October 2011

Nice Medieval Wear photographs

by admin on October 29, 2011

Some neat medieval wear photos:

Three Daisy Combined-Media Chainmaille & Leather Cuff
medieval wear

Image by The ChainMaille Girl
Very first I created a strip of chain maille in the Japanese 12 in two weave. Then I hooked up it to a piece of leather that I lower to the size of a 1” cuff. Married the two with jump rings and, voila, a really special and unique OOAK awesome cuff! It has a solitary snap closure. The leather is three/16” thick.

This bracelet is all set to be worn to school, on your bike, or even to the mall!

The Round Tower
medieval wear

Picture by gerardov
Glendalough (Irish: Gleann Dá Loch, meaning &quotGlen of Two Lakes&quot) is a glacial valley situated in County Wicklow, Ireland, renowned for its Early Medieval monastic settlement founded in the sixth century by St Kevin, a hermit priest, and destroyed in 1398 by English troops

The Treasury: Pendant with Virgin and Kid
medieval wear

Picture by peterjr1961
Pendant with Virgin and Little one
Day early 16th century Made in Nuremberg, Germany

The layout of this pendant served as the insignia for the Schwanenorden, or Buy of the Swan, launched in 1443 by Friedrich II, elector of Brandenburg. Several contemporary portraits present related pendants worn on chains all around the neck with a large pearl or other ornament suspended from a loop. The picture of the Virgin and Kid on the crescent moon, inspired by Revelation, is similar in composition to woodcuts by Hans Baldung Grien, a protégé of Albrecht Dürer in Nuremberg.

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Medieval Gladiator Leather Bre…

by admin on October 28, 2011

Medieval Gladiator Leather Breastplate with Metal Studs: Medieval Gladiator Leather Breastplate with Metal Studs… http://t.co/W6zaRYFM

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Query by traderbobhn: How is World wide Warming alarmism like a cult?
In accordance to Robert Greene, in his 1998 bestselling ebook The 48 Laws of Energy, electrical power can be effectively accomplished by creating a cult like following (Law 27). This will take five easy measures. Lets see how the environmental alarmist have followed them.

Phase one: Maintain IT VAGUE Retain IT Simple.

The alarmist position tends to emphasize (to the exclusion of other factors in the most extreme instances) the part of CO2 as a greenhouse gasoline, and only give other variables that can affect the earth temperature modifications (like the sun) a passive and even dismissive search. They inform folks that the oracle of the computer designs predict the potential of earth. But they retain the complexities and limitations of laptop or computer modeling and statistical approaches (this kind of as info mining and curve fitting) concealed simply because they “complicate” the troubles as do aspects other than CO2. (http://www.co2science.org/scripts/CO2ScienceB2C/articles/V3/N6/EDIT.jsp )It is less complicated to mobilize men and women on the basis of a straightforward answer to a easy distinct-lower problem, which weather science is not.

Review the scientific material of Al Gore’s site ( http://www.climatecrisis.web/thescience/ ) to that of teams opposing the alarmist position (http://www.co2science.org/scripts/CO2ScienceB2C/Index.jsp )

Step 2: EMPHASIZE THE VISUAL AND SENSUAL Over THE INTELLECTUAL.

Alarmist charm to fears and emotions. Al Gore’s motion picture “An Inconvenient Truth” utilizes photos of mundane environmental occurrences (the breaking off of ice from Antarctica) to the extraordinary (Hurricane Katrina) as “proof” of intense weather alter.( http://article.nationalreview.com/?q=YmFiZDAyMWFhMGIxNTgwNGIyMjVkZjQ4OGFiZjFlNjc= ) Appeals to animal lovers telling them of coming extinctions and showing polar bears. (http://www.eurekalert.org/pub_releases/2007-03/aiob-ipo022307.php ) And then inform it is all the fault of CO2 and mostly human emissions of CO2. Like Mr. Gore, many environmentalist shy absent from the complete on scientific debate and give minor if any proof of all this apocalyptic events to occur. (http://www.co2science.org/scripts/CO2ScienceB2C/posts/V1/N2/EDIT.jsp ) And whenever a report proving some broadly held assumption improper, it will get buried in academic journals. http://www.co2science.org/scripts/CO2ScienceB2C/articles/V2/N12/EDIT.jsp

Step three: BORROW THE Forms OF ORGANIZED RELIGION

The proselytizing about the coming apocalypse employing armies of genuine believing unqualified volunteers is reminiscent of the way Christianity spreads. The zealotry and redeeming actions that individuals ought to flagellate on their own with are constantly preached. Even the medieval indulgences offered by the Roman Catholic Church have resurfaced in the sort of carbon emission offsets. And of class, lets not forget about the Substantial Holidays this kind of as Earth Day. (http://www.earthday.org/ )

Phase four: DESGUISE YOUR Resource OF Income

Alarmist cry that all individuals who oppose their watch are getting financed by the evil oil and automotive multinational corporations. They moan that any study that gives evidence that tends to make their statements doubtful is getting compensated with blood income. This of course takes the consideration from the billions of bucks that are becoming supplied by governments ( http://ec.europa.eu/environment/funding/pdf/handbook_funding.pdf , http://www.rec.org/REC/Databases/Funders/Default.html http://www.epa.gov/epahome/finance.htm ) to research the outcomes of world wide warming on almost everything, but anybody who dissents get’s their funding minimize (http://www.CapMag.com/post.asp?ID=4941 ). All the concern mongering pressures politicians to offer all this earmarked taxpayer money.

Action 5: SET UP AN US-THEM DYNAMIC

As pointed out over, anybody who opposes the alarmist watch is demonized as Deniers (equating them to the neo-nazis) (http://www.canada.com/nationalpost/news/archives/story.html?id=216ca730-10f0-4614-9692-fc37d99cbac3 ) and many even consult for costs of crimes against humanity for them http://www.cnsnews.com/ViewBusiness.asp?Page=Businessarchive200205BUS20020529a.html ). http://a4a.mahost.org/fakes.html

Very best solution:

Answer by afratta437
you want to consist of character assassination and defamation of any heretic in the group that betrays the lie.

also the the way the cult has acquired the media as their spokesman.

an additional thing is how they’ve gotten people conditioned so no matter what takes place weather smart- typical, abnormal or excessive is proof of the lie.

other than that, it is certainly how they are enjoying the video game.

Include your personal answer in the responses!

{ 1 comment }

David Oscarson – Valhalla

by admin on October 28, 2011

A handful of wonderful medieval spear pictures I identified:

David Oscarson – Valhalla
medieval spear

Picture by s.yume
Minimal version #33 of 88

The Valhalla Assortment is the ninth in the David Oscarson™ series of Limited Edition producing instruments. Produced in 3 colour variations, each will be limited to manufacturing of 88 pieces (which includes fountain pens and roller balls).

From the Bronze Age to medieval occasions, Viking mythology was the religion of Scandinavia. These days, legends of the Vikings are current in all cultures as a outcome of their potential to travel and plunder, leaving their marks throughout the encounter of Europe and the identified entire world. Known for their ‘longships’ and crude weaponry, the Vikings also developed a crude runic alphabet, observed chiseled into enormous granite rocks, known as rune stones they can be noticed throughout most of modern day-day Europe.

Valhalla (Valhöll) actually translated signifies ‘Hall of the Slain” and is in essence a Viking heaven, or ‘Otherworld’ into which Viking warriors pass upon leaving this existence. It is a wonderful framework – much like a Roman Coliseum – with 640 doorways, by way of each of which 960 champions can march shoulder to shoulder. Its rafters are spear shafts and its tiles are shields of gold. Here, fallen champions commit all day gaming and fighting one an additional in battle. At the finish of the day, the dead and wounded are all healed, so they can invest the night time feasting on the flesh of a boar whose flesh never diminishes and consuming from the udders of a magic goat.

In Valhalla, 3 Viking gods prevail: the Nordic Trinity, Odin, Thor and Frey.

Odin, ‘God of the Slain’ and ‘All-Father’ lives throughout all ages ruling his kingdom definitely, governing all issues wonderful and little. He fashioned Heaven and Earth and is also credited for making Gentleman and providing him an immortal spirit ‘which shall by no means perish however the body crumble to dust or burn off to ashes’. Odin is also the patron god of poetry and one of his poems slithers in the form of a serpent in higher relief on the cap of the Valhalla Assortment. Actually translated from runic script, the poem reads ‘he who would study the sacred runes is clever to waste no words’. Odin’s title is the basis for our modern-day day Wednesday (Odinsdag).

Thor is of training course the God of Thunder. He is the guardian of the planet – each of gods and males. His mighty hammer Mjöllnir is a small-handled weapon (the dwarf who forged it was interrupted in his operate by a gnat stinging him on the eyelid). Named right after lightning, or practically ‘ a thunderbolt’ it can be swung or thrown, and will always return to his hand like a boomerang. It is with this weapon that Thor maintains the balance of the entire world and keeps forces of chaos in verify. Thor’s identify is the foundation for our modern day Thursday (Thorsdag).

Frey is the god of fertility. He is the noblest of gods. He controls the rain and sunshine and consequently the all-natural boost of the earth and it is excellent to contact upon him for fruitful seasons and for peace he also controls the great fortunes of guys. Frey was the paramount god of the Swedes and revered as the divine ancestor of their kings. Frey is stated to have developed the excellent temple at Uppsala (just north of Stockholm) when he produced it his chief seat and the Swedes created sacrifices to him at weddings: ‘He bestows peace and enjoyment on mortals’. In Norse mythology, Frey is remembered as a symbol of the divine marriage amongst the sky and the earth that creates Spring. (His twin sister, Freyja, is the most superb of the goddesses and was the mistress of Odin for a time. Her name is the basis for our modern-day Friday.)

In contrast to the crude art of the Viking era, the Valhalla Collection is portrayed in the technical knowledge of Guilloché engraving and the artistic mastery of Difficult Enamel. The Collection incorporates three amounts of Guilloché and three colours of translucent and opaque challenging enamel on each Assortment piece.

The Medieval design of this Restricted Version demands 3 separate levels of engraving. The total body of the pen is 1st cut down to the degree of the qualifications, leaving the outlines of the rune stone and longship in high relief. The wave and granite designs are then engraved onto the surface area of the human body of the pen. The 3rd stage of engraving applies the more compact serpent motif to the surface area of the granite the more substantial serpent remaining elevated in higher relief.

July nine/ten Ringrider parade
medieval spear

Image by Jude Doyland
These days was the start of the Ringrider weekend here in Sonderborg. Ringriding is like medieval jousting whereby the riders are on a horse and with a lance they try to spear a ring off a target. A parade began the celebration and so here are two men from a properly dressed unit of the Danish army from the parade. However I was in a lousy spot for photographs so this is the greatest I had.

The two young children of Grimaldi
medieval spear

Image by austinevan
The tomb of the two kids of Grimaldi. This is an eleven,000 calendar year previous grave that contains the physiques of two deformed young children (enlarged and elongated bulbous heads and uncommon bone dimensions). They are the two about two a long time previous and their bones recommend that they had a very good diet plan and had been wholesome. Harm to the vertebrae of 1 of the young children suggests that they were the two violently killed (but not ritualistically – fairly an assault by a sharp weapon). The source of the skull and bone deformities is mysterious. Alongside the skeletons, hundreds of very small pierced shells are identified. Maybe a belt or covering made by linking the shells with fiber.

I picture these two adorable 2 12 months olds with their enormous bulbous heads sitting about their medieval village residence actively playing sporting their minor jewelries and apparently ingesting quite well. Then all of a sudden someone kills them with a spear or axe. Maybe the village in Italy where they lived was invaded? Did the invaders eliminate them simply because of their deformity?

——————————————————————————————————————–

facts from museum:

Squelettes deux enfants decoverts ainsi couches cote a cote, le seven juillet 1875, dans la premiere des grottes de Menton La area abdominale est recoverte d’une ceinture ou pagne de coquillages perces apparenant tous a l’espece connue sous le nom de Nassa neritea.

On 7th July 1865 the skeletons of two children have been learned lying following to every other in the initial of the Grottos at Menton. Their stomaches have been protected with a belt created up of pierced shells of the variety identified as Nassa Neritea.

——————————————————————————-

much more details from study at museum:

La sépulture des enfants de Grimaldi a été découverte dans l’une des grottes du web site des Baoussé-Roussé en Ligurie (Italie) à la fin du XIXe siècle par le préhistorien E. Rivière.

Une datation C14 en spectrométrie de masse par accélérateur de particules la date de la fin du Paléolithique supérieur alors que l’Italie était occupée par les populations de chasseurs-cueilleurs de l’Epigravettien final. Comme plusieurs auteurs l’ont souligné, les tombes réunissent des vestiges intéressant à la fois la biologie et la tradition. De ce double position de vue, la sépulture des enfants de Grimaldi restée inédite, constitue un document archéologique exceptionnel.

L’étude des squelettes apporte des informations sur l’anatomie, le développement et la pathologie des jeunes enfants du Paléolithique supérieur qui permettent en particulier de discuter des soins qui leur étaient prodigués et de leurs situations de vie.

Une nouvelle analyse du traitement funéraire a pu être effectuée automobile la placement initiale d’une partie des os et de la parure a été préservée grâce à la strategy de prélèvement utilisée par E. Rivière.

Originale parce qu’elle réunit dans un même espace deux enfants de moins de cinq ans dont un est décédé à la suite d’une blessure because of à un projectile, cette sépulture offre des caractéristiques qui évoquent cependant des pratiques funéraires très proches de celles mises en oeuvre par les autres groupes humains de l’Epigravettien ultimate.

L’étude synthétique de l’ensemble des sépultures du Paléolithique supérieur italien apporte en outre des éléments de réflexion sur l’évolution du comportement des populations paléolithiques confront à la mort des jeunes enfants et au-delà sur leur organisation sociale.

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Cool Renaissance Wear images

by admin on October 27, 2011

A few nice renaissance wear images I found:

IMG_3975Arsenalshorts
renaissance wear

Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

IMG_3974Arsenalshorts
renaissance wear

Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

IMG_4018Arsenalshorts
renaissance wear

Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

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