Sehenswert: February 2014

February 28, 2014

Jan Assmann: Frühzeit des Bildes (2002)

Iconic Turn - Felix Burda Memorial Lectures

[+/-] Read More...

February 27, 2014

Bill Viola: The Passing (1991)

[+/-] Read More...

February 26, 2014

Seid umschlungen, Millionen! - Immersive Strategien im Theater (2013)

Schwindel der Wirklichkeit
Akademie der Künste, 05.02.2014

Mit: Erich Goldmann, Barbara Gronau (UdK Berlin), Carl Hegemann (Thalia Theater Hamburg) und Signa Köstler (SIGNA)

Mitwohnen, mitwählen oder sogar mitlieben im Theater -- von Christoph Schlingensiefs „Partei der letzten Chance" oder „Hotel Prora" bis zu den Parallelwelten von SIGNA wurden den Zuschauern in den letzten 15 Jahren zahlreiche Angebote gemacht, im Theater das wahre Leben zu finden -- und zu führen. Aber beginnt, wenn alle Akteure sind und das Theater endet, tatsächlich schon die Wirklichkeit? Die Theaterwissenschaftlerin Barbara Gronau (UdK Berlin), der Dramaturg Carl Hegemann (Thalia Theater Hamburg) und die Performance- und Installationskünstlerin Signa Köstler (SIGNA) sprechen über die politische Wirkung des kollektiven Als-Ob, den psychologischen Sog der Ganzkörpererzählung und die Diktatur des Theatralen.

Moderation: Petra Kohse

Mehr Infos: http://www.schwindelderwirklichkeit.d...

[+/-] Read More...

February 25, 2014

Dokumentartheater heute: Versuche über die unbekannte Gegenwart (2013)

Schwindel der Wirkklichkeit Akademie der Künste, 04.12.2013
Podiumsgespräch mit Helgard Haug, Rolf Hochhuth, Hans-Werner Kroesinger und Milo Rau. Moderation Thomas Irmer.

[+/-] Read More...

February 23, 2014

Marina Abramovic: Art must be Beautiful, Artist must be Beautiful (1975)

'Art must be Beautiful, Artist must be Beautiful' (Copenhagen, Denmark, 1975) is one of Abramovic's typical early performances. As with the 'Freeing...' series ('Freeing the Body', 'Freeing the Voice' and 'Freeing the Memory', 1976), 'Art must be Beautiful, Artist must be Beautiful' is not about physical pain, but rather about the mental state that can be reached by way of pain. In the video recording of the performance, one can see Abramovic aggressively combing her long hair. With a brush in one hand and a comb in the other, she works on her face and hair, while repeating the sentence 'art must be beautiful, artist must be beautiful'. Her voice betrays that she is in pain, and her face also makes it abundantly clear that she is hurting herself. Now and then, it seems as if she is falling into a trance. Then her voice is softer and the way she moves her brush and comb through her hair is less hard-handed. According to Abramovic, the purpose of her self-inflicted pain is to free the body and soul from the restrictions imposed by Western culture and from the fear of physical pain and death. From her perspective, performance art can be used to challenge and transgress physical and mental boundaries. In later years, she became acquainted with the Tibetan and Aboriginal cultures and with the rituals of the Sufi tribe. In the rituals of these cultures, the body is also driven to extreme physical limits, in order to enable a mental 'leap' into another dimension where physical limitations and fear no longer influence the human mind. During an interview in 1999, Abramovic said about her 1975 performance: 'A long time ago I made a piece called "Art must be Beautiful, Artist must be Beautiful". At that time, I thought that art should be disturbing rather than beautiful. But at my age now, I have started thinking that beauty is not so bad.' The video is also part of the 16-channel installation 'Video Portrait Gallery' (Abramovic 1975-2002). Serbia, 1975, 50'56'' (sound, b/w). Collections: NIMk (Netherlands Media Art Institute) / LIMA, De Appel.
URL: http://catalogue.li-ma.nl/site/?page=...