Die kastalische Quelle mit Nischen für Weihungen

Ernst Reisinger, Delphi. Die kastalische Quelle mit Nischen für Weihungen / Δελφοί. Κασταλία πηγή με τις κόγχες για τα αναθήματα

Griechenland Schilderungen deutscher Reisender In zweiter, veränderter Auflage herausgegeben. Mit 90 Bildtafeln, davon 62 nach Aufnahmen der Preussischen Messbildanstalt, Λειψία, Insel-Verlag, 1923.

The Castalian spring in Delphi, with niches for votive offerings, 1923

For the Glory of the Wind and the Water

 

Robert Frank, "For the Glory of the Wind and the Water", 1976

La Bruja, La Briosa

Lourdes Grobet (1940-2022), La Bruja, La Briosa ( La Doble Lucha Series), Gelatin silver print, 1980

 

#LourdesGrobet #Wrestling #Luchadores #LuchaLibre #Masked #MexicanWrestling #Lucha #artincontext #asfa #artincontextlab 

I’ll meet you here

 

Bas Jan Ader. I’ll meet you here, 1970

#basjanader #meetingpoint #lost

Robinson Crusoe

 

William Lake Price, Robinson Crusoe, 24,8 x 30 cm

 ca. 1856    

I Get Such Pleasure from them Every Day When I Sit in the Bath

I Get Such Pleasure from them Every Day When I Sit in the Bath, 1991  

#martinparr #pleasure #curtain #bath#athome #edwardian #sundays

Belinda with Rosita

 

Alessandra Sanguinetti, Belinda with Rosita, 1998

#alessandrasanguinetti #rural #buenosaires #argentina

Self Portrait as Achilles

Andrea Mary Marshall, Self Portrait as Achilles, 2015

#andreamarymarshall #postclassicisms #lecture #achilles #artincontext #asfa #artincontextlab #photography #selfportrait #falling #rupture 

Autoportrait

Claude Cahun, autoportrait, vers 1928

L’autre moi – a reflection on Claude Cahun & Marcel Moore

L’autre moi – a reflection on Claude Cahun & Marcel Moore

Artist talk \ Dialogue \ Q&A

Tuesday 02.07.19

8:00p.m.

Lothringer13 Halle, Munich

After a double nice Vernissage full of tremolo and transpiration, the gates of the Lothringer13 are now open for the two exhibitions in the Halle and in the Nest.

The framework-program launches today with a special anniversary, looking not just 50 years back to Stonewall but to 100 years Claude Cahun: The successful Danish author Kristina Stoltz devotes herself in her freshly printed book "Cahun" to the phenomenon of the artist pseudonym Claude Cahun in a literary way. In her novel, the artists Lucy Schwob and Suzanne Malherbe are the central figures, who as a couple and partners playfully broke up gender roles but even more lived out the role of the doubled individual and the shared identity. 

An evening for the "Early Masters of Twinning" about whom Kristina Stoltz in the exhibition booklet writes: „To speak of Claude Cahun leads us as a matter of course into the thematic field of twinship, for barely has one scraped the surface of Cahun’s art and biography before it becomes clear that what is known to us as Claude Cahun’s experimental self-portrait art involved not one person but two.“ 

Kristina Stoltz has been invited to participate into the exhibition at Lothringer13 Halle and we have the wonderful opportunity to welcome her in Munich.

As a specialist into Claude Cahun and Marcel Moore’s biography and work, she recently published a book, that is written after yearlong research. The novel Cahun is a free interpretation and imagination that leans into the all possible details you can gain in the interesting life of the couple, work relation and sisterhood of Cahun & Moore.

In a close cooperation Kristina Stoltz & Lene Harbo Pedersen selected the most relevant excerpts from the book & photographs for the exhibition. The text excerpts are exclusively translated into English & German and draws upon an observation and strengthen that behind the name ‚Cahun‘ a couple appears, not one but two very special people Lucy Schwob also known as Claude Cahun & Susanne Malherbe with the artist name Marcel Moore. Both with more than one identity, working with multiple genders and during the wartime with multiple voices – and making a very special mark in the history of arts.

The evening will be precious hot hours with Kristina Stoltz talk, a dialogue with the curator and open talk with the audience on twins, twinning and the queer world.

The talk will be held in English

The translation was made possible with a generous support by the Danish Art Foundation.

English by Martin Aitken / German by Peter Urban Halle

https://www.lothringer13.com/veranstaltungen/lautre-moi-a-reflection-on-claude-cahun-marcel-moore/

Designs of Destruction

Between 1943 and 1945, the Allied Air Forces produced aerial photographs of 79 Italian cities, annotated them with the location of monuments, and appended them with elaborate instructions for aerial bombers on “how to miss cultural sites.” Similar lists and maps of monuments were produced by the Allies for almost every country in Europe, expanded or shrunk to fit various phases and types of fighting. The longest German list was 150 pages; one map of 23 monuments for the whole of France was once made.

 What kind of media were these? To what use were they put; how did they partake in the technologies of precision on which Allied aerial strategy hinged, and how did they help inaugurate a new global regime of cultural preservation?

Lucia Allais draws from her book, Designs of Destruction: The Making of Monuments in the 20th Century (Chicago: 2018). The book chronicles the triumph of the cultural monument as a modern and global building type between the 1930s and 1970s.

Tue, 11/27 · 5:00 pm—7:00 pm · N107 School of Architecture 

M+M Program in Media and Modernity

http://soa.princeton.edu/#2259

Picturing Protest

Gordon Parks, Untitled, Washington, D.C., 1963 

The civil rights movement and the movement against the U.S. war in Vietnam came to the fore in the 1960s, spurring protests across America both spectacular and everyday. As protests gave material form to First Amendment freedoms—religion, speech, press, assembly, and petition—photographers transformed the visibility of collective action, much of it led by students. Fifty years after the watershed events of 1968, Picturing Protest examines the visual framing of political demonstrations around the country and on Princeton’s campus. These images archive protests’ choreography, whether procession, sit-in, or violent clash. They also capture the gestures of protest, with hands signaling anguish, self-defense, and solidarity. At a time when the coverage and circulation of news media was rapidly expanding, many of these photographs became icons of social struggle, fundamentally changing the ways people visualized America; five decades later, they continue to do this work. Drawn from Princeton University collections, the images on view compel us to contemplate the capacity of protest, and of art, to imagine, interpret, and cultivate change.

Princeton University Art Museum 

May 26 -October 14, 2018

http://artmuseum.princeton.edu/art/exhibitions/3439  

Lady with Venus

Clarence Hudson White, Lady with Venus, 1902

Man contemplating the expansion of the 20th century city, Athens

Man contemplating the expansion of the 20th century city, Athens, 1957. Credit: Benaki Museum, Costas Megalokonomou Archives

Work (All the cigarette breaks)

Pavel Büchler,

Work (All the cigarette breaks), 2007–2014

Sculpture mouvante ou La France

Man Ray, Sculpture mouvante ou La France, 1920

Musée national d’Art moderne, Centre Pompidou, Paris, dation en 1994

La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière

Thibault, La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière, le dimanche 25 juin 1848

Graffitis de prisonniers

Voula Papaioannou, Graffitis de prisonniers sur les murs de la prison allemande de la rue Merlin à Athènes, 1944

Chronicle of an Affair

MARGRET S. (Margret – Chronicle of an Affair ), 1970/9/15, 1970 vintage print, 10.5 x 7.5 cm, Qbox Gallery

Margret – Chronicle of an Affair consists of a rediscovered compilation of photographs, typewritten personal notes and objects, documenting with precision the secret love affair, which lasted from May 1969 to December 1970, of the Cologne businessman Günter K. and his much younger secretary, Margret S. Günter’s obsession is evident in the hundreds of photographs he took of his mistress in sexy poses as well as in his preservation of the plushly furnished apartment above the company office which functioned as their love nest. Among the photographs are also images of her clothes, which he gave to Margret as presents or which she brought from home to please Günter, as well as charming photos of their little getaways. In addition to the photographs, he collected tickets, her pubic hair and pill packs – souvenirs of a manic, forbidden love.

How Many Dahlias till We Die

Because of a Flower (How Many Dahlias till We Die?) 2016

20 x 20 cm

Inject print on archive paper