1. German Expressionism 1905-1913. Brücke-Museum Berlin, in the Groninger Museum


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    Highlights from the collection of the Brücke Museum in Berlin. The exhibition, which was held in the Ploeg Pavilion, displayed 150 works, including paintings, drawings, prints and figures by the Brücke members Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt- Rottluff, Fritz Bleyl, Max Pechstein, Emil Nolde, Cuno Amiet and Otto Mueller. This exhibition closed on 11 April 2010. De tentoonstelling toonde hoogtepunten uit de collectie van het Brücke Museum in Berlijn, zoals schilderijen, tekeningen, grafiek en beelden van Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt- Rottluff, Fritz Bleyl, Max Pechstein, Emil Nolde, Otto Mueller en Cuno Amiet. Voor het laatst te zien op 11 april 2010. Die Ausstellung zeigte Höhepunkte aus der Sammlung des Brücke Museums in Berlin wie Gemälde, Zeichnungen, Grafiken und Skulpturen von Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt- Rottluff, Fritz Bleyl, Max Pechstein, Emil Nolde, Otto Mueller und Cuno Amiet – insgesamt etwa 150 Werke. Bis 11. april 2010 Catalogue A catalogue with articles by Brücke experts such as Prof. Dr Magdalena Moeller and Christiane Remm, is accompanying the exhibition. Publisher: Hirmer Verlag. In Dutch and German. You can buy it here: https://synergy.groningermuseum.nl/webshop/docs/webshop.asp?act=item&itemcode=10122000911 © Groninger Museum Video made by Sije Kingma Please check for more information: http://www.groningermuseum.nl/index.php?id=4272

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    • 3-D-Drucker in action: Märchenwesen und Monster werden real


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      welche Gestalten bevölkern Ihre Gedanken? Besucher der Nolde-Ausstellung beschreiben uns ihre Fantasiewesen, unsichtbaren Freunde und nächtliche Angstgestalten - mit einem 3-D-Drucker lassen wir sie Realität werden. Ideengeber ist Emil Nolde, der in seiner Kunst seinen Fantasiewesen Gestalt gab, allerdings mit Farbe, Pinsel und in virtuoser Drucktechnik. Studierende der FH Emden unterstützen das Projekt und programmieren die Wesen. Sie werden dann in der Kunsthalle mit einem 3-D-Drucker ausgedruckt , den die Haustechnik aus einem Bausatz montiert hat. Immer mehr der etwa handhohen Figuren aus pinkem Kunststoff bevölkern die Werkstatt im Atrium - noch bis zum Ausstellungsende 26. Mai 2013. Der Student Carlos Dès Maciá hat dazu diesen Film gemacht. Danke, Carlos!

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        AUGUST 13, 2012 - duration: 03:46 copyright © side by side gallery akim monet GmbH 2012 Akim Monet is pleased to announce an exhibition of early 20th century Master Prints of German Expressionism, in conversation with sculptures by Berlin-based contemporary artist Satch Hoyt. "SEX IS KICKING DEATH IN THE ASS WHILE SINGING." Opening Friday September 14, 2012 -- until Saturday October 27, 2012 German Expressionist Master Prints: ERICH HECKEL (1883-1970) ERNST LUDWIG KIRCHNER (1880-1938) OTTO MÜLLER (1874-1930) EMIL NOLDE (1867-1956) MAX PECHSTEIN (1881--1955) KARL SCHMIDT-ROTTLUFF (1884--1976) in conversation with sculptures by: SATCH HOYT (b. 1957) Curated by: AKIM MONET (b. 1968) Sex, the most basic and primal of human instincts was at the core of many Expressionist works. Death is inevitable. This universal theme became even more potent and relevant for Expressionist artists in an age marked by war and social upheaval. Upon discovering German Expressionist graphics from the beginning of the 20th century, it is quite striking to see how often the same artists addressed both the seemingly contradictory themes of sex and death. Of course, the insouciance and enthusiasm of the first decade of the 20th century soon gave way to the horror of the first world war, and to the carnage and destruction that spread through Europe like wild-fire. Nevertheless, as one examines their multilayered meaning, both these notions of death and sex are in fact often interchangeable. In Elizabethan times "dying" was used as a metaphor for experiencing an orgasm. Conversely, death is seen in certain cultures as the ultimate bliss. It is in the spirit of Charles Bukowskiʼs words "SEX IS KICKING DEATH IN THE ASS WHILE SINGING" that Side by Side Gallery Akim Monet explores these themes through the work of a selection of early 20th century German expressionist artists. Concurrently, in order to create a bridge to the early 21st century, the gallery has invited Berlin-based contemporary artist Satch Hoyt to respond to the German Expressionist prints. Satch Hoyt's FRAGMENTED (THE ACT OF RAPE IN WARTIME) investigates the red army rape of German women during the 1945 soviet occupation of Berlin. Statistics state that two million women were raped in Germany, many, more than once. Many women killed themselves rather than comply with the soviets. Many men killed themselves and their wives rather than suffer the indignity of rape. The porcelain figurines executed in Berlin in 2009-12 are made of broken fragments from the 1945 bombing of Berlin. Broken treasures from bombed homes, the fragmented remains of fragmented lives. In general each figurine is comprised of 4 different fragments. Some of the figurines seek to portray the physical and moral devastation, Pain and trauma, endured by the raped victims. Others portray the red army conquerors as lustful cowardly creatures. These fragments are exhumed by a woman who digs at various landfills around Berlin the Kriegsmulle (war trash) as she refers to it, is then sold by her at a Berlin flea Market. Title of the exhibition: "SEX IS KICKING DEATH IN THE ASS WHILE SINGING." Charles Bukowski (1920 -- 1994) Notes of a dirty old man, p. 166 The exhibition will feature an original soundtrack: Satch Hoyt (UK, 1957) Fragmented Virginity (The Act of rape in Wartime), 2009 Series of porcelain figures, soundscape The Fragmented Suite Featuring The Misa Bantu Chorus of the Congolese Sisters of Katana Kivu Trianhong Chinese female choir Nina Simone Burnt Sugar The Arkestra Chamber, The Rites. Shara Worden My Brightest Diamond John Adams, Harmonium Sounds Of Blackness Balkan choir Billie Holiday Odetta Ella Fitzgerald Moroccan women at wedding ritual Sonic collage conceived by Satch Hoyt Edited by Dirk Leyers Edited at Gabom Studio Berlin

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        • Daniel Richter: On Emil Nolde


          from Louisiana Channel / Added

          Emil Nolde was a Nazi - and so what, asks contemporary German artist Daniel Richter. "It's a moralistic debate. A debate, that mirrors the moralism and bigottery of a generation that seems to think, that the world is a moral playground." Emil Nolde's relationship to the Nazi-regime in the Third Reich has given rise to immense discussions within the last months. For decades the broader public had a picture of Nolde being one of the "entartete" artists as well as being prohibited painting by the Nazi-regime. Though this on the surface is true, it was the result of a great disappointment to Nolde. For years, he had strived to become "the" artist of the Thrid Reich, praising his own art as true, German, anti-French and anti-Jewish. Possible competitors within the German art world like Max Pechstein he actively denounced to the Nazi authorities. For Daniel Richter, who growing up in the Northern part of Germany was surrounded by Noldes paintings since early childhood, not much new has happened though. "Already the frist president of the Berlin art academy after the Second World War called Nolde for Nazi-Emil. He despised him." In other words: Everybody, who wanted to know that Nolde was a Nazi, could have known it for many decades. It was a public secret, so to speak. In this interview Daniel Richter reflects upon the reasons for the actual debate. "Nolde became a symbol for the Germans in general. Like them he went along, he was opportunistic, he aimed high and fell deep. Like the man on the street, he felt betrayed - by Hitler and the Nazi-ideology. In many ways, Nolde is the blueprint of the collective German mind after the war." But does Nolde's betrayal have to influence our perspective on his art? Richter argues: "Is it necessary for us to know, who the artist was? Today everybody is judged by his private dealings - politicians, public persons, artists. I think that's wrong. Knowing the biography or the moral, social or political behaviour of a person may sharpen one's look on a work. But in my eyes, it should never deminish the work. The work should be judged on it's own and only in relation to other paintings." And therefore Noldes work is still relevant today, Richter says. "Like most artists, Nolde had a contradictory personality. It was like a red line through his life. Many artists have wrong ideas, but come to interesting results. Art does not have an expiry date - that's a wrong understanding of art. If the paintings confuse me or irritate me or offer something, that I have not seen before, they are contemporary paintings. And that answers the question. Everything we consume today, everything we can use for something, is contemporary art." Daniel Richter (b.1962) is one of the leading painters on the German contemporary art-scene. Between 1991 and 1995 he attended the Hochschule für bildende Künste in Hamburg. From 2004-2006 he served as Professor for Painting at the Universität der Künste in Berlin. Since 2006, he has been teaching at Akademie der bildenden Künste in Vienna. His works are besides others represented in the collections of the Museum of Modern Art in New York, the Centre Pompidou in Paris and the Boros Collection in Berlin. Daniel Richter was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art. Camera: Jakob Solbakken Edit: Kamilla Bruus Produced by: Marc-Christoph Wagner Copyright: Louisiana Museum of Modern Art, 2014 Supported by: Nordea Fonden

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          • Emil Nolde - mer & terre


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            La peinture d'Emil Nolde (1867 - 1956) Musique Ilhes des Açores de Madredeus Pour plus d'infos visitez: http://en.wikipedia.org/wiki/Emil_Nolde

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            • Emil Nolde


              from Jochen Bohnes / Added

              Ein Bericht von Wilhelm G. Bohnes

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              • Nolde's Sky


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                My third year film, created at the University of the Creative Arts (Farnham) 2009. Synopsis: ‘And I admired the majestic heavens, spread out above me from here to there. Oh, the exchange of the spiritual with the simple – natural, how I enjoyed this. But often the whole of nature was staring at me, I felt and sternly warning me’ Emil Nolde

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                • Der Kunstmaler Robert Rudolf Hoffmann


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                  Der Kunstmaler Robert Rudolf Hoffmann (1858 - 1930), Film von Doris Lohse und Christoph Lohse, Berlin

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                  • Maxim Kantor - Galerie Nierendorf


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                    Galerie Nierendorf - www.galerienierendorf.de

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                    • Emil Nolde - visages


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                      Peintures d'Emil Nolde Musique de Mark Mothersbaugh Xp32 - Muzik for Insomniaks vol. 1

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