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Diese Plastik entstand aus Gegenständen, die zwischen Leineschloss und Marstallbrücke aus der Leine gesammelt wurden. Die Aktionen 1980, 1987 und 1990 standen im Zeichen von zwei hannoveranischen Künstlern der Moderne: Kurt Schwitters und Karl Jakob Hirsch.
This sculpture was created from items that were collected between Leineschloss stables and bridge from the leash. The actions in 1980, 1987 and 1990 were dominated by two Hanoverian modern artists: Kurt Schwitters and Karl Jakob Hirsch.
Cette sculpture a été créée à partir d'éléments qui ont été recueillies entre écuries Leineschloss et le pont de la laisse. Les actions en 1980, 1987 et 1990 ont été dominées par deux artistes modernes hanovriens: Kurt Schwitters et Karl Jakob Hirsch.
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.
(for English scroll down)
Das einzige klassische Fetischkonzert der Welt (in Zusammenarbeit mit Folsom Europe und dem BLF e.V.) - Eine Benefizveranstaltung des Veranstalters Tyrone Rontganger.
Zwölf-Apostel-Kirche Berlin - 08. September 2016
Einladungstext von Tyrone Rontganger:
In Kooperation mit FOLSOM EUROPE und dem BLF, möchte ich Dich zum weltweit einzigen fetisch-klassischen Konzert einladen! Am Donnerstag, den 8. September, 20-22 Uhr, kurz vor Folsom Europe in Berlin.
Professionelle, qualifizierte und sogar international ausgezeichnete Musiker werden Euch verschiedene klassische ‚Hits‘ vorspielen – in ihren Fetischklamotten für ein Fetischpublikum! Dresscode-Infos auf unserer Webseite! Ein einzigartiger Event für alle Liebhaber der klassischen Musik und Fetischkleidung.
Da die Musiker aus verschiedenen Ländern kommen (Deutschland, Polen, Frankreich, Österreich, Neuseeland, Großbritannien und den USA) wollen wir auch damit ein Zeichen setzen: Musik überwindet nationale Grenzen und bringt verschiedene Kulturen näher, auch in schwierigen Zeiten ...
Der Überschuss vom Kartenverkauf, also nach Abzug der Kosten, wird der Berliner Aidshilfe e.V. und dem Hospiz Tauwerk gespendet.
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Classic meets Fetish, Berlin 2016
The only classical fetish concert in the world (in collaboration with Folsom Europe and BLF e.V.) - A charity event by the organizer Tyrone Rontganger.
Twelve Apostles Church Berlin - September 8, 2016
Invitation text from Tyrone Rontganger:
In cooperation with FOLSOM EUROPE and the BLF, I would like to invite you to the world's only fetish-classical concert! On Thursday, September 8th, 8-10 p.m., just before Folsom Europe in Berlin.
Professional, qualified and even internationally awarded musicians will play you various classic 'hits' - in their fetish clothes for a fetish audience! Dress code information on our website! A unique event for all lovers of classical music and fetish clothing.
Since the musicians come from different countries (Germany, Poland, France, Austria, New Zealand, Great Britain and the USA), we also want to set an example: Music overcomes national borders and brings different cultures closer, even in difficult times...
The surplus from ticket sales, after deducting costs, will be donated to Berliner Aidshilfe e.V. and the Tauwerk hospice.
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Programm:
*** Teil / Part 1 ***
Widor: Toccata
Martin L. Carl, Orgel/organ
Georg Friedrich Abel: Arpeggio
Captain Tobias Hume: 'Good again'
Georg Kroneis, Viola da Gamba
Debussy: Clair de Lune
Gregory Winn, Klavier/piano
Brahms: IV. Vivace - 3rd & 4th movements from Clarinet Sonata No. 1, op. 120/ 1
Sean Barker, Klarinette/clarinet
Denis Chevalier, Klavier/piano
Jack Parton: Cello Sonata
Paul, Cello/cello
Dirk Caber, Klavier/piano
*** Teil / Part 2 ***
Schubert: Impromptu in E-flat Major, D. 899
Denis Chevalier, Klavier/piano
C. Saint-Saens/F. Liszt - "Danse macabre" op. 40
Gregory Winn, Klavier/piano
Borne: Fantasie Brillante sur 'Carmen'
Ash Hodge, Querflöte/flute
Sean Barker, Klavier/piano
J. S. Bach: III. Allegro - 3rd movement from Organ Concerto, BWV 593
Martin L. Carl, Orgel/organ
Jack Parton: Bagatelles and Morceaux for piano solo
1. Bagatelle IV.
2. Morceau X.
3. Étude III. Staccato
4. Bagatelle VII.
5. Barcarolles & Berceuses I - Barcarolle
6. Bagatelle VIII.
7. Morceau VII.
Dirk Caber, Klavier/piano
Brahms: I. Allegro con brio - 1st movement from Cello Sonata No. 2, op. 99.
Paul, Cello/cello
Greg Winn, Klavier/piano
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Historie:
Impressionen aus den Jahren 2015, 2016, 2017 , 2018 und 2019.
www.classic-meets-fetish.de/historie-history/
History:
Impressions from the years 2015, 2016, 2017, 2018 and 2019.
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.
Military Historical Museum
Cain and Abel
Cain and Abel (Hebrew: הֶבֶל ,קַיִן Qayin, Hevel) were, according to the Book of Genesis, two sons of Adam and Eve. Cain is described as a crop farmer and his younger brother Abel as a shepherd. Cain was the first human born and Abel was the first human to die. Cain committed the first murder by killing his brother. Interpretations of Genesis 4 by ancient and modern commentators have typically assumed that the motives were jealousy and anger.In the Cain and Abel story found in the Quran, the text refers to them simply as the sons of Adam (Arabic: ابني آدم).
en.wikipedia.org/wiki/Cain_and_Abel
Kain und Abel
In Gen 4,1–24 EU findet sich die biblische Erzählung über Kain und Abel, die ältesten Söhne Adams und Evas. Kain, der Ackerbauer, war neidisch auf seinen Bruder Abel, den Hirten, weil Gott dessen Opfer vorzog. In der Folge kamen ihm böse Gedanken, er hörte nicht auf die Ermahnungen Gottes und erschlug schließlich seinen Bruder. Damit wurde er laut Bibel und Koran zum ersten Mörder. Kain wurde für seine Tat von Gott verstoßen, jedoch als Zeichen für den weiteren Schutz durch Gott mit dem so genannten Kainsmal versehen.
Reinhold Begas (1831-1911), 1896
Hessische Apfelwein- und Obstwiesenroute
www.gutes-aus-hessen.de/unsere-zeichen/hessische-apfelwei...
Nothing in English to be found ... So, it will stay an insider information for German speaking people. Sorry!