Stanley Kubrick started his career as a photographer for Life Magazine before heading into film. He mostly took photos of people, doing entire portraits of more or less famous people, but also (more or less staged) snapshots on the street or in public transportation. The exhibition I saw tried to give an overview over his work as a photographer by showing the span of his photo essays which worked very well. We also had an interesting guided tour. Generally I think I like his photographic work better than his cinematic work, though already in his photographs he shows a keen eye for the right moment and for the (necessary) theatracality.
You can find some of my favorite images after the jump.
The exhibition starts with one of Helnwein’s earliest piece – an water color he submitted as an entrance exam for art school and moves through his career, though not completely chronologically.
The exhibition is really short – we were through in less than an hour. And while I wanted a drink several times while I walked through it, at no point did I hit the point of museum overload as I usually do during these exhibitions. So afterwards we walked through the rest of the Albertina, looking at Gunter Damisch’s work and the permanent exhibition. When we had finished that, our brains were sizzling, though.
In any case, it’s an excellent exhibition, giving you a great overview over his work – from his water colors to his photography to his hyperrealist paintings. Easy entertainment it is not. But it’s great.
In January, I went to Berlin again for a couple of days with my parents. Mainly to visit my sister and her family, but also to get away for a bit. Plus, we crammed culture in that trip like it’s nobody’s business.
Nude Men is a current exhibition at the Leopold museum. It shows paintings and a few sculptures, mostly from the 18th century onwards, all featuring naked men.
There has been quite some outrage when the exhibition opened in Vienna. Because the poster that advertised it actually showed *gasp* naked men! Not doing anything sexual, not even remotely pornographic, just standing there.
As every year, I went to the World Press Photo exhibition. This year, though, I didn’t go with deadra, but with B. and S. Nevertheless, you’ll get my favorites after the jump as usual.
I do think that there were more female photographers honored this year than in the previous years. I don’t have a statistic, but that’s my impression. If it’s true, it’s pretty damn cool and should be encouraged.
MELPOMENA – LINE IN Yourself 2012 was an event at the Fluc, a mix of live concerts, exhibition and party. First there was a concert from Serbian electro-punk band Ilegalne emocije, then Bosnian duo Basheskia & Edward EQ were playing and then there was a DJ. During all of that there was also a photo exhibition of Branimir Prijak‘s work, called “Monuments of the Revolution” where he photographed monuments all over the former Yugoslavia. [I didn’t know any of these artists before – I went there completely blind, actually not knowing exactly what I had signed up for at all. Adventure!]
I was actually not familiar with Sternfeld’s work before going to the exhibition. In fact, it was a complete coincidence that I ended up seeing it at all. The Albertina had a party event on their terrace that me and B. wanted to check out. The party was pretty goddamn awful, but surprisingly you could wander through the Sternfeld exhibition for free and that’s what we did. [Apparently that’s what happens when I try to party.]
Anyway, I quite liked the photos. He has some very nice landscapes (especially of The Meadows, Northhampton), but the two series I liked the most were photos of places where crimes had happened a while back, in which he showed the mundance places and describes the crimes comitted there and photos of former communes and utopian projects and what (little) remained of them today. It was really interesting.
In Metnitz, a small town in Carinthia, you can find a Danse Macabre, a painting of Death dancing with people from all kinds of classes – from the pope through the king to knights, cooks, mothers and children. Those Danse Macabres can be found all around Europe.
The one in Metnitz can be found on the outside of the church’s ossuary and is from the 15th century. The original painting was removed from the ossuary and restored and can be found in the Metnitzer Totentanzmuseum. The paintings have also been copied back onto the outside of the ossuary.
I liked the idea of a Danse Macabre and the one in Metnitz is particularly nice because it also includes text that is pretty cool. And the museum itself is so eccentric that it is worth a visit on its own.
My sister is doing a fellowship at the hospital in Newcastle (upon Tyne). Which means I had the best excuse to finally go to the UK again. So I did. ;) Surprisingly, this time I didn’t need any extra bags to bring all my shopping home with me and I didn’t only buy books but even (gasp) clothes.
But since I didn’t only shop but actually saw quite a lot, let me start at the beginning.
I really enjoyed the exhibition. I do like Magritte’s better known things as well, but it was interesting to get a look at what else he did and where he started from. And it was exactly the right length – just when I thought that I would hit brain overload pretty soon, we had reached the last room. Now that’s what I call timing.
Throughout the exhibition we also got quotes from Magritte which gave you ideas of his thought processes.
This is how we see the world. We see it outside ourselves and yet we have an image of it inside ourselves.
Or sometimes just wonderful phrases like “topicality of the present”:
I hate my past and that of others. I had resignation, professional heroism, and all obligatory suavities. I hate the decorative arts, folklore, and advertising. I hate the odour of naphthalene and the topicality of the present. I like subtle humour, freckles, long hair on women, the laughter of children, a girl running in the street. I wish for myself true love and the impossible. I long for phantasms.
An excellent exhibition.
Find my favorite pieces to get a small walk-through of the exhibition. You can also go see it for another 6 days at the Albertina.