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The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
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It was my second day in the mountain village of Dazhai and I had very quickly gotten used to randomly walking into houses with none of the usual pesky repercussions (such as being thrown in jail or chased away with a cleaver). This particular house was owned by the Tofu Man. When my guide, Bart, and I walked in we just made our way through the massive three-story wooden house into one of the smaller rooms where Tofu Man was already hard at work cooking the tofu.
He had been expecting us, and when we entered the steam-filled room, he beckoned us to sit down on the tiny wooden stools next to the little fire pit. I sat down and he looked at me with all seriousness and suddenly burst out a mad cackle before going back to work. The light from the fire danced on his face as he intently stirred the pot, looking like a mad scientist working on his Franken-fu. When he was done cooking, he took the pot into another room and poured the content into a large white mesh and hand-strained the water out of the tofu until it was a solid white mass. When it was all done, he produced a bowl out of one of his pockets, looked at it inquisitively and decided it was clean enough for this interloper and served me up some yummy tofu. Mmmm.
©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
1921. Aquarel·la i tinta d’impressió transferida sobre paper, emmarcat amb tinta, muntat al revers d’una litografia de Paul Rohrbach. 37,8 x 30,5 cm. The Metropolitan Museum of Art, Nova York. 1984.315.28. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
354 Aerospatiale SA342-L1 Gazelle (2197) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Mono no aware (in japanese, literally "the pathos of things"), also translated as "an empathy toward things," or "a sensitivity of ephemera," is a Japanese term used to describe the awareness of mujo or the transience of things and a bittersweet sadness at their passing. The term was coined in the eighteenth century by the Edo period Japanese cultural scholar Motoori Norinaga.
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I came across this bike in the middle of an alley in Shanghai. I looked around and wondered why its owner had left it unattended in such an obviously visible place. There can only be one explanation: this was a trap meant to lure unsuspecting pedestrians with the promise of a quick ride home. No doubt there was a Wing Chung master lying in wait, ready to decent upon the poor transgressor and dispense swift street justice. Well, lucky for me I had a ride. I wouldn't want to tangle with Mr. Fists of Fury.
Another generic postcard, this time with maybe a bit too much pathos ?!
Alnmouth's beach has been described as being in three sections -- the main beach (north of the river mouth) that stretches up to the Marden Rocks.
North of these Rocks the beach goes on up to Seaton Point.
However to the south of the mouth of the River Aln is the wild beach that stretches all the way down to Warkworth -- a magnificent walk and best accessed by heading south from the Hipsburn roundabout.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Paul Klee (1879–1940)
Deep Pathos
1915
Gouache and watercolour on paper mounted on cardboard
23.5 x 29.2 cm
Metropolitan Museum of Art, New York
"Who can explain the secret pathos of Nature's loveliness? It is a touch of melancholy inherited from our mother Eve. It is an unconscious memory of the lost Paradise. It is the sense that even if we should find another Eden, we would not be fit to enjoy it perfectly nor stay in it forever.” Henry Van Dyke
The Hotel Bel Air is truly an oasis in Los Angeles. It is like visiting a private estate of a gracious host. One of the finest hotels in the US and the world. In the Gardens are these incredible pieces of art. Security was watching me all the time because of the camera and reminding me not to include any guests even though I was a guest and in areas reserved only for guests.
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Coraggio nuovo.
"...Ma io resisterò; con mani nude affronterò i soldati"
(Andromaca)
(another inside)
©All rights reserved.
Andreas Templin "HELL IS COMING / WORLD ENDS TODAY", a situationist play for the inner city of Madrid bit.ly/179nEdV Madrid Abierto 2008
"The Apprentice…motion Style" - Senior Motion Design Student at Ex'pression College for Digital Arts: Lydia Baillergeau, Lauren Patterson, Andrew Bauer, Charles Lee // photo credit: John Maio Photography
Taken through thick glass and in the dark, so far from ideal conditions, but I just had to record that resigned expression and those emotive eyes!
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It was my first day in Lhasa, Tibet and I was getting used to the altitude. My mind was a bit hazy as I walked through the Muslim quarter and made my way to the main square. I spent the day floating around and after the sun had set, I started to make my way back to my hotel when I looked up and saw this scene. It was a perfect Bohemian moment and I wondered what they must have been discussing in that interesting cafe. Was it politics, art or were they sharing philosophies on life? Either way, it was a perfect moment from my perspective.