11 of July, Akademie der Bildenden Künste München. Pictures, students , a professor and music at an exhibition. Wunderbar, day and night. My sax played with me, with Markus Oehlen and Marc Aurel and Okin Cznupolowsky, who conduct his performance of his ballet <<Marlene Fuchs 11a >> merci for being with you.
Six he was, when Pauline, his jewish mom took her life, thirtynine he was, when he hang himself on Good Friday, ten I was then, he was my dad. Magdalena Gross, daughter of Isaak Gross and Rahel Matzner, his grandma. Rahel was born in Oświęcim and died before these little Austrian came to power. That and that her family had a Liqueur distillery give`s me some pleasure.
Berlin 1980: Alexander von Borsig, aka Alex Hacke, Einstürzende Neubauten, 14 years, made concert posters for our band BLÄSSE (Paleness) on tour with Arleen Schloss during his eastern school holiday`s. Düsseldorf, Munich & Vienna which was very special: the concert organizer, owner of Modern Art Gallery in which we played for a huge audience did not pay us. For this we were allowed to eat mushy spaghetti and sleep on the wooden floor in her apartment. The Gallery does not exist anymore, maybe? no respect does not pay. Orphee? Some weeks before in NYC SAMO© went with me to a Cinema where we saw lot`s of Jean Cocteau films. Alex: Mini Moog, Guitar, Bass, tapes, voice. Richard Michael Hirsch Keyboards. Eva: Sax, Voice.
Because, the night belongs to music: Arto Lindsay, sky-blue guitar, 12 strings (later 11, dental floss), effects devices. And what did he do with it? Playing: unheard, melodic, shrill, poetic, always surprising, unpredictable. Almost forgot how good this felt. Before reciting, Arto said: sweat. Wunderbar, I love this kind of humor. Then he wanted to know from the audience, what is said in German, when you wake up in a room where you previously never woke up. „Shakesperean“ said a guy and seemed to me, that was not meant. Arto played, and played, and played and sang in brasilian, charming voice in a charming language, double attack on my senses all above ground, gorgeous to my ears. Again, to the audience “ ?.. is the punishment for bad Punks“ we understood and deliberate and deliberate.
„Haute Couture leather jacket“. No, Ute + I where wrong. „Punishment for grand Punks“ he wanted to know. Never heard the notion „grand Punk“. Had to protest, no punishment for grand punks. Why? We are very special old pale, V.S.O.P. something rare, and only need the fine, so the really fine. To exit the language of Cognac, let`s go east, to Japan. Wabi-Sabi, an excellent characterization for grand Punks, I assume: asymmetry, asperity simplicity, economy, austerity, modesty, intimacy. Beija-Me, a hundred times heard, a delicate song, and yet, yesterday heard like for the first time. Chapeau Arto, for your extraordinarily beautiful performance. His voice, this voice, what a voice, as generous as the additions. Merci to Detlev too and to Elmar for the pix. 2D-Gang, Arto: Marker, SAMO©: Tape, Thomas: Pixels. Merci vielmals. And: XXX (swiss-french style) to Julia Stoschek for supporting Arto`s performance.
My sax-case, not a coffin, 132 seconds with Heinrich Nicolaus at the piano in Belgum, recorded with a Sony dictaphonem, untuned green notes, originally made for Carmen Knoebel.
Sounds free, very free, in the New World it is called „skronky“. The result, after years of having pushed to piano lessons. Good investment it thinks in me today, and the piano teacher who slapped on my fingers? It`s a shame that the side effect, or main effect?, of his music education does not hit his ears. So super lovely to meet and hear you Arto.
untuned green notes:
Wer hört das nicht gerne? Komm wie Du bist…. as an old memoria
Kunst Crash Kurs. Eine wunderbare TV Dokumentation von 1980 von Robert Hughes + BBC + Time-Life-Film. 8 teilig und sie sind wunderbar anzusehen, eine Art Crash Kurs in Kunst. The keyword of the century: Modernity…..gemeint kann da nur sein, das 20. Jahrhundert.
Juni 2013: Bei Youtube leider nun für Deutschland gesperrt, anyway von Robert Hughes gibts Video Lessons about Art fast wie Sand am Meer.
A a different kind of shock: Robert Hughes, Art Critic NYT, about the Basquiat Retrospektive, Whitney 1992„…a parody of a funeral rite performed over a slender talent encased in a sarcophagus grossly to large for it…The life was so sad and truncated, and the art that came out of it so limited, that it seems unfair to dwell on either. Who breaks a butterfly upon a wheel?
Encore? A Disaster
Basquiat`s sensibility, insofar as he can be said to have any, was that of an untrained and unruly adolescent wise only in his instinct for self display as a means of self-advancement… I´ve seen subway-car grafitti that was a lot more interesting than this stuff.“ Hilton Kramer, New York Observer.
Schöner Clip, inklusive Robot Snacks (Toast) im Studio.
…. schöner Tausendfuessler (klick)
…er steht wegen seiner eleganten Formensprache unter Denkmalschutz, soll abgerissen werden, ganz überflüssiger Weise, für neue scheußliche Architektur, für dringend notwendige neue Flagship-Stores, Starbucks & Co und Büros, an denen es unserer Stadt so sehr mangelt. Soll, ebenfalls ganz überflüssiger Weise 130 Mio. kosten ihn durch einen Tunnel zu ersetzen. Aber, Düsseldorf hat kein Geld für Kultur, Soziales usw, usf….. Ok, er sieht zur Zeit etwas schäbig aus und das soll auch so sein, damit es keinen Protest gegen den Abriss gibt, damit gewünscht wird, dass das „Drecksding“, warum steht das denn unter Denkmalschutz?, endlich verschwindet. Dafür kostet seine Pflege aber auch nicht 14 Mio im Jahr, wie der geplante Tunnel. Und er zerschneidet auch nicht den Hofgarten durch eine tiefe Rampe. Ach Herr Minister, lassen Sie Verstand, Ökonomie und Ästhetik den Vorrang.
Merci an Carmen Knoebel, Thomas Ruff, Katharina Sieverding, Klaus Mettig, Axel Hütte für den Support und Martin Bechler und Rene Tinner für die Produktion im WortART Studio, in Kölle, der „verbotenen Stadt“.
Details? Zu entdecken auf der „Lott stonn“ Homepage
Must see: Fab 5 Freddy, Kid Creole, Walter Steding, SAMO alias Jean-Michel Basquiat, Debbie Harris, Tuxedomoon, Blondie……
Brilliant documentary on the revolutionary public access punk rock cable TV show from New York City – In 1978, two revolutionary trends emerged in New York City, public access cable TV and punk rock. These two phenomena came together spectacularly in Glenn O’Brien’s TV Party. O’Brien recruited his pal Chris Stein, the guitarist of Blondie, as his co-host, fellow Factory kid Walter Steding as leader of The TV Party Orchestra, and underground film director Amos Poe as director and the rest, as you’ll see, was history. Hipsters tuned in to follow the antics of the TV Party gang and such guests as Iggy Pop, David Bowie, P-Funk’s George Clinton, The Clash’s Mick Jones, Kid Creole, Klaus Nomi, as well as performances from acts like Tuxedo Moon, the Brides of Funkenstein, Alex Chilton, and more.