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German postcard by Ross Verlag, no. 9379/2, 1935-1936. Photo: Genja Jonas, Dresden.
Dark and handsome Anton Walbrook or Adolf Wohlbrück (1896 - 1967) was a distinguished Austrian actor who starred in early German sound films as Walzerkrieg (1933) and Viktor und Viktoria (1933). After the rise of Hitler, he settled in Great Britain where he appeared in such film classics as The Life and Death of Colonel Blimp (1943) and The Red Shoes (1948). He also played the ringmaster in La Ronde (1950).
Anton Walbrook was born as Adolf Anton Wilhelm Wohlbrück in Vienna, Austria-Hungary (now Austria) in 1896. He was the son of Adolf Wohlbrück II and his Austrian wife Gisela Rosa Cohn. He descended from ten generations of actors though his father broke with tradition and had become a circus clown. Young Adolf studied with the famous stage director Max Reinhardt, who signed him to a five-year contract at the Deutsches Theater. In 1915 he had made his film debut as a circus director in the German silent film Marionetten/Marionettes (1915, Richard Löwenbein). During the mid-1920s, he starred in several films of the Stuart Webbs detective series, but the young actor was not noted in them. After the advent of sound film, this changed. He had a leading part opposite Anna Sten in the German language version of the drama Salto Mortale/Trapeze (1931, Ewald André Dupont) and starred opposite Heinz Rühmann in the comedy Der Stolz der 3. Kompanie/The Pride of the Third Company (1932, Fred Sauer). Opposite lovely Anny Ondra, he appeared in the musical comedy Baby (1932, Carl Lamac). The dashing actor then graced a number of romantic films. He played Johann Strauss in the UFA operetta Walzerkrieg/The Battle of the Waltzes (1933, Ludwig Berger) opposite Renate Müller. Again with Müller, he appeared in the gender-bending UFA-comedy Viktor und Viktoria/Viktor and Viktoria (1933, Reinhold Schünzel), which later served as the inspiration and basis for the Hollywood comedy Victor Victoria (1982, Blake Edwards) starring Julie Andrews. He also appeared in the French version Georges et Georgette (1934, Roger Le Bon, Reinhold Schünzel) with Meg Lemonnier replacing Müller. A huge hit was Maskerade/Masquerade in Vienna (1934, Willi Forst) with Paula Wessely. Thensellek reviews at IMDb: “A delightful movie, full of atmosphere of the post World War I Vienna. (...) The story is told quickly, the scenes full of whit and very discreet erotic hints. The leads are cast with two of Austria finest (...). If you want to dive deeply into Austrian culture and understanding of the countries roots, then watch this wonderful movie.” Another interesting role was that of the student Balduin in the fantasy film
Der Student von Prag/The Student of Prague (1935, Arthur Robison), a new and different version of the silent classic of 1913 starring Paul Wegener. In 1936 Wohlbrück went to Hollywood to reshoot dialogue for the RKO production The Soldier and the Lady (1937, George Nicholls) the English language version of the Jules Verne adaptation Der Kurier des Zaren/The Czar's Courier (1936, Richard Eichberg) in which he played Michael Strogoff, a role he had also played impeccably in the French and German versions. In Hollywood he changed his name from Adolf Wohlbrück into Anton Walbrook.
Anton Walbrook was classified under the Nuremberg Laws as half-Jewish. He was also a homosexual and a political opponent of the Nazi regime. So instead of returning to Austria, he decided to settle in England. There he continued working as a film actor making a specialty of playing continental Europeans with his trademark moustache. Meanwhile he supported Jewish actors and their families in Germany from London. Producer-director Herbert Wilcox cast him as Prince Albert opposite Anna Neagle as Queen Victoria in the black-and-white costume film Victoria the Great (1937, Herbert Wilcox) and Walbrook also appeared in the color sequel, Sixty Glorious Years (1938, Herbert Wilcox). He was also on the London stage from 1939 in Design for Living. In the original film version of the stage thriller Gaslight (1940, Thorold Dickenson) he was the sadistic husband of Diana Wynyard, roles played by Charles Boyer and Ingrid Bergman in the later Hollywood remake. In the romantic melodrama Dangerous Moonlight (1941, Brian Desmond Hurst), Walbrook was a Polish pianist torn over whether to return home. He played a gentle pacifist in the wartime propaganda film 49th Parallel (1941, Michael Powell), made by the team of director Michael Powell and writer-producer Emeric Pressburger. In their satire The Life and Death of Colonel Blimp (1943, Michael Powell) he played the role of the dashing, intense ‘good German’ officer Theo Kretschmar-Schuldorff. In their greatest hit, the romantic melodrama The Red Shoes (1948, Michael Powell), he was the tyrannical but charismatic impresario Lermontov who poises ballerina Victoria Page (Moira Shearer) to superstardom. Lotti St writes at IMDb: “Anton Walbrook is the star of this film, playing a Diaghilev type character and absolutely dominates any scene he is in. He is not bombastic in a showy, hammy way. It is a more silent but deadly charismatic performance. It is a pity he did not receive an award for it. He is stern, uncompromising, cold and passionate and absolutely deadly. He is a gentleman tough guy.” One of his most unusual films is the brilliant The Queen of Spades (1949, Thorold Dickenson), an odd, Gothic thriller based on the Alexander Pushkin short story in which Walbrook co-starred with Edith Evans. In 1947 Walbrook had become a British citizen.
During the 1950’s, Anton Walbrook appeared in British productions as well as in continental films. In the French classic La Ronde/The round of love (1950, Max Ophüls), he was the gently ironic ringmaster who guides us through a series of affairs in Vienna, around 1900. Another French production was L'affaire Maurizius/On Trial (1954, Julien Duvivier) starring Daniel Gélin. In Great Britain he reunited with Powell and Pressburger for their musical Oh... Rosalinda!! (1955, Michael Powell, Emeric Pressburger) featuring Ludmilla Tchérina. It was an updated version of Johann Strauss's 1874 operetta Die Fledermaus (The Bat) and Walbrook played the role of Dr. Falke a.k.a. the Bat. For Ophüls he then played king Ludwig I of Bavaria in Lola Montès (1955, Max Ophüls) starring Martine Carol). He also appeared in Saint Joan (1957, Otto Preminger) with Jean Seberg as Joan of Arc. His last English-speaking film was I Accuse! (1958, José Ferrer), in which he played again a stiff and stern military officer. He then retired from films but continued to perform on stage. He also appeared in some German television films, including a new version of the classic Hollywood mystery Laura (1962, Franz Josef Wild) with Hildegard Knef, and Robert und Elisabeth (1966, Eberhard Schröder) with Sabine Sinjen. In March 1967 Anton Walbrook collapsed during a performance of Noel Coward’s play A Song at Twilight at Munich’s Kleine Komödie. He was just honored with the notable award the Filmband in Gold for his longtime and important contributions to the German cinema. Later that year he died of the consequences of a heart attack in Garatshausen, Germany. His ashes were interred in the churchyard of St. John's Church, Hampstead, London, as he had wished in his testament. Tim Bergfelder notes in the Encyclopedia of British Cinema that “Anton Walbrook's screen acting combined melancholic irony and old-worldly charm, chilling arrogance and tragic pathos.”
Sources: Tim Bergfelder (Encyclopedia of British Cinema), Gary Brumburgh (IMDb), Filmportal.de, Wikipedia (English and German), and IMDb.
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… I sometimes run out of creative titles for these pictures.
Have you heard of the famous “Monk Debates”? They are held in Sera Monastery and are both a form of verbal sparing as well as a method for teaching Monks about Buddhism. The basic premise is that one monk asks a questions and the other has a limited amount of time to answer. But it is more lively that than. The monk asking the questions makes martial art-like gestures while the monk sitting on the floor tries to retort before he gets a figurative karate chop to the head. The questions are all relating to the teachings of Buddha and I am sure they are really tough to answer, because this little monk kept making a can-you-repeat-the-question face. It was fun to watch these otherwise, peaceful dudes, let out some steam with all their crazy gestures and yelling.
… I feel your pain little monk, I wouldn’t know the answer to half those questions …
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I found my friend, Confucius, pondering the imponderable in the middle of the Cheonggyecheon (청 계천) stream that runs down the middle of Seoul in South Korea. I asked him if he would join me for a pint at the local pub and we proceeded to have a deep philosophical conversation ...
Confucius: Christian, respect yourself and others will respect you.
Christian: What is that supposed to mean, C? Who have you been talking to?
Confucius: What the superior man seeks is in himself; what the small man seeks is in others.
Christian: Who are you calling small? Look in the mirror, my friend, you are about an inch taller than a Care Bear.
Confucius: Faced with what is right, to leave it undone shows a lack of courage.
Christian: That sounds like a dare. See that angry-looking linebacker by the bar? I am going to challenge him to a thumb war.
Confucius: Christian, he who learns but does not think, is lost! He who thinks but does not learn is in great danger.
Christian: C, the only thing that is lost are my car keys and the only thing that is in great danger are those buffalo wings if you don't eat them.
Confucius: And remember, no matter where you go, there you are.
Christian: Dude, are you sure you are OK to drive?
Confucius: Be not ashamed of mistakes and thus make them crimes.
Christian: The only crime you should be ashamed of is not talking to that lady over at the next table who keeps giving you the "come-hither" look.
Confucius: Never impose on others what you would not choose for yourself.
Christian: I choose life!
Confucius: It does not matter how slowly you go so long as you do not stop.
Christian: ... in bed.
Confucius: You're an idiot. I am going back to the stream to continue pondering.
Christian: Naw baby, don't go to sleep angry. Come back.
Confucius is a little feisty, but we are totally BFFs.
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I felt a little bad posting this today because I deliberately isolated this little fella from his family for the sake of my selfish artistic vision. He was happily swimming in his circle of safety when all of the sudden he started noticing his wolf pack disappear one by one. At first he thought he must be imagining their absence, but then he actually witnessed his cousin being erased from existence by my Adobe Photoshop eraser. He looked up at me with these big googly-jellyfish-eyes and asked “Why?” I told him that they were still around in another layer but I wanted to focus on him because I thought he had the stuff to be one of the aquarium’s top models. He took some time to consider this and finally said, “You know, ever since Aunt Margaret told me I was the cutest jellyfish she had ever seen, I knew I was destined to be a jelly-model.” We quickly worked out a contract and he happily posed for this picture. He may only be a jelly, but he had some mad negotiating skills. Somehow I owe him an annual stipend of two tons of tuna and 90% of all profits from the sales of his photo …
Romantic Snow, as a white chocolate gift from romantic nature to Tokyo's romantic people.
This gift is so ephemera: 物の哀れ。
Theatre programme for a production of the play 'The Story of the Rosary', by Walter Howard. This was the opening production in a short series of plays staged by the Premier Denville Players at the Hippodrome and Queen's Theatre, Keighley, which opened on Monday 21st May 1934. The opening night was attended by company founder Alfred Denville, who was also M.P. for Newcastle. The play was performed twice nightly (at 6.40pm and 8.40pm) and tickets ranged from four pence in the gallery on a weekday, to two shillings in the orchestra stalls on a Saturday. The theatre's managing director at this point was Francis Laidler, he also ran the Alhambra Theatre in Bradford.
Some background on the theatrical company was given in the Keighley News of 19th May 1934: "Repertory companies, when they have presented interesting plays in an attractive manner, have always been welcomed by the Keighley public, but few have come to the town with a greater reputation than that which will open at the Hippodrome on Monday under the banner of Mr. Alfred Denville, who manages to undertake political duties as a Member of Parliament in addition to running, with distinction, 30 companies in various parts of the country. In the theatrical world he is known and respected as the founder of the Denville Homes at Northwood - a haven of rest established for aged and distressed members of the profession - in memory of his son, who died as a result of war service. But to the public he is a theatrical director who can stage popular plays in a masterly way, and 'The Story of the Rosary', with which one of his best companies will open their season locally, will be followed by such famous successes as 'Paddy the Next Best Thing'."
The play tells the story of the daughter of the prince of Strelsa, a Ruritanian country, who is wooed by her two cousins and the one she married is believed killed during a revolution. She decides to take the veil, but her young husband returns from captivity before she takes the final vow. The production was reviewed in the Keighley News of 26th May 1934: "The selection of Mr. Walter Howard's masterpiece, 'The Story of the Rosary', may not have been the ideal conception of holiday fare, the general preference probably being for entertainment of a lighter character. Nevertheless, it effected a double purpose, for not only was it a good show, but it gave early indications of the capabilities of the players. It is a play of an exacting nature - a lot of real solid drama with a blend of pathos and comedy - but a well-cast company, without a single exception, fitted their roles efficiently. Mr. Conrad Stratford has a large part calling for a richly dramatic interpretation, and there is no question of his success. Mr. Harry Astell, as his somewhat villainous brother, effects a requisite contrast, and both act with ease. A fine performance is given by Miss Betty Larke-Smith, whose work is stamped by grace and a perfect understanding of a role which must of necessity be well played. Her more dramatic moments are very well done... The show is extremely well presented, the dresses and scenery being quite up to the standard - indeed, a good deal better than that of many touring companies... The present arrangements are for the season to last five or six weeks, but if the public's response is sufficiently good there is every prospect of a considerably longer season."
The cast also included Gerard Barton, Phillip Stainton, Frank Stevens, Molly Redmond, David Donaldson, Easten Pickering, Iris Terry, and Phyllis Sinclair. The play was produced by Robert Roberts who was also in the cast.
The programme includes details of forthcoming attractions at the Hippodrome and at the Alhambra in Bradford, namely 'Paddy, the Next Best Thing' from the Premier Denville Players at the Hippodrome and a variety show featuring Layton and Johnstone at the Alhambra. There are adverts for Ediswan lamps; Timothy Taylor's beers; Villa Rica Cigars available from R. Dewhurst in Silsden; The Keighley paper Mills Co. and Sun Street Printing Works; the Bingley Building Society (branch on Bow Street); J. Holroyd & Co. Ltd. (dry cleaning) of Station Buildings; Wheatley, Dyson & Son (stationers and bookbinders) of Cavendish Street; Sharp & Co. Mineral Waters of Heys Gardens; Hudsons High Class Grocers of Highfield Lane; Keighley & Nixon Changegate Fish and Game Stores; W. Pearson (carting agent and removal contractor) of Coney Lane; Ramsden's Fish Restaurant on High Street; Jonas Bottomley's Lime Fruit Tablets; E. & T. Wall Ltd. (wine and spirit merchant); Miss Raisbeck The Milliner of North Street; and Pratt of Bingley.
The programme was a tri-fold leaflet measuring approximately 380mm by 253mm when open. It was printed by Lewis Scargill of the Sun Street Printing Works, Keighley, and cost one penny. The original programme was donated to Keighley and District Local History Society by Tim Neal in 2022. It is held in the History Society's physical archive.
Photos by Philipp Geist ©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
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Aluna: Daniela Arcari
Foto: Denise Wichmann
Modelo: Janaina (JOY)
Cabelo/maquiagem: Johnny Left
Tratamento de imagem: Luly Salle
Trabalho desenvolvido para o editorial do livro Pathos Projeta-me (disciplina Desenvolvimento de Coleções II, a qual ministro), onde o aluno desfilará a sua coleção no dia 11 de dezembro na Feevale.
354 Aerospatiale SA342-L1 Gazelle (2197) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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My trip to the Longsheng region of China was very short, but it left an impression on me. The small mountain town was covered in rain and fog more often than not and it made for some treacherous hiking. There is something about the struggle to achieve that makes it all the more worth it. I spent two full days hiking up and down the various mountains and catching fleeting glimpses of the beautiful rice terraces as the wind swept the fog aside for moments at a time.
One morning, I was making my way up one of the steep, narrow paths when I looked up and saw a donkey blocking the way. He was only a foot from my face and he was just staring at me. I made to pass on the right and he swung his head over and fixed one huge eye on me. Ok, he is definitely staring me down. I tried to explain that is was common courtesy for the person coming down the hill to back up and let the other pass, but he did not understand English. Fine, you stubborn donkey, I will move out of your way. When I turned around to make my way back down, I saw this rice farmer plowing the field. I liked the way he was looking out into the distance and how the the rain drops falling off his jacket were catching the light. If it hadn’t been for that stubborn donkey, I would have missed this cool moment.
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I recently posted a similar portrait of Yosemite Valley, so I thought I would also post the landscape shot. This was taken as the sun was rising and the sky began to light up with warm colors. I am still in awe of this incredible national park. I wish I could move my family into a little log cabin and spend the year fishing, taking pictures and enjoying the scenery, but I think my wife and daughter would not appreciate that very much.
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This is one of the most interesting Cathedrals I have found in the Bay Area. It sits on top of a hill in San Francisco and overlooks the city. One of my favorite things about this Cathedral is it's ceiling. It is intricate and geometric and it seems to take on a fluid property as you move about the church. There are so many interesting things to see in here that I ended up spending almost an hour photographing unimpeded. It felt like a little safe-haven.
I painted the cupboard thing in our kitchen that nice aqua color so it matches our chairs last week.
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.
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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
XL ANGELS
Dal 2 dicembre 2010 al 20 gennaio 2011
@COMBINES XL
Via Montevideo 9 Milano
Creature di spirito, esseri di luce sfavillanti, figure celesti spesso alate perché veloci e aeree. Gli angeli popolano da sempre l’immaginario collettivo come simbolo del bene ed esempio di purezza. Con un tema così affascinante si sono confrontati i più grandi artisti di tutti i tempi, dando vita a unʼiconografia ricchissima.
Adoranti o addolorati, musicanti o cantori, vendicatori o ripudiati dal cielo, gli angeli sono comunque entità di sovrumana bellezza. Il Beato Angelico li dipinge con tuniche disseminate di stelle, Botticelli con aureole dorate. Negli affreschi di Mantegna sono figure infantili rosee e rotonde, così come i celeberrimi putti di Raffaello che guardano al cielo. Assumono le sembianze di guerrieri vendicatori (San Michele e il drago di Raffaello) e di ispiratori di verità (San Matteo di Caravaggio). Sono le creature mistiche e romantiche dei Preraffaelliti, quasi un racconto metafisico nella Divina Commedia di Dalì. Sono le immagini di grande pathos di Chagall, che tra le due guerre dipinge un angelo rosso fiammeggiante caduto sugli orrori della terra. E ancora li ritroviamo come icone pop in Keith Haring e come putti “vittoriani” in un logo di Fiorucci che ha fatto il giro del mondo. [...]
GLI ARTISTI
Angelo Barile, Akab, Christian Sonda, Dario Panzeri, Duty Gorn, Fabio Weik, Gigi Tarantola, Marco De Barba, Mariano Franzetti, Mot8, Mr. Wany, Nemos, Omer TDK e Emiliano Rubinacci, Sea, Thomas Berra, 2501, Tillo Buttinoni.
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.