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House with personality

Friday 24 August, 2007

T his building is located in Paris's first arrondissement on Rue de Rivoli, number 59, opposite the junction of the Rue des Déchargeurs.
After Crédit Lyonnais and the French had withdrawn from the number 59, November 1999, occupied the first three artists Kalex, Gaspard and Bruno (KGB) of the house. Very soon they were followed by about ten other artists. The house was at this time apparently in a dilapidated condition and offered with dead pigeons located therein, syringes and rubble as landfill dar. They started again and prepare to make the building habitable. The group as a collective characteristic took the name "Chez Robert, electron libre" and organized gallery openings, performance art and exhibitions, which were freely available to the public. The French State but presented a complaint against the squatters. The following sentence stipulated that the occupiers until 4 February 2000, the house would have to vacate. But their lawyer Florence diffr obtained a six-month extension of time. At the time, attacked the press on the subject, thus creating a wider public, which meant that the final verdict was again delayed. From politics to vote reported, with the phenomenon known as "Squart" ^one sympathized. Nevertheless, the fate of the project uncertain. In March 2001 local elections were held in Paris, from which emerged as the socialists winner, which gave the squatters a further delay because the left sympathized with them. The Socialist mayor Bertrand Delanoe now Christophe Girard of the Greens appointed to his cultural officials, who does everything since then to prevent the eviction. A survey commissioned by the Ministry of Culture count that "libre Chez Robert, Electron" with 40,000 visitors per year is the third most visited exhibition venue for contemporary art in Paris. Consequently Delanoë announced to buy back the building on behalf of the City of Paris and set to the legalization of works of art in motion. Along the way, it was necessary to establish that the squatter a non-profit association, which he did. This association is named "59 Rivoli". The art center is closed until the final decision. For more information and images of artworks currently inhabiting the house apparently 25 artists can be found on the homepage of "59 Rivoli" and on their blog , the last entry returned, however, is already about half a year ² .
Among the more entertaining performers of "59 Rivoli" is obviously Jean-Luc Abiven whose home some surprising images are already holding. Very interesting are the sculptures and paintings on the side of Bazilio . Delightful are also the works of Dao, Deinki , Eve Clair , Francesco, Kalex, Malou, Mariko, Michel Vray, Thierry Hodebar. But even the works of those artists mentioned in this list does not always are worth a look, just like those people who were formerly active in the 59 Rue de Rivoli.

Contraction of two words "squat" (English and queen for "squat") and "art" (Art) [ ← ]
Source: http://www.59rivoli.org/newsite/index.htm - For the above text was resorted mainly to the presentation of the events located there. Thus, it is the subjective view of the squatters. [ ← ]

Harmony - Antoniucci Volti

Monday 13 August, 2007

T his sculpture titled "Harmony" is derived from Antoniucci Volti (1915-89) and is located in the third arrondissement in Paris in the Arts et Métiers neighborhood at the height of the homonymous metro station. , Which is on a small square piece of art is a visual point of rest within the busy junction, which is formed by the junction of the Rue Reaumur, the Rue de Turbigo, the Rue Beaubourg, Rue Vaucanson and other minor roads. The crossing is enhanced by the enormous sculpture aesthetically. By individual birch trees and bushes surrounding the sculpture ensteht midst of an urban environment a little green, artistic haven, which is also suitable as a meeting place for short stay and pause invites. A fine example of public art that can be admired not just aloof at the museum in a glass case, but fits into the daily life and with it blends, whether at the same time as the meeting place, street furniture or art or anything.
Volti comes from an Italian family, but in 1905 moved to France. Nevertheless, he spent the first five years of his life in Italy, since his father's military service in the Italian army had to be completed. In 1920 the family returned then finally back to France. At the age of only twelve years Volti was admitted to the Ecole des Arts Décoratifs in Nice, which he attended until 1930. In that year he was also a gold medal for two polychrome bas-reliefs (reliefs) is awarded. Then he went - until the age of fifteen - to Paris and entered the studio of Jean Boucher at the École Nationale des Beaux-Arts. After military service and captivity in Bavaria, he came back ill 1943 to Paris, where he found his studio destroyed. Since 1947, he took part in various exhibitions at the Paris Salon in 1954 and 1955 at the Biennial in Brussels and Antwerp. Also presented Volti from the first retrospective of his work in 1957 at the Musée Rodin in Paris. VOLTIS work is shaped to a large extent on the representation of the female body. Sculptures by Volti located next to Paris and Angers, Orleans, Colombes and Villefranche-sur-Mer.

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In the wings of life ...

Friday 22 June, 2007

Elder Similar to the 1913 Hamburg Academy of Fine Arts established, is also built in the 1927/28 school girls Embankment (Embankment today Vocational School) added by an artist a kind of motto. Only this was not here in the form of glass art, but through the creation of a sculpture. Unlike with Hansa-Kolleg, from which a second place is still the talk, it's not about the mere personification of what is in front of building. At Hansa-Kolleg this sculpture symbolizes a reader's pretty straightforward and not above average original. In the former girls' school Embankment is the meaning of the institution has been implemented in some abstract art. The viewer is therefore a little more interpretive skills demanded. Much seems to favor the interpretation that is not about the lady bends down to tie the shoes do not exist, but in order to move into a starting position from which she will best succeed to start. In athletics, the view has prevailed that the slow start with the help of grants from the starting blocks or the short-distance sprint events the best kick. In the girls' school was obtained accordingly to the best start in women's lives. This is a slightly more targeted presentation as the Hansa-Kolleg, where it seems less about the more then than at the now. From today's perspective, one could assume that is offered in vocational schools, the optimal start to their careers. The starting shape suggests to the viewer that here is a short-distance or sprint training is offered here but what can be precipitated from a lack of knowledge of the current training period no verdict.
This was created, consisting of limestone ¹ "Starterin" the rest of the sculptor Friedrich Wield (* March 15, 1880 Hamburg - Hamburg, † June 10, 1940), the first chairman of the Hamburg Secession, founded in 1919.

These consisted of 52 members, among whom were also painters alongside architects and sculptors. Unlike, for example, founded in 1905 in Dresden "bridge" or, founded in 1911 in Munich "Blue Rider", the Hamburg Secession had no fixed agenda. Due to the late establishment of the Hamburg Secession in comparison with similar associations in Germany (Munich Secession in 1892, the Vienna Secession, 1897, Berlin Secession in 1898), she was no longer marked by the enthusiasm of some war expressionists. Its members were already cured of her if she had ever been attacked by it. Nonetheless, many plants are well into the twenties, influenced by expressionism. From the mid-twenties, most members had, however, the post-Expressionist art style of New Objectivity discovered for themselves. The architects also included in the Hamburg Secession took indented, manufactures, programmatic approach of her, near the same time in Weimar, founded "Bauhaus", however, was less systematic than this.

The artistic and political non-conformism of the Secession artists, who spoke at the beginning of the thirties, sometimes in non holener criticism of representatives of the National Socialists, meant that the spring exhibition at the Hamburg Secession in 1933 the first exhibition in Germany was prepared at the instigation of the Nazis was closed by the police (March 30). The justification cited by the police authority that:

[...] The exhibits in its overwhelming majority to support cultural Bolshevism are suitable. ²

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Sieker, Hugo (ed.): Wield sculptors 1880-1940. Hamburg, 1975, p.89. In the illustration on Plate 12 the figure is gray. It therefore seems uncertain whether it is in today's figure is still the original. The current figure is white. It may have been whitewashed. Perhaps it is also a replica. [ ← ]
Quoted from: Weimar, Friederike: The Hamburg Secession 1919-1933. Fischerhude, 2003, p. 58 [ ← ]

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Until intoxicating waves of blissful beauty of the falls Weltentag

Sunday 10 June, 2007

We proclaim to you:
The sense of beauty to the earth as the body of Grisons
Dream of being blessed and Traumeslustgebärde to establish in light of the corridor
Morning glory and wealth creation, love blossom sounds extent shapes songs
The need Demant plumage
From the ground krystallner world silence
parable to ignite shine and mirror earthly visions shaper
and the grief of the eternal nothingness of bars
is the beauty of sacred violence
We send you:
The meaning of the earth itself will ignite in you a new Clarity
Sublime beauty imperious gesture ye shall proclaim strictly the dull world
Than was promised:
The first ring is forever finished solemnly
if the farthest thing and all the worlds of beauty message was sent
Are his messenger!
Led dream of flying around the face like wings beat
Be it heralds!
Until intoxicating waves of blissful beauty of the falls Weltentag

So it is not free from further ado, written in the windows of the vestibule of the College of Fine Arts of Hamburg (HFBK). The text flanked the depiction of a woman who is in turn surrounded by the depiction of two men. The windows were created by the Austrian painter and graphic artist as well as employees of the Wiener Werkstätte Czeschka 1913th
In the same year the college moved into the building, designed by Fritz Schumacher. After the school had been bombed during the war, it was rebuilt in 1955, exemplary.
Have evidently survived the nouveau-like representations of a woman and a man from the year 1912, which were located in the courtyard to the street opposing integrated into the facade, so that they seem to look at each other. In addition, there is the sculpture of a woman in the front yard, which is surrounded by three children - two girls and one boy. While the girls seem to seek protection from the mother, it's almost as if the boy introduces himself protecting his mother.
Furthermore, is on a corner post of a side wall of a plastic, which is the same from all four perspectives, namely a boy on a horse under a canopy of roses. But that's not enough, the channel located towards the Eilbek facade is equipped with three other sculptures. These are a fabulous, kneeling on all fours with curly horse's mane and flaring nostrils, and also one on all fours, kneeling ram, which is also represented fabulously covered. Finally, the relief of a naked woman surrounded by fruit is on the facade.
Unfortunately, one encounters here again on a plaque that will be remembered for one of the Nazi crimes. The Nazis have not been spared in their inhuman and totally mindless racial hatred just these high school. The panel noted on the citation that abducted from there to Auschwitz and murdered Professor Friedrich Adler is, would, moreover, as well as above-quoted poem also eminently suitable as a motto of the university:

our lives would be miserable if we were not indigenous to the imagination, the imagination.

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Aristide Maillol - The River

Sunday 11 March, 2007

The French sculptor Aristide Maillol of the in 1939 created sculpture is located next to the Hamburg Kunsthalle on the median strips of bell founding stone gate.

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With Charon into the realm of shadows

Saturday 10 March, 2007

"Memorial for the victims of the bombing" (Hamburg Cemetery Ohlsdorf)

"[...] Under four broad, cross-shaped mass graves here are 36 918 victims of the Hamburg firestorm of bombing raids in July and August 1943. The wooden cross beams carry the names of the districts from which the dead were transported to this place of rest.

The square central block and the relief in the interior were designed by Gerhardt Marcks 1947 and 1952 was inaugurated. He served in a monumental and oppressive acts of the Greek myths the world scene. Shown is the dead boatman Charon, a charming couple, a husband, a mother with a child and an old man is on the Acheron, the river that separates the upper world from the realm of shadows. He has solidified and symbolizes the indifference of organized mass death. The other characters seem listless and wear, like the sculptor, explains the human unaffected over '. With the resources of art is an attempt to preserve the dignity in the face of the terrible ordeal for the city of Hamburg. " ¹

Marcks is also the way of the bronze sculpture of the Bremen Town Musicians, as it stands since 1953 left the Bremen Town Hall. Comes from the Bremen Town Musicians turn the statement: "something better than death you'll find anywhere." Zuckmayer has taken this sentence in his Captain of Koepenick, to clarify that may be drawn from any power no matter how hopeless situation for a new beginning. If the bombed not apply to the Hamburg ...

The text is taken from the memorial located at the information board. [ ← ]

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