraustausch und Studienaufenthalte zwischen D und F kann eine äußerst prägende Wirkung entfalten. Das trifft auch noch 200 Jahre später zu. (Image: Flotow Biografie 1892. A.28-29.

Memory Flashes

The title of the exhibition in the Museum of Photography in Berlin was “Flashes of Memory”. The collaboration of the Kunstbibliothek with the “Yad Vashem – The World Holocaust Remembrance Center” prepared a photographic memorial of the murder of 6 million of human beings with Jewish origin or family ties. The images represented in the exhibition constitute a carefully curated selection of the photos taken as part of Nazi propaganda, the secretly produced photos by inmates and the Sowjet and American soldiers who prepared documentation of the horrors. It becomes clear throughout the different sections of the exhibition that the motivation of the photographer introduces more than just an individual perspective on the scene.
In the age of fake news and fake images it becomes more and more important to be able to read and interpret photos, taking into account the motivation of the photographer and its influence on the photo taken. In order to limit the spread of mischievous representation of the past, it is good to know that the use of AI as image creation does not allow with simple prompts to produce false documentation. It needs more sophistication and more human intervention to trick the algorithms. Additional use of photoshop will, however, increase the risks of abuses. Hence, it will be more important as of now to be able to differentiate images according to sources and authors. Our trust in photos has been shattered, and this is an important lesson in itself. It is a huge task for schools and adult learning to re-build the competence to distrust photos and images at first, then deconstruct the messages and motivations.
Flashes of memory” is in some way linked to the “struggle of memory” exhibition. Both, obviously deal with the way historical events are and have to be present in our “collective” memory. Memories come back in flashes, sometimes, certainly for victims. Conscious and unconscious selections of images might come back at times and haunt victims for years. The correction of biased messages, is an important task for historians, social scientists and artists alike. It is all too easy and common to forget (Luhmann, 1996 Reality of mass media) and the difference between “Documentation” and “Decoration” (Lewis, 2001) or simply illustration needs to be scrutinised always anew. “Bildung” has some common roots (only four letters really) with “Bilder” in German language. It may be “une liaison dangereuse”, but the spurious link can also be turned into an educational or learning approach.
A permanent exhibition based on the material used in the exhibition would be a real asset to accompany and learn about the flashes of memory. A reading list of literature was also available at the exhibition (see image below) encouraging to dig deeper into this immensely important topic.

Postmodernism

The grand narratives of the modern world, like modernism itself, are under serious criticism. Deconstruction of the modern way of thinking has become philosophical mainstream. Economics as a science is in the middle of the behavioural shift and changing or at least complementing its narratives. Sociology has embraced postmodern thinking in theoretical as well as empirical forms (Mirchandani, 2005). The empirical measurement focuses a lot on the groups and people who hold postmodern beliefs and values. The discussion in the social and literary sciences continue. In the arts reading on modernism and postmodernism is a must in order to understand much of contemporary art or art from the 19th and 20th century.
Bookstores in art galleries that cover long spells of history can make surprising links between historical periods of art. Books of postmodernism appear next to books on romanticism. A lot of the ideation of postmodernism rejoins romantic depiction about nature, re-naturalizing or the emotional connotations of wildlife, isolated places and stillness.
On the other hand, we are confronted with the brutal world of war, drugs and crime. Classical warfare and strategies are back in Europe with tanks and rockets killing like in previous wars. The Russian empire of a specific version of modernism strikes back as if it were to stop the postmodern turn of the 21st century. Neo-fascism tries to build on the losers of the transitions to the socio-ecological economy and society. There are manifold backlashes of modernism, but the postmodern world is under continuous construction, most of in our mindsets.

Modernism

More and more people move into cities. A modern way of living is more accessible there. Besides abundant car traffic public services of transportation like buses and underground are within easy walking distance. Culture, science and education offer attractive opportunities for learning, working and leisure. Diversity is an additional asset most people appreciate of cities. The chances to live your very own way of life are much easier to achieve and thrive in as in remote or rural communities. “Birds of the same feather flock together “. It is easy to find likeminded people among a million people than among a hundred particularly if you’re a bit off the mainstream or avantgarde. The excitement of birds passing the city can reach the emotional force of Hitchcock’s famous movie “The birds”. Even in the modern world we not quite sure what these creatures are up to. Is it a swarm of drones? Are they out of control? Modernism has brought us many amenities, we have to make sure that we really are still in control.

Berlin Kleistpark 2024-1

Memory Struggle

The struggle of memory is also the memory of a struggle. The exhibition in the Palais Populaire in Berlin doesn’t leave spectators untouched. It is a struggle to recover memories which were attempted to be eradicated. This is the univeral message of this exhibition. The colonial past and crimes are part of the struggles of artists from these cultures to re-establish their rights to their own views, traditions and memories. Grass and plants may cover the shelled soil and people, but traces or mortars are often left behind. Light from different angles needs to be shed on these places to reveal the shadows of the wounds. The atrocities and exploitation linked to colonialism and imperialism keeps us struggling with those memories. Just before we jump to the conclusion that it is a memory of a past struggle, we are reminded that consequences are still haunting the present and with the Russian aggression in Ukraine we have to realize the fight against imperialism continues in the 21st century. Thanks for memorable moments and impressions in view of a global arts and history experience. (Image of art work installation by Sammy Boloji, untitled 2018, exhibition Palais Populaire, Deutsche Bank foundation)

Sammy Boloji, untitled 2018 exhibition Berlin 2024

Ideal City

Ideal City

Even beyond humans the issue of what constitutes the ideal city is a matter of historical as well as experimental significance. Science has recently uncovered a city like organization of habitats in the Amazon region (Link Science.org). The organization of the Greek city states has been the model for the development of democratic ideation. The Roman imperialism has thrived through the splendor of its cities and city lifestyle. No surprise that this continues to be a constant concern for humanity.
Rapid urbanization continues in Africa and Asia. Europe also struggles to keep pace with infrastructure development in every growing cities. Whereas the ideal city in the early Italian Renaissance was imagined without trees, we witness a renewed interest to bring back nature-like environments and architecture back into cities. Combining the best of 2 worlds seems possible. Redesigning inner cities remains a continuous challenge. It is much more than thinking about bricks and mortar. It is mostly about how we want to live, work and communicate together. Therefore, it concerns all of us. Paintings help us along in our ideation about where and how we want to live together. The linear views of the Renaissance appear hardly convenient after the experience of the 20th century.
(Image Gemäldegalerie Berlin, 2024-1, Raum XVIII, Ident Nr. 1615 “Ideal city” from ca 1490 attributed to Francesco di Giogio Martini and next to well-known ideal “Venus” painting by Sandro Botticelli 1490).

Flotow CH

Noch 20 Jahre nach seinem Tod wurde Friedrich von Flotow recht prominent aufgeführt. Im Stadt- und Aktien- Theater der Stadt St. Gallen stand seine Oper “Martha” an einem Mittwoch 26.4.1905 auf dem Programm (Anfang 8 Uhr präzis), gefolgt von Mozarts Zauberflöte 2 Tage später.  Was für eine Konkurrenz. Das Plakat zur Aufführung ist in der Digitalen Bibliothek der Kunstbibliothek in Berlin anzusehen (Link).
Die Geschichte des Theaters in St. Gallen ist aus ökonomischen,  gesellschaftlichen und architektonischen Gründen interessant. Das Tagblatt berichtete in 2007 über den Abriss der historischen Städte und den sehr verspäteten Neubau einer moderneren, größeren und wirtschaftlicheren Spielstätte. Damals zu Beginn des 20. Jahrhunderts schon standen populäre Werke wie die Martha und die Zauberflöte auf dem Spielplan. Die Aktionäre des Stadt- und Aktien- Theaters der Stadt St. Gallen haben wohl schon immer etwas mehr auf das Geld geschaut, auch wenn es um Kunst geht. Mehr Zuschauende und Zuhörende ist demokratisch und nebenbei gut für’s Geschäft. Der Abriss war beklagenswerter Weise im Jahr 1971. Ein Neubau an anderem Ort startete bereits 1968. Dieser Bau musste ebenfalls nach 40 Jahren Spielzeit grundsaniert oder abgerissen werden.  Heute findet sich darin ein lebhaftes Programm mit Musicals als ausgezeichnetem Schwerpunkt und beispielsweise des Theaterstücks „Gott“ von Ferdinand von Schirach . Die Stadt und die Aktionäre sind wohl aus der finanziellen Verantwortung, aber das Kanton St.Gallen und der Lotteriefond sind eingesprungen. Bildquelle und Großansicht Kunstbibliothek SPK Berlin.

Stock taking

From time to time it is necessary to take stock of production and to review the material that has accumulated. As I have been working in archives, official book depositories and libraries for years, it comes almost naturally to deal with questions of how to keep track of all that content. Digital solutions are excellent devices in this regard. I do not have to deal with digitalisation, a huge issue for all historic archives and many recent small museums as well. I have to deal with backups at regular instances. To be sure, each engineer will assure you, better make a backup of your backup … . Yes, I do this as well. Now the ultimate backup of digital work is ? Got it, a printed copy of your digital work. The best advice I received on this comes from a computer magazine “ct” gadget mug with imprint advocating “No backup, no mercy“. To facilitate my printed archive I start with monthly collections of blog entries (Link to pdf-file December 2023 ->Brainstorming 23-12). The simple conversion yields 63 pages, a printer friendly version 56. Hence the expected yearly volume (60*12) will be somewhere near 720 pages. That is for the archive only or in case my eyes do no longer support online reading on screens for too long.
Digital archives have, of course, many other advantages. It is possible to reassemble my collection of entries by subject through a more thorough editing. Specific edited volumes will surface from this, which I have in my mind but only careful long-term followers of the entries might see already. Political economy and sociology are obvious candidates. Public health, labour, the world of arts and music could constitute other edited volumes. Lots of branches grow out of the trunk of content.

Poster Design

The effective use of posters in visual communication is a specific craft. Artists have been associated with poster design for more than a century. Cinemas continue this practice. For each movie produced there is an announcement posted in print or digital form. In combination with the Berlinale 2024 film festival the Kunstbibliothek in Berlin shows milestones of the history of movies and their representations in form of posters. Besides the historical approach there are many hints how to interpret the design language of posters throughout the 20th century. The encouragement to try to produce one yourself not only reserved to children is an additional activating feature of the exhibition (Link here). Cats and dogs will always catch attention and the playful approach chosen might be a start into a graphic design interest. Overall the exhibition offers a low threshold entry into the world of art and design. Instagramable image on posters evolved into short preview clips, just like instagram paved the way to tiktok video clips. In retrospect posters also provide shortcuts for our memories to recall whole movies that have accompanied us growing up and growing older.

Ethics of posterity

We have not inherited the earth from our ancestors; we are borrowing it from our descendants. (native American saying). Adeline Johns-Putra (2019) states this early in her book on “Climate change and the novel.” Her concern is how to think and write about the ethics of posterity. Approaches of ethics in the sense of parental care (for the planet) or motherhood environmentalism do not suffice in view of overpopulation of our planet. Shifting our identity away from toxic production and consumption is advocated in many novels. Science and science fiction offer many dystopian examples.
De Shalit (1995) wrote early on why posterity matters. It is not the standard of living of contemporaries that matters but we should consider ourselves as a part of a transgenerational community. The time horizon of our decisions matters. In pursuing arguments by John Rawls who re-established a contractionalist perspective on justice, we have to include future generations into our contractual obligations. Following this approach we might arrive at Brundtland’s perspective on the ethics of posterity which is called sufficientarianism in opposition to simple utilitarianism. In sufficientarianism we owe future generations a just and decent living or at least the possibility to have similar starting conditions. Shifting beyond the apocalyptic view of environmental disasters Adeline Johns-Putra (2019) brings to the forefront that we have to substantially lengthen  our time horizon both for consequences of climate change and for dealing with it, albeit the fact that most destructive practices operate much faster than the re-establishing of greater biodiversity.
P.S.:Thanks to the curators of the Lese Lounge Staatsbibliothek Berlin for ease of access to the literature.
(Image: Natur & Kultur in “Extreme tension: Art between Politics and Society” Collection of the Nationalgalerie 1945-2000“. 2024-1)

Time6

Time that has passed, is subject to evalution and re-evaluation. Our memories work continuously on various representations of time in our mind. Memory management is one such example. Artist have also coined a phrase for a particular form of time management. “The assault of the present on the rest of time”  Alexander Kluge had chosen this as the title of a movie on film-making and Katya Inozemtseva had chosen this as the title for the exhibition in Berlin 2023-24. Pieces of art may serve as evidence in court as testimony for war crimes. This is one of the challenging issues of this exhibition. The present uses evidence from the past to illustrate what happened. Re-interpretations are part of this process as well. It is not too rare, that in the present a reframing of the past may occur. Some try to alter the representation of the past (crimes committed long ago) as of minor importance. Such intentional misrepresentations represent the assault of the present on the past. It may eqaually be attempted to limit the scope of future options. The diesel engine is not the best technical solution for mobility of 8 billion people living on this planet in 2024. The reflection on time needs to take care of the “back shadow” and “forward shadow” of the present. On the individual level, today’s action might be largely determined by past events, experiences and transitions, but they pre-determine to some extent also future events.
Conditionalities shall occur and accumulate, for some more than for others. Some call this scar-effects, others the narrowing down of options. Life reviews may apply a reframing exercise, sometimes even to liberate yourself from the boundaries of the past to open up new or more future options. The time-space subject which ranges from experience to fiction is the matter of literature and cinema. Some people seem to choose to live in a fictional world for whatever reasons.  Rather than a linear concept of time, the artists appear to imagine time in some form of a spiral: from the present you turn backwards in time to project yourself into the future. Maybe, we are caught up in some unresolved narration of the past, to try another projection into a different future. We see one or many movies grow out of this fictionalisation of the present.
The study of the life course remains a formidable challenge. Testing the reliability of sources to separate fact from fiction has overriding importance. Biographies derived from facebook or instagram entries over decades have to deal with this fictionalisation of the self even more than we were used to from other data sources. The basic challenge of the representation of time throughout the life course, however, remains the same.
Source: Kluge, A., Evans, T., & Liebman, S. (1990). The Assault of the Present on the Rest of Time. New German Critique, 49, 11–22. https://doi.org/10.2307/488371 (Image: Exhibition Brücke Museum, Lea Grundig, Unterm Hakenkreuz: die Hexe 1935, Zentrum für verfolgte Künste, Solingen).

Richter

Gerhard Richter ist kein Richter. The painter Gerhard Richter is of cause not a judge. But somehow he is. In the representation of his 100 works for Berlin in the Neue Nationalgalerie he judges the horror beyond imagination of the Nazi concentration camps, reflects on the role of his own family in this and finds his own way to deal with it. Colors cover the black and white documentary fotos as if a new imaginary has to grow again to overcome the painful memories. He deals with the most difficult kind of confrontation with evil in an astonishing way. The horror as underlying fact remains present in our mind and at the same time we open up to light at the end of the tunnel and abundance of colors. Color is the way forward. Underneath, we tend to or like to forget about the many killing fields. Scratch a bit on the surface and you’ll find lots of unresolved issues again. All those fancy colors might just cover up the demons of the past and present. Maybe this is a grossly biased interpretation of his Auschwitz Buchenwald series of paintings, but only time will tell if we are successful in 2024+ to stem the tide of right wing extremism (again).

Neue Nationalgalerie Berlin 2024-1