En Elsgar in Berlin, Kari Bremnes, hin auch reissend.

Ihre Alben? Ungehörte Klangqualität, Svarta Bjørn über die Figur der Anna Rebecka Hofstad, die sich Ende des 19. Jahrhunderts als Schlafbaracken-Köchin für die Gleisarbeiter beim Bau der schwedisch-norwegischen Erzbahn verdingte und eine der wenigen Frauen in einer fast vollständig geschlossenen Männerwelt war. karibremnes.no

En Elsgar in Berlin. Sie singt`s auch in Englisch, der Text dazu, mal sehen was der automatische Übersetzer draus macht:

A LOVER IN BERLIN
Lyrics and music: Kari Bremnes

Once l had a lover in Berlin,
said a frail old woman from a table next to mine.
His voice was like an ancient violin
and he spoke to me – that voice … that voice!….

Laura loves Max Bill.

Laura Max BillMet Laura, and so her Max Bill tattoo in Paestum, where she visited Silvia, both Architecture Students from Sao Paulo, staying at the Azienda Bellellil , a little paradise in Paestum. Two serious ladies, beautyfull and so friendly. A rare combination, somehow,  in my country. Both like Oskar Niemeyer,  like me.  Since decades, I hope to visit Brasilia. By the way…Fidel Castro visited Oskar Niemeyer to his 100 Birthday. Powering up with the elevator, he rings the doorbell, a man opens and faints. Fidel Castro, was on the wrong floor and not Oskar Niemeyer open the door. So it was told to me by Renè. I cooked „Gulasch a la Louise“,  Rene`s mother, from St. Gallen, Svizerra, a very fine Lady, and both liked Louise Wolkenstein`s  Gulasch. Merci.

Because the night belongs to music

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.JAF 5JAF 12JAF München 11_07_14

JAF8

History and dust Georg *18.08.1929 † 04.04.1969

Scan 2                                                                                                                                                              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.

Arleen Schloss & BLÄSSE: Alexander von Borsig`s concert poster.

1980 Berlin Alex 111980 Berlin Alex 11Berlin 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.Blässe Plakate Alex

Arto Lindsay in Düsseldorf: Intensive care against mediocritas

merci vielmals

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.

Arto Gang  28_09_13

 

 

 

 

 

 

 

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.

 

klavierunterricht 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:

Arto Lindsay in Düsseldorf

Arto Lindsay in Düsseldorf

Arto spieltArto L still

The Shock of the New….in 2 varieties

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.