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These spaces reflect and cohabit with coincidences, manipulation, stationary and mobile forms constantly breaking boundaries between private and public in its urban landscape. The basis for this project are micro-surveys implemented in Haebangchon, Intersections of Common Space and Time extends its discourse with artists, architects, filmmakers and local communities in forms of lectures and panel talk, Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions; participatory workshops, Reimagining the Future of Common Space with Micro-Communities and various activations of public spaces from public screening Indecisive Cinema II; rooftop video installation, in, around and beyond a gaze; mobile video installation and performance, Ten Second Glance.

Program I 28 August , 7 — 9: Das zum zweiten Mal stattfindende kollaborative Projekt Intersections of Common Space and Time soll den Teilnehmerinnen und Teilnehmern einen gemeinsamen Ansatzpunkt bieten, um sich mit dieser wichtigen Frage auseinanderzusetzen. Looking at Artistic and Architectural Interventions and Immersions. Programm Teil 1 Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt.

Pauly Read the essay on the exhibition by Adriana F. Mai , 19 Uhr Participating artists: Pauly Kurzessay zur Ausstellung von Adriana F. Applied Autonomy by Robert Lippok. The title of the new album is a clear indicator as to what the Berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. Has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy.

The more light one lets in, the more layers become visible. Big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. Rather than meticulously devising each and every detail, Lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. Based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. An album culminating in a collaboration with Klara Lewis, with whom Lippok spent 2 days at the EMS studios in Stockholm, approaching the idea of autonomy from yet another angle.

During the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. Over the last couple of years, he has made a name for himself with his spectacular AV performances. Order online at Raster Media. Nuclear Sanctuary by Markus Hoffmann. Kuratiert von Julia Katharina Thiemann.

What kind of animal mutations will happen in the near future, what species will be efficient in the context of the worldwide changing ecology? Where will humans go? Will they colonise space or even the sea? Galerie Wedding transforms into an immersive landscape consisting of amorphous organic and mechanic sculptures that move within the space: With this exhibition Anne Duk Hee Jordan aims to illuminate new perspectives and the tangible effects of climate change on sea and land.

Jordan, who has a professional background in marine ecology, sustainable cooking and art, presents a humourous and well researched perspective on processes of adaptation that go beyond human time. Tour through the exhibition on 27 September at 4. Noss Noss — stories, traces, passages. Noss Noss - stories, traces, passagesGroup Show Opening: Thousands of displacement experiences have their origin or their outcome in these three cities which, facing the sea, are interfaces between worlds.

How does the migration experience fit into historical, public or personal objects, documents or stories? This is one of the central questions dealt with in the exhibition. The exhibition in Marseille is the continuation of this project. Seventy years after the United States began testing thermonuclear weapons at Bikini Atoll, the artist set off on an expedition to an area rendered permanently uninhabitable for human life as a result of the environmental contamination. As we used to float is a physical, three-dimensional experience that reveals the legacy of those atomic tests both above and below sea level.

These unintentional monuments symbolise the interaction between anthropogenic and natural transformations. His work has been shown in many countries, including at the main exhibition of the Venice Biennale in This event at the Berlinische Galerie will be his first solo show at an institution in Berlin. Seine Arbeiten waren bereits in zahlreichen internationalen Ausstellungen vertreten, unter anderem in der Hauptausstellung der Biennale in Venedig.

Die Ausstellung in der Berlinischen Galerie ist seine erste institutionelle Einzelausstellung in Berlin. Auch von der ehemaligen deutsch-deutschen Grenze ist unser Feld markiert und das wirft weitere Fragen auf: Weltkrieg und dem Mauerfall entstehen? Hier werden Sie unterhalten. Dazu sind wir hier. Es gibt nichts Besonderes zu sehen. Wir alle sind mittendrin in unserer selbstgeschaffenen Welt des Konsums, des Internets, der Zerstreuung, der Selbstoptimierung. Was macht das mit uns? Was lassen wir zu? Welche Doktrinen beherrschen uns? Passiert da etwas mit uns, ohne dass wir es merken oder geben wir uns dem Spektakel des Alltags lustvoll und sehenden Auges hin?

Die, die neben mir steht oder der am Ende des Raumes? Eine traurige Clownin, ein Divus? Oder ein Unicum, das man heimlich bestaunen kann? August 21 , all day August 7 — September 7 Signs and symbols Forsyth Street New York NY For the month of August, signs and symbols presents a dynamic program of time-based work, screenings and performances.

Conceived as an experimental glimpse for our upcoming season, a selection of work will be on view of artists with forthcoming solo exhibitions. Allies of the gallery will also contribute work and discourse. Sound art will make an appearance in a live act, politics will be explored in a standup comedy night, movement and dance workshops will be followed by a sci-fi rap concert.

Devised with the intent for dialogue, overlap and exchange, our summer program is not a singular position, but a multifaceted, open-ended alternative to a summer group show. The title of the show, Demi-Gros, refers both to a traditional unit of measure in foodstuffs a gross, or a dozen dozen , and to middlemen who connect wholesale and retail in commerce. All the artworks are presented in a wooden box of not even the size of a shoebox in a wall safe. The uncurated show reflects the breadth of the Berlin art scene with artists of 17 nationalities, aged between 27 and 74 the average being 44 , working in an unusual format.

Exploring the exhibition requires the collaboration of the visitor. And it can be quite difficult to reinsert the artworks in the box… Peter Ungeheuer, Berlin, July Why is it only possible to conceive the future in slogans of static protection and demarcation today? The speculation in Would Have Been allows for transgression of spatial and temporal boundaries, to introduce the past into the present via the medium of a trace that can put the future in motion. Hybrid and transcultural perspectives draw the focus towards parallel realities. Everyone constantly constructs his or her own reality, there are trillions of parallel microuniverses.

The world is made up of the ideas of the world. The imagination has many sources and techniques at its disposal. Open Studios is a collaborative venture: Villa Romana Fellows Antibody by Fabian Knecht. He changes patterns of perception and action, transgresses art concepts and power structures, and questions social relations and norms by countering them with strong and provocative images. AntibodyBook Release Samstag, Lydia Ahrens, Isabelle Meiffert Gestaltung: Built from the waste material produced by an analogue film lab, this installation aims to re-materialize leftovers created by the film development process.

This degraded film material contains within it the seeds of its own destruction. Degraded film being degraded. Floating University — The future of the kitchen. Designing around the kitchen table. With numerous partners they experiment with knowledge transfers and the formation of transdisciplinary networks to challenge routines and habits of urban practices — Floating University Berlin.

The site is an almost forgotten place in the center of Berlin: An old, concrete rainwater basin right next to the Tempelhof airfield. A third landscape on the verge of disapearance. Here raumlaborberlin builds a generic structure, a drilling platform for a scarce urban resource: Students and scientists from more than twenty international universities come together with artists from all over the world, local experts, architects, musicians, and dancers.

Together, they research and investigate the daily routines and practices of urban living and formulate visions and ideas for a better future city In the territory around the rainwater basin Floating University is looking for contemporary, resilient forms of urban practice with a visionary focus on an unknown future.

In April, students and their teachers from Berlin, Europe and elsewhere collaborate on building the campus: Spaces are created for exchanging knowledge within experimental, educational formats. A place where transdisciplinary research teams and diverse positions come together to tackle the complex questions of urban practices. Christina Werner Discussions around the kitchen table. Christina Werner The kitchen at the Floating University. Studierende und Lehrende aus Berlin, Europa und anderswo bauen gemeinsam ihren Campus: From the idea of I drive, associated with individualism, capitalism, and the idea of freedom represented by the automobile, to I am being driven, which embodies the mindset of Silicon Valley as it seeks to outsource numerous daily tasks in order to make life easier and smarter.

Whereas we previously surrendered to our egos, we now surrender directly to cognitive networks controlled by a handful of corporations. Our passivity stands in opposition to the necessary democratization of new technological systems — a constructive, slow, and continuous process.

By doing this, 2 OG is the center of independent cultural production at Molkenmarkt 2 and always interested in developing the area and its diverse facilities as well as opening it for the public. This workshop and action series will be continued this this year in Berlin. Raul Walch invites the participants of Floating University as well as the inhabitants of the refugee shelter on the Tempelhof airfield and others interested, for his workshop and collective flying experiments.

The polymorphic flying objects will float above the fences of the airfield and expand the floating university into the sky. May 18 — 20, 11 am — 5 pm Raul Walch continuously visited the Greek border areas where he developed various flying objects together with refugees. Find more information at http: Man kann ein Buch aufschlagen, aber auch etwas hart zerschellen lassen, man kann an einem bestimmten Ort zu einerbestimmten Zeit aufschlagen, aber auch den Preis.

Temporal Shifts, stilll NOWs: In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality.


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Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city. Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia. Tuesday — Sunday, 12 pm — 8 pm Admission is free For more information: Temporal Shifts, installation view Clara Jo: Temporal Shifts, installation view.

He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Language Perceived From Without 1. Language Perceived From Within 1. The Multiplicity of Languages 1. Current Distribution of Languages 1. The limits of Translation Conclusion 2. Activity and Passivity Subjectivity and Objectivity 2. Unity and Multiplicity 2.

Portuguese as an Investigation Tool Conclusion 3. Conversation and Small Talk 3. Poetry and Word Salad 3. Oration and Babbling 3. History, Nature, Civilization 5. Rune Bosse and Anna Bak: The entrance to the room goes through a narrow little twisted staircase. In other words, when you enter the room, you really get the feeling of being underground, in another world. For the exhibition ABYSS, Rune Bosse and Anna Bak have created an installation in which their individual works and practices interact with each other and with the room. Below the surface of what is visible to us, a lot of processes are at work.

There is fungi, bacteria, roots and spores in everything, they interfere and all about everything, but maybe these elements also help to keep up with it all and without these intrusive forces it would all fall apart. A world where organic forces work both to intervene in space and keep the room up, a processual transformation on the verge between total decay and a stage immediately before rebuilding. The sound in the room is an enhanced version of the Schumann resonance. It matters what moves by Ally Bisshop. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition.

Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound. Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy.

Born in Australia, Ally has lived and worked across Sydney and in Berlin since Re-Imagining Berlin with Yves Mettler a. Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls.

These include spoken word dancers, comedians, dancers, photographers and visual artists. In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7.

Hybrid Matter by Andreas Greiner. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers. On entering the exhibition space one is welcomed by insert title of artwork a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition.

This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape. Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S.

How sure are we of our fundamental convictions of life and death, right and wrong? Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment.

From that point on, the individual carries out parallel lives: This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work. Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Diller realisiert worden sind. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt.

Saturday 2 June Press Preview and Vernissage: A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial works — including 49 new commissions — will be shown in nine different venues across Riga. There will also be 10 public sculptures and site-specific interventions in various locations around the city. Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice.

The artists participating in the public program and making performances will be announced at later date. The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city.

The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region. Dwell in Other Futures. Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St.

The earth is blue like an orange greenway Public performance: April 28, pm at the Pulitzer Foundation, PXSTL site field across from the Pulitzer Foundation The earth is blue like an orange greenway is 1 a social engagement design experiment 2 a communication process for citizen based co-design agency 3 a ceremony welcoming the coming of the St Louis Chouteau Greenway. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action.

Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St.


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  6. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. This can be playful, political, philosophic or poetic. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. Atlas, ; installation NOWs: What connects the works of these individual artists is the specific use of light, as subject and material. For the period of Berlin gallery weekend and the second time in its history, the square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography.

    Immer noch der Lauf der Dinge by Julius von Bismarck. Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. But in the performance Ecocentric System it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable.

    The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Diese Frau, ein Pfau im Schein der Baustrahler. Sie entwirft eine Erinnerung. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien. Andreas GreinerKunstverein Heilbronn Algae light up in blue when touched; high-yield-varieties of chicken from fattening farms are bred with short, absurdly thick legs to support their heavy bodies; a squid in Japan glows at a depth of meters to find a mate: The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin.

    It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid. Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art.

    Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture. As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world. In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue.

    In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent. It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming.

    The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act. To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth.

    It is, he says, as if I am looking at a flying dinosaur. From dinosaurs to high-performance chicken: Last but not least, it is also about the question of the creation of life — as an artist and also as a scientist. Andreas Greiner, born in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art.

    He concluded his studies in as a master student of Olafur Eliasson. Andreas Greiner has realized a new work for this exhibition. Monument for A Contemporary Dinosaurs Ross , High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext.

    In ihrer Ausgabe vom Vom Dinosaurier bis zum Hochleistungshuhn: Werner — return with their most inventive album to date, Dimensional People. The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector , Idiology , and Niun Niggung After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again.

    This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo.

    Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas. Dimensional People expresses itself as a dynamic piece orchestra, telling a story in sound.

    Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created. It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of bpm inspired by Chicago footwork, so the dance floor is not entirely absent.

    Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance.

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    CD version in mini-LP style gatefold package. People Festival, Funkhaus, Berlin. In it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history. But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight.

    A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil. It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products. From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all.

    Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process. The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture. Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance.

    Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area.

    Mehr Zeit für das Wesentliche dank einem Zeitmanagement - 3w-publishing Academy

    Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants. In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography.

    Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music. The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions.

    At the same time, they conjure up collective trance-like states and experiencing the transcendence of time. On the occasion of the exhibition a publication will be released. Aber er brachte auch andere Farben: Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker.

    Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Juni, 19 h Vortrag von Prof. Retreat into Darkness by Ivana Franke. Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown.

    She examines our perceptual processes when we confront something phenomenologically unknown. Pont, and Anil K. Pont, Bilge Sayim, Anil K. German, English — Ivana Franke: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center. Thursday 12 April 5: The exhibition runs in two consecutive sessions.

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    Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles.

    The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. He currently lives and works in Addis Ababa, Ethiopia. Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time. These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting.

    Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany. Magic Feelings is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride.

    These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable. Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die technische Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten. Seven Exhibitions at Brandenburgischer Kunstverein. Was macht eigentlich eine Ausstellung aus? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Marc Wellmann, Anette Ahme, Dr. How do we want our city to be viewed?

    Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3: Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken. Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up.

    So what kind of Berlin is developing there right before our eyes? But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion.

    We want a debate that is closely linked to the place where it belongs. Itinerance by Elise Eeraerts. Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. And to make an end is to make a beginning. Anne Duk Hee Jordan: Ziggy and the Starfish. Specific installation with stone and a fishing net between existing buoys NOWs: Glacial erratic stone are not native to our region.

    During the last ice age, the Saale Ice Age, around , B. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality.

    This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. It is a project, launched in , in which the sea often plays the main role. In Beaufort , the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world.

    Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Credits Director, Camera, Edit: Clara Jo; Additional Camera, Edit: Adam Hermansen; Choreographed by Christina Werner. Books ReBoostert Performance Lecture: Using basic equipment and partly self-built instruments, sounds were created — a conscious counter-concept to the contemporary mainstream. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium.

    Censorship and scarcity produced richly imaginative and frequently ironic types of work. The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances.

    Über martingstieger

    This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. Welcome to the Jungle. Office detail , NOWs: The Black Mamba feat. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender. Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound. She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop.

    Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. Habitat by Miriam Jonas und Andreas Greiner. Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material.

    Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible. What is the effect of an optimisation of the conditions within the cages while maintaining functionality? Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming — a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle.

    While algae already provide new solutions within the fields of industry and research, Fiebig herself is working on modular designs for living architecture NOWs: Fabian Knecht at Kunsthalle Baden-Baden. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today. A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself. It includes two of the earliest known examples of photographs documenting an exhibition.

    Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries. Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: Some of these were so extreme as to have remained revolutionary to this day.

    This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga. For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself.

    Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: Amid all the changes in the centuries-long history of the exhibition, there has been one constant: Paradise Lost by Timea Oravecz.

    The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years. What emerges is poetics rooted in the dichotomy between culture of origin and need for integration. Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary.

    Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell. In Colombia, she collected direct testimony from people who wanted to share their stories with her.

    Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded. The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her.

    She has won several grants eg.: She has won several grants e. She has presented her works at solo shows in Berlin, Helsinki, and more than fifty group exhibitions: Thursday 22 February 6: In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city. The Performance Agency at Archivio Conz. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. What does the future hold?

    Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action. The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls.

    The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg.

    The question is not whether to take part but rather how to do so and on what terms. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena. This One is For You! PAM unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech. PAM is interested in economizing attention on behalf of public interest rather than for monetary gain.

    PAM valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM Pre-events March 15, 11am: Press Conference, Munich March 16, 7: She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St. Recently she has edited: Performativity as Curatorial Strategy Joanna Warsza lives and works in Berlin.

    April 30 Munich Olympic Stadium PAM Public Art Munich will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July. Julia Heunemann and Nadia Pilchowski During hibernation, the Berlin city bears were rarely seen in their outdoor enclosures. They mostly slept, were fed only inside the bear pit out of public view, and freed from their representative role.

    Periods of rest in which physiological processes shut down, mental tension subsides and where consciousness shifts between vague perception and purposeless actions, are disharmonious with neoliberal performance orientation. In her previous works, Linda Kuhn has addressed the withdrawal from goal-orientated action.

    With protective cladding for sculptures, she creates retreats for the elements found within the enclosures, and in the process, ascribes to them new plastic qualities. By means of architectural interventions that circumvent habitual perceptual patterns, Alvaro Urbano deconstructs relations between inside and outside, dream and reality. Considering hibernation, he suspends the bear cages from their intended use and focuses on the imaginary potential of their immured and barred architecture.

    The question then of what bears dream about ultimately reflects hibernation itself as a space of the imaginary. Verde que te quiero verde. Courtesy the artist Fotos: Matthias Sohr — Public Science. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies.

    His sculptures — whether incorporating armrests, bathroom structures or floor markings — endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation. He lives and works in Lausanne. These serial results often remain arrested in the form of an infinite loop or seem to circle infinitely onward.

    Both artists share an interest in these issues: In this way, a bright, semi-transparent ring is created made of wax with a visible wick, where the candle is shifted as a light source and instrument for measuring time in the form of a loop. In a chain of wood over twelve meters long entitled Everything is not lost , Schuiki reorganizes found tables and chairs from the streets of Shanghai into a regular arrangement of points in space. Here as well, beginning and end are linked to one another and the resulting endless loop recalls popular prayer beads.

    The new series Hand consists of abstract photographs that Schuiki prints directly onto glass: The portal of the touch screen, constructed for tactile permeability, is reversed to a blocked view and gains an unexpected power as a photograph. The window as a light source for the architectural interior is repeated in analog slide frames as a mediating window through which the light falls to produce an image. Kuimet casts the light image back onto a wall and this results in images of blinded windows, additional windows in the exhibition space.

    The window as a window as a window thus remains in the projector box while the slide carousel continues turning. The work , developed as a black and white film, takes this as a point of departure and shows a sculpture from by Estonian artist Edgar Viies. The viewers walk around the filmed object on the screen. At the same time, both artists do not view these periods in a nostalgic way. Instead, they cast a contemporary view of art of the s and s that is programmatically expressed in the title of an earlier work by Schuiki: Works of Kuimet are in the collection of the Espace Photographique Contretype, Brussels and the Carousel Colletion, as well in many private collections in Estonia.

    In Nina Schuiki received the work and research scholarship of the federal state government of Berlin and the project scholarship of the chancellery of Austria. Nico Anklam is an art historian and curator. Most recently he realized a traveling exhibition and performance program around the Fluxus composer Henning Christiansen between Denmark and Norway.

    Currently he works as a research fellow at the University of Greifswald on art and image production of the 19th century in Northern Europe and its colonies. Friday, January 12, at 7 pm. The conversation will be held in English. Januar , 17 — 20 Uhr Ausstellung: Diese seriellen Resultate verbleiben oft in einer Form von Endlosschleife arretiert oder scheinen sich unendlich zyklisch fortzusetzen. Nina Schuiki enthebt in endless candle eine Kerze ihrer Licht spendenden Funktion und streckt sie soweit, dass sie zu einem Kreis verschmilzt.

    So entsteht ein heller, semitransparenter Ring aus Wachs mit sichtbarem Docht, in dem die Kerze als Lichtquelle und Zeitmesserin in die Form des Loops verschoben wird. Kuimet wirft das Lichtbild neuerlich auf eine Wand und so entstehen Bilder von verblendeten Fenstern als weitere Fenster im Ausstellungsraum. Kuimets Film konserviert sie in diesem Zustand um sich selbst kreisender, konstanter Neuausrichtung auf einer beidseitig einsehbaren Leinwand.

    Kuratiert von Nico Anklam Paul Kuimet geb. Nico Anklam ist Kunsthistoriker und Kurator. Jahrhunderts in Nordeuropa und dessen Kolonien. Januar, um 19 Uhr. Matthias Sohr, Strut, The dream of grasping phenomena in their own language has long animated scientific endeavors, offering an irresistible provocation to the arts. Observation and experiment are typically treated as diametrical poles of experience. In contrast to the passive innocence and receptivity of observation, experiment carries the connotation of action, intervention and manipulation.

    And yet experiments are frequently contrived for the precise purpose of rendering phenomena observable that would otherwise fall outside of the range of our sensory perception or technological detection. Particles are scattered, model organisms are bred, dyes are released in bloodstreams and waterways in order to reveal latent images and trigger our capacity to notice possible configurations of the world. In the work of Urbano and Schuiki, shadows, gusts of wind, and rays of light are arrested in their path as if noticed by the peripheral vision of the walls themselves.

    Activating perspectival alternatives to the manner in which spaces and objects may perform for the camera, Jo proliferates politics of observation and calls them into dialogue. Caught in the act of observing and being observed ourselves, our capacity to distinguish between reality an illusion is tested—and with it our desire to touch a world beyond that of our own making.

    The above text excerpt is contributed by Dehlia Hannah. From the participants of these courses a selected number of participants will have the opportunity to attend in autumn the second level courses in Austria, to get the possibility to finally receive the trainer license in lymphedema management after passing this course successfully. European — Chinese cooperation project in compression and lymphedema therapy Sanya, China. In China in , there were about 10 million people who suffer from lymphedema and about million people who suffer from lower leg venous disease.

    To treat these diseases, lymphedema therapy and compression therapy have proven to be very effective. In Europe, standardized treatment therapies and educational programs have already been established. However, in China these methods of treatments are mostly still missing. The launch meeting of the European-Chinese cooperation project in compression therapy was successfully held from May 29th to May 31st in Sanya, China. Besides the numerous possibilities of networking, remarkable speeches were given and contracts were signed.

    The delegate from the German Chamber of Commerce especially pointed out the positive, fruitful business cooperation between Germany and China and outlined the importance of the project. Liu Ningfei reported about the lymphedema treatment therapies in Europe and China in two very interesting speeches and emphasized on the existing differences between the regions. Moreover, IHM is especially proud to announce that this program is fully supported by one of the leading hospitals in China, Zhejiang cancer hospital, who signed the collaboration contract to establish a training base for lymphedema treatment in collaboration with the IHM.

    We are really happy to announce, that since April the new IHM website is online under http: On this website all relevant themes and issues are displayed for past and future participants of our academic courses. The IHM will keep this website updated in terms of scientific reports and interesting information for you all. We are continuously developing our website in order to deliver regular and actual information for our partners and course participants. The collective interest in the optimal treatment of lymphedema patients and the willingness to learn, made the courses a great success with positive learning effect and active exchange of experience, not only on the side of the students but also on the side of the lecturers.

    In the upcoming modules, the students get to deepen their knowledge about lymphedema treatment. After successfully graduating from the CDT course, the participants will be able to perform complex examination and treatment techniques and to adapt interventions according to different pathologies. The most qualified graduates get the possibility to apply for our train-the-trainer program which certifies them to transfer their knowledge in the highest possible professional way. In total around 15 carefully selected graduates will have the pleasure to be educated at the 2nd level of lymphedema management.

    There will be a 3rd module in spring , which also needs to be completed successfully, then students obtain academic certification for lymphedema therapist according to European treatment standards. The best students have the possibility to apply at the University for a train the trainer program to become an official IHM International trainer in CDT.

    With great pleasure and interest we are looking forward to these high end courses to educate the future lymphedema trainers at IHM level. IHM is also proud to announce that the first co-operations with medical institutions in Russia, particularly in St. Petersburg, were fixed within the last weeks. We will keep you informed in the future on the development of these courses. Stephan Harmos de Hyhalom will teach there around 25 doctors and physicists in the latest basics on CDT. Beteiligungscontrolling, Europarecht oder Projektmanagement drei davon in englischer Sprache z.

    Eine sehr gute Darstellung zur Bildungskarenz finden Sie hier: Neuerungen bei der Grunderwerbsteuer Ab 1. Die Promotionsurkunde wird in englischer und bulgarischer Sprache ausgestellt. Die Doktorarbeit wird publiziert und in einer eigenen Forschungsreihe der Uni aufgelegt. Die Bildungsanbieter beraten Sie dazu sicher gerne.