Pure Discoveries: The End Is Here
How close people really are from planet Earth to the abyss is a topic of public debate – but here’s some good news on the sad topic: the apocalypse photo album is already here and will be constantly updated. subordinate Twitter account “Photos of the end” It shows the same thing – you can see Ferris wheels on the fairgrounds standing on improvised piles of bricks and people who have been injured in an accident checking their cell phones while still receiving first aid. You can also see a faucet that has become unusable due to the presence of a handrail on it. Some of the pictures are fake, others are real, and almost all of them are honest: humanity is working toward its end. Sometimes it’s funny – often it’s funny. Cornelius Bulmer
Exhibition: North Korea-Switzerland Summit
The entry ticket to the exhibition “Let’s Talk Mountains – A Cinematic Approach to North Korea” at the Swiss Alpine Museum is a small rusty red badge. Much like the ones North Korean teachers, soldiers, and tour guides always wear on their lapel, it says a lot about what the unusual Bernese Alpine Museum wants to do with its exhibit. It’s about the focal points between the two very different mountain countries, Switzerland and North Korea, about spaces, themes, and activities where you can meet and forget about foreigners for a while. “Representatives of the North Korean Embassy attached the plugs to them as soon as they visited the exhibition, and they knew about it,” curator and museum director Pete Hechler said with a faint smile. Dialogue and emotion, but also a critical, sometimes sarcastic observation from a distance: with this attitude, Hächler and his people approached the exhibition project, and the result was an insightful and unique insight into a solitary country—sad, shocking, often beautiful, never from top to bottom.
Hächler’s film team spent about five weeks in North Korea in 2019. Contacted through the embassy in Bern, the thematic approach was as simple as it was clever: the mountains. For those who don’t know: mountains and hills dot North Korea, the highest point is Baektusan, which is nearly 3,000 meters high in the far north of the country, which at the same time has become an exaggerated “symbol and symbol of North Korean identity”. Mountains as meeting vehicles, this is a bit of a Beat Hächler since he took over the Alpine Museum in 2011, and this approach alone is very fortunate for the museum. Also in this case, the mountains are only the connecting link, you can really see a community that is pretty much isolated from the rest of the world, where the range is small but surprising. It is touching to hear the painter meditate and somehow, in spite of everything, speak freely about his art. How desperately a student tries to say the right thing to the foreign camera team. Or how women dance profusely in the garden to approved pop music from above. You can watch them do it until September 25th. Isabelle Pfaff
Theater Award Shield: Fully compostable
Sustainability is a huge topic in theater. The 59th theatrical meeting in Berlin is also dedicated to the “Green Deal”. The festival had a climatic CO2 balance that was set to figure out what ecological footprint it had (ie: bad influence, given all the jury rides). She trains “Green Ambassadors” and has outfitted her festival centre, Haus der Berliner Festspiele, with decorative parts from old “theatrical” theater sets. The award cup, which the 10 “Wonderful Productions” teams invited to Berlin will receive as a prize by May 22, is not made of shiny gold, but is sustainable and implantable. Designed by artist Eva Veronica Bourne: a cup made of pressed earth containing the seeds of different plants. Groups should bury them until flowers, shrubs, and small trees can sprout from them. ‘One’ becomes ‘New Class’. If this is not helpful! Christine Dosel
Art book: Look closely!
Art historian Abe Warburg once said, “God is in the details,” and in fact art is often only interesting when you are involved in the details: how that belt buckle was shaped into a picture, and how narrow the brush was. Be the one who draws that dog’s fur as smooth as hair? The author Amsterdam Wieteke van Zeil, columnist at de Volkskrant, wanders through old major museums looking for surprising details: bloodstains on a T-shirt, a piece of hard cheese, a candle heel. I collected what I found in the beautiful volume “Look! An Open View of Art” (EA Seemann Verlag, Leipzig 2022, €26). It’s praise for vision, enhanced by insightful interviews with professional onlookers including the police officer, air traffic controller, and geneticist. Kia Vahland
Concert Series: Vogelfrei
Concerts usually begin with music and end with music, followed by applause. The fact that they could start quite differently happened at the Berlin Philharmonic – with a 20-minute speech on “What Birds Sing”. Then the interval, then the music. It’s not aimed at subscribers to the Beethoven Brahms Connection, but rather to younger audiences who won’t shy away from four provocative orchestral acts of the 20th century. None of Berlin’s Big Five orchestras came up with the idea for the concert, but rather an institution, CLSX (Classix), whose creator (Carsten Witt) fervently anticipates an audience “with a broad range of musical interests, increased curiosity, and openness to new forms of events.” “. Far from the eternal standard programs of classical music, towards the grotesque, perhaps grotesque.
Jazz clarinetist David Rothenberg, Professor of Philosophy and Music at the New Jersey Institute of Technology, steps on an empty philharmonic stage and discusses the familiar and always exotic bird music. The reference to the later performed piece was striking: “Réveil des oiseaux” by the great French composer and ornithologist Olivier Messian. He has researched and written about birds all his life. Concerto for piano (Pierre-Laurent Emard) and orchestra (HR-Sinfonieorchester Frankfurt, Brad Loebmann) interpret, tolerate the tones of sparrow, thrush and green woodpecker, blackbird and nightingale – Messiann masterfully transformed her vocals into difficult melodies, signs and rhythms, tones of color translated: excessive, extravagant, lustful.
David Rothenberg began speaking at the concert “I spend a lot of time composing music with animals. Sometimes with beetles, sometimes with whales, but more often with birds.” He composed music with Peter Gabriel, Jean Bang and Karl Berger, and is fascinated by the chirping sound and structure. The trick: Slows down the bird’s music, lowers the pitch, exclaims: “Wow! It’s like a jazz solo horn, with nuances, air cushion, and even a swaying feel.” Pick up the clarinet. Wolfgang Schreiber