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closed one is not a luxury

Lisbeth

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my view shapes up as a canvas door

Louis Defèche

young actor and director, reports from his experimental research on the question of the nature of the 'Look-\u0026lt;gambling.


I can see how the momentum of the stage event arises purely from the will. This means' from the> walking. Not out of feelings and thoughts that occur only in consequence. Not that thoughts and feelings had no place on the stage thing, but you can only live on stage when they emerge from the pure will impulses. The seated in front of the stage audience wants to feel and understand something, but feel that this understanding and this feeling has to be a consequence of volitional processes. Then contribute understanding and feeling really, because they occur not only as feelings or thoughts, but as a force. I would say the force of a thought form, the power of a vivid feeling. Otherwise, the audience always try to come to the stage event in, and will lose more workers rather than receiving power.

The other side of the story, the pictures would show you that you see and understand, would like to witness. But this Only real life on stage, if the basis is indicated as the actor as an inner understanding that everything \u0026lt;from> will matter, should be designed from 'Go-pulses'.

What surprised me is that the actors often try to create feelings or thoughts communicated. While not at the most important thing. Also, I can see how the audience is animated by live actors and brought by force to flow down from the stage to him, and he is more tired and inattentive, however, if too little will to live on stage.

It is perhaps a bit risky, because what I say, and will be strictly investigated further, but my thoughts are at the moment.


[text edited by Philip Tok contoured at first the red ornament along the somewhat helpless carved Indian boats, the big city here in the middle of a small park raised the value. the man who could probably hot Dubois was, as it were at the center of a picture whose composition I first recognized as a whole and that seemed perfect. This moment involves the aesthetic experience that is essential and always characterized by all-unspoken. with only slight delay flashed the individual picture elements, like a relief just standing out: the curved tip of the boat, the painted wooden blocks on which it rests, the carefully - as if he were sitting at home - on the ground attached feet of the man who the straight and exoticism of his seat probably not notice it. that the tree growing out back, behind him out of his, was at my
-
viewing angle, the picture was, however, an internal halt -
unelected
. may be that these upright first line caused me to stop and photograph led to me now is for viewing. I saw then what I see now? can repeat the aesthetic experience - remember it? whether the initial experience was strongest, I can not judge, but it was one thing: saturated and unrepeatable. They contained the> bildaussschnitt \u0026lt;the whole periphery sensuality in its comprehensive. the memories go
-
before the look of photography
-
was strong, but blurred in the aftertaste. the photographic image but
repressed immediately
the original and generated a new and genuine experience, which deepen and any change by ongoing in-depth look can.

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Lisbeth

So - if art by herald arrives and there is nothing left in our consciousness horizon is, of which we bear witness might otherwise have as it experienced an old icon painter or a Rembrandt to his pictures to write - does not then any proclamation culture finally also from our contemporary art?

Does the longing for the eternal, of which we do not actually, well, however, the belief by far - has this desire will not prevent necessary kinds of images, the real experience was reserved for eternity and have given a higher reality?

meet the content and form, a rejection of the ever successful artists like Katja Strunz and Anselm Reyle, both of Berlin, by arriving in the very specific, which is open to nothing more than for himself Closed forms in which no longer flows than that which formed the shape added. Katja Strunz

acute angled wall constructed from pieces of wood laminiertfurniertem imitation. It could be something shifted, warped paper plane shapes, they hung not so aggressive and hard, and immovable on the wall. Anselm Reyle is carelessly crumpled foil gift behind Plexiglas important, it's looks like something, or chrome in complex process waste collages. The end product is so great that it takes eight people to be prepared.

No escape in a different way. No escape in a behind, in a larger company, behind only referenced by the trash. No, just on what is visible before us, that matters. More s does not exist. No way out. The one as a viewer sometimes wants, because - well really is something else.

No more than the little that is there. A few things that may not know more to keep yourself without power over the abyss. Breakdown in existential grip.

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Johannes Nilo
> My work takes time. They allow the viewer to experience the emergence of a phenomenon. They are the expression a visual restraint, with which I would like to slow down to a perception experienced present '. This is how Tom Chamberlain's work, before the past two weeks on the Art Basel aroused my interest. My steps slow issued between the 5000 works. The aimless walk through this highly artificial world is itself part of the experience of art. People seem to float. A watercolor by Paul Klee has my attention after I discovered how wise the picture is staged in the overall constellation of the gallery. On the opposite wall is decorated with glossy blue and black areas from the series Lighter by Wolfgang Tillmans. It is> Photos \u0026lt; have been without a camera suspended directly in the laboratory to the light. In between, a work is placed where notice above all the materials, sand, rubber, rust, water and wind worked woods. Then I suddenly see that the wall where the clover is not like the other walls are painted white, but light brown.