Projekten, photos on Flickr

Squat Sounds * by Wolfgang Sterneck

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SQUAT - SOUNDS *

AUTONOMES KULTURZENTRUM HANAU

(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).

Photographs 1987-1994

- Please scroll down for english and german info) -

The Squat - Photos:

www.flickr.com/photos/sterneck/sets/72157627799174125

Squating the Parliament (1988):

www.flickr.com/photos/sterneck/sets/72157627923787960

Concert-Photos 1987-1988:

www.flickr.com/photos/sterneck/sets/72157627799191443

Concert-Photos 1989-1990:

www.flickr.com/photos/sterneck/sets/72157627923799072

Concert-Photos 1991-1992:

www.flickr.com/photos/sterneck/sets/72157627923811302

Concert-Photos 1993-1994:

www.flickr.com/photos/sterneck/sets/72157627923815978

- Concert-Photos 1991-1992:

Charles Hayward (London, England) - 1992

Embryo (Munich, Germany) - 1991

Girls against Boys (Washington, USA) - 1992

Hadayatullah Hübsch (Frankfurt, Germany) - 1991

In den Wolken schwebende Gänse II (Hanau, Germany) - 1991

Kaktuxxe (Hanau, Germany) - 1992

Medusa (Amsterdam?; Netherlands) - 1992

Sterneck-Cage-Project (Hanau / New York) - 1991/92

The Ex (Amsterdam, Netherlands) - 1992

The Honkies (London, England) - 1992

Tom Cora (New York, USA) - 1992

..... and Friends and .....

.........

There were a lot more bands playing in the squat.

If you have photographs or recordings - please get in contact:

contact@sterneck.net

Thanx! *

- * -

THE SQUATED AUTONOMOUS CULTURE CENTER

METZGERSTRASSE / HANAU

In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.

Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.

The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.

At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:

- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.

- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.

- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.

In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.

If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.

The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.

Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.

But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.

Wolfgang Sterneck, 2001.

Autonomes Kulturzentrum

Metzgerstrasse 8, D-63450 Hanau, Germany.

Autonomes Kulturzentrum Metzgerstraße:

- www.metzgerstrasse-hanau.org

- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...

- www.myspace.com/metzgerstrasse

- www.sterneck.net/squat

Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:

- www.sterneck.net/john-cage/metzgerstrasse-e

- * -

SUBVERSIVE SOUNDS *

Konzerte im Autonomen Kulturzentrum Hanau.

Das besetzte Haus

Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.

Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.

Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.

Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.

Selbstbestimmte Kultur ohne Kommerz

Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.

Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.

Freiräume statt Parkplätze

Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.

Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.

In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.

Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.

Wolfgang Sterneck, September 2011.

Autonomes Kulturzentrum Metzgerstraße:

- www.metzgerstrasse-hanau.org

- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...

- www.myspace.com/metzgerstrasse

- www.sterneck.net/squat

Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:

Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau

- www.sterneck.net/squat/metzgerstrasse-d

English Info:

The squated Autonomous Culture Center Metzgerstrasse Hanau

- www.sterneck.net/squat/metzgerstrasse-e

Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:

- www.sterneck.net/john-cage

- * -

FR.27.09.13 TROPICAL DIASPORA - VOL 22 - AFROBEAT LEGENDS Edition - OGHENE KOLOGBO by Tropical Diaspora

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Dj GArRinchA proudly presents

LIVE

OGHENE KOLOGBO & AFRO SOCIAL CLUB

The Professor Doctor Mad Guitar himself! Kologbo played on 39 legendary Fela Kuti records!

The Legend Goes On - Fela Anikulapo Kuti Guitar Giant Master

AFROBEAT LEGEND ON THE STAGE

Oghene Kologbo

Oghene Kologbo was an integral member of the Fela Anikulapo Kuti & Africa 70 band. This made his tight tenor guitar playing be a fundamental presence in all the masterpiece records that defined the sound of Afrobeat and brought him to play with people of the likes of James Brown, Stevie Wonder, Lester Bowie, Paul McCartney, to name a few.

Guitar legend Oghene Kologbo was born in Warri, Nigeria in 1957. His father was a well known highlife musician. When Kologbo was a teenager, he began performing with the revolutionary Afrobeat master Fela Kuti. Kologbo went on to record more than 50 sides with Africa 70. He played the hypnotic tenor guitar lines, but often recorded bass and rhythm guitar too. Kologbo was Fela’s personal assistant and "tape recorder". That is, it was his job to remember the melodies Fela would sing to him late at night, then teach them to the band at rehearsal the next day. In 1978, after a show at the Berlin Jazz Festival, Kologbo left the band (along with Tony Allen and a few others) and stayed in Berlin. In the 1980s and 1990s, Kologbo worked with the legendary but short-lived Roots Anabo. He also toured and recorded with King Sunny Ade, Tony Allen, and Brenda Fosse, among others. In 2005, Kologbo began working with the Afrobeat Academy, Berlin’s heaviest afrobeat ensemble.

www.reverbnation.com/oghenekologbo

2013 Kologbo come only for one night to Berlin to play in the legendary YAAM Venue @ Tropical Diaspora Roots Sound.

vimeo.com/72905128

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Iemanjá Carioca - DJ MAM e Aleh ft Kologbo, Carlos Dafé e Abayomy Afrobeat

soundcloud.com/dj-mam/iemanj-carioca-demo-dj-mam-e

Kologbo:Freedom Back(Nov09)

soundcloud.com/loik/kologbo-freedom-back-nov09

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LA MULA SANTA

(Berlin / Chile /Armenia / Spain / Malta / Australia)

(Berliner Cumbia Götter)

The First Chilean Cumbia Band from Berlin

From Tierra del Fuego at the extreme southern of South America until the United States, from the Andes to the Atlantic coast, the Colombian Cumbia is popular, while in Europe it is still an amazingly well kept secret. Located on the Caribbean coast of Colombia, this music has been not only in Latin America but also international success. The Band identity comes not only from the infectious beat of the Cumbia, but also of different Latin-American rhythms like Merengue, Salsa, Bomba, Guajira, Reggaeton and Latin Rock.

www.youtube.com/watch?v=2EAWiyJiJNU

La Mula Santa Live @ YAAM Venue

soundcloud.com/dj-garrincha/lamulasanta-tropical-diaspora...

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After Show Party all Night Long with on the Beach

special guest

-----------------------------+--------------------------

Dr. Sócrates (Galicia / Berlin)

Afro Beat meet Latin Vibrations on the Turntables

soundcloud.com/dr-socrates/classics-afrobeat

Dr. Sócrates is a Dj and he really have a Dr. in addition. Author, writer and Art Exhibition curator based in Berlin he come from Galicia in North of Spain. Dr. Sócrates has been djing in Berlin for more than ten years in the underground scene, his mix between Afrobeat, Latin, Boogaloo, Reggae, Black Music and much more is the result of a tireless and thorough search for the Beats and Artists that not belong to the music main stream business, thus Dr. Sócrates spins always a lot of surprises with music that you really want to listen but you do not know how.

----------------------------+--------------------------

Dj GArRinchA (São Paulo / Berlin)

Strictly Vinyl Rare Brazilian and Afro Latinamerica Grooves

]https://soundcloud.com/dj-garrincha/broots3

Dj GARrinchA, one of the YAAM residents spinner and creator of the Tropical Diaspora Roots Sound, describes his party’s musical ethos as “A new platform for live music and performance in Berlin dedicated to the fusion of different styles, a culture way that is especially cultivated in Brazil since the days of Tropicalia.” He’s right: The melting pot of samba, cumbia, dancehall, Afrobeat, Funk, Soul, Salsa and more results in a bump ‘n’ grind groove that the people can’t get enough of. Fresh from gigs in Brazil, the DJs are kicking off a new series of monthly parties in the YAAM (www.yaam.de), featuring many Bands and DJ´s from Europe and worldwide.

----------------------------+--------------------------

ALWAYS 100% LIVE / ALWAYS 100% VINYL / ALWAYS 100% ROOTS VIBRATIONS ALWAYS 100% GROOVE /ALWAYS 100% BERLIN

with Flyer or online 5,- € / without Flyer 8,- €

----------------------------+--------------------------

In the Press:

“The new platform for live music and performances dedicated to the fusion of different styles in Yaam. Host DJ Garincha presents musicians who create from Brazilian traditions and modern developments something new, it brings an energetic fusion of samba, reggae and hip-hop.” – Tagespiegel

“A new platform for live music and performance in Berlin is dedicated to the fusion of different styles, a culture way that is especially cultivated in Brazil since the days of Tropicalia. Host DJ Garrincha presents musicians who create with the music Brazilian tradition and modern developments something unique, the Bands shows his energetic fusion of samba, reggae, hip-hop, Latin, Balkan, Afro-Beat and pop.” – Zitty Berlin

“Sambafeeling, Latin Grooves und tropische Hitze auf dem Dancefloor erwarten Besucher am Freitag in Mitte im Yaam, am Stralauer Platz 35 gegenüber vom Ostbahnhof. Special Guest DJ Doutor Socrates und Gastgeber DJ GarRinchA verbinden eine Menge afro brazilektrischer Pole und Künstler, sowohl live als auch an den Plattentellern. Die “Tropical Diaspora” wird zu Fusionsounds die letzten Sonnenstrahlen aus dem Dezember pressen. Um 22 Uhr öffnen sich die Tore, der Eintritt kostet sieben Euro.” – Berliner Morgenpost

“Ein bekannter, alternativer Club in Friedrichshain, jamaikanisch angehaucht, mit Reggae- und Brasiliennächte, die in der Stadt bereits legendär sind. YAAM ist nicht nur einer der beliebtesten Clubs Berlins, sondern ist auch verknüpft mit unzähligen sozialen Projekten (z.B. Straßenkinder in São Paulo oder Aufbau von Schulen in Burkina Faso). Der brasilianische DJ Garrincha kommentiert die Spiele und belebt jede Party unabhängig vom Ergebnis. An der Spree gelegen, mit chilliger Atmosphäre, mit jugendlichem und alternativem Publikum. Ideal um bei einem kühlen Bier mit Freunden abzuhängen.” – Berlinda

"A well-known, alternative club in Friedrichshain, Jamaican tinged with tropical reggae, latin, afro and brazil nights, have become legendary in the city. YAAM is not only one of the most popular clubs in Berlin, but is also associated with numerous social projects (eg street children in Sao Paulo or construction of schools in Burkina Faso). The Brazilian DJ Garrincha comments soccer games and animates any party regardless of the outcome. On the river Spree, with chill atmosphere, with a youthful and alternative audience. Ideal to hang out with a cold beer with friends. "- Berlinda

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Show respect! Good behavior is a must! Against homophobia and discrimination

a production by G7 / Hosted by Dj GArRinchA

TROPICAL DIASPORA STRICTLY VINYL

the very afro-latin-underground Party inna Berlin City

Garra Berlin (Dj GARrinchA), one of the YAAM resident spinners with the tropical diaspora roots sound, describes his party's musical ethos as "A new platform for live music and performance in Berlin dedicated to the fusion of different styles, a culture way that is especially cultivated in Brazil since the days of Tropicalia." He's right: The melting pot of samba, cumbia, dancehall, Afro Beat, Funk, High-life, Salsa and much more results in a bump 'n' grind groove that the people can't get enough of. Fresh from gigs in Brazil, Europe and worldwide the DJs are kicking off a new series of monthly parties in the Yaam Berlin, featuring many Bands and DJ´s with the pure sound without digital music or computers. The only way back to the roots of music strictly vinyl. That means the Djs know every Record and every song they have, a guarantee for high quality music and care for the most important thing, THE MUSIC!. This night with Djs Dr. Sócrates (Vigo) and special Guest Soul Vendor (Berlin) after the HIGHLIGHT SHOW with LA MULA SANTA (Berlin) and OGHENE KOLOGBO (Nigeria) & AFRO SOCIAL CLUB (France).

Something like this is only possible inna Berlin City @ YAAM!

5,- Euros with flyer or online

8,- Euros without flyer.

Hope to see you there tonight!

Dj GArRinchA

powered by

YAAM.DE // ALIVRARIA.DE // IL GIRADISCHI // NEMO // DE´NOANTRI // OZI // CDR COLETIVO

FR.24.01.14 TROPICAL DIASPORA VOL.26 AFROBEAT AGAINST HIPLIFE EDITION by Tropical Diaspora

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a production by G7 / Hosted by Dj GArRinchA

THE TROPICAL DIASPORA ROOTS SOUND

powered by

YAAM.DE // IL GIRADISCHI // NEMO // DE´NOANTRI

Dj GArRinchA proudly presents

LIVE

AKWASI KYEREME & OGHENE KOLOGBO

Afrobeat meets Reggae, Funk & Soul

(Ghana, South Africa, Togo, Benin, Cameroun, Congo, Sierra Leone, Nigeria, Germany)

Akwasi Kyereme’s music career began in 1973 in Nigeria. There he was singing in bands, playing Afro beat in the style of Alpha Blondy or Fela Kuti.

Born in Kumasi, Ashanti – Ghana, son of a chief and a Ghanaian singer, Akwasi worked as a jockey, tailor and hairdresser before he finally sacrificed in music.

With Fela Kuti Akwasi worked together for many years sewing many stage outfits for Fela Kuti’s legendary live shows. Soon, he joined Reggae, which he combined with his African roots. In Yaam, Berlin’s hottest reggae location, Akwasi and his Band ‘Root B Tama’ were playing and the club was sold out.

They performed in the famous clubs of the city: Haus der Kulturen der Welt, TU-Mensa, ICC, Böcklerpark, Huxley’s, and others. In Germany he perforned in Hamburg (Markthalle), Köln, Düsseldorf (LaSalsa), Potsdam, Cottbus, and not to forget is the annual Chiemsee Reggae Festival.

Foreign gigs in Amsterdam, Tilborg, Antwerp, and of course his native Ghana complete his career.

SPECIAL GUEST FROM NIGERIA

OGHENE KOLOGBO

The Legend Goes On - Fela Anikulapo Kuti Guitar Giant Master

The Professor Doctor Mad Guitar himself! Kologbo played on 39 legendary Fela Kuti records!

AFROBEAT LEGEND ON THE STAGE

www.akwasimusic.de

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POSTER-A1-TRODIA-240114-1000x-V2

www.facebook.com/events/1429299363966921

FREE TICKETS QUIZ

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TROPICAL DANCE PARTY STRICTLY VINYL WITH DJ´s

SPECIAL GUEST from BARCELONA

DJ ANDYLOOP

In the late 90s, he was part of the legendary Freitags-Bar crew in Berlin with Dj Garrincha & DJ Dr.Sócrates

DJ Andyloop is a DJ, producer, graphic designer and an influential person in the Global Beat DJ scene. In the late 90s, he was part of the legendary Freitags-Bar crew in Berlin, a pioneering Global Music venue. Later, in 2004, he was based in Barcelona and with musician Wagner Pa, founded the successful “Brazelona Sessions.” Held at Barcelona’s Sala Sidecar he shared the stage with the biggest names in Global Music until 2010. Currently, he is part of the project “Turntables on las Ramblas” with Nickodemus, Pablo Sanchez & Sujinho Nossa.

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GArRinchA (São Paulo / Berlin)

Strictly Vinyl Rare Brazilian and Afro Latinamerica Grooves

Dj GARrinchA, one of the YAAM residents spinner and creator of the Tropical Diaspora Roots Sound, describes his party’s musical ethos as “A new platform for live music and performance in Berlin dedicated to the fusion of different styles, a culture way that is especially cultivated in Brazil since the days of Tropicalia.” He’s right: The melting pot of samba, cumbia, dancehall, Afrobeat, Funk, Soul, Salsa and more results in a bump ‘n’ grind groove that the people can’t get enough of. Fresh from gigs in Brazil, the DJs are kicking off a new series of monthly parties in the YAAM (www.yaam.de), featuring many Bands and DJ´s from Europe and worldwide.

—————————-+————————–

Dr. Sócrates (Galicia / Berlin)

Afro Beat meet Latin Vibrations on the Turntables

Dr. Sócrates is a Dj and he really have a Dr. in addition. Author, writer and Art Exhibition curator based in Berlin he come from Galicia in North of Spain. Dr. Sócrates has been djing in Berlin for more than ten years in the underground scene, his mix between Afrobeat, Latin, Boogaloo, Reggae, Black Music and much more is the result of a tireless and thorough search for the Beats and Artists that not belong to the music main stream business, thus Dr. Sócrates spins always a lot of surprises with music that you really want to listen but you do not know how.

—————————-+————————–

ALWAYS 100% LIVE / ALWAYS 100% VINYL / ALWAYS 100% ROOTS VIBRATIONS ALWAYS 100% GROOVE /ALWAYS 100% BERLIN

YAAM.DE

with Flyer or online 5,- € / without Flyer 8,- €

—————————-+————————–

In the Press:

“The new platform for live music and performances dedicated to the fusion of different styles in Yaam. Host DJ Garincha presents musicians who create from Brazilian traditions and modern developments something new, it brings an energetic fusion of samba, reggae and hip-hop.” – Tagespiegel

“A new platform for live music and performance in Berlin is dedicated to the fusion of different styles, a culture way that is especially cultivated in Brazil since the days of Tropicalia. Host DJ Garrincha presents musicians who create with the music Brazilian tradition and modern developments something unique, the Bands shows his energetic fusion of samba, reggae, hip-hop, Latin, Balkan, Afro-Beat and pop.” – Zitty Berlin

“Sambafeeling, Latin Grooves und tropische Hitze auf dem Dancefloor erwarten Besucher am Freitag in Mitte im Yaam, am Stralauer Platz 35 gegenüber vom Ostbahnhof. Special Guest DJ Doutor Socrates und Gastgeber DJ GarRinchA verbinden eine Menge afro brazilektrischer Pole und Künstler, sowohl live als auch an den Plattentellern. Die “Tropical Diaspora” wird zu Fusionsounds die letzten Sonnenstrahlen aus dem Dezember pressen. Um 22 Uhr öffnen sich die Tore, der Eintritt kostet sieben Euro.” – Berliner Morgenpost

“Ein bekannter, alternativer Club in Friedrichshain, jamaikanisch angehaucht, mit Reggae- und Brasiliennächte, die in der Stadt bereits legendär sind. YAAM ist nicht nur einer der beliebtesten Clubs Berlins, sondern ist auch verknüpft mit unzähligen sozialen Projekten (z.B. Straßenkinder in São Paulo oder Aufbau von Schulen in Burkina Faso). Der brasilianische DJ Garrincha kommentiert die Spiele und belebt jede Party unabhängig vom Ergebnis. An der Spree gelegen, mit chilliger Atmosphäre, mit jugendlichem und alternativem Publikum. Ideal um bei einem kühlen Bier mit Freunden abzuhängen.” – Berlinda

“A well-known, alternative club in Friedrichshain, Jamaican tinged with tropical reggae, latin, afro and brazil nights, have become legendary in the city. YAAM is not only one of the most popular clubs in Berlin, but is also associated with numerous social projects (eg street children in Sao Paulo or construction of schools in Burkina Faso). The Brazilian DJ Garrincha comments soccer games and animates any party regardless of the outcome. On the river Spree, with chill atmosphere, with a youthful and alternative audience. Ideal to hang out with a cold beer with friends. “- Berlinda

Ukraine in Berlin 2b: The dogs by SebastianBerlin

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This obscure organisation - Four pads - wants to rescue not only Ukrainian bears, but wild Ukrainian dogs, as well! Did they lose every sense of reality in this society? It is too absurd for a blatant scam. Here is what the text says:

With your help, the big FOUR PADS castration project in the Ukraine will be prolongued. THANK YOU! - Even after the Euro tournament, FOUR PADS rescues through castration the lives of straying dogs in the Ukraine. Your help is needed, too! - More humanity for animals.

На плакате написано:

С Вашей помощью большой проект кастрации организации "ЧЕТЫРЕ ЛАПЫ" на Украине продолжается. СПАСИБО! - И после окончании евро 2012 ЧЕТЫРЕ ЛАПЫ спасает жизни бродячих собак на Украине. Помогите и Вы! - Больше гуманности для животных.

Plakatiert diese obskure Organisation noch zu anderen Projekten in Berlin?

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014 by Philipp Geist

Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

Photo by Fred Pacífico

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

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Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

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Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

My 365 sketchbook by Natalie Ratkovski

5 8

Bei all meinen Projekten ist meine arme Geranie ohne Wasser fast verkümmert!

--------------------------

With all my projects is my poor geranium almost vestigial without water!

Praha, České republiky (the art of very historical buildings of Prague), Staroměstské náměstí (Haus Zum weißen Einhorn - tschechisch: U Bílého jednorožce, auch Trčkovský Haus - house at the White Unicorn), Gallery of Art by alfred lex

1

Der Heilige Georg und der Drache (Serie Dalianische Pferde)

Svaty Jiří a drak (Série Dalinenanští koně), Litografie

Saint George and the Dragon (Series Dalinean Horses), Lithography, 1983

Salvador Dalí, vollständig ausgeschriebener Name, Salvador Domènec Felip Jacint Dalí i Domènech, wurde 1904 im spanischen Dorf Figueres, Katalonien, in eine Mittelklassefamilie hineingeboren. Sein Vater, Dalí i Cusí, war ein Staatsbeamter und seine Mutter, Felipa Domènech Ferres, war früher ein Dienstmädchen für ihren zukünftigen Ehemann. Salvador hatte zwei Geschwister, eine jüngere Schwester, Anna María, und einen älteren Bruder, auch Salvador, der im Alter von zwei Jahren starb. Dalí glaubte, die Reinkarnation seines toten Bruders zu sein.

Dalí zeigte bereits in der Kindheit künstlerische Talente. Im Jahre 1921 wurde er in der Madrider Schule der schönen Künste Academia de San Fernando aufgenommen. Hier machte er Bekanntschaft mit seinen zukünftigen Freunden und Kollegen Luis Buñuel und Federico García Lorca. Seine Werke dieser Periode zeigen Elemente des Futurismus, der metaphysischen Malerei und des Kubismus. 1925 fand seine erste Einzelausstellung in der Dalmauer Galerie in Barcelona statt. Ein Jahr später besuchte der Künstler Paris, wo er Pablo Picasso traf, der ihn den Künstlern der Pariser Avantgarde vorstellte. Beeinflusst von Diego Velázquez (der spanische Maler und führende künstlerische Persönlichkeit des Hofes von König Philip IV), wuchs Dalí sein unverwechselbarer Schnurrbart. Im selben Jahr wurde er aus der Madrider Akademie ausgeschlossen. Im Jahr 1929 arbeitete er mit Luis Buñuel an dem Film "Un Chien Andalou" (An Andalusian Dog), der seine offizielle Akzeptanz in der surrealistischen Gruppe markierte.

Im Sommer des gleichen Jahres traf er Gala, seine zukünftige lebenslange Partnerin, die seine Arbeit stark beeinflusste. Während dieser Periode begann Salvador seine "paranoisch-kritische Methode" zu entwickeln, die auf spontanem Zugriff auf das Unterbewusstsein beruhte, was zu solchen charakteristischen Bildern wie dem Lugubrious Game (1929) und The Persistence of Memory (1931) führte. 1932 nahm Dalí an der ersten surrealistischen Ausstellung in den USA teil, was ein triumphierender Erfolg war. Inzwischen brach der spanische Bürgerkrieg aus und Dalí, bekannt für seine extremen Ansichten, machte kein Geheimnis aus seiner Sympathie für die Politik von General Franco, die zu Konflikten mit den anderen Surrealisten führte. 1939 wurde er schließlich aus der surrealistischen Gruppe ausgeschlossen. Ein Jahr später wanderte er mit Gala nach den USA aus, wo er bis 1948 blieb. Dort veröffentlichte er seine Autobiographie "Das geheime Leben von Salvador Dalí" (1942) und arbeitete für die Filmindustrie, beispielsweise für ein Drehbuch für Walt Disney. Nach ihrer Rückkehr nach Spanien ließen sich Dalí und Gala in Katalonien nieder, wo sie den Rest ihres Lebens verbrachten. Zu dieser Zeit begann Dalí in seine Kompositionen mehr religiöse Elemente und optische Täuschungen zu inkludieren, was zu Gemälden wie die Madonna von Port Lligat (1950) und Kreuzigung (1954) führte. Von 1960 bis zur Fertigstellung 1974 arbeitete Dalí an seinem Theater und Museum in Figueres. Er wandte sich auch anderen Projekten zu wie der Werbung (das Logo für Chupa Chups Lutscher) und das Möbeldesign (z. B. ein Sofa in der Form der Lippen der Schauspielerin Mae West). Er schuf auch seine eigene Schmucksammlung und "Dalí" Parfüm.

Dalí benutzte eine breite Palette von Symbolen in seinen surrealistischen Werken, deren bekannteste die schmelzende Uhr ist, die die Relativität der Zeit symbolisiert, wie von Albert Einstein beschrieben. Der Ursprung dieser Idee ist Dalí's Beobachtung eines an einem heißen Sommertag schmelzenden Camembert-Käse zugeschrieben. Andere Symbole beinhalteten einen Elefanten auf schlanken Beinen und kriechenden Ameisen, die, nach Dalí, Tod und Angst symbolisierten. Das waren Empfindungen, die in der Kindheit des Künstlers ihren Ursprung hatten. Als er ein Kind war, hatte er eine Haustier-Fledermaus, die eines Tages starb, und Dalí fand es bedeckt mit Ameisen. Dalís Motive sind aus der Welt der Träume und freien Assoziationen gezogen.

1982 starb Dalís geliebte Frau Gala. Im selben Jahr wurde der Maler Salvador Felipe Jacinto Dalí von König Juan Carlos zum "Marquès de Dalí de Púbol" geadelt.. Im Jahr 1989 starb der zurückgetretene Dalí an Herzversagen in seinem Museum im Galatea Tower. Nach seinen Wünschen wurde er in der Krypta des Museums begraben. In seinem Testament vermachte er sein ganzes Vermögen und seine Werke dem spanischen Staat.

Die oft undurchdringliche Tiefe von Dalís Gemälden steht im Widerspruch zu seinen Skandalen und dem exhibitionistischen öffentlichen Verhalten. Während seines ganzen Lebens weigerte er sich, alle Speisen zu essen, die rot gefärbt waren und trug einen halbrasierten Schnurrbart. Er liebte es, ungewöhnliche Dinge zu tun, nur um die Aufmerksamkeit auf sich selbst zu lenken. Dennoch ist er einer der größten Künstler in Bezug auf die Qualität seiner Werke und wurde zu einem der wichtigsten Pioniere der neuen künstlerischen Trends seiner Zeit.

Salvador Dalí, full name Salvador Domènec Felip Jacint Dalí i Domènech, was born in 1904 in the Spanish village of Figueres, Catalonia to a middle class family. His father, Dalí i Cusí, was a state official and his mother, Felipa Domènech Ferres, was formerly a maid to her future husband. Salvador had two siblings, a younger sister, Anna María, and an older brother, also Salvador, who died at the age of two. Dalí believed himself to be the reincarnation of his dead brother.

Dalí already showed signs of artistic talent in childhood. In 1921 he was accepted into the Madrid school of fine arts Academia de San Fernando. Here he made acquaintance with his future friends and colleagues Luis Buñuel and Federico García Lorca. His works of this period display elements of Futurism, metaphysical painting and Cubism. In 1925 his first one-man exhibition took place in the Dalmau Gallery in Barcelona. A year later the artist visited Paris, where he met Pablo Picasso, who introduced him to the artists of the Paris avant-garde. Influenced by Diego Velázquez (the Spanish painter and leading artistic personality of the court of King Philip IV) Dalí grew his distinctive moustache. In the same year he was expelled from the Madrid Academia. In 1929 he collaborated with Luis Buñuel on the film Un Chien Andalou (An Andalusian Dog), which marked his official accepta

nce into the Surrealist Group.

In the summer of the same year he met Gala, his future lifelong partner, who greatly influenced his work. During this period, Salvador began to develop his “paranoiac-critical method” based on spontaneously accessing the subconscious, which resulted in such characteristic paintings as The Lugubrious Game (1929) and The Persistence of Memory (1931). In 1932 Dalí took part in the first Surrealist exhibition in the USA, which was a triumphant success. In the meanwhile, the Spanish Civil War broke out and Dalí, renowned for his extreme views, made no secret of his sympathy for the policies of General Franco, which resulted in conflicts with the other Surrealists. In 1939 he was finally expelled from the Surrealist Group. A year later he left with Gala for the USA, where they remained until 1948. There he published his autobiography The Secret Life of Salvador Dalí (1942) and worked for the film industry, for example drawing a storyboard for Walt Disney. Following their return to Spain, Dalí and Gala settled in Catalonia, where they spent the rest of their lives. At this time, Dalí began to include in his compositions more religious elements and optical illusions, resulting in paintings such as The Madonna of Port Lligat (1950) and Crucifixion (1954). From 1960 until their completion in 1974, Dalí worked on his theatre and museum in Figueres. He also turned his hand to other projects, such as advertising (the logo for Chupa Chups lollipops) and furniture design (for example a sofa in the shape of actress Mae West’s lips). He also created his own jewellery collection and “Dalí” perfume.

Dalí used a wide range of symbols in his surrealistic works, the most familiar of which is the melting watch, symbolising the relativity of time as described by Albert Einstein. The origin of this idea is ascribed to Dalí’s observation of a Camembert cheese melting on a hot summer’s day. Other symbols included an elephant on slender legs and crawling ants, the latter of which symbolised, according to Dalí, death and fear. These were sensations which had an origin in the artist’s childhood. When he was a child he had a pet bat, which died one day, and Dalí found it covered in ants. Dalí’s motifs are drawn from the world of dreams and free associations.

In 1982 Dalí’s beloved wife Gala died. In the same year the painter was knighted. In 1989 the resigned Dalí died of heart failure in his museum in Galatea Tower. In accordance with his wishes he was buried in the crypt of the museum. In his will he bequeathed all his property and works to the Spanish State.

The often impenetrable depth of Dalí’s paintings contrasts with his scandals and exhibitionistic public behaviour. Throughout his life he refused to eat any food that was red in colour and sported a half-shaven moustache. He was fond of doing unusual things just for the sake of drawing attention to himself. Nonetheless, he is one of the greatest artists in terms of the quality of his works and became one of the most important pioneers of the new artistic trends of his time.

www.goap.cz/salvador-dali-en

Squat Sounds * by Wolfgang Sterneck

Rich Kids on LSD (Santa Barbara, USA) - 1988

Live at

Autonomes Kulturzentrum Metzgerstrasse Hanau

.

SQUAT - SOUNDS

AUTONOMES KULTURZENTRUM HANAU

(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).

Photographs 1987-1994

- Please scroll down for english and german info) -

The Squat - Photos:

www.flickr.com/photos/sterneck/sets/72157627799174125

Squating the Parliament (1988):

www.flickr.com/photos/sterneck/sets/72157627923787960

Concert-Photos 1987-1988:

www.flickr.com/photos/sterneck/sets/72157627799191443

Concert-Photos 1989-1990:

www.flickr.com/photos/sterneck/sets/72157627923799072

Concert-Photos 1991-1992:

www.flickr.com/photos/sterneck/sets/72157627923811302

Concert-Photos 1993-1994:

www.flickr.com/photos/sterneck/sets/72157627923815978

- Concert-Photos 1987-1988:

Culture Shuck (Warminster, England) - 1987+1988

Die Trottel (Budapest, Hungary) - 1988

Fear Of God (Zurich, Switzland) - 1988

Filler (Nottinghamshire, Engand) - 1989

Filthy Christians (Falun, Sweden) - 1988

Generic (Newcastle, England) - 1988

Heresy (Nottingham, England) - 1988

Karma Sutra (Luton, England) - 1988

Lärm (Amersfoort, Netherlands) - 1988

Loveslug (Amsterdam, Netherlands) - 1988

Milgram Experiment (Hanau, Germany) - 1987

Open Session - 1987

Negazione (Turin, Italy) - 1988

Rich Kids on LSD (Santa Barbara, USA) - 1988

Spermbirds (Kaiserslautern, Germany) - 1988

The Plot (Amsterdam, Netherlands) - 1988

UFD - Uncounted Faces of Death (Hanau, Germany) - 1988

Yeastie Girlz (San Francisco, USA) - 1988

5Les (Brussel, Belgium) - 1988