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Zatim jediny bolestny kompromis. Krokve jsou bohuzel tak krive, ze nebylo mozne zakryt nevzhlednou izolaci a zaroven nechat odkryte krokve. Takze se to muselo podbit drevem a zarovnat. // Covering up the beams has so far been the only painful compromise we had to make. Originally, we wanted to cover the insulation while leaving the beams exposed. Unfortunately, the beams were too thin and too off to do that.
“Ninaki Stunning Shapes” is a result of extended research about clothing, style and skins for a great looking avatar. Our mission is to provide you with a new shape along with advice and information of how you can look like the boy in the photo!
Inside the box you will find a Ninaki Shape and Eyebrow shaper along with all the necessary information of how you can look exactly like the picture.
Content:
Ninaki Shape,Eyebrow Shaper and Style card ONLY.
Skin, hair and outfits are NOT included. This is not a complete avatar.
My shapes are copy/mod and non-transferable.
Enjoy!
Find me in world.... slurl.com/secondlife/Kimberley/19/90/23
Marketplace : marketplace.secondlife.com/stores/108867
Exhibitor | Max Liebermann Haus, Berlin
Exhibition | The Wall: Before, After, East and West
Even today, 35 years after the opening of the Wall, its left-over traces continue to shape the cityscape and life of Berlin. As a border fortification, it divided the city into East and West Berlin starting in 1961. Erected unilaterally by the GDR state leadership, the Berlin Wall was the most visible and brutal manifestation of an ideological divide between the Federal Republic of Germany (FRG) and the German Democratic Republic (GDR). In the late-night hours between 09 and 10 November 1989, border crossings were opened in the wake of the Peaceful Revolution.
Images of the Berlin Wall created prior to 09 November 1989 in the FRG and GDR are juxtaposed here, both figuratively and literally. However, the prerequisites and conditions of their production were entirely different: while free artistic expression was possible in the FRG, artists in the GDR were practically unable to approach the Wall as motif or subject matter within the official art world.
The Wall was a taboo motif in the GDR. The state leadership espoused a certain view of things and expected artists to portray the border system as an "anti-fascist protective wall", a guarantor of peace, in an inversion of the horrific, inhumane reality. The fact that securing the border primarily meant keeping individuals from fleeing was deliberately omitted. Artists who wished to express the cruel nature of the border regime in their images found themselves working under aggravated conditions. The construction of the entire border complex was treated as a military secret, including the individual barrier and surveillance elements, and it was forbidden to depict any part of it. Even an attempt to form one's own impression of the border, whether as a drawing or photograph, was considered preparation for an escape from the republic, and thus potentially punishable by imprisonment. It was virtually impossible to present critical images of the Wall in public exhibitions. As a result, pictures of the Wall were often created in secret in the GDR, or for private purposes. Frequently, these resorted to the use of smaller paper formats. Large-format works were the exception here. There was a tendency towards hidden, veiled or symbolic pictorial statements.
Artists in West Berlin were freer in their approaches to depicting the Wall. A frequent theme in this regard was the massive impact that the Wall's construction had on the city's structure and appearance. The Wall was not only the most visible symbol of a divided Germany - it also stood for West Berlin's special status as an Allied stronghold, a city whose inhabitants carried makeshift, temporary ID cards and were exempt from compulsory military service, in what represented a sort of autonomous zone for many artists.
In their motifs and colourfulness as well as in the formats they employ, the works shown here reflect the possibility or impossibility of depicting the Berlin Wall in both the FRG and the GDR.
Transitional Period
Pictures of the Berlin Wall, created around and after the opening of the Wall on 09 November 1989, collectively reveal the multi-faceted image of a city undergoing upheaval and transition. Common themes and motifs become visible: many artists explored the changing urban landscape of Berlin in paintings or graphic works. Their works are documents of a special moment in history. They show the opening of the Wall, the dissolution and dismantling of the border fortifications and the gradual reclaiming of the former "death strip". Brandenburg Gate served as a significant visual motif for these artists. As an emblem of liberty and tolerance, it symbolised Berlin, representing the city's past division and contemporary reunification. Many artists also devoted their attention to Potsdamer Platz. A vibrant spot before the war, it had become a wasteland up against the border for 28 years, before evolving into a coveted and contested site for real estate development after the fall of the Wall.
All throughout Berlin, individuals experienced this period of upheaval differently, which can also be seen in the artworks of the era: while some works present a cheerful and optimistic picture, others seem torn between different messages. They reveal scepticism towards the rapid, radically life-altering events and testify to the chaotic side of this transitional period. Many artists made liberal use of allusion and irony in their motifs and titles. Some took a rather negative view of this period of upheaval. Their works reflect disappointments, dashed hopes and resignation or disorientation. Meanwhile, other artists were creating an especially personal image of this time, for example in the form of self-portraits.
When viewed together, it becomes evident that the artworks here cannot be clearly categorised stylistically as belonging to one supposed "side" or another. Rather, the artists show a differentiated, heterogeneous picture of the time after the fall of the Wall - in all its openness and possibilities, but also in its uncertainty.