Long, long ago. Before Corona was invented, I spent a few relaxing and art-filled days in beautiful Milan over Easter in 2019. It’ s funny, it was only 3 years ago, but it seems like half a millennium to me. Of course, a visit to the Triennale was not to be missed. The design museum is also housed in the building complex, here is the description:
“Museo del Design Italiano, in the evocative spaces of the Curva on the ground floor of Triennale, presents a selection of the most iconic and representative pieces of Italian design, for the first time in a permanent exhibition. The works on show are some of the 1,600 objects in the Triennale collection, chosen by an advisory committee that brings together some of the top names in the world of Italian design and architecture: Paola Antonelli, Andrea Branzi, Mario Bellini, Antonio Citterio, Michele De Lucchi, Piero Lissoni, Claudio Luti, Fabio Novembre, and Patricia Urquiola. The simple, linear display aims to show off the works to their best advantage, in chronological order, and provides insights into the history, creative period and context in which each work was designed.”
The items shown above reminded me (don’t anyone laugh now) of my youth, starting with moon boots and ending with a sofa shaped like a mouth. A great collection, but could be much bigger. Just be inspired by the 9 pictures above. A visit is definitely worth it, because there is much, much more to see. I, at least, spent half a day without any problems and I didn’t get bored.
After a long attempt, I managed to realize an idea last weekend: the animated version of the laundress from EDGAR DEGAS. Here is the description given on the Pinakotheken page:
” The Laundress
Edgar Degas treated the subject of the laundress here for the first time. By the end of the 1860s, he had his “Ingres period” behind him and was increasingly turning to realistically conceived contemporary subjects. By 1902 he had painted a whole series of pictures of ironwomen. While in the later versions the work process as such, i.e. the moment of action, predominates, in this early version Degas’ interest is more in the person; she pauses in her work and looks at the viewer: the work picture has more the character of a portrait. The date of around 1869 is derived from a pastel with the same motif in the Musée d’Orsay, which the collector Manzi Joyant, a friend of Degas, published with this date. It is supported by the “69” dated portrait of Emma Dobigny, who – apparently at the same age of 16 to 17 – posed for the “Büglerin”.”
After a long run-up, today I managed to realize an idea I’ve been putting off for a long time: animated art.
When I visited the Alte Pinakothek in Munich in February 2020 just before the first lockdown and while looking at the artworks I developed lots of ideas how to add a nice animated story to the artwork. In the tradition of Terry Gilliam (Monty Python), I would like to breathe some life into – sometimes irreverent and anarchistic – works of art at irregular intervals. Have fun with it, this week I start with Degas.
“It is forbidden to kill; therefore all murderers are punished unless they kill in large numbers and to the sound of trumpets.”
„Humanity, you never had it to begin with.“
I continue to be simply speechless. I grew up with the cold war and was glad when it more or less ended in the early nineties of the last century. Those were decades of peace in Europe. Until now.
Apparently, this was a deceptive peace, because with Russia’s attack on Ukraine, I realized that the old thinking, the quest for supremacy of certain nations and the continuation of politics by other means are not things of the past.
It is so unjust for a state the size of Russia to simply attack a smaller neighbor and wipe that state out. Just like I always thought it was unfair that in the schoolyard the older, bigger students beat up the smaller ones. I just hope that the Western world doesn’t ease all the sanctions again in a few months and go back to business as usual.
And I hope that humanity will eventually come to its senses and put violence to rest. But probably Charles Bukowski is right after all.
Today, briefly, a few impressions from the Duomo Museo in Milan. It is one of the largest museums in the city and deals with the history of the cathedral, especially with its long construction history of the cathedral. The scale wooden model of the building alone is impressive, but I was most impressed by the great illuminated stone figures. Here are a few impressions from the museum.
In the next weeks there will be more from Milan. Stay tuned.
Museums attract me magically, at least most of them. Therefore, it was quite clear that I will pay an extensive visit to the archaeological museum in Heraklion during a beach-and-sun-break. What can you find there?
“The Heraklion Archaeological Museum is one of the oldest and most important museums in Greece, and among the most famous museums in Europe. It houses representative artifacts from all periods of Cretan prehistory and history, covering a chronological span of over 5,500 years from the Neolithic period to Roman times. The Heraklion Archaeological Museum prides itself for its unique Minoan collection, which includes the masterpieces of Minoan art. It is rightly considered as the Museum of Minoan Culture par excellence. “
I rummaged a bit in my photo box and compiled the most interesting objects in my opinion in the following gallery. All subjective. Let’s start with my number one. In the video you can see the clay model of a Minoan house.
I was particularly excited not only by the well-known exhibits (the dolphins, the snake goddess, the lily prince and the bull sculptures) but also by those with surprising artistic elements, which can be seen in the first 3 photos: a clay bowl depicting a shepherd with his dogs and his flock of sheep, a clay vessel in the shape of a sitting woman and a clay vessel in the shape of a sea snail.
On May 26th this year, it was finally allowed to visit a museum again after the long lockdown. After a short inquiry it was clear to me that I absolutely had to see the exhibition of Phyllida Barlow at the Haus der Kunst. The brief description promised an exciting experience in art:
Phyllida Barlow‘s sculptural structures are unwieldy and difficult to take in: timber, cardboard, cement, clay, plastic pipes, and colorful textiles pile up, spread out, or block the visitors’ way. The view ranges over these landscapes made of everyday materials, unsure what to hold on to, and drifts up to grasp their enormous dimensions. Barlow‘s works pose a constant challenge; they conquer the space as if they led a life of their own. They invite viewers to reconsidering spaces, perceive volume, and hear the language of architecture.
The museum’s website has a lot more really fascinating information, videos, pictures, etc. about the exhibition. Worth seeing!
My expectations were accordingly high and in no way disappointed. I was totally thrilled by the dimensions of the artworks and especially by the wacky ideas of the artist. I’ll just let the photos (see gallery) speak for themselves and refrain from commenting. However, one experience left a lasting impression on me. As I strolled around one of the artworks, a museum employee approached me and told me that it was allowed to go inside the artwork. What a fascinating experience. I made a video about it, it can be found on YouTube and in the Instagram story accompanying the post. Enjoy looking at the photos.
On 25.1.2021 he saw the light of day or rather he was born on a drawing pad, the Hairbert. He was born out of my personal frustration about the lockdown and all the associated inconveniences, this case the constantly growing hair and the missing visit to the hairdresser.
I was surprised by the positive response behind this art figure. I would not have thought. In the course of the last months I drew the one or other frustration from my soul and each of these small works of art had something to do with Corona and the Lockdown. I’ve been encouraged from many people to continue Hairbert, but honestly, I’ve run out of ideas at the moment. And in no way do I want to keep the little hairy guy alive under stress, so I’m sending him into an artistic slumber for now.
Maybe I’ll wake him up again once I’ve collected enough ideas and when the time is just right.
At the moment my focus is back on the music and the creative realization of the next EP with the simple yet apt name Franz.
A long birth, because musically Franz was born about a year ago and he unfortunately had to go through some musical-creative sinks. Now he is but slowly fledged, I currently rather shirk the mixdown. More about that in another place.
One day, the whole lockdown got on my nerves so terribly that I had to express my frustration in a drawing. On this day, I was terribly annoyed in the morning about the closed barbershops. But at least I had something in common with our chancellor that morning, no more hairstyle – just hair. Here is the result of that annoying moment:
And so Hairbert was born. He is thus a full-fledged child of the Corona Lockdown, although his name was found much later through a query in an Instagram story. At the beginning I definitely didn’t think about a series of drawings, but after the positive feedback I started to think about how to express the Corona frustration on the one hand, but on the other hand how to capture a whole issue with a single image.
Hairbert still has an interesting future, let’s see in which direction he will develop.