Tag: Kunstschaffende

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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.

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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
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Gruber

Welche Assoziationen kommen Ihnen bei dem Namen Gruber? Das deutschsprachige Fernsehpublikum assoziiert wahrscheinlich die Gruber Milch , die es gar nicht wirklich gibt, oder den Arzt aus der Serie „Der Bergdoktor“ mit dem Namen Gruber. Fiktive Personen, gespielt von noch realen Schauspielern, haben einen starken Einfluss auf unser Gedächtnis.

Wir erkennen zum Beispiel in der Weihnachtszeit nach den ersten 4 Tönen einer Melodie sofort das Lied „Stille Nacht, heilige Nacht“. Dennoch werden die Wenigsten die Person nennen können, die diese weltbekannte Melodie komponiert hat. Das ist überraschend. Es zeigt uns jedoch wie selektiv unsere Wahrnehmung ist. Das melodische Gedächtnis erinnert sich sofort. Das Namengedächtnis kann da scheinbar bei weitem nicht mithalten. Die Auflösung des Rätzels ist: Gruber, Franz Xaver. Der Liedtext stammt von Joseph Mohr. Der österreichische Komponist hat einen Hit gelandet, der selbst 200 Jahre nach der Komposition noch Millionen von Menschen bewegt oder oftmals ungewollt beim Shoppen begleitet.

Vereinfachende Transkription des Originals
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Tears mastered

Not many authors find decent ways to write about sad moments and the mastering of tears. Can we master tears? Should we even try to? For authors the question poses itself of a different kind. How do I write about emotions in which a person bursts in tears or sheds a single tear. Even mastering tears or the delayed unmastered tears give rise to ample drama. Have you found a poet or author to whom you relate through the sorrows s/he expresses? Reading itself is a process of mastering tears due to the possibility to go through a wide spread of negative and positive emotions.
Towards the end of her life Cata Dujšin – Ribar wrote a poem that links to the imagery of the Norwegian poet Jon Fosse. Thanks to the exposition of her paintings and writing in the Zagreb City Museum Cata can become known to a wider audience. Hardly any traces in the internet of her writings in English make her even more of a local hero and an early female role model. The windmills are powered by the nothingness of our illusions.  The beauty of futility is revealed in our dream. She puts it so much better. The biography and work of Cata Dujšin – Ribar summarises to some extent the whole history and misery of the 20th century beyond the Balkan region in a few words.

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City Museums

Some city museums have a difficult time to present the richness of their historical heritage. Additionally, the question of city heritage maybe entangled with a process of nation building and citizenship altogether. The focus I advocate is on the evolution of democracy and the process of civilisation. The Zagreb City Museum on the top of the hill comes pretty close to such a perspective on history or historical perspective. Due to the recent efforts to excavate remains of the iron age underneath the more recent City Museum the historical line of Zagreb civilisation can be traced back even longer. The tumuli are worth a whole new section in the Museum. The process of civilisation with “burying cultures” are more than 2600-3000 years old in Zagreb. Democratisation as a process can also be studied with all its ups and downs over the history of the city and the Croation nation building. Capitals and city live play an important driving force in this process. Zagreb has experienced a bombing of the city centre as recently as 1991 (Banski Dvora) and again in 1995 (city of Zagreb) in the Croatian war of independence.
It is a real pleasure to walk through centuries of historical evolution beginning with the recent excavation of the iron age as well as the arts and crafts since the medieval times. Even passing the horrors of the 2nd world war through the eyes of the author and painter Cata Dujsin (image below from 1944) speak to us even today.
There is no linear process of civilisation which is improving over time. There have always been backlashes and there will be. It is even more important to be aware of the continuous risks to independence and democracy. The current setup of the Zagreb City Museum seems to focus on the Croatian population to remind them of their great heritage. With more English and foreign language subtitles and inscriptions the example of civilisation and democracy will be more accessible for even larger crowds of visitors. The online visit accessible in English is already an excellent appetiser.
The City Museum is moving from the internal Croatian function more and more to additional external function to offer learning experiences beyond the Croatian visitors in this tourist attraction that is internationalising in its work force at a rapid rate.

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Selfie Museum

We have learned that games are not only played for fun. So-called serious games have found their way into health applications where we might learn while playing a game of how to integrate more walking into our life in the city. While walking after work I happened to pass the Selfie Museum in Zagreb. In fact despite carrying the name of museum it is more an assembly of scenarios in which you can realize many selfies in different settings that have been prepared for that purpose. Hence your production of photo shooting with yourself as the major character is facilitated and you no longer have to spend a lot of time on the setups. Call it a museum and you’ll have more visibility and visitors.

Styles of selfies have changed and shooting very short videos to post on tiktok is of course easy there. A real threat to huge and expensive cinema studios considering the enormous reach some of these selfies can reach. It is a bit like a theatre with multiple stages for everybody to use at moderate costs. Before long we shall come to realize the potential for many more interested in theatre to become actors and directors themselves. Democratize the world of theatre is the new social dimension here. Test yourself in another profession through playful interaction. Test and learn about other competencies. We are in the middle of the next wave of “gameification” previously reserved to people ready to accept higher risks of likely failure. The young can now take their parents to the museum and show off their culture and skills. Intergenerational learning has a new aspect as well. The sociology of the virtual has another phenomenon to evaluate.

Zahgreb 2023-12 Selfie museum
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Meta-language

Some writers accomplish the formidable task to draft a text that encompasses more than one language. Samuel Beckett surely is one of them. Arnaud Beaujeu (2011) exposes the meta-language that Beckett creates through his reductionism and minimalist style. It is first a deconstruction of language or languages expressed in French and/or English at times. There is an underlying discourse dealing with the link and sometimes opposition, but always a relationship between at least these 2 languages. Beaujeu reveals 2 other languages: « the trivial and the spiritual ». The reductionism of Beckett leads to a conscious expression of the obvious, the trivial in conversations. This, however, he turns in the theatre piece “cette fois” (original “That Time”) into a ritual, spiritual version of 3 persons A, B, C in a prayer like liturgy. In taking out the sentence structure and obligations of grammar more generally the text becomes a rhythmic reading of words. Today we might say a Rap-version of a text.
The meta-language is the spiritual experience and another kind of access and questioning of memory, eventually even reconstructing a collective memory. Maybe the meta-language is the attempt to collectivise and internalize the dialogue that has turned into a trilogue.
It is out of the memory of persons or historical evolutions that Beckett builds his meta-language. Adorno (1974) put this in a relationship to Shakespeare’s dramatic work and the experience of the horrors of Nazi-Germany.  Sarcastically put, the question to Adorno was not ” to be or not to be”, but “to die or to die”. Beckett travelled in Germany extensively in the year 1936 and faught in the 2nd World War with the French resistance.
„Paroles, musique, mémoire“ (Beaujeu, 2011) span a triangle which allows for a profound, albeit mostly empty space. Beckett offers a safety net to bridge the gap by way of reconstructing a language reduced to basics as well as meditative silence. The script lies in the meta-language and poetry is the more common access to this meta or essential level of our existence. Listening to the meta-language is like listening to polyphonic music. Some find it very disruptive, others a spiritual experience. Meta-language is all around us, like it or not. (Image: Französische Friedrichstadtkirche Berlin, Exhibition Princesses, 2023)

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Georgia

The Republic of Georgia is honored with a wide ranging program in Brussels in the series of countries presented as part of the”Europalia” events and exhibitions. The exhibition at Bozar in the center of Brussels has a focus on the years between 1900-1936. It is astonishing to look at the creative examples of adaptations from western modern art with cubism and expressionist resemblance. Many artists had travelled to western parts of Europe or trained at well-known art schools there. Own adaptations to paintings, theatre and cinema yielded a unique style of Georgian modernism before Stalinism put an end to independent artists and their creative work.

During the short spells of political independence Georgia managed to re-establish each time a remarkable will to its own culture. Unity with artistic pluralism is a core value of the European unity and union as well. We are many and happy to have a chance with Georgian people to celebrate their artistic past and future.

catalog of exhibition Brussels 2023
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Beckett by Beckett

There is an interesting discourse in literature about how to define irony. This really begins with Plato commenting on Sokrates who makes use of the term “eirôneia”. In the history of the idea of irony comes next the philosopher Kierkegaard with his not-ironic treatise “The Concept of Irony. With Constant Reference to Socrates”. Reading philosophy can be really entertaining. It is, therefore, no surprise to find a publication entitled “Ironic Samuel Beckett” (Pol Popovic Karic, 2009). Following Karic there are 3 defining elements of irony: (1) “The message should be intentionally created, …(2) The meaning of an ironic message needs to be “covert”,… (3) During the analysis of a stable irony, the reader can assume that the first interpretation of the ironic message is correct.” (Pol Popovic Karic, 2009 p.49).
Additionally, to understand irony it might be necessary to know more about the context of the statement. Sometimes the ironic statement can only be interpreted as such if you have additional knowledge about the biography of the author (p.47). To understand Beckett better it is advisable to read about his life course in the many biographies available nowadays.
Beckett by Beckett, meaning the translation of Beckett by Beckett himself yields many fruitful insights into his kind of irony and constant reflection and laughing about himself as his very own form of irony. This becomes most evident in the many helpful tables Linda Collinge (2000) presents in her book on “Beckett traduit Beckett”. Translating irony is a tricky endeavour. Many of the translations do not seem to be straightforward at all and can only be understood from the perspective of the whole translation of a piece and the underlying “Haltung”, ironic attitude of the author to his own work. Beckett by Beckett remains a master piece for translaters beyond those from French to English. (Images: Linda Collinge, 2000, p.61-2).

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Laughing Matters

It is time to dig out our copies of Samuel Beckett. Jon Fosse refers his work back to a tradition of Samuel Beckett. It is interesting to re-read some of the plays of Beckett. The famous “Waiting for Godot” or “Endgame” figure prominently on the reading list and theatres even today. Laura Salisbury (2012) honours Beckett in devoting a book on Beckett with the subtitle: Laughing matters, comic timing. She refers to a tradition founded by Aristotle: “man is the only animal that laughs”. Even in the most horrible scenarios of war and suffering, the human brain brings up thoughts containing jokes. Laughing makes us a part of the human species. Humour then becomes the “locus and limit of the human” (Salisbury, p. 4).
It is obvious that the basic problem of jokes like most of our communication has a “sender” versus “receiver” problem. People just do not have the same sense of humor in many instances. We might even go as far as stating that a person feels at home, if cracking a joke is readily understood by surrounding people. Test your cross-cultural competence by trying and sharing laughter. It is hard to do.
Beckett succeeds in a formidable way on a philosophical level even to bridge cultures and spread his way to look at the world from a meta-perspective.
Waiting … for what? Endgame … what is the game? Is it a game? These are laughing matters. Not for all, but for many on the way, trying to learn about existential matters that define humanity.
Through choices Samuel Beckett made in his lifetime, it becomes clear that he did not shun away from the most existential choices. In World War II he joined the French resistance movement and risked his life to save our laughter. Jon Fosse appears in the footsteps of Beckett, who decided to seek the silence and remoteness to develop his work for years also in the tiny village of “Ussy sur Marne” near Meaux and a bit further away, from Paris.
In Beckett’s own words he defines what a comic spirit is;
“comic spirit: oscillation between equilibrium and lack of it” (Salisbury, p.20), referring back to Racine and Molière. It is a social skill and it is not always easy to master, like for example to suppress laughter. Aging might play additional tricks on us (reduced strength of affect inhibition). There is a cognitive element in laughter, but also an affective and a spontaneous mix of reactions.
Affect inhibition is linked to the ability to resist spontaneous impulses like laughter.
Resisting impusles, but also resistance on a philisophical kind is in Beckett’s work “a resistance to the given world, while nevertheless displaying all its violent administrations;”. (Salisbury, p.172-3). In asking what remains after we abandon belief makes it necessary to foster a resistance to brutal deviance from humanity. Laughing may matter here more than we might want to acknowledge.
Source: Salisbury, Laura (2015). Samuel Beckett: laughing matters, comic timing. Edinburgh : Edinburgh University Press.
Image: extrait Eric Desmasière, 2000 Sous le signe de la balance.