sein leben – -Translation – Keybot Dictionary

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Der Mann, ein Künstler, um die dreißig Jahre alt, blieb so gut wie unsichtbar. Stets hinterließ er nur undeutliche Spuren, in Ausstellungsräumen, in Gesprächen. Wollte man diese Spuren lesen, musste man mehr erfahren über diesen Menschen und sein Leben, so schien es.
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For a long time the artist's existence was scarcely more than a rumor, and his name was merely a promise, or a joke. Just three years ago, if you searched the Internet for photos from one Danh Vo, you found portraits of an Asian-looking schoolboy with a large pair of glasses. The man, an artist around 30 years old, remained virtually invisible. He invariably left only vague traces – in exhibition spaces or in interviews. If you wanted to read these traces, it seemed, you had to find out more about this person and his life.
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Das ist sein Thema: die Brüchigkeit des Ichs, der kulturellen Zugehörigkeit. Dass er dieses Problem anhand der Geschichte Vietnams und seiner Familie verhandelt, hat ihm auch skeptische Stimmen eingebracht: Er beute sein Leben aus, schrieb einmal ein Kunstmagazin.
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"The museums want to make things easy for visitors, they have a specific idea of the audience and what it can tolerate. I had all kinds of fights with curators because everything wasn't explained from beginning to end," says Vo. The artist has become more easy-going, though, as if he has become assured that he doesn't have to conceal himself anymore, because the motives and feelings of a person can't be completely fathomed anyway. The more that is written about him, the more he disappears again behind the words. That is his subject: the fragility of the ego, cultural affiliation. But the fact that he negotiates this problem based on the history of Vietnam and his family has also been criticized: An art magazine once wrote that Vo is exploiting his life.
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Eine innere Stimme verkündet: "Du gehörst nicht dir selbst. Du gehörst dem Universum." Statt sich im Lake Michigan zu ertränken, wird er sein Leben von nun an ganz dem Allgemeinwohl widmen. So beginnt Fuller 1927 ein Langzeit-Experiment, das bis zum Tod von "Guinea Pig B" – wie er sich selbst gerne bezeichnet – im Jahre 1983 andauern wird.
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Already at the age of 32, he seemed to have arrived at a dead end. Richard Buckminster Fuller had neither money nor a job; his daughter had just died. But then, all at once he was overcome by a kind of religious awakening. An inner voice told him: "You do not belong to you. You belong to the Universe." Instead of drowning himself in Lake Michigan, he began dedicating his life to the common good. In 1929, Fuller began a long-term experiment that would last until the death of "Guinea Pig B"—which is how he liked to refer to himself—in 1983. His goal was to "find what a single individual [could] contribute to changing the world and benefiting all humanity." In the process, the failed Harvard student and bankrupt former Marine radio operator metamorphosed into the "Leonardo da Vinci of our time," as the communication theorist Marshall McLuhan called him.
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Immer wieder hat Solakov sein Leben in einer sozialistischen Diktatur thematisiert, ebenso wie die Erfahrung des Systemwechsels und der dabei eben nur scheinbaren erworbenen Wahlfreiheit. Zu seinen bekanntesten Werken zählt jener unscheinbare Kasten, den er im Frühling 1990, also auf dem Höhepunkt der demokratischen Umwälzungen im ehemaligen Ostblock, zum ersten Mal ausstellte und der 2007 auch auf der documenta 12 zu sehen war.
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Solakov has often addressed his life in a socialist dictatorship, including his experience of the change in political system and the alleged right to vote. Among his better-known works are the unassuming index boxes that he showed for the first time in the spring of 1990, at the high point of the democratic uprising in the former East Bloc, and again at documenta 12 in 2007. Top Secret, created between December 1989 and February 1990, consists of an index box, filled with a series of cards detailing the artist’s youthful collaboration with the Bulgarian state security, which he stopped in 1983. In Bulgaria, twenty years after the changeover, the official files remain closed, and there are no publicly known documents on the artist’s collaboration. The work caused great controversy when it was first exhibited in the spring of 1990, at the height of the political changes to the long-standing Communist rule. The self-disclosing gesture in this artistic project is still unique in the context of post-Communist Europe, and since its appearance Top Secret has become an icon of its time.
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So hat Richard Rogers zum Beispiel sein Leben nicht nur damit verbracht, ikonische Gebäude wie das Centre Pompidou oder das Terminal 5 von Heathrow zu entwerfen, sondern er hat auch über Stadtentwicklung geschrieben.
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An enlightened mayor is probably the most important person in shaping a city. All the best architects in the world—Renzo Piano, Norman Foster, Rem Koolhaas—will say that without a good client you have nothing. The role of architects in the future of cities is a difficult one— they are trained to be enamored by the object they have just produced, just as they are paid to stop the design of their much-cherished building at the boundary of land ownership. That’s why you end up with objects without any relationship to one another. I can count the number of architects able to transcend that position on the fingers of two hands. Richard Rogers, for example, has spent his life not just designing iconic buildings like the Pompidou Centre or Terminal 5, but also writing about the city. Somewhat lesser known is Oriol Bohigas, the Catalan architect responsible for the 1992 Olympics who called his profession an "urban vocation," which is a very powerful term.
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Zwei Wochen vor Damien Hirsts geschichtsträchtiger Sotheby-Auktion gab Michael Craig-Martin folgendes zu bedenken: "Ein Künstler zu sein bedeutet, sein Leben in erster Linie aus einer Arbeit zu gestalten, für die man sich selbst entschieden hat. Es ist nicht möglich, das Engagement beizubehalten, das dies erfordert, ohne dass man dabei eine Art von Lust empfindet. Ich spreche nicht von Spaß. Das Produzieren von Kunst kann ebenso langweilig wie deprimierend sein. Aber die Essenz ist Lust."
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"To be an artist means making a life primarily of doing the work that you yourself decide to do. It isn't possible to sustain the engagement this requires unless the doing of it gives you pleasure. I don't mean fun, and making art can be both boring and depressing, but in essence it is a pleasure," Michael Craig-Martin contended a week before Damien Hirst's history-making auction at Sotheby's. One of Craig-Martin's achievements is to relate this kind of pleasure to his students at The University of London's Goldsmiths College, encouraging them to recognize and value the aspects of their work that gives them pleasure. Hirst, his most famous student, has certainly taken this to heart. He acknowledges this debt in his painting Michael with Diamond Skull, 2008, the last lot, Nr. 287, the ultimate parting shot of the Hirst blockbuster. Who has the cheekier smile-the skull or the teacher?