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Es war wunderschön - die Sonne, das Klima, das Meer. Als ich nach Deutschland zurück kam, bin ich zu meinem Arzt gegangen, und er sagte, er erkenne mich nicht wieder: Es sei, als besäße ich einen vollkommen neuen Organismus.
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Sonderborg: We found a few leftovers from the movie shootings, but otherwise there was nothing there. In the film, people flee to the sea when the volcano erupts, but that's not really true. The sea quakes, as well, and the people flee into their homes. It was beautiful – the sun, the climate, the sea. When I came back to Germany, I went to my doctor and he said he didn't recognize me anymore: it was as though I possessed a completely new organism. That's how much I'd changed.
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Ist die Stadt für Künstler und Künstlerinnen ein Moloch oder ein Dorado der Kreativität? "Als ich nach New York zog, passierte es, das ich die Wohnung verließ und nur zwei Blocks entfernt von diesen Angstzuständen überwältigt wurde und wieder nach Hause gehen musste."
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Cities make people neurotic. They're loud - and they're restless. Still, ever since Charles Baudelaire's day, cities have been celebrated as the creative centers of modernity. This month's edition of db-art.info, titled "Tomorrowland," is dedicated to the promises, problems, and various life models that go hand in hand with contemporary urban life. And what about contemporary art? Is the city a juggernaut or an El Dorado of creativity for artists? "When I first moved to New York, I'd walk out my door and two blocks away I'd have this anxiety attack and go home. Ever since, I've wanted to make spaces that were private, where I could breathe." In an interview with Cheryl Kaplan, the New York artist Andrea Zittel describes the concept of her Living Units, which made her world famous in the 90s. Today, Zittel lives in a model settlement in the California desert, because "in an anti-urban environment, you don't need everyone to clock-work." ++++++ In Japan, the women of the future are dynamic, even in their old age. At least that's how the Kyoto-based photo artist Miwa Yanagi portrays it: the company boss in a rabbit costume, the supermodel who's turned a marble gravestone into a fashion runway, the aged bike chick gripping the bars of her Harley. Yanagi digitally alters both people and spaces; her work portrays the city as a hermetically sealed space, as a mirror image of a fantastic dream world dictated by consumerism, uniformity, labels, and clothing. ++++++ "Mental Maps" are what the Berlin-based painter Franz Ackermann calls his drawings, psycho-cartographies he made of his travels around the world. Ackermann's cities are images of a globalized landscape in which the conflict between the center and the periphery is drawing closer. ++++++ The future of the city is the theme of the conference "New Forms of Governance in the 21st Century," initiated by the Alfred Herrhausen Society for International Dialogue. Mayors of 16 major European cities will be meeting in Barcelona to discuss with urban sociologists about improving concepts for the urbanization process ++++++ When it comes to the connection between city life and creativity, Ulf Poschardt is skeptical. To him, the trendy urban neighborhoods have already turned into cozy villages of modern Bohemian life.
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Ich habe ähnliches vorher schon in London oder Paris oder auch Rom erlebt, aber als ich nach Edinburgh kam, fand ich dort nicht nur eine vollkommen intakte Stadtlandschaft vor, sondern konnte zudem feststellen, dass die Schotten eine ausgeprägte, tiefe Beziehung zu ihrer eigenen Geschichte besitzen.
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Being in Edinburgh the first time was an outstanding experience for me. First of all, being a German and coming from a generation that grew up with the after-effects of Fascism and the Second World War and the visibility of that, I was often shocked at being in a city that is historically intact, where history is unbroken ( pictures). I've had that experience before in London or Paris or Rome, but when I came to Edinburgh I found not only that the urban environment is unbroken, but also that the Scots have a particular love for their own history. People didn't have to be skilled in their profession to have knowledge about their history. When I met the Robertsons for the first time through one of their sons, I thought I was entering a fairy tale of the historical sort. I thought these people looked like they lived in the 17th century. Of course they weren't - I was very intrigued to make a portrait because of Giles's relationship and his profession as an art historian, and also because of his rather soothing quality.
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„Ich mache immer noch das gleiche, wie damals, als ich nach New York gekommen bin“, sagt Tam Ochiai mit leiser Stimme, sein Englisch gebrochen, die Augenlider müde: „Ich laufe und laufe und laufe.“ Wäre dies ein Casting für einen Film über Schlafwandler, Jim Jarmusch hätte ihm die Rolle längst gegeben.
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“I still do the same thing as when I first came to New York,” says Ochiai quietly, in broken English, his eyelids heavy and tired. “I walk and walk and walk.” If this were a casting call for a film about a sleepwalker, director Jim Jarmusch would certainly have already given him the role. “When I walk, I go to a record store here, a book store there, maybe to the cinema, or to a boutique. That goes on endlessly, and only when I’ve walked around enough, when there’s nothing more to do, and I really start to get bored, then I go home and make art – it’s the opposite of a job.”