grau – -Translation – Keybot Dictionary

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Show textShow cached sourceOpen source URL	"Ein Funkeln und Glitzern ginge in diesem Grau auf..." Verena Pfisterers visionäre Kunst
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Doch erst mit Ghirri begann ein wirklich neues Kapitel der italienischen Fotografie. Wie es der Titel seines 1978 publizierten Buchs Kodachrome signalisiert, ist seine Welt nicht mehr schwarz-weiß-grau.

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But a truly new chapter of Italian photography first began with Ghirri. As the title of his book Kodachrome (published in 1978) signalized, his world is no longer black, white, and gray. Parallel to Americans like Stephen Shore and Joel Sternfeld, who primarily turned to landscape, Ghirri also worked in color. In Atlante (1973), one of his earliest series, the exploration of conceptual art also becomes clear: Ghirri photographed details from atlases -as departure points for imaginary journeys. In a country that has been photographed to excess, he began at a kind of point zero, from where he developed his own images of Italy. While they are poetic, they are also a clear counter-proposal to the nostalgic and documentary stereotypes. An eye for the random and peripheral characterizes Ghirri's unbelievably dense everyday scenes, interiors, and landscapes. He took these photographs for the most part in his native landscape, the province of Emilia-Romagna in the north of the country. Here, in the small city of Fidenza, he also photographed the nighttime street scenes in the Deutsche Bank Collection.

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"Ein Luminogramm – wie ‚Lumen’, das Licht – entsteht, wenn man nur noch mit Licht arbeitet und nicht mehr mit einem Objekt. Ich habe das Fotopapier in unterschiedlichen Variationen gefaltet und dann belichtet. Man sieht genau, wie das Licht entlang der Faltungen gelaufen ist – wo es hingekommen ist, wo nicht, wo es von dem Fotopapier reflektiert wurde, oder sich selbst reflektiert hat. Bei den ersten Versuchen habe ich einfach Fotopapier gerollt und es dann in diese Rolle hinein mit einem Feuerzeug belichtet. Weil das Licht die verschiedenen Papierschichten unterschiedlich durchdrang, ergaben sich verschiedene Gradationsstufen von Grau."

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Just how multifaceted Amm' approach is can be seen in the luminograms he began working on in 1997 and created for ten years parallel to his other works. Among these is an untitled series from 2005 purchased by the Deutsche Bank Collection. "You make a 'photogram' by laying an object onto the photographic paper and recording it as a negative apparition," explains Amm. "A 'luminogram'-like 'lumen,' light-is made when you work only with light and not with an object. I folded the photographic paper in various different ways and then exposed it. You can see exactly where the light traveled along the folds-where it penetrated, where it didn't; where it was reflected by the photographic paper or reflected itself. For the first few trials, I simply rolled the photographic paper into this roll and then exposed it to light with a cigarette lighter. Because the light penetrated the various layers of paper in different ways, it resulted in different gradations of grey." The images that arise in this way seem almost auratic. Yet, as Amm stresses, they are also "fairly primitive" in the making.

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Polkes zwischen 1963 bis 1976 entstandene Zeichnungen bilden das größte Konvolut in der Ausstellung. Demgegenüber stehen Gerhard Richters monochrome Leinwand Grau von 1974 und eine Werkgruppe von abstrakten Aquarellen aus den späten 1980er-Jahren.

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In the case of Sigmar Polke and Gerhard Richter, works by two artists are juxtaposed that occupy a key place in the Frieder Burda Collection. At the same time, they are closely connected to one another through their biographies, their work, and their friendship. Richter (Ladies Shoe), Richter's Customer Service, Slimness Through Richter: these are the titles of drawings from 1965 in which Polke not only satirizes excessive consumerism, but also the role of the artist and the commodity character of art, turning his friend into a fictive brand. In 1965, in the middle of the Vietnam War, he imbues the potato, symbol of the German economic miracle, with dubious ideological significance in his painting Potato Heads (Mao & LBJ). Polke's drawings from 1963 to 1976 form the largest ensembles of works in the exhibition. They are set against Gerhard Richter's canvas Grau (Gray) from 1974 and a group of his abstract watercolors from the late 1980s. In the late 1970s, when Richter began his "abstract paintings," he was working in opposition to the zeitgeist and the figurative painting of the Neue Wilden and Neo-Expressionism. For him, figurative painting had exhausted itself at the time. Back in the 1960s, Polke and Richter had helped revive representational painting in contemporary art. Nevertheless, they both questioned the representational character of painting from the very beginning. While Polke's grids created a distance to accustomed ways of seeing and called the reality and production of images into question, Richter blurred and distorted his motifs.

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Ähnlich gruselig-grau sieht es momentan auch an der Hauptwache aus. Herbert Baglione arbeitet hier auf einer Wanderbaustelle mitten auf dem Platz. Hinter den Absperrungen sieht man lang gezogene Gestalten, die sich geisterhaft ineinander verschlingen.

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Things are similarly gray and creepy on at the Hauptwache, where Herbert Baglione is working on a mobile construction site in the middle of the square. Behind the barriers you can see long ghostly figures intertwined with one another. Yesterday, this looked like a black-and-white version of Munch's scream, but today two light-blue spirits have been added, and one of them now sports a white skeleton. Passersby stop and photograph the figures with their cell phones. They know that this is something more than the naïve chalk drawings below at the entrance to the subway. This is art. And so with the Brazilian street artists the Schirn is achieving what urban researchers long for: residents walking through their city with open eyes, perceiving the space in which they move in every day oblivious to their surroundings in an alert, critical way. At the same time, the wide range of techniques and styles used in the exhibition project illustrate why the Brazilian street art scene is one of the most exciting in the world.

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Diese gemeinsam mit dem deutschen Künstler Gunter Weseler realisierte Arbeit besteht aus einer alten Kinderwiege, in der eine schlafende Babypuppe liegt, die mit einer Art Raumfahreranzug bekleidet ist. Das Baby kuschelt sich an ein undefinierbares Stofftier mit langem schwarz-weiß-grau gefärbtem Pelz, das sanft vor sich hin atmet und dadurch auf befremdliche Weise lebendig wirkt.

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Museum chief curator Massimiliano Gioni has called A Cosmos "an autobiography in images." But this exhibition is not simply a compilation of odd-ball objects and artifacts organized to express Trockel's personal mythologies, strange as they are in works like Fly Me to the Moon, 2012, Trockel's first collaboration with German artist Gunter Weseler. Here, a baby with a fly on its cheek is swaddled in a Snoopy dog astronaut outfit in a string net crib. A very surreal-looking black, white, and grey stuffed animal is tucked next to the baby's chin, surreptitiously inflating and deflating, causing this cute furry blob to breathe on its own and make us jump mid-air. A phantom lullaby drifts in and out of the second floor. It's not clear where the sound is coming from, because there's no mobile hanging over the bassinet, just an empty hook (poor baby).

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Schnell verflüchtigen sich die vorgefertigten Vorstellungen vom Grau in Grau, von einer Stadt im Schatten des stalinistischen Kulturpalastes und weichen einem überraschten: "Ach, das haben wir gar nicht erwartet."

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This youngest generation of Polish artists doesn't want to take part in the "Two Polands" debate that delineates a Catholic, parochial, conservative Poland from a new, modern, EU-friendly Poland. "Potato, potahto, tomato, tomahto," they just don't care. First-timers in Warsaw, impressed by bustling streets, auspicious artists, and packed restaurants, quickly abandon their "all shades of grey" preconceptions about the city in the shadow of the Palace of Culture, for a "that's not what I expected" attitude. But look out: like the mesmerizing colors of a rainbow, it may be just another fake façade.

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Bei all seiner Einfachheit eröffnet Acht Grau doch ein weites Feld an Assoziationen. Die Arbeit bezieht sich auf eine zentrale Funktion, die Gemälden spätestens seit der Renaissance zugeschrieben wird – sie sind ein Fenster in die Welt.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissance—that of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challenge—on the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: “glass symbol—(see everything / not understand).

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In die Reihe dieser skulpturalen Werke gehört auch die ortsspezifische Auftragsarbeit Acht Grau, die Richter 2002 für das Deutsche Guggenheim realisiert hat – acht Objekte im Grenzbereich zwischen Malerei, Skulptur und Architektur.

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Belonging to this series of sculptural works is the site-specific commissioned piece Eight Gray that Richter created in 2002 for the Deutsche Guggenheim—eight objects on the boundary between painting, sculpture, and architecture. The gray reflective glass plates, sixteen feet high and almost ten feet wide, were mounted to the side walls of the exhibition hall and exerted an effect that was both monumental and quiet. In an interview Nicholas Serota, director of the Tate, conducted with the artist for the current show, Richter explained: "I have nothing against the word ‘elegance’ being used to describe the paintings—at least the gray panels I’ve made have a highly elegant side to them ( ) there’s that phrase, ‘an elegant solution,’ which means that it’s simple and right, and easy. I like that very much."

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In die Reihe dieser skulpturalen Werke gehört auch die ortsspezifische Auftragsarbeit Acht Grau, die Richter 2002 für das Deutsche Guggenheim realisiert hat – acht Objekte im Grenzbereich zwischen Malerei, Skulptur und Architektur.

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Belonging to this series of sculptural works is the site-specific commissioned piece Eight Gray that Richter created in 2002 for the Deutsche Guggenheim—eight objects on the boundary between painting, sculpture, and architecture. The gray reflective glass plates, sixteen feet high and almost ten feet wide, were mounted to the side walls of the exhibition hall and exerted an effect that was both monumental and quiet. In an interview Nicholas Serota, director of the Tate, conducted with the artist for the current show, Richter explained: "I have nothing against the word ‘elegance’ being used to describe the paintings—at least the gray panels I’ve made have a highly elegant side to them ( ) there’s that phrase, ‘an elegant solution,’ which means that it’s simple and right, and easy. I like that very much."

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Es ist befremdlich, plötzlich einer der Figuren aus ihrer Malerei gegenüber zu stehen. Tatsächlich ist der gesamte Raum in dieses Grau von Markovas Gemälden getaucht, das gar kein Grau ist, sondern von den unterschiedlichsten Farbtönen durchsetzt ist: dunkle Blaus und Grüns, Magenta.

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She never would have expected her painting to win, she says, and for her it's a "compliment." Despite her modesty, Radoslava Markova seems determined to follow her path. The figures, she says, could soon disappear from her paintings, she might move entirely into abstraction, and she doesn't know what the results will be. Then her husband peeks in, cautiously, almost too politely. It feels strange to suddenly be standing opposite one of the figures from her paintings. All of a sudden, the entire room is bathed in this gray from Markova's paintings, which isn't a gray at all, but is interspersed with a variety of different colors: dark blues and greens, magenta. For a brief moment, it feels as though I were standing in one of her paintings, another figure in these indistinct spaces of light and color.

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"Kunst-Idee, schon vor längerem gekommen: Man müsste in diese von Schmutz grauen Großstadthäuser (...) in unregelmäßigen Abständen kleine Funkelsteine einlassen. Das Licht würde auf sie fallen - mal auf diesen, mal auf jenen -, und ein Funkeln und Glitzern ginge in diesem Grau auf", schreibt Pfisterer 1988 in ihr Notizbuch, als sie längst im ummauerten West-Berlin lebt, wohin sie 1967 nach dem Abbruch ihres Studiums in Düsseldorf geht.

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In contrast to these Dadaist pranks Pfisterer's youth seems like an endurance performance, no break, no quarter. It is as though she wanted to champion an art that not only intervenes here and there, but wants everything. The minimalist-architectural designs she begins with during her studies in Düsseldorf are only models and sketches. Constructions like Zehn aufeinander folgende rote Glasräume (Ten Glass Rooms in Succession, 1970) recall works by Dan Graham and Robert Morris owing to their reduction. While they function as abstract objects, they are basically environments that can be executed in any size, even reaching the size of buildings. "An art idea came to me a long time ago: Little sparkling stones should be inserted in these big-city buildings gray from dirt at irregular intervals. The light would shine on them - sometimes on this one, sometimes on that one - and a glitter and sparkle would arise in this gray," Pfisterer wrote in her notebook in 1988, when she had already long lived in walled-in West Berlin, where she moved after breaking off her studies in Düsseldorf.

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Die monochromen Leinwände, die an den Wänden lehnen, scheinen die Farben der Stadt zu absorbieren: das Grau der Fassaden, die verdreckten Marmorbürgersteige, den Staub auf den Palmen im Park vor dem Fenster.

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It is a brooding early summer evening; an impending thunderstorm hangs in the air. It is slowly growing dark in Markus Amm's studio. The monochromatic canvases leaning against the walls seem to absorb the city's colors: the grey of the facades, the filthy marble sidewalks, the dust on the palm trees in the park outside. Anyone who could would certainly retreat to one of the idyllic islands in the Aegean Sea-yet Amm loves it here. It was already evident on the way to the studio, which leads past groups of junkies through a rundown red light district on streets lined with import/export stores selling cheap clothing by the bundle. Amm knows these streets, which it's better not to walk through at night; he knows all the small restaurants the locals go to. Five months ago he came from London to attend the opening of his exhibition Basement and Groundfloor in his gallery The Breeder, and he's stayed-at least for the time being.

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Absolut. Dazu muss man sagen, dass ich im System in der DDR, wo wir klassisch malen sollten, da habe ich diese Bilder gemalt, diese piktogrammartigen, wie etwa "Der Osten ist grau". Das habe ich gegen diesen Zwang gesetzt und ich habe meine Performances gemacht.

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Absolutely. But I should add that it was in the system of the GDR, where we were supposed to paint classically, that I painted these pictures, these pictogram-like works, such as "The East is Gray." I countered this compulsion and did my performances. When I went to the West later, I suddenly saw works by Rebecca Horn that reminded me of my Super-8 films. I thought: "She also tied herself up. That's already been done." So I had to make a break. I wondered why women in the West, apart from wanting to emancipate themselves, are making this performance art, this installation art, these spatial things? Because it is a new art form and they don't have to bear comparison with male art history. It is a new form. They brought a new form to art history. And I said: "I want to confront this male concept of art. I want to confront this male tradition of painting!"

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Er ist nicht nur auf eine vollkommene, fast schuljungenhafte Art höflich, sondern wirkt auch umtriebig, voller positiver Energie. Ein recht komischer Widerspruch - denn eigentlich hatte ich jemanden erwartet, der so ernst und still ist wie seine Arbeit, genauso wie man erwartet, dass England immer grau und deprimierend ist.

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But sometimes, England can be beautiful. When the sun shines on London's streets, few cities are as picturesque. It's on one of these all-too-rare sun-soaked days that I find Khan standing outside his Stoke Newington studio, basking in the spring warmth with a handful of assistants. He bounds up to me, places a hand on my shoulder, and shows me around the space he shares with his wife, the artist Annie Morris. Not only is Khan perfectly and schoolboyishly polite, he's also energetic and positively joyful. It's an odd dichotomy-you expect him to be quiet and serious like his work, just like you expect England to be gray and miserable. But here I am, sitting talking about football in the glorious sunshine with one of the loveliest, cheeriest artists you could hope to meet.

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Feature Abschied von der Angst - Die Biennale-Saison beginnt / Operndorf im Regent´s Park - Eine Preview der Frieze London / Untold Stories - Die Spurensuche der Fiona Tan / Let´s talk: Hanna Wróblewska, Katarzyna Wielga-Skolimowska & Friedhelm Hütte über den "VIEWS" Award / Anatomie eines Witzes: Das Werk von Sara Greenberger Rafferty / "Ein Funkeln und Glitzern ginge in diesem Grau auf..."

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Feature Farewell to Fear - The Biennial Season starts / Opera Village in Regent´s Park - Preview of Frieze London / Untold Stories - Fiona Tan´s search for traces / Let´s talk: Hanna Wróblewska, Katarzyna Wielga-Skolimowska & Friedhelm Hütte on the "VIEWS" Award / Anatomy of a Joke: The Work of Sara Greenberger Rafferty / "A Glitter and Sparkle Would Arise in This Gray..." Verena Pfisterer´s Visionary Art / Tailor-made - The Program for Children, Youth, and Families at the Deutsche Bank KunstHalle / THE QUESTION - Is there a Post-Internet revolution in the arts? / 100 Hours Per Minute - Three Questions for Jamie Zigelbaum

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Schnell verflüchtigen sich die vorgefertigten Vorstellungen vom Grau in Grau, von einer Stadt im Schatten des stalinistischen Kulturpalastes und weichen einem überraschten: "Ach, das haben wir gar nicht erwartet."

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This youngest generation of Polish artists doesn't want to take part in the "Two Polands" debate that delineates a Catholic, parochial, conservative Poland from a new, modern, EU-friendly Poland. "Potato, potahto, tomato, tomahto," they just don't care. First-timers in Warsaw, impressed by bustling streets, auspicious artists, and packed restaurants, quickly abandon their "all shades of grey" preconceptions about the city in the shadow of the Palace of Culture, for a "that's not what I expected" attitude. But look out: like the mesmerizing colors of a rainbow, it may be just another fake façade.

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Feature Untold Stories - Die Spurensuche der Fiona Tan / Let´s talk: Hanna Wróblewska, Katarzyna Wielga-Skolimowska & Friedhelm Hütte über den "VIEWS" Award / Anatomie eines Witzes: Das Werk von Sara Greenberger Rafferty / "Ein Funkeln und Glitzern ginge in diesem Grau auf..."

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Feature Untold Stories - Fiona Tan´s search for traces / Let´s talk: Hanna Wróblewska, Katarzyna Wielga-Skolimowska & Friedhelm Hütte on the "VIEWS" Award / Anatomy of a Joke: The Work of Sara Greenberger Rafferty / "A Glitter and Sparkle Would Arise in This Gray..." Verena Pfisterer´s Visionary Art / Tailor-made - The Program for Children, Youth, and Families at the Deutsche Bank KunstHalle / THE QUESTION - Is there a Post-Internet revolution in the arts? / 100 Hours Per Minute - Three Questions for Jamie Zigelbaum

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Victor Man gilt als einer der bedeutendsten Erneuerer der zeitgenössischen Malerei. Seine vorwiegend in Schwarz-, Grau- und Grüntönen gehaltenen Bilder entführen den Betrachter in ein Reich, in dem sich rätselhafte Metamorphosen vollziehen.

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Victor Man is considered to be one of the most important innovators in contemporary painting. His images, for the most part hued in tones of black, gray, and green, lure the viewer into a mysterious world that merges the mundane and fantastic, myth and fetish, the male and the female, man and beast. This magical image cosmos includes portraits and still lifes as well as beautiful, occult-like and even erotic subjects. This spring Deutsche Bank KunstHalle presented an extensive exhibition of the 1974-born Romanian artist's work. Following its premiere in Berlin, the exhibition of Deutsche Bank's "Artist of the Year" 2014 made a guest appearance at the Zacheta National Gallery in Warsaw. Now, Zephir can be seen at the Haus der Kunst in Munich.

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Am Anfang stand die Farbe Grau. Als Günther Förg 1973 sein Studium an der Münchner Kunstakademie begann, malte er zunächst ausschließlich in Grautönen gehaltene Bilder - inspiriert durch die Gemälde Cy Twomblys.

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In the beginning was the color gray. When Günther Förg began studying at the Munich Kunstakademie in 1973, he painted exclusively in subdues tones of gray. He was inspired by Cy Twombly's paintings. These dark monochromatic works formed the point of departure for an artistic oeuvre that would continue to develop in a dialogue with the masters of abstraction and with modernist architecture in an array of surprising media and materials. From the late 1970s on, along with his paintings, paper works, and installative wall paintings, Förg also created photo works, objects, and bronze sculptures. He painted on canvas and experimented with wood, lead, and aluminum. Today, Förg is considered to be one of the most important German artists of contemporary times.

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Es ist befremdlich, plötzlich einer der Figuren aus ihrer Malerei gegenüber zu stehen. Tatsächlich ist der gesamte Raum in dieses Grau von Markovas Gemälden getaucht, das gar kein Grau ist, sondern von den unterschiedlichsten Farbtönen durchsetzt ist: dunkle Blaus und Grüns, Magenta.

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She never would have expected her painting to win, she says, and for her it's a "compliment." Despite her modesty, Radoslava Markova seems determined to follow her path. The figures, she says, could soon disappear from her paintings, she might move entirely into abstraction, and she doesn't know what the results will be. Then her husband peeks in, cautiously, almost too politely. It feels strange to suddenly be standing opposite one of the figures from her paintings. All of a sudden, the entire room is bathed in this gray from Markova's paintings, which isn't a gray at all, but is interspersed with a variety of different colors: dark blues and greens, magenta. For a brief moment, it feels as though I were standing in one of her paintings, another figure in these indistinct spaces of light and color.

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Show textShow cached sourceOpen source URL	Damals herrschte das monotone Grau vor oder die Verkrüppelung der Verkrüppelung, und es hieß "Rot darf man erst im Alter benutzen" oder ähnliches. Gegen solche Auffassungen und Haltungen haben wir eine andere gesetzt.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain	Back then, monotonous grey prevailed, the crippling of the crippled. It was said that "one was only allowed to use red in old age," or something like that. We countered these attitudes and positions with our own.

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Show textShow cached sourceOpen source URL	Zwei der gezeichneten Selbstporträts des Berliner Künstlers wurden auf einen Rosenthal Teller aus der von Walter Gropius Ende der Sechziger Jahre entworfenen Serie TAC1 übertragen. Schwarz-Grau-Weiß kann ganz schön psychedelisch sein.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain	Everybody should have at least one white vase – ideally made of matte Biscuit Porcelain. The coolest specimens were produced in the 1960s and 70s, when companies such as Hutschenreuther and Kaiser created vases in amazing shapes and jazzed up their surfaces with Op-Art motifs, clam or ammonite structures, or stylized horse tails. Extremely posh even without flowers.

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Mitte der 1980er Jahre entstehen abstrakte Bilder, in Grau- und Pinktönen, bei denen er eine flüssige Mischung aus Ölfarbe und Emaille einsetzt, die auch von de Kooning verwendet wurde. Auf Farbflächen und neben grob gesetzten Pinselstrichen zeichnet sich seine Handschrift ab, flüchtig mit Bleistift hin gestrichelte Texte, die aus schwulen Pornomagazinen stammen.

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That same year, Ligon began a series of works on paper that combine abstract painting with texts in stenciled lettering. Once again, he used found text material to give a voice to his paintings. For Ligon, painting is an almost bodily appropriation of language. Images arise that quote dream interpretations from so-called "Dream Books" that Ligon knew from his childhood in the 1960s and that were widespread in many African American households at the time: "EUROPEAN: If you see one in your sleep, it means financial slavery." "SAILOR: If you dream of sailors, it means constant excitement over strangers." In Ligon’s painting, these sayings, removed from their original context, come across as both surreal and explicit. Unabashed, they seem to speak of traumatic experiences, racism, and sexual desire.

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Mit diesen kühl-eleganten, in Schwarz oder Grau gehaltenen Acoustic Paintings eignet sie sich nicht nur selbstbewusst Ikonen der Moderne an - das Schwarze Quadrat von Malewitsch, Ad Reinhardts Black Paintings, die Skulpturen der Minimal-Künstler.

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Her Acoustic Paintings, too, are complex, and a suite of them is on view in Houston. They are based on soundproofing elements used to dampen sound studios. Jennie C. Jones transformed the industrially manufactured panels into monochrome paintings which she mainly presents in groups. With these cool, elegant, gray or black Acoustic Paintings, she not only confidently appropriates Modernist icons - Malevich's Black Square, Ad Reinhardt's Black Paintings, and sculptures by Minimalist artists. In addition, these object-like paintings change the perception of the room by subtly muffling its acoustics.

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Er zeigt eines der typischen dämmrigen Treppenhäuser oder die improvisierten Wohnungen von jungen Menschen, die zur radikalen Selbstverwirklichung in die eingemauerte "Frontstadt" geflohen waren. Die in schwarz, grau und weiß gehaltenen Arbeiten führen den Betrachter in die Welt der Künstlerboheme Westberlins während der Wendezeit.

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Behind turn-of-the-century Berlin facades are Marc Brandenburg's evocative pencil drawings. He portrays the typical murky stairwells and improvised apartments of young people who fled to the walled-in "frontline" city to pursue radical self-discovery. The works, reduced to shades of black, white, and grey, lead the viewer into the world of West Berlin bohemian artist life around the time of Reunification. It seems as though Brandenburg were seeking to capture impressions of the recent past on paper-as a visual diary whose entries add up to form a subjective view of the city in which he lives.

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"Dakar wird grauer und grauer, weil die Bauelemente direkt vor Ort entstehen und man den Sand einfach liegen lässt", erzählt die junge Fotografin Mame-Diarra Niang, die ihre Arbeit im Gare Ferroviaire zeigt.

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All that remains of another great performance are a couple of concrete blocks. Four young dancers had surrounded them with reduced, powerful movements, thus subtly reflecting the rampant construction work going on in Dakar. Half of the city consists of unfinished building shells - future offices, businesses, private homes. "Dakar is becoming grayer and grayer because the construction elements are built right at the location and the sand is simply left there," says the young photographer Mame-Diarra Niang, who is showing her work at Gare Ferroviaire. "The countryside is so gray because there are construction sites everywhere and everyone wants to build higher and higher buildings. It's as though the buildings are saying: I haven't decided yet. Maybe I'll grow even more, who knows?"

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Show textShow cached sourceOpen source URL	Außerdem ist der Farbwert von Pink relativ nah dran am Grau des Betons. Und durch die Nähe zum Hudson River ist der Sonnenuntergang ein wichtiger Bestandteil dieses Ortes. Alles lässt mich an Luis Barragán denken, den mexikanischen Architekten, der viel Pink und viel Geometrisches in seiner Architektur verwendete.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain	Also, the value of the pink is close to the gray concrete color. And since the work is on the Hudson River, the sunset is a big part of that site. It all reminds me of Luis Barragán, the Mexican architect who used a lot of pink and a lot of geometry in his architecture. That was in the back of my mind.

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Show textShow cached sourceOpen source URL	"Ein Funkeln und Glitzern ginge in diesem Grau auf..." Verena Pfisterers visionäre Kunst Verena Pfisterer, Blumengesicht, ca. 1963. Courtesy the Estate of Verena Pfisterer and Exile.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain	"A Glitter and Sparkle Would Arise in This Gray..." Verena Pfisterer's Visionary Art Verena Pfisterer, Blumengesicht, ca. 1963. Courtesy the Estate of Verena Pfisterer and Exile.

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Show textShow cached sourceOpen source URL	"Ein Funkeln und Glitzern ginge in diesem Grau auf..."
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain	"A Glitter and Sparkle Would Arise in This Gray..."