glücksversprechen – English Translation – Keybot Dictionary

  www.goethe.de  

Show textShow cached sourceOpen source URL	Glücksversprechen und Verheißungen moderner Metropolen: ein Projekt über die Glückssuche in den Städten Warschau, Berlin und Mumbai
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  2 Hits www.schirn.de  

Show textShow cached sourceOpen source URL	Ein Glücksversprechen am Horizont
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  2 Hits www.sculpture-network.org  

Show textShow cached sourceOpen source URL	Carsten Höller’s ProblemspielEs sind die großen Glücksversprechen – Spiel, Natur, Liebe, Kinder, Rausch –, die sich als roter Faden durch Carsten Höllers Ausstellung "Problemspiel" in der Gerisch-Stiftung ziehenSchon auf der großen...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine sculpture-network.org as primary domain	"Art Meadow" is the name of a small sculpture park in the Lake Constance community of Bottighofen, near the German border. From the private initiative of sculptor Albert Lehmann, a lively meeting place has grown in the middle of the...

  www.taxi-airporttransfer-tirol.com  

Show textShow cached sourceOpen source URL	Konvergenz von physischer und medialer Welt: Während sich die physische Welt um Präsenz in der Welt der Medien bemüht, benötigt umgekehrt die mediale Welt Präsenz in der physischen: einen Ort, an dem das Glücksversprechen des Fernsehens physisch stattfindet.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine eschsintzel.ch as primary domain	Convergence of the physical and medial worlds: Whilst the physical world strives to establish presence in its medial counterpart, vice versa the medial world requires presence in the corporeal one – a place in which television’s promises of happiness physically occurs.

  www.kw-berlin.de  

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EARLY YEARS ist ein Teil des Projekts „The Promised City", einer kulturellen Initiative zwischen Berlin und Warschau mit Kooperationen in Mumbai und Bukarest: Künstler, Kuratoren, Kulturschaffende  und Wissenschaftler aus Deutschland, Polen, Indien und Rumänien entwickeln zahlreiche neue künstlerische Produktionen, die sich interdisziplinär mit den Träumen, Illusionen und dem Glücksversprechen moderner Metropolen auseinandersetzen.

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EARLY YEARS is part of the project "The Promised City", a cultural initiative between Berlin and Warsaw with performances in Mumbai and Bucharest: Artists, curators and academics  from Germany, Poland, India, and Romania develop various new creative productions. All of which are interdisciplinary and evolve around subjects of dreams, illusions, and promises of modern metropolises.

  www.asialiteraryreview.com  

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Aber möchte man dieses kurze Aufflackern ohne Wiederkehr wirklich riskieren? Oder liegt das Glücksversprechen der Maschine nicht vielmehr in der sehnsüchtigen Imagination des in ihr geborgenen Himmels und im Wissen um das schillernd eruptive Potenzial der Apparatur?

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Peter Rösel’s Glücksmaschine (Happiness Machine) is another magical vessel. The pitch-black bowl contains six thousand dif ferent little silver plates and a mechanism to eject them – only one single time – in a sparkling silver shower. In its resting position, the Glücksmaschine is reminiscent of a celestial globe that is turned inside out; not for nothing does the amount of sheer silver plates hidden in it’s interior match up with the number of stars theoretically visible to the naked eye. Once launched, the globe would explode into an overwhelming shower of stars. But would one actually risk this brief spell that won’t return?

  www.lecompa.fr  

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Glück kommt per App oder als Tee zu uns, als Ergebnis einer Yogastunde oder als dampfende Schüssel bei einem veganen Kochkurs. Magazine wie Landlust, Flow oder Hygge sind papiergewordene Glücksversprechen, die Millionen von Lesern finden.

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Doesn’t such an aspiration damn every government to failure? How happy are the people of Bhutan really? In Germany, happiness is not a matter for the Federal Chancellery to deal with, but a branch of business in which coaches advise managers how to attain it. The managers then hand in their notice and write bestsellers on the subject. Happiness comes to us via app or as a tea, as the result of a yoga class or in the form of a steaming bowl of food at a vegan cooking course. Magazines like Country Living, Flow and Mindful are paper promises of happiness that attract millions of readers. Happiness in Germany is consumable; it costs money, although money is becoming less and less the defining factor these days. Once upon a time, happiness was having plenty of cash in the bank; today it is often having plenty of endorphins coursing through your veins.

  2 Hits www.sixpackfilm.com  

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Die nüchterne Tristesse des Spiellokals irgendwo in Tschechien (es könnte wohl in vielen europäischen Ländern sein) mit seinem Glücksversprechen für die Einkommensschwachen wird mit dem artifiziellen Dialog einer anderen Gesellschaftsschicht dialektisch verschränkt.

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The austere dreariness of the gaming hall, which is located somewhere in the Czech Republic (though it could be in any number of European countries), and the promise of luck it offers people with low incomes are dialectically intertwined with the artificial dialogue of a different social class. In Bruno Pellandini´s radio play two women meet, and two men invite them to a drink. The subject is striking it rich with castles as investments, and the women cheerfully harmonize. They see themselves as taking part in upper-class banter. At the conclusion, as everyone´s saying farewell, one of the women mentions the other´s failed marriage, but doesn´t go beyond anecdotes. The satire of the empty talk of the rich, or recently wealthy, dovetails with the actors´ lack of anything to express visually.

  2 Hits db-artmag.de  

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Eher von etwas, das die Durchschlagkraft der 68-Revolten hatte, sich aber gerade gegen eine bürgerlich gewordene Alt-Linke richtete: gegen Hippietum, kollektive Glücksversprechen, ideologische Dogmen.

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Sometime between the late seventies and the early eighties, an uprising emerged in the western metropolises that had been anticipated by punk. It wasn't really a political movement, but rather something that had the impact of the '68 revolts, yet rebelled against the older leftists that had become bourgeois: against the hippies, against the promise of collective happiness, ideological dogma. During the era of Thatcher, Reagan, and Kohl, an entire generation freed itself from a belief in a secure future, and quite simply began doing what it had always wanted to do. In Berlin and New York, young people started using brown wrapping paper, wall paint, and Super-8 film; they got their hands on instruments or built them themselves, sewed canvas and plastic together, and became—temporarily or long-term—"filmmakers," "musicians," "fashion designers," "designers," and "artists."

  2 Hits www.db-artmag.de  

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Eher von etwas, das die Durchschlagkraft der 68-Revolten hatte, sich aber gerade gegen eine bürgerlich gewordene Alt-Linke richtete: gegen Hippietum, kollektive Glücksversprechen, ideologische Dogmen.

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Sometime between the late seventies and the early eighties, an uprising emerged in the western metropolises that had been anticipated by punk. It wasn't really a political movement, but rather something that had the impact of the '68 revolts, yet rebelled against the older leftists that had become bourgeois: against the hippies, against the promise of collective happiness, ideological dogma. During the era of Thatcher, Reagan, and Kohl, an entire generation freed itself from a belief in a secure future, and quite simply began doing what it had always wanted to do. In Berlin and New York, young people started using brown wrapping paper, wall paint, and Super-8 film; they got their hands on instruments or built them themselves, sewed canvas and plastic together, and became—temporarily or long-term—"filmmakers," "musicians," "fashion designers," "designers," and "artists."

  2 Hits www.db-artmag.com  

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Eher von etwas, das die Durchschlagkraft der 68-Revolten hatte, sich aber gerade gegen eine bürgerlich gewordene Alt-Linke richtete: gegen Hippietum, kollektive Glücksversprechen, ideologische Dogmen.

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Sometime between the late seventies and the early eighties, an uprising emerged in the western metropolises that had been anticipated by punk. It wasn't really a political movement, but rather something that had the impact of the '68 revolts, yet rebelled against the older leftists that had become bourgeois: against the hippies, against the promise of collective happiness, ideological dogma. During the era of Thatcher, Reagan, and Kohl, an entire generation freed itself from a belief in a secure future, and quite simply began doing what it had always wanted to do. In Berlin and New York, young people started using brown wrapping paper, wall paint, and Super-8 film; they got their hands on instruments or built them themselves, sewed canvas and plastic together, and became—temporarily or long-term—"filmmakers," "musicians," "fashion designers," "designers," and "artists."

  www.projekt-relations.de  

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Auch die Arbeiten anderer KünstlerInnen handeln von der Ausweitung des Kapitals bis hin zur Einschränkung selbstgegebener Glücksversprechen. Ivan Moudov aus Sofia bündelt die Erschütterung der Lebensverhältnisse in dem lakonischen Objekt einer Fahrstuhlkabine als Metapher für gesellschaftlichen Aufstieg und die Sehnsucht nach Freiheit.

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The works of other artists also address the expansionist impulse of capital, which goes so far as to even impede the promises of happiness it generates. In the laconic object of an elevator booth, Ivan Moudov (Sofia) has identified a fitting metaphor for the experience of shifting circumstances, reflecting advancement up the social ladder and the yearning for freedom. The hitch is that upon pressing the button the only thing that elevates is the floor.... Along the same vein, Krassimir Terziev’s artwork merges the separate routes of spending and earning money, which pave their way through the city. He stages a collision between two buses, one with working migrants from eastern Europe, the other with western European tourists. The wreckage is accompanied by excerpts from a performance at the Semper Opera and a monitor displaying job ads. Andreas Siekmann (Berlin) investigates in his "theatrum oeconomicus" the role played by a company known as Treuhand in the privatization of the East German economy. In pictograms, charts, diagrams, and texts, but also a figurine merry-go-round, the rise and fall of Treuhand is staged as an example of corrupted political structures and the degradation of human labor to a mere statistical item. In contrast, the Dresden artist group Reinigungsgesellschaft experienced the privatization of the textile industry by a Serbian "Treuhand," delayed by the civil war, as a tentative success story. Javor Gardev (Sofia) is to play the role of Major J. Stefanow, a leading figure in the newly formed "Sofia Taste Police." Stefanow/Gardev will be interviewed by six of Bulgaria’s most popular television presenters. Through the authority exuded by the medium of television, this fiction turns into reality and aesthetic taste into a generally accepted law.

  www.republicart.net  

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Noch einmal in den frühen Spuren abweichender kapitalistischer Subjektivierung voranzuschreiten, in der allmählich sichtbar wurde, wie die anti-konventionalistische Freisetzungsbewegung des Kapitals ein Glücksversprechen vor sich herspült, das bombastisch zerschellt, wenn es durch die doppelte Logik von Verwertung und subjektivierender Disziplinierung hindurchgeht?!

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This is modern life. The norms have been liquefied and solidified. More and more. Maybe we should take up a 19th century whimsy again and take turtles for a walk on a leash to demonstrate the speed one is prepared to achieve in one's own life in comparison with the neo-bourgeois busyness of creativity. But wouldn't that just be closing the circle?! Going forth once again in the early footsteps of deviant capitalist subjectivation, in which it gradually becomes visible how the anti-conventionalist release movement of capital constantly emanates a promise of happiness that bombastically bursts on its way through the double logic of utilization and subjectivating discipline?! The pink-gloved flaneurs that promenaded their turtles through passages around 1840 to let them determine the tempo, bore witness to an early gesture of pop-cultural idiosyncrasy: the loneliness of the joy of looking and the aristocratic distinction of the last dandies in contrast with the coming world of clerks. For Baudelaire, the dandy embodies "a revolutionary and oppositional character", who daily proved his will to "battle triviality". Since then, the strategy of coolness, the beautiful void that is open for the impression of (commodity) things, has been replayed a thousand times over, has been democratized, splintered and has successfully failed. From the distance of the past, the cliffs are visible, where the promise of popular cultural difference is still always shipwrecked: the pressure of subjectivation, self-glorification, anti-bourgeois excess, fucking as a desire for transgression, the desocialization of the revolt.

  2 Hits multivacances.groupepvcp.com  

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Die nüchterne Tristesse des Spiellokals irgendwo in Tschechien (es könnte wohl in vielen europäischen Ländern sein) mit seinem Glücksversprechen für die Einkommensschwachen wird mit dem artifiziellen Dialog einer anderen Gesellschaftsschicht dialektisch verschränkt.

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The austere dreariness of the gaming hall, which is located somewhere in the Czech Republic (though it could be in any number of European countries), and the promise of luck it offers people with low incomes are dialectically intertwined with the artificial dialogue of a different social class. In Bruno Pellandini´s radio play two women meet, and two men invite them to a drink. The subject is striking it rich with castles as investments, and the women cheerfully harmonize. They see themselves as taking part in upper-class banter. At the conclusion, as everyone´s saying farewell, one of the women mentions the other´s failed marriage, but doesn´t go beyond anecdotes. The satire of the empty talk of the rich, or recently wealthy, dovetails with the actors´ lack of anything to express visually.

  dbartmag.com  

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Mit von Kohlensäure geröteter Haut ergehen sich zwei Darsteller in klischeehaft erotischen Szenen wie aus einem Werbeclip. Auch mit dieser Arbeit unterläuft der in Frankfurt lebende Kalifornier die Glücksversprechen von Konsumprodukten und Reklamen.

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As mysterious as Fujiwara's biography of Grünberg is the story of Keren Cytter's video Construction (2010). In 2011, the Israeli artist took part in Globe, the art and performance program marking the reopening of the Deutsche Bank Towers in Frankfurt. In Made in Germany, Cytter presents an 8-minute video drama in which she takes the chaos of life and love to the extreme. In the Deutsche Bank Towers, an entire floor is dedicated to Mike Bouchet, where some of his drawings made with homemade cola can be seen, among other works. But the pitch-black soft drink not only serves Bouchet as a substitute for ink; it's also the pool water in the setting for his film Diet Cola Pool Outtakes (2010). Their skin reddened by carbon dioxide, two actors indulge in clichéd erotic scenes that resemble a commercial. In this work, as well, the Frankfurt-based Californian subverts advertising's promise of happiness that consumer products are supposed to bring.

  www.qcplannedgiving.ca  

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Mit von Kohlensäure geröteter Haut ergehen sich zwei Darsteller in klischeehaft erotischen Szenen wie aus einem Werbeclip. Auch mit dieser Arbeit unterläuft der in Frankfurt lebende Kalifornier die Glücksversprechen von Konsumprodukten und Reklamen.

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As mysterious as Fujiwara's biography of Grünberg is the story of Keren Cytter's video Construction (2010). In 2011, the Israeli artist took part in Globe, the art and performance program marking the reopening of the Deutsche Bank Towers in Frankfurt. In Made in Germany, Cytter presents an 8-minute video drama in which she takes the chaos of life and love to the extreme. In the Deutsche Bank Towers, an entire floor is dedicated to Mike Bouchet, where some of his drawings made with homemade cola can be seen, among other works. But the pitch-black soft drink not only serves Bouchet as a substitute for ink; it's also the pool water in the setting for his film Diet Cola Pool Outtakes (2010). Their skin reddened by carbon dioxide, two actors indulge in clichéd erotic scenes that resemble a commercial. In this work, as well, the Frankfurt-based Californian subverts advertising's promise of happiness that consumer products are supposed to bring.

  www.jovis.de  

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Ziel- und hilflos wirken ihre Figuren angesichts der Glücksversprechen von Massenmedien, Werbung, „Shopping„: Wer nicht mithalten kann, wird gnadenlos an den Rand gedrängt. Anhand wichtiger Werkgruppen der letzten Jahre wie „Homeless – Muellness„, „Quartier im All„, „Conflict Mini“ oder „Krisenparkplatz Welt“ dokumentiert das Begleitbuch zur Ausstellung in der Galerie für Zeitgenössische Kunst in Leipzig die Wahrnehmung von (urbaner) Realität, die allen Arbeiten der Künstlerin zu eigen ist: Malereien, Modelle und angewandte Arbeiten beschreiben Verschiebungen in den Lebensverhältnissen.

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In the artistic work of Anna Meyer, the glittering temptations of a global consumer culture encounter the losers of the radical capitalisation of all sectors of life. Her figures seem devoid of goals and hapless in the face of the promises of happiness by the mass media, advertising, and “shopping” culture – whoever cannot keep up with this system is brutally pushed to its periphery. Based on important series of works of recent years such as “Homeless – Müllness“, “Quartier im All“, “Conflict Mini“ or “Krisenparkplatz Welt”, the book accompanying the exhibition at the Galerie für Zeitgenössische Kunst in Leipzig details the particular perception of (urban) reality that distinguishes all works by the artist. Paintings, models, and applied works describe the shift in the circumstances of life. Written contributions by Patricia Grzonka, Peter Hein, Julia Schäfer, Raimar Stange, and others complement the elaborate volume.

  2 Hits republicart.net  

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In bestimmten Momenten kreuzt das Politische die entgegengesetzte Bewegung des Messianismus, die der Mystik des kommenden Erlösers folgt, und erfährt eine Kraft, mit der es auf die Leichtigkeit des Glücks zusteuert, das geschichtsphilosophisch nicht programmierbar ist. [4] Das Glücksversprechen erinnert im Politischen daran, Fortschrittsrationalität, Produktivkraftentwicklung und Disziplin nicht mit Emanzipation zu verwechseln.

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With Benjamin, who described the most beautiful encounters between Marxism and angels, the messianic points in a different direction from the political. At certain moments, the political intersects the contrary movement of messianism, which follows the mysticism of the coming savior, and undergoes a power, with which it heads for the lightness of happiness, that cannot be programmed in terms of philosophy of history.[4] In the political, the promise of happiness is a reminder not to confuse the rationality of progress, the development of productive forces and discipline with emancipation. This condition of happiness in politics, the messianic without messianism, promises that in the midst of the catastrophe that all goes on as before, a different time of battle could suddenly be blown out of it. For Benjamin, the "Angel of History"[5] is the messenger of this actuality. He stands between catastrophe and progress and thus also for the knowledge that there is a connection between the two, which persists in the sad trick of modernization, in the successful failure of battles. What the angel stands for is that this condition is not a closed totality. It is a trace that refers to the line of Jewish messianism in leftist thinking, a trace that Ágnes Heller, for example, ran into most intensively in 1968:

  2 Hits db-artmag.com  

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Eher von etwas, das die Durchschlagkraft der 68-Revolten hatte, sich aber gerade gegen eine bürgerlich gewordene Alt-Linke richtete: gegen Hippietum, kollektive Glücksversprechen, ideologische Dogmen.

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Sometime between the late seventies and the early eighties, an uprising emerged in the western metropolises that had been anticipated by punk. It wasn't really a political movement, but rather something that had the impact of the '68 revolts, yet rebelled against the older leftists that had become bourgeois: against the hippies, against the promise of collective happiness, ideological dogma. During the era of Thatcher, Reagan, and Kohl, an entire generation freed itself from a belief in a secure future, and quite simply began doing what it had always wanted to do. In Berlin and New York, young people started using brown wrapping paper, wall paint, and Super-8 film; they got their hands on instruments or built them themselves, sewed canvas and plastic together, and became—temporarily or long-term—"filmmakers," "musicians," "fashion designers," "designers," and "artists."

  2 Hits transversal.at  

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Noch einmal in den frühen Spuren abweichender kapitalistischer Subjektivierung voranzuschreiten, in der allmählich sichtbar wurde, wie die anti-konventionalistische Freisetzungsbewegung des Kapitals ein Glücksversprechen vor sich herspült, das bombastisch zerschellt, wenn es durch die doppelte Logik von Verwertung und subjektivierender Disziplinierung hindurchgeht?!

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This is modern life. The norms have been liquefied and solidified. More and more. Maybe we should take up a 19th century whimsy again and take turtles for a walk on a leash to demonstrate the speed one is prepared to achieve in one's own life in comparison with the neo-bourgeois busyness of creativity. But wouldn't that just be closing the circle?! Going forth once again in the early footsteps of deviant capitalist subjectivation, in which it gradually becomes visible how the anti-conventionalist release movement of capital constantly emanates a promise of happiness that bombastically bursts on its way through the double logic of utilization and subjectivating discipline?! The pink-gloved flaneurs that promenaded their turtles through passages around 1840 to let them determine the tempo, bore witness to an early gesture of pop-cultural idiosyncrasy: the loneliness of the joy of looking and the aristocratic distinction of the last dandies in contrast with the coming world of clerks. For Baudelaire, the dandy embodies "a revolutionary and oppositional character", who daily proved his will to "battle triviality". Since then, the strategy of coolness, the beautiful void that is open for the impression of (commodity) things, has been replayed a thousand times over, has been democratized, splintered and has successfully failed. From the distance of the past, the cliffs are visible, where the promise of popular cultural difference is still always shipwrecked: the pressure of subjectivation, self-glorification, anti-bourgeois excess, fucking as a desire for transgression, the desocialization of the revolt.