View allAll Photos Tagged Zeichen
An old sign, abandoned to the elements from a former truck stop in Boone County, just outside of Zionsville and Indianapolis.
"Der Jahrhundertschritt" wurde von Wolfgang Mattheuer (1927-2004) im Jahr 1984 geschaffen. Die Gestik hat bei dieser Figur einen offensichtlichen geschichtlichen Hintergrund. Die rechte Hand ist zum Hitlergruß, die linke Hand zur Faust geballt. Mattheuer malte an den linken Arm außerdem ein rotes Band als Zeichen für die Arbeiterklasse. Hitlergruß und Arbeiterfaust, zwei Zeichen für zwei totalitäre Weltanschauungen, welche als Faschismus (in Deutschland Nationalsozialismus) beziehungsweise Kommunismus nicht nur die Deutschen nacheinander durchleben mussten. Zwei Diktaturen des vergangenen Jahrhunderts, die mit ihrem totalen Anspruch auf den Menschen scheiterten, treffen aufeinander. Beide in einem Körper gefangen, woran dieser, durch den Riss in der Brust verdeutlicht, zu zerbersten droht. (Wikipedia)
"The Step of the Century" was created in 1984 by Wolfgang Mattheuer (1927-2004), one of the most relevant East German artists. It is evident that the gestures of the figure have a historic background. The right arm is showing the Hitler salute, while the left fist is clenched in a communist salute. A red line is painted on the left arm as symbol of the working class. Both gestures stand for two totalitarian ideologies, fascism and communism that took power and, in the end, failed in the last century, not only in Germany. Both ideologies are caught in the same body producing a clash bursting asunder the figure, symbolised by the rupture in the breast.
Das Palais Barberini (früher meist "Palast Barberini" genannt) wurde auf Befehl von König Friedrich II. von Preußen (Friedrich der Große) als repräsentativer Abschluss des Alten Markts nach dem Vorbild des Palazzo Barberini in Rom gebaut. Jedoch das Haus war nie ein Palast. Die monumentale Fassade war nur eine Kulisse, hinter sich zwei normale Mietshäuser befanden. Die äußere Fassadengliederung hatte keinen Bezug zur inneren Raum- und Stockwerksaufteilung, sodass in manchen Stockwerken die Fenter sich kurz über dem Fußboden oder unter der Decke befanden. Erst ab Mitte des 19. Jahrhunderts wurden die beiden Häuser zusammengelegt und umgebaut. Seit dem 20. Jahrhundert war das Gebäude dann Sitz städtischer Behörden. Ende des 2. Weltkriegs wurde das Palais Barberini schwer beschädigt und brannte aus, danach wurde es wie die umgebenden Bauten abgetragen. Nach 2010 ließ der Unternehmer Hasso Plattner das Gebäude als Museum wieder aufbauen, in dem er Werke aus seiner Privatsammlung und Wechselausstellungen zeigt. Die Eröffnung war 2017.
The former Barberini Palace was built by order of King Frederick II (Frederick the Great) of Prussia who wanted a representative building to complete the Old Market. The exterior design is inspired by the Palazzo Barberini in Rome. But it never was a Palace, despite its popular name. The monumental façade covered two separate apartment houses whose interior design had no relation to that of the exterior. The different floors were not nearly as high as suggested by the windows so that there were rooms with part of a window just over the floor or under the ceiling. Only around the middle of the 19th century the two houses were united and remodeled. Early in the 20th century the city bought the building using it to accomodate public services. At the end of World War II the Barberini Palace was destroyed and later demolished along with the ruins in its surrondings. In the years after 2010 the entrepeneur Hasso Plattner bought the property in order to build a replica of the historic building to house a modern museum for his private collection and temporary expositions. The museum was inaugurated in 2017.
photos of this series: flic.kr/s/aHsjH5NbXQ
The `Ju-Jitsu championship of Northern Germany´ (2013.04.27. in the city Rostock, in the German state `Mecklenburg-Vorpommern´). It is the third and last level qualification, it is the required qualification for the `German championship´. `Ju-Jitsu athletes´ from the German states `Lower-Saxony´, `Mecklenburg-Vorpommern´, `Schleswig-Holstein´, `Hamburg´ and `Bremen´ were in Rostock.
Die Norddeutsche-Meisterschaft im Ju-Jutsu des `Deutschen Ju-Jutsu Verbandes´ (DJJV), am 27. April 2013 in Rostock (Mecklenburg-Vorpommern). Dritte und letzte Qualifikationsebene, die bei Erfüllung die Teilnahme an der `Deutschen Meisterschaft´ sichert. Beteiligte Bundesländer: `Niedersachsen´ `Mecklenburg-Vorpommern´, `Schleswig-Holstein´, `Hamburg´ und `Bremen´.
Zeichen setzen für den Frieden mit Thomas Darchinger - Stimme,
Streich-Quartett des ukrainischen Staatsorchesters, Gene Aichner - Video-Design, Therese Strasser - Komposition, Technik by TapGig - Ort Brudermühlbrücke München - Gegen Hass und Gewalt, gegen Antisemitismus
Setting an example for peace with Thomas Darchinger - voice,
String Quartet of the Ukrainian State Orchestra, Gene Aichner - video design, Therese Strasser - composition, technology by TapGig - location Brudermühlbrücke Munich - against hate and violence, against anti-Semitism
Das Dortmunder U, das alte Firmenzeichen der Unionbrauerei auf dem alten Turm der ehemaligen Dortmunder Union Brauerei.
Logo of the Union brewery on the old tower of the former Dortmunder Union brewery.
"Das Zeichen der Infanterie" - 'The emblem of the infantry'.
By Karl Borromäus Berthold (1889-1975), Darmstadt. Berthold was primarily known and successful as a goldsmith.
de.wikipedia.org/wiki/Karl_Berthold
Mailed as Feldpost in September 1918 by "Hoboist" (oboist) Bastian of the Regiments-Musik of Reserve-Infanterie-Regiment Nr. 236.
Ein Zeichen sind wir, deutungslos,
Schmerzlos sind wir und haben fast
Die Sprache in der Fremde verloren.
Wenn nämlich über Menschen
Ein Streit ist an dem Himmel und gewaltig
Die Monde gehn, so redet
Das Meer auch und Ströme müssen
Den Pfad sich suchen. Zweifellos
Ist aber Einer. Der
Kann täglich es ändern. Kaum bedarf er
Gesetz. Und es tönet das Blatt und Eichbäume wehn dann neben
Den Firnen. Denn nicht vermögen
Die Himmlischen alles. Nämlich es reichen
Die Sterblichen eh an den Abgrund. Also wendet es sich, das Echo,
Mit diesen. Lang ist
Die Zeit, es ereignet sich aber
Das Wahre.
[...]
Friedrich Hölderlin, Mnemosyne (2. Fassung)
A little Greek sculpted head in the archeological museum.
Pentax S1a and Takumar 55mm f/2 @ f/2, Fomapan 400 @ 400, Rodinal 1+50 for 11 min @ 20°C, constant agitation. Overexposed image (and actually meant to be!). It was my first roll on the S1a. Fabulous camera. Not so different from the Spotmatics I love, but it has an additional je ne sais quoi that makes it feel just so right in the hand.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Ikarus Hungary
Werdau Germany
IFA - Treffen in Werdau / Sachsen .
IFA - Meeting in Werdau / Germany .
© Elmar Reich
My photographs are copyrighted and may not be altered, printed, published in any media and/or format, or re-posted in other websites/blogs.
Too warm for real snow
Zu warm für richtigen Schnee
Advent calender project day 22: Signs of winter (still life) /
Adventskalender-Projekt Tag 22: Winterzeugen (Stilleben)
Advents calendar project, based on themes of the book
Adventskalender-Projekt basierend auf den Themen aus dem Buch
,,24 Foto-Aufgaben für Fortgeschrittene: Fotografischer Adventskalender´´ by/von Alexander Trost.
(24 Advanced Photo Tasks: Photographic Advent Calendar)
German postcard by Photochemie, Berlin, no. K.2637. Photo: Eichberg-Film. Bruno Decarli and Leontine Kühnberg in Uns aber ist gegeben auf keiner Stätte zu ruhen (1918). While the film title Uns aber ist gegeben auf keiner Stätte zu ruhen [But to us, it is given to rest on no place] is absent on IMDb and the German site Filmportal, from the six films that Richard Eichberg directed with Leontine Kühnberg in 1918, all for his own company Eichberg-Film, a probable option is Im Zeichen der Schuld (Eichberg, 1918), aka Aus dem Leben eines Vorbestraften [From the life of a convicted man]. Filmportal lists this as the only film in which Decarli and Kühnberg played together in a film by Eichberg-Film. The plot deals with a man (Decarli) who, convicted of forging his boss's name, kills the bank director and assumes his identity. However, the Early German Film Database does list the film Uns aber ist gegeben, auf keiner Stätte zu ruhen as a separate film (1918), directed by Eichberg, and starring Decarli and Kühnberg. So perhaps, this is a separate film after all.
German actor Bruno Decarli (1877 - 1950) had a short, but intensive career in the silent cinema.
Leontine Kühnberg (real name Leontine Chimberg; 9 September 1889 in Berlin - after 1930) was a German theatre and silent film actress.
The daughter of the Jewish merchant Emil Chimberg and his wife Heni, née Lastu, can be traced as a theatre actress from 1908. For a time she belonged to the ensemble of Max Reinhardt's Deutsches Theater. Shortly before the outbreak of the First World War she began to make films, first under direction of Harry Piel in Der schwarze Pierrot (1913) with Ludwig Trautmann. In 1914 she started at PAGU/ Union, led by Paul Davidson. Her participation in two Sudermann adaptations, Die Geschichte der stillen Mühle (Richard Oswald, 1914) and Der Katzensteg (Max Mack, 1915), brought her recognition. The former film dealt with an impossible menage à trois, also with Alfred Abel and Robert Valberg, while the latter was set in Napoleonic times and dealt first with a father-son conflict in which a maiden was forces to help the father and the French enemy, and later on the son, despite being a Prussian freefighter, defending the woman at all costs. Ferdinand Bonn, who later on often act with her, already had supporting parts in these two films.
Kühnberg continued at PAGU in films such as Pension Lampel (Max Mack, 1915) and So rächt sich die Sonne (William Wauer, script Richard Oswald, 1915). Apart from PAGU she also acted in the mid-1910s in Otto Rippert's Der grüne Mann von Amsterdam (1916) with Erich Kaiser-Titz, Harry Piel's Das lebende Rätsel (1915) with Ludwig Trautmann, and Richard Oswald's films Seine letzte Maske (1916), Zirkusblut (1916), Des Goldes Fluch (1917), and in particular the lost film Es werde Licht/Let There Be Light, I (1917, protesting anti-abortion law and warning against syphilis), all with Bernd Aldor. Accrding to IMDb, Kühnberg also acted in two Hungarian films: Az ezüst kecske (Michael Curtiz, 1916) with Victor Varconi, and A Világ csak hangulat (Eugen Illés, 1917). With Illés she would do various German films too.
In 1918, after a few films at Duskes and Neutral-Film, Leontine Kühnberg stepped over to Eichberg-Film, where under direction of Richard Eichberg she did seven films in 1918-1919, e.g. Die goldene Mumie (1918), also with Ferdinand Bonn, Die letzte Liebesnacht der Inge Tolmein (1918), with Karl Falkenberg, and Die Tragödie der Manja Orsan (1919), in which she had the tile role opposite Charles Willy Kaiser. She then moved to Neutral-Film for a few films under direction of Eugen Illés, e.g. Die silberne Fessel (1919-20) and Moral (1920), often acting opposite Ernst Rückert. Her last films were for the company Neos-Film, among which Judith Trachtenberg (Henrik Galeen, 1920), about a young Jewish woman who cannot choose between her Jewish family & roots and her non-Jewish lover, a count (Paul Otto). Moreover, she is pregnant of her husband-to-be. In the end she commits suicide. In 1932 an American remake was released as A Daughter of Her People.
At the beginning of 1921, Leontine Kühberg got married with the businessman and film producer Ludwig Schwarz in Vienna, for whose Neos-Film GmbH she had appeared in leading roles three times before. She withdrew from the film sets. In the following years, the couple lived in the Berlin districts of Wilmersdorf and Charlottenburg, where Ludwig Schwarz ran a large hosiery factory. In 1930, Leontine Kühnberg was the owner of the short-lived publishing house Buchkultur, which she ran together with her husband. No definite information is currently available about her later fate. In 1970, Leontine Kühnberg was declared dead at the Schöneberg District Court, with 31 December 1945 as the official date of death. Her last place of residence was presumably Warsaw, so that it must be assumed that the actress, who was considered a "full Jewess" according to Nazi racial doctrine, died violently - possibly in connection with the Warsaw Ghetto. Her husband had already been declared dead in 1962. NB IMDb writes she already died in 1924 but this is wrong.
The writer Ernst Birnbaum was a cousin of Leontine Kühnberg.
Sources: German Wikipedia, IMDb, Filmportal.