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The four parts of this book are devoted to: "Portraiture and Society" pp. There is also an introduction, "Painting and the Hanoverian Era" pp. Provocative study presenting a modern intertextual, post-structuralist view of Hogarth's art, influenced by French theory. Promotes new strategies for decoding the ambiguous sign systems that create "iconotexts", i. The introduction discusses traditional Hogarth scholarship from a poststructuralist's point of view. Solid and well-illustrated account of Hogarth's life and work, focusing on the paintings. Catalogue of an important Italian exhibition on Hogarth organised by Mary Webster.

Includes a biographical essay , many illustrations and detailed Italian commentaries on Hogarth's works. Contains two articles, the main one by Ilaria Bignamini. Interpretation of Hogarth's main graphic works in the context of political themes of the time. The short introduction stresses Hogarth's politics. Looks "at the two apprentices' story by studying the different graphic references and codes that the artist has slyly inserted within the plates".

Best, though incomplete, critical nineteenth-century edition of Trusler's book which was first published in Hogarth and J. Nichols , 2 vols. London: Jones and Co. First comprehensive life of Hogarth, based on contemporary memories, manuscripts, and collections.

Faulder and J. Egerton, Includes some interesting anecdotes on Hogarth, his work, his time, and his contemporaries plus illustrations of, and notes on, Hogarth's earliest and little known works. However, these are not always reliable, as among the "scarce prints" are some obvious forgeries. A second volume of Ireland's Graphic Illustrations was published in Definitive revision of Nichols's eighteenth-century editions of his Anecdotes of William Hogarth , and , fairly summarising all that was known about Hogarth's life and art up to that time.

Includes many quotations from contemporary sources and a detailed Index. A third volume of the Genuine Works with additional material appeared in Scholey, Nichols and Son, Facsimile reprint with a short introduction by R[onald] W. Lightbown: London: Cornmarket Press, This book contains, apart from the many quotations from John Ireland and others, the then most complete catalogues of Hogarth's work, particularly, a "Chronological Catalogue of Hogarth's Prints; with an Account of the Variations and Principal Copies".

Boydell, Third edition: Nicol, and Messrs. There are also late nineteenth-century editions of these three volumes. They contain accurate descriptions of Hogarth's prints, which are still useful to the modern reader. The supplement volume includes Ireland's transcription of Hogarth's manuscript notes, which disclose a great deal about the artist's life and thought. Certainly the most brilliant of the early commentators. Considers almost every detail in Hogarth's engravings. Distinguishes between a prosaic and a poetic method of interpretation.

Though often wandering from the subject, the verbal and semantic ambiguity in the commentaries corresponds well to the ambiguity in Hogarth's prints. The modern English translations, which appeared in and , are not as good as the German original. From the 14 Lieferungen only the first four are by Lichtenberg himself. For modern German editions of Lichtenberg's commentaries, see Wolfgang Promies ed. Online version of The Works of William Hogarth , including all illustrations and the accompanying commentaries by John Nichols.

For these commentaries, see also The Hogarth Project. Contains, however, some errors produced by the author himself. Hogarth is seen as an Englishman of a "healthful, sanguine constitution, and Though not so well known as they deserve to be, these volumes contain, to date, the most important and thorough descriptions of Hogarth's satirical prints, written by the art critic and former Pre-Raphaelite painter, Frederic George Stephens The detailed commentaries offer the reader further background information on Hogarth and his motifs, the vast amount of other related contemporary satirical prints and the literature of the time.

There are also late-nineteenth-century editions of this book, which was first published in This volume is one of the series of the Illustrated Biographies of the Great Artists. It contains an annotated "Bibliography of the Principal Books, Pamphlets, etc. Easily readable volume not only on eighteenth-century London, but also on Hogarth's life, works and contemporaries, based on the then most important sources on Hogarth, which are often quoted in the text.

New York and London: Benjamin Blom, Reissued Notable study which exploits George Vertue 's manuscript notebooks and throws new light on the English artists of the eighteenth century and their contemporaries. See also volume 2. This study on Hogarth "is divided into four parts; the first part gives the background of William Hogarth's life and pictures, the second recounts his career and character and his attitude to his own genius, the third gives the stories, actors real or imagined of the principal pictures and prints, and the fourth describes and analyses the work from the point of view of aesthetics.

Article paying tribute to Ronald Paulson 's pioneering work on Hogarth. At the same time an easily readable introduction to Hogarth's life and art. Comprehensive biography written by David Bindman. Contents: Early career: the s -- Beginnings as a painter -- The first 'modern moral subjects': A Harlot's Progress and A Rake's Progress -- After the Rake: new challenges -- Portrait painting: an English grand manner -- 'Comic history painting' and Marriage a-la-mode -- Contrasting directions: history painting and the lower Class of People -- The state of the nation: The March to Finchley and the Election series -- Reflecting on art: The Analysis of Beauty -- Hogarth under attack: Sandby and Reynolds -- The artist embattled: the Sigismunda affair -- The wrong politics: Hogarth on the defensive -- A feeling mind: retaliation, despair, and death -- Posthumous reputation and afterlife -- Sources.

Austin Dobson 's contribution to volume 27 of the Dictionary of National Biography Dobson was the leading Hogarth biographer of his time. Online version of Austin Dobson's article on Hogarth in the edition of the Encyclopedia Britannica , with additional hyperlinks. First part of the online version of a biographical essay first published in The Works of William Hogarth, from the Original Plates restored by James Heath London, Second part of the online version of a biographical essay first published in The Works of William Hogarth, from the Original Plates restored by James Heath London, Extensive biographical essay, written in Italian.

Biography with special attention to the historical background, however containing some questionable assessments, for instance, as far as Hogarth's borrowings from other masters are concerned. See also this online version of Anstruther's book. Biography of some length. Part of a Humanities Web site on William Hogarth. Comprehensive chronology from the birth of the artist's father, Richard Hogarth, in or , to the death of William Hogarth in Detailed chronology, chiefly borrowed from Shaun Wourm. Formerly part of a commercial project management consultants' Web site. French biography dealing with the artistic and cultural contexts and Hogarth's francophobia.

Essay on Hogarth from Wikipedia , the free Internet encyclopedia, gathering paragraphs written by many different contributors. Survey of Hogarth's life and work, including several hyperlinks. Sees Hogarth "as the first prototypical British comics artist". French discussion of Hogarth's careers as an engraver, painter, satirist, and author of The Analysis of Beauty. Spartacus Educational: William Hogarth. Artworks: William Hogarth National Gallery of Art, Washington, D. Island of Freedom: William Hogarth Encyclopedia of World Biography: William Hogarth. William Hogarth: A Brief Biography.

Artchive: William Hogarth The Dorset Page: William Hogarth Der englische Maler William Hogarth. Robert Morten: Hogarth, William Hogarth, William. Online presentation of the typewritten manuscript of an outstanding M. Online version of Cowley's excellent Ph. Pdf version of the author's thesis.

See also this abstract. Online version of the author's M. Offers an in-depth interpretation of the twelve prints of Hogarth's Industry and Idleness series. While people in previous centuries based their observation about life and human nature on religious beliefs, the eighteenth century began to explain life and human nature more critically in terms of science and reason.

The study deals with prostitution, alcoholism, physical and sexual atrocities, ignorance of the wealthy and powerful, and issues related to marriage and family life. Excellent website created by Anne Wilne and a class of third-year undergraduate students at the University of Toronto Scarborough during the winter semester of Gives an in-depth analysis of Hogarth's A Harlot's Progress. Each of the six plates has been annotated, providing context to scholarly sources.

The engravings can be enlarged for highly detailed viewing. Additionally, each theme can be explored individually through the sidebar. Jahrhunderts: Teil 1: William Hogarth". Comprehensive analysis of the supposed origin of, and the complex narrative and allegory within, Hogarth's portrait of the Mackinen Children. Interesting online article on the children depicted in Hogarth's works. Examines the six engravings of A Harlot's Progress as if they composed a motion picture's preparatory "story board" or as if they were frames in a black-and-white silent film. Deals with the pair of scissors hanging from Moll Hackabout's belt in A Harlot's Progress , plate 1, and the sexual symbolism of scissors in some other works by Hogarth and in literary contexts.

Paper dealing with the motif of an African boy pointing to the horns of a statue of Actaeon as a punning reference to cuckoldry - a suggestive detail that raises a host of larger issues crucial for Marriage A-la-Mode and for Hogarth's art in general, including adultery, racial stereotypes and miscegenation, art collecting and courtly aesthetics.

On "irregular", and problematic, eighteenth-century popular theatrical performances "dumb shews" that curiously form the foundational metaphor of Hogarth's own Analysis of Beauty. Sees Hogarth as an inventor of "comic strips with serious points to make, and acerbic political cartoons", who "had the ability to simultaneously amuse, shock, and change society" and whose influence can be detected in cartoonists of the nineteenth and twenteenth centuries.

Text of an article first published in the Art Bulletin , 80 June It compares Hogarth's anti-Methodist print Credulity, Superstition, and Fanaticism with its rather different, unpublished first state, Enthusiasm Delineated The latter is revealed as a polemic on shopworn French academic art theory and on misplaced, even erotically passionate enthusiasm for the old masters. Excerpt from the author's study of Hogarth's Enthusiasm Delineated. This essay suggests that the overriding theme of the engraved version of The Sleeping Congregation is Hogarth's post-Puritan view of the old vice of Acedia indolence or sloth.

It is shown that the print ironically updates a long pictorial and literary tradition of sleeping during a sermon; sleep, the characteristic signifier of indolence however combined with lustful thoughts within Hogarth's print. Explains the nationalist implications of the English taste for roast beef and the Francophobe and antipapist sideswipes and puns in Hogarth's The Gate of Calais.

Online version of Georg Christoph Lichtenberg 's famous German commentaries on Hogarth's engravings Claims that the Cruelty series was influenced by John Locke's notion of sensibility and Lord Shaftesbury's writings about the moral sense. Featured Wikipedia article on Hogarth's four paintings and prints of the Four Times of the Day series. Better than the English and French versions. Discusses Hogarth's Southwark Fair as a pictorial account of the social and cultural state of the lower urban class in early eighteenth century England. Includes some remarks on the provenance of Hogarth's painting of Southwark Fair.

States that Sir Charles Raymond gave guineas for the painting. As Raymond was the owner of Valentines, it seems that the picture may have hung in Valentines from the s until it was sold in after the death of Donald Cameron. Cached version of Jeremy Bell's site on William Hogarth. Bell has always been fascinated with the work of the first truly British artist. He especially enjoys finding the many clues Hogarth left that tell the story in each painting and reading through the many commentaries that bring them to light.

First part of a detailed analysis of the six prints of Hogarth's A Harlot's Progress. Commentary by Susan Ardelie, an eighteenth-century enthusiast. Extensive commentary on the first scene of Marriage A-la-Mode by an art lover named Jonathan On Hogarth and Gainsborough who exemplify the myth of the self-made man and comment on the shifting British social classes.

German analysis of oppositional structures characterizing Hogarth's Industry and Idleness series. Eine gemischte Gesellschaft. Mit der Unterschrift aus I. Online essay which attempts to unravel the intriguing iconography of Hogarth's print Credulity, Superstition, and Fanaticism. The author identifies the characters and events in order to illuminate the beliefs and attitudes toward ghosts and the supernatural in the middle of the eighteenth century.

Short commentary by Thomas Pfau on Hogarth's anti-Methodist print. There are also some remarks by the same author on The Sleeping Congregation. Wellcome Library Item of the month, April Detailed discussion of Hogarth's etching, Cunicularii, or The Wise Men of Godliman in Consultation , which satirises the story of Mary Toft who claimed that she could give birth to rabbits. Article looking at Hogarth's representations of black people in the eighteenth century. Lecture held at Gresham College, 8 October Part of the "Visual Impressions of London" lecture series. Lecture held at Gresham College, 3 November Brief life, written on the occasion of the th anniversary of Hogarth's death.

Web page briefly dealing with the story of A Rake's Progress , inspiriations for the work, the critical reception of the series, and related paintings, etc. Gordon, "A Rake's Progress ". On the origin and content of the eight plates of Hogarth's Rake's Progress series in which Tom Rakewell "represents urban bourgeois innocence, brought to ruin by aristocratic pretension". Includes, apart from images of the eight Rake paintings, also some modern photographs of specific sites in London.

The Compendium (Part III)

Brief account of Tom Rakewell's life as told by Hogarth in his Rake series. See also this Smarthistory version of the same article. On the sitter; inspirations for, and critical receptions of, the work; related portraits, etc. On the theme of the painting; inspirations for the work; its critical reception, etc. Interesting remarks by Shaun Wourm on Thornhill's "Grand Manner", Hogarth's moral series and his breaking the codes, particularly his graphic puzzles in the tradition of allegories and emblems, his parodic subversion of the "Grand Manner", and the influence of the stage on him.

Excerpt pp. French article on Hogarth's London as seen in his works, focusing on pictorial space as a signifier of modified social conditions. Another online version of Hogarth's treatise of Online version of the original pages of the first edition of Hogarth's treatise. Some notes on Hogarth's book including short explanations of some of its ideas and a bibliography.

Online versions of Lessing's reviews of the contemporary German translation of Hogarth's treatise. Explains central terms of Hogarth's Analysis of Beauty. Also puts Hogarth's treatise within the context of other aesthetic theories of the time Shaftesbury, Addison, Jonathan Richardson. German thoughts on a passage in Lomazzo's treatise on art which, in its inexact English translation by Richard Haydocke , had some influence upon Hogarth and the contemporary Italian and German translations of The Analysis of Beauty.

With a review by Armando Massarenti. English translation of Armando Massarenti's review of C. There is also an Italian version of the same web page. Part of a blog started by Giovanni Mazzaferro on art-historical sources. Using the pictorial tools of analysis offered by Hogarth, the author discusses the relation of blushing to tattooing by comparing Sidney Parkinson's drawings of tattooed Maori heads with Hogarth's diagram of a blush from Plate 2 to his Analysis of Beauty and with Titian's Diana and Actaeon.

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Partly deals with the aesthetic theory behind the statuary yard depicted in The Analysis of Beauty , Plate 1. Shows that the serpentine line applies rather easily to many of the waves depicted by Peter Monamy , painter of marine subjects. Online essay primarily dealing with Hogarth's self-portrait of ; the satirical details in Taste in High Life ; and the Old Master pictures within the pictures of the Marriage A-la-Mode series. Independent article interpreting Hogarth's print as a kind of "Identity Parade".

Paper by W. Yasha Beresiner dealing with Hogarth's involvement with freemasonry, both artistically and personally. The first part of this paper provides a short account of Hogarth's life and art, the second part is on the artist as a freemason. Source: The Builder , March Web site on Laurence Sterne and Hogarth created by S.

Piazza, I. Grassi and I. From Dryden to Johnson London: Grant Richards, On the development of English caricature which was destined to be guided by the "giant genius" of Hogarth. However, his best work was done on the social rather than on the political side. The author endeavours to show that Hogarth isn't, in our modern sense, "comic", that his scenes of London are heavily loaded with allegorical meaning, that there is next to no warmth or generosity in his work and that even his humour was cruel.

It is further explained that the purposes, meanings, and tone of later Georgian and Regency satire changed utterly, being no longer didactic and becoming increasingly personalised, less theatrical, less informal in expression and more fluid in execution. Hogarth page including a brief biography , but also dealing with the artistic context and the artist's style, technique and influences.

Part of an encyclopedic webpage where you can find unique information about artists from many different art periods. Click on the small images to enlarge. Part of a blog by Anthony Samuelson. Talk about the six paintings of Marriage A-la-Mode. Hogarth's works in London's Tate Britain. Also deals with the parallels between Hunt and Hogarth. The author laments that the scathing satirist William Hogarth put Britain's painters on the map, but on the th anniversary of his death one had a hard time seeing his work.

Posted by Vic. German commentary on The Enraged Musician on the occasion of an exhibition of Hogarth's prints at the Kunsthalle Bremen. Jahrhunderts" , in Kunst: die Geschichte ihrer Funktionen , Weinheim, , Survey of English art of the eighteenth century. Includes a section on Hogarth. German article on European art of the Enlightenment.

Includes a discussion of Hogarth's borrowings from traditional religious art. Short article on Hogarth's life as a microcosm of the three main themes of Georgian life: money, the home and sex. Brief description of one of Hogarth's early paintings showing a christening taking place in the interior of a wealthy home. The painting is in good condition, but may have been slightly reduced on the right hand side at some earlier point in its history.

German commentary on A Harlot's Progress on the occasion of an exhibition of Hogarth's prints at the Kunsthalle Bremen. German commentaries on Hogarth's four Election paintings on the occasion of the German federal election, Interprets the unknown street-seller in Hogarth's oil sketch as a lively personification of London.

Part of a British Museum site providing short commentaries on, and images of, Hogarth's prints. Related pages include information on William Hogarth's gold admission ticket to Vauxhall Pleasure Gardens ; The Bad Taste of the Town ; A Rake's Progress , plate 8 ; Characters and Caricaturas ; an unfinished proof engraving of Gulielmus Hogarth ; Plate II of Marriage A-la-Mode , and The Idle 'Prentice betrayed by his Whore and taken in a night cellar with his accomplice , illustrating different stages in the creative process involved in making one of the twelve prints in Hogarth's series, Industry and Idleness.

Commentaries on these prints by Neil McWilliam. Abel, " Gin Lane: did Hogarth know about fetal alcohol syndrome? Demonstrates that claims about Hogarth's awareness of the stigmata of the fetal alcohol syndrome FAS in his print Gin Lane are unfounded, though the 'gin epidemic' in eighteenth-century London undoubtedly resulted in the increased birth of weak and sickly children. Article published in The Economist , 26 October , demonstrating both the artist's humour and his heartfelt concern for his fellow Londoners.

Suggests that the melodramatic main scene in Gin Lane is probably based on a real one: the case of Judith Dufour. Demonstrates that the gin craze of the first half of the eighteenth century, which prompted Hogarth's prints Gin Lane and Beer Street , has many similarities to the current problems we face with the epidemic of binge drinking. Merck article on the occasion of an exhibition of Hogarth's prints at the Kunsthalle Darmstadt Includes some interesting remarks on Gin Lane. The Roast Beef of Old England , which can help us understand what is going on in the mind of the Brexit-leaning public.

Brief analyses of all these paintings by Neil McWilliam. Brief commentaries on the six prints of A Harlot's Progress. Detailed information on Hogarth's portrait of Theodore Jacobsen, a successful merchant and amateur architect who was, like Hogarth, a staunch supporter of the Foundling Hospital in London.

Brief information about this specific portrait. Presents the biographies of some of Hogarth's sitters, associates, and well-known figures from the period. Short article from the magazine of American history, archaeology, antique collecting, museum exhibits, and related travel destinations. Offers brief descriptions of the Election pictures and demonstrates how far we have come since Hogarth recorded the British parliamentary election at Oxford in Deals with William Blake's portrayals of punished slaves and Hogarth's depiction of blacks in plates 2 and 4 of A Harlot's Progress and in Morning.

Concludes, in line with David Dabydeen's Hogarth's Blacks , that "Hogarth used the African to call into question the foundation of British and colonial society. He highlighted the moral corruption, that took place under the establishment of the colonies and slavery - and the consequences this new found wealth had on British society. Deals with the third scene of Marriage A-la-Mode from a medical point of view. Short account of Hogarth's career as a painter and engraver.

Also includes some notes on the British Museum collection of Hogarth's drawings and prints. Text of a short radio feature produced on the occasion of the th anniversary of Hogarth's death and dealing with the artist's life, his "modern moral subjects" and the Engraver's Copyright Act. See also Biography , Bibliography and Exhibition History. Discussion of Hogarth's portrait of the actor David Garrick in the Character of Richard III , "awakening from his horrifying dream in Act 5, Scene 3, in which he sees a parade of the ghosts of his murder victims.

Part of a site which gives a full account of the life and work of Peter Monamy , painter of marine subjects. The Art Fund is the UK's largest arts charity. Its mission is to save art that would otherwise disappear from public museums and galleries in the UK. William Hogarth c. Brief information on Hogarth's trade card for Ellis Gamble. See also the commentaries on the forgery or rejected proof of Hogarth's own trade card from the same collection. Masonic page presenting a copy after Hogarth's Night , engraved by Charles Spooner.

Says that "George W. Speth suggests that the picture is of Hartshorn Lane, Charing Cross". Shows that Hogarth, Governor of the Foundling Hospital and a friend of sea captain Thomas Coram, certainly knew the new generation of British marine painters. Thoughts about Hogarth and Watteau, showing that both artists had extremely different styles and ideas about their artwork. Description of a visit to Hogarth's house in Chiswick, including some photographs taken by the author. Short remarks on Hogarth's life and work.

Part of a Singapore antiquarian's site. Online exhibition critically reassessing the satirical graphic work of Hogarth by highlighting a variety of eighteenth-century themes, e. Hogarth's deep concern with the ills of the modern city, the dignity of and the dangers faced by prostitutes, and issues of theatricality, race, class, and taste. Survey of the exhibition organised to celebrate the th anniversary of Hogarth's birth. Cached version of an American printseller's site on Hogarth, focusing on the prints.

The original site is now closed. It included illustrations and descriptions of many plates and information about the different states and editions of Hogarth's engravings. The commentaries were provided by Edward Hammonds. Room guide to the most comprehensive exhibition of Hogarth's paintings and prints in a generation, showcasing every aspect of the artist's multi-faceted career: his remarkable paintings, ranging from elegant conversation pieces to salacious brothel scenes; his vibrant drawings and sketches; and the numerous satirical engravings for which he is most famous today.

Inspired by the satire of Swift and Fielding, and the mixture of tragedy and comedy in Shakespeare, Hogarth was the most literary and theatrical of painters, writes Jenny Uglow. Article dealing with Tate Britain's comprehensive exhibition of Hogarth's paintings and prints, giving a brief review of his life and work. The author sees Hogarth as "a high-spirited chronicler of extraordinary times," who was able "to recall a scene at will" and "painted straight on to the canvas so that nothing stood between him and the fluent, spontaneous application of paint.

Overly critical analysis of Hogarth's art on the occasion of the major exhibition at the Tate Britain, London. The author abandons his former "view of Hogarth as 'a painter's painter' Concerned only with the consequences of all that he condemned, his oratorical preaching - for that is what it was - immediately became an over-emphatic rant in his crude insistence on excessive and repetitive detail to reinforce a point.

On Tate Britain's new exhibition, recently shown at the Louvre, which "brings the printmaker and the painter together, covering the entirety of Hogarth's career. On Hogarth's Francophobic imaginings and on the Louvre's decision "to display British art with the respect it gets in American museums or at Russia's Hermitage.

The show brings together "a wide and cleverly displayed range of his works from all periods of his year career, many borrowed from collections around the world. Cone, "Sexual Mores". On the Hogarth exhibition at the Louvre, focusing on the artist's self-portraits and narrative series. Commentary on the major exhibition of Hogarth's work which opened at Tate Britain on 7 February This exhibition includes over works and showcases every aspect of Hogarth's multi-faceted career: his remarkable paintings, ranging from elegant conversation pieces to salacious brothel scenes.

On Mark Hallett's major role in conceiving and organising the layout of the "most comprehensive exhibition of Hogarth's work for a generation" at Tate Britain. Perceptive review of the National Gallery exhibition curated by Judy Egerton. Emphasises Hogarth's maturity as a painter in creating the six Marriage A-la-Mode paintings. Review of an exhibition of fifty of Hogarth's best-known London satirical prints at London's Cartoon Museum, 22 October - 18 January Review of an exhibition at London's Foundling Museum on the occasion of the th anniversary of Hogarth's death, showing four contemporary artists responding to Hogarth's A Rake's Progress.

It examined the execution theme in Hogarth's prints from three points of view: as performance, as death sentenced on official order, and as the process of following a plan through to its natural end - with an emphasis on images related to hanging. For more details, see the catalogue of this exhibition. There is also a catalogue of this exhibition , edited by David Bindman. New York Times review of the same exhibition.

Guardian Unlimited , 4 April Leaflet providing information about the artist and the prints presented in the exhibition, "William Hogarth: British Satirical Prints". Exhibition of more than 50 of Hogarth's witty, subversive and often riotously humorous prints, all drawn from the collections of the Alexander Turnbull Library. Review of an exhibition held to celebrate the th anniversary of the British Museum, which was founded in There is also a catalogue by Sheila O'Connell on this exhibition.

Another review of the British Museum exhibition on mid-eighteenth-century London. Hogarth's images are central to this exhibition. They show protagonists such as the "prostitutes, fops, apprentices and artists" who where "repeatedly swung over the wheel of fate, falling from the bright lights of the West End to the dark cells of Newgate and Bedlam. British Museum, , until Nov 23".

Another review of the British Museum exhibition depicting London in and dominated by Hogarth's horrifying, squalor-filled images. On the portrait of the Honorable John Hamilton, showing that "Hogarth the caricaturist was also hugely skilled at making high-end, undistorted realist portraits. Spanish review of the exhibition of British satirical prints at the Biblioteca Nacional, curated by Javier Docampo see above. Commentary on a German exhibition of Hogarth's engravings at the Kunsthalle Bremen on the occasion of the th anniversary of the artist's death.

Commentary on a German exhibition at the Hamburger Kunsthalle which closed in January November , Hegewisch-Kabinett". Notes on the German exhibition of Hogarth's engravings at the Hamburger Kunsthalle. Review of the exhibition of Hogarth's works at the Hamburger Kunsthalle. Another review of the Berlin Marriage A-la-Mode exhibition. Exhibition bringing together a selection of the artist's most important eighteenth-century series including Marriage A-la-Mode , A Rake's Progress , and Industry and Idleness , "each intended to evoke several layers of society.

Some remarks on a Courtauld Gallery exhibition, 23 February - 13 May Brief information on an exhibition of works by Hogarth, some Swiss caricaturists, and Daumier in the Kunsthaus Zurich, 16 February April Calls Jenny Uglow's book a "vivid and enthralling biography" of Hogarth and "a vibrant portrait of the age in which he lived". Review of Jenny Uglow's Hogarth. Says that the book "welcomes the reader; it is thoroughly researched, yet written with great enthusiasm for that mad, crude, besotted age and a great affection for the man who pictured it so well in all its grim glory".

Review by Veronica Horwell. Exhibition catalogue. Review of David Bindman's British Museum catalogue of Short, revised Online version of a lengthy review of Wolfgang Promies ed. Sertoli, "L'analisi della bellezza" , L'Indice del , n. Another review of Wagner's book. Critical review of Bernd Krysmanski's book which aims to turn the idea of the "good" Hogarth on its head, questions Hogarth's moralizing agendas and argues instead that he was a "bawdy hedonist," a malicious blasphemer, possibly even a pedophile.

According to Grandjouan, "the author covers a large amount of material with efficacy. Krysmanski" , The Scriblerian , 45, no. Another review of Krysmanski's book. Review of the same volume. According to Mannheimer, "the book provides a treasure trove of raw material for scholars interested in the changing perceptions of sex, gender, and the body; the impact of urbanization, commodification, and secularization; and the intersection of high and low culture in the eighteenth century.

Review of a book which deals with eighteenth-century theories of beauty, among them Hogarth's. Review of Paulson's book which includes a chapter on Hogarth's Don Quixote illustrations and also discusses some other of his works. Another review of Paulson's Don Quixote book. See also the Online version of Chapter One of Brewer's book. Outline of a course on Hogarth which may furnish some ideas for preparing similar academic courses.

Excellent teacher and student notes by Kirstie Beaven, including downloadable full colour A4 images with introductory information, discussion points, links and activities. Students are asked to look beyond the apparent moral or purpose of Hogarth's works to find, identify, and explore the signifiers with which these works are packed. French commentaries and questions concerning the Marriage A-la-Mode series. The artist and his life in Georgian London Module representing a detailed investigation of the life and art of William Hogarth Module leader: Professor Jeremy Boulton.

Detailed description of an ASECS course which began "with Hogarth's prints, focusing on his visual style, his sense of his own and a general British ambivalence in relation to continental painterly traditions, and the way the prints 'read' ". Some individual contributions dealing with the emergence of the art market in eighteenth-century Britain through the work of Hogarth. Guidelines for an analysis of the painting and how to organise a commentary. Short biography and history plus writing exercises that apply the persuasive techniques used today in analyzing contemporary editorial cartoons to Hogarth's Marriage A-la-Mode series.

Module examining how artists such as William Hogarth, Thomas Rowlandson and James Gillray harnessed the political and economic possibilities of the printed image to engage with the manners and morals of contemporary British society. Module co-ordinator: Richard Johns. Student research at the School of Humanities, Oxford Brookes University, in order to write "an in-depth, word, essay on a single picture of your choice".

Course at the Department of Art History and Theory, University of Essex, introducing to the study of art history at university level through an examination of the visual arts of 18th century England and France. Hogarth is discussed as an Enlightenment artist. Interesting educational site on the measurements of Hogarth's self-portrait of c. Looks at some of Hogarth's prints showing alcoholic abuse, poverty, mental illness, and political corruption.

Encourages the viewer to consider how Hogarth's perspective compares with the ways we look at the same things nowadays. Shows that " Beer Street puts into practice the rules of perspective", whereas in Gin Lane "two conflicting perspective schemes regulate the middle distance in a criss-cross pattern". Invitation to spot all errors in Hogarth's Satire on False Perspective. Article using Hogarth's The Graham Children to introduce critical methods of "biblical criticism". Some interesting questions about the children depicted in Hogarth's painting. Gives additional information about the moral rhetoric of Hogarth's Progresses according to Henry Fielding.

Some questions about Hogarth's and Henry Fielding's new type of visual and written description, called "comic history". German description of the mistakes in perspective within Hogarth's Satire on False Perspective. Some Web pages and books on Hogarth recommended for students of English. French remarks on Hogarth's Marriage A-la-Mode series plus some questions in English for use in schools. PDF file including useful background information about the The Graham Children and the artist as well as some suggestions on using the painting in the primary classroom, ideas for activities and cross-curricular links.

See also this page and the students' work inspired by Hogarth's painting. Includes chapters on the eighteenth century. The latter contains an interesting section on Hogarth. Text in English. By Ronald Paulson. Reply by Richard Dorment. New York Review of Books , 7 October Short history of British art by a Romanian author, primarily dealing with the Rococo period and Romanticism and with the lives and works of William Hogarth, Thomas Gainsborough and John Constable.

Short account of the artist's life and work plus some remarks on "Collecting William Hogarth Prints". There is also a German version of the same page. On the changes that appear on different states of Hogarth's prints. Rouquet On The Arts", etc. Includes an interpretation of the disintegration and moral depravity of the materialistic couple in Hogarth's Marriage A-la-Mode. Identifies Hogarth as a comic history painter and argues that the low genre of caricature is greatly inferior to the true comedy of manners, to which both Fielding and Hogarth aspired.

Includes some heavily textured commentaries on Hogarth's Tail Piece, or The Bathos and an annotated list of copies after this print. Both artists reflect contemporary constructions of masculinity, "share ideas about popular culture, marketability and both use didactic strategies; albeit Hogarth's intention was to instruct while Gibson's is to confound". Deals with Hogarth's attitudes towards Methodism from a modern Wesleyan point of view. Includes some brief remarks on Credulity, Superstition, and Fanaticism. List of museums and libraries holding important manuscript papers written by, or concerning, Hogarth.

Part of a location register of the papers of artists, designers and craftsmen held in publicly accessible collections in the United Kingdom. Enter the name, "Hogarth William " and click on the "Search" button. Then you will see a list of British Library manuscripts written by, or relating to, Hogarth.

Lewis and Annie Burr Auchincloss Lewis following on their primary interest in Horace Walpole , who himself had been an enthusiastic collector of Hogarth. Presents the original marriage licence allegation dated 20 March for William Hogarth and Jane Thornhill plus some additional commentary. Quoted in A. Broadley, Chats on Autographs List of thirteen engravings by, or after, Hogarth, plus a very short biographical note.

Each of the prints in this collection "is crudely hand-colored using a bright palette. Because of the poor quality of the coloring, it is possible that the coloring was not comtemporary with the prints, but was done later. Search result from the National Archives database which contains catalogues describing archives held throughout Britain and dating from the s to the present day.

Type in "William Hogarth" and click on the "search" button. Lengthy academic speech by the rector of the University of Zurich on the importance of the "Line of Beauty and Grace" and the Kairos to nature, scientific research and human culture. Article first published in the Guardian , 11 July, , as "The beauty of curves". Briefly discusses whether there is a science of beauty. Also deals with the importance of curves in visual art. Includes some remarks on Hogarth's "Line of Beauty". Web page for the Vienna Academy, written in German. Deals with eighteenth and nineteenth-century graffiti.

Short information on Hogarth's London dwellings. Brief information on Hogarth's House, a beautiful relic of his era, though damaged by bombing during the war, it has been carefully restored by the local council. See also this page on Hogarth's House. Bartholomew's Hospital. Traces the history of St. Bartholomew's Hospital from until the present day. Includes some remarks on Hogarth's two stunning murals on the walls of the staircase of the hospital, one depicting the Good Samaritan and the other Christ healing the lame man at the pool of Bethesda.

Formerly part a Geocities Web site on the history of the streets of London. Hogarth Court was a relative newcomer to the London street scene. It used to be called Fishmonger Alley until when the authorities seized on a little piece of history connecting William Hogarth with the adjacent Elephant Tavern. Includes some additional remarks on Hogarth's London life. Some short biographical notes plus an image of William Hogarth's tomb at St.

Article by Andrew John Davies on Hogarth and his tomb. Some remarks on Hogarth's image of Bedlam. Part of the online exhibition "Bedlam: Custody Care and Cure ". Words and music by Richard Leveridge, On the history of the pug as to be seen in eighteenth-century European art. Briefly deals with Hogarth's dog Trump in his self-portrait of Dissertation abstract. Guardian Unlimited , 1 April Summary of Professor John Chartres's remarks on the history of spirit drinking. On Jonathan Tyers's Vauxhall Gardens.

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With Hogarth's help, these pleasure gardens became egalitarian spaces where the middle classes could mix with the intelligentsia and the minor nobility and amuse themselves in supper boxes, decorated with contemporary paintings and sculptures. Newspaper reports on Mother Needham, the notorious bawd who, in the first scene of Hogarth's Harlot's Progress , recruits a country girl for her brothel.

It includes a section on Mother Needham. Contemporary newspaper articles on Mary Toft, the "pretended rabbit breeder" whom Hogarth satirized in his print Cunicularii. On the authorship of The Rabbit-Man-Midwife , a short poem poking fun at some of the men involved in the affair of Mary Toft. German paper on eating and drinking in eighteenth-century London.

Includes subchapters on Gin Lane and Beer Street. French page on foreign caricaturists. Starts with a brief analysis of Hogarth's art. In-depth information on several aspects of the eighteenth century. Includes illustrations by Hogarth and other eighteenth-century artists. Includes a short note on, and reproductions of, Hogarth's Four Stages of Cruelty. Meanwhile, at poor old Tate Britain Article on the unfashionable national collection of British art shown at the Tate Britain. Includes brief remarks on some of Hogarth's paintings.

Notes on the Foundling Hospital. Includes a section on "Artists and the Foundling Hospital". Brief information on Hogarth and his works in the Foundling Museum. Web site on one of England's oldest children's charities which was supported by Hogarth and became a centre of eighteenth-century philanthropy. Reports that A Scene from 'The Tempest' by Hogarth, under threat of being sold from the walls of the Yorkshire house, has been saved by a grant from the Art Fund charity.

On the Tate's unveiling of the large, montage-style painting, donated to the Coram Family by artist Rosa Branson, which shows the establishment of the London Foundling Hospital in One of the last papers written by the late Professor Roy Porter. Shows how eighteenth-century satirical images of the medical profession spilled over into the work of political caricaturists. Explains, for instance, that the medical profession was seen as quackery - a point William Hogarth epitomised in The Company of Undertakers - and medicine as a theatre of cruelty, which is is supremely expressed in The Reward of Cruelty.

Tells how the first modern actor David Garrick put theatre at the heart of culture. Contains some passages on Hogarth. Short account of the life and art of Sir James Thornhill, Hogarth's father-in-law. James Thornhill. More detailed account of the life and work of the Dorset-born artist, Sir James Thornhill. On the bad condition of the busts of Isaac Newton, William Hogarth, Joshua Reynolds, and the surgeon John Hunter, which have maintained a distinguished watch over Leicester Square in central London for almost years and have now succumbed to a cleaner's brush.

Reports that Hogarth will be commemorated in a fine statue by Jim Mathieson. It will be un-veiled in Chiswick High Road, "a short walk from the artist's summer home, which is now a museum in his memory". Documents the progress of a doll's house inspired by the interiors of some of Hogarth's works. Shows that a close study of the text contradicts Waterhouse's disparaging comments. Suggests, in addition, that Hogarth's aesthetic criteria, "fitness" in particular, introduce a direct relation between Newtonian science and art.

Further editions: Edinburgh, and , London and Edinburgh, On page is a passage on Plate 2 of The Analysis of Beauty : "A country dance of men and women, like those exhibited by Hogarth in his Analysis of Beauty , could hardly fail to make a beholder merry, whether he believed their union to be the effect of design or accident. Most of those persons have incongruities of their own in their shape, dress, or attitude, and all of them are incongruous in respect of one another; thus far the assemblage displays contrariety or want of relation: and they are all united in the same dance; and thus far they are mutually related.

And if we suppose the two elegant figures removed, which might be done without lessening the ridicule, we should not easily discern any contrast of dignity and meanness in the group that remains. David Bindman, "Am I not a man and a brother? Also mentions the differences between Hogarth's and Edmund Burke's aesthetics. Says that Mengs was of the same opinion as Hogarth, but thought the curve "should be more serpentine. Of course, these fancies are not tenable, for the line which may be beautiful for one object would be hideous in another.

What would Hogarth have said to a nose or mouth which followed his line of beauty? Lorsch eds. Interprets, in addition, the "debauched woman allowing her infant son to fall to his death" as an evil, "wickedly debauched madonna". Argues "that Gin Lane demands to be understood not only as a vehicle of reformist polemic but also in terms of the functions and traditions of graphic satire". Hogarth compares the two scenes; in the former, traditional English beer forms part of the life of a well-ordered society whereas the consumption of gin, as in the latter scene, leads to the total disintegration of society.

Hogarth presents alcoholism as a social, economic and ethical problem. Dudley H. Schwarzbach eds. Nichols, , 50, , This butcher is in reality a blacksmith ; and the violent hyperbole is found in the original drawing, as well as in the earliest impressions of the plate. The painter, who Walpole abserves 'could render nothing but what he saw before his eyes.

The one is entitled La grasse , the other La maigre Cuisine.

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In Hogarth , the fat English blacksmith is insulting the gaunt Frenchman ; and in Breugel , the plump cook is kicking the lean one out of doors". Hogarth invariably follows the contemporary practice of distinguishing between Madams and harlots by dressing the former soberly and with dignity, as if matrons on their way to church, and the latter in their service uniform of lace and a brightly coloured apron.

He has summoned the two to the doctor to find which has infected him. Like Solomon, he discovers the truth by an ingenious trick, worked out in advance with the doctor, who polishes his glasses as if preparing to conduct an examination. In fact the syphilitic Earl and the elderly doctor, even together, are no match for the tall and magnificently developed harlot in a trial of force.

She falls, however, into the trap and furiously opens a clasp-knife to prevent examination, while the innocent girl continues to weep. The doctor grins and the Earl, who displays the medicine he has been forced to take and presumably share with his younger mistress, and at the same time raises his cane in a threatening gesture, looks searchingly at the enraged harlot. Martina Dillmann and Claude Keisch, Berlin, , Suggests, pp. See also the reply by "W. De Hondt; Edinburgh: R.

Fleming; Dublin: G. Faulkner; Dublin: Printed for A. Leathley, J. Hoey, Sen. Wilson, J. Exshaw, E. Watts, H. Saunders, J. Hoey, Jun. Sleater, and S. Watson, See also Helmut E. When we find Heine in the next page enthusiastic over the colouring of Paul Delaroche in his 'Deathbed of Mazarin' and other works, we feel that he must be speaking partly in carelessness and partly in natural disqualification.

All success in your work! Read on, please Further Internet Links For secondary sources on Hogarth, two search tools are recommended for their excellent results:. You will be agreeably surprised at the result. Put the search engines to the test and simply type in "Hogarth AND bibliography". Indeed, some results you get could include rather worthless stuff. For a general search of relevant eighteenth-century topics, you should try the CL's Selected Readings search engine.

It will find single-word instances in all the available back issues of Selected Readings , the most comprehensive interdisciplinary bibliography of eighteenth-century studies on the Web. See further The British Art Research School , a site for research about art in Britain, and The art world in Britain to , which publishes primary sources and research tools for the study of the arts in Britain between the restoration of Charles II and the opening of Hogarth's St Martin's Lane Academy, viz. For the historical and cultural background, see London Lives to providing, in a fully digitised and searchable form, a wide range of primary sources about eighteenth-century London, with a particular focus on plebeian Londoners; Georgian London , an individual blog covering day to day trivia and the more bizarre aspects of eighteenth-century London life; Rictor Norton's Early Eighteenth-Century Newspaper Reports , a sourcebook dealing with famous criminals, love and marriage, rape, infanticide, popular amusements, suicides, quack medicines, work, poverty, religion, public order, etc.

Last but not least, the Hogarth Family HQ may be used as an aid to anyone interested in other aspects genealogy, etc. 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. 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. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Theorem 4. All form is a combination of all forces, a mix of human and non-human in the process of individuation.

This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does. Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes.

Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy.

Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. HD video. Lisa Biedlingmaier, undefined. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed.

The interior, whether a home office or a study room, provides clues to the personality living or working there. Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. Photo: Maria Pomiansky. Courtesy the artist. What is the role of the painter's atelier in contemporary art practice?

The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles.

Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design. It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland — from producing it, to archiving and exhibiting it. The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography.

On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book. The evening will end with a toast on the publication. Robert Lzicar is a designer, educator and researcher. In resonance with Cora Piantoni's exhibition Buon Lavoro! Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.

Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen.

Sie studierte Philosophie an der Sorbonne. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid.

Adam Savage's One Day Builds: 1000 Shot NERF Blaster!

Born in Basel , lives and works in Zurich. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.

Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters.

Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment. Brimacombe, Getty Pictures Archive. Aus Anlass des Ted Serios. Ted Serios starb am Dezember in Chicago.

Zum Psychiater und Parapsychologen Jule Eisenbud geb. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Jule Eisenbud starb am Stipendiat u. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt. November - Freitag, November , ab h. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work!

As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers.

The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage.

The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects. In the history of moving images and cinema, there are two main streams, one in the line of D. The artist inevitably asks about the borders between art and daily life, work and labor.

The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives. This latest work comes out of a residency in Genoa in , where the artist encountered a local story from the Italian antifascist resistance of the early s that became a motivation to further investigate and follow the characters involved.

It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.

Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past?

What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time? Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education.

This book is a compendium of assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Nicolasa Navarrete Illustrating Das Kapital.

Volume one, 1 The end of truth Graphite on paper. The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money. Cora Piantoni Songs of Work 2 channel video installation, sound, min, Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events.

Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative. She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history. The table game offers a situation for curious and open people to contact with each other in a playful setting.

It allows to inform each other and share and connect information and knowledge. Curious to play with us? Please register here! And: bring some values with you. We are expecting you with pleasure and curiosity! We are there on Sunday, 30 October, for two sessions of the game, hh, and hh. August im Corner College. Photo: code flow.

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Es war in Ordnung. Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig! Weil wir Freunde waren. In den Lebensmitteln drin geht es zu und her wie in einer Stadt Gedichte, Texte und Zeichnungen. Zine-Vernissage am Sonntag, Oktober um h. In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Text ist noch nicht abgeschlossen. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds.

These relationships are lateral and projects emerge through ongoing conversations. The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation.

The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement. Diagram by Lia Perjovschi, portraits by Nastasia Louveau. Opening: Saturday, 08 October , starting at h with a performance by Gregory Hari at h. It really seemed to write itself. Frank Baum, the author of The Wonderful Wizard of Oz With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance.

The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. A journey like a blank page. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days. The grass is always greener on the other side of the fence. These are the yellows of hope.

The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you. Yellow is a combination of red and green light. There are no yellow receptors in the eye. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. Early s. I join the march. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. The root of the red is life itself.

I regularly lose a lot of hair. As hairs slide off, small rings form around my finger. I started collecting the rings. I decided to take this ritual into a public performance. Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of my physical transformation. This public event follows three days of a durational performance with streaming.

Durational performance on 27 - 28 - 29 September. One hair is trash. Million hairs is a woven record of my self. One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation. One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event. Where there are opinions, differences arise. The main topic of my videos could be defined as immigration, and following transformations of a personality.

I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. It became an important issue for me to learn a lot about the place where I live first Tel-Aviv, and now Zurich and try to build a dialog through my art practices video and painting.

The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West. The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel.

They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere. Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past.

Home of the Brave: Archeology of the Moving Image. Opening: Saturday, 20 August , starting at h with a performance by Discoteca Flaming Star at h. Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten — Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms.

It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit. At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience.

It does not require particular dance skills. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism.

The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i. Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations.

Affect is a body politics. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.

Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation of historiography. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions.

The artistic work is to be presented in the form of a video installation, a performance, and research material. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies.

Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words.

Sometimes they are concepts, or poems. In the words of DFS , they are think-text-iles. For their live performance dance construction Love Any Out of 90 Seconds End , Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future.

Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body.

Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization. Esther dances together with Cristina , and Wolfgang sings. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation.

Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage — a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language.

Love makes the movements a dance of refusal. Love is not work! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. I die. I leave. Dieser Raum, der immer auch ein politischer und sozialer Raum ist? With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human sub conscious.

She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us. During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind. Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions. What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings.

By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness. Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day? As the exhibition was only open in the early morning, from sunrise around 5. And indeed people took the effort to get up early; some of them even arrived earlier than the curator or was she a performing artist? Where she served breakfast, which stimulated visitors to reflect in dialogue.

Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen. This allows putting forward different forms of repertoire but also sound improvisation. Reading Why doesn't anybody notice that this chair is a nettle! Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing. Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner.

The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'. In brief: Mosh Mosh seem to be most at home when they are in tatters. And it is only thus that the codes of 'ladylike behaviour' can be redefined. Let's deconstruct and your body will follow! Finissage: Friday, 05 August , at h in the presence of the artists.

Emporium of Benevolent Data. Exhibition views from the opening.