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I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.


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TACHELES symbol of a city that no longer exists: BERLIN and Tacheles artists as Ermanno Olmi’s Characters in a docu-film.

“Berlin is becoming gentrified,” wrote Le Républicain Lorrain, “Berlin says farewell to bohemian artists,” said Le Point, and, according to Art Media Agency, it was “the end of an era” …

t_m  The closure of the famous Berlin art squat Tacheles, (september 4, 2012), by the authorities of a city increasingly dominated by property and finance, was a sad moment for anyone who believes art can offer alternative visions of the world.

In these days I’ve often spoken whit a dear friend about this topic and the new era and changes for the future in this city that i love so much. Zuleika, my friend, studied for a long time the architecture, the evolution of urbanism in Berlin and discovered unknown places of the city. (She also organizes tours very interesting that several times I have followed with Berlino Explorer).

http://www.berlino-explorer.com/

https://www.facebook.com/BerlinoEx?fref=ts

Tacheles was one of many buildings in east Berlin that hovered between semi-collapse and unfinished building site.  After the Berlin wall had come down, it was taken over by artists, who called TACHELES, Yiddish for “straight talk”. The building contained studios and workshops, a nightclub, and a cinema. In its courtyard you saw surreal sculptures of missiles and tanks made from scrap metal created apocalyptic mayhem. Inside, bars had been carved out of cavernous space that seemed to go on forever. It was a meeting place for the city’s artists and subversives that had the atmosphere of some legendary, mythic avant garde of the past.

The new generation of young people will not be able to relish in Berlin this mood. Even though the Tacheles lost its free and non-commercial spirit some time ago, Berlin lost the trademark of alternative culture in its heart. Lets hope that Berlin will still keep some spaces of free art and not just regrets that they have none any more once they are all gone.

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The city is indeed undergoing massive gentrification, but it’s not a new phenomenon. When the Euro was introduced in the early 2000′s, owners doubled the rent, forcing families into exile in the poorer suburbs. It left space for investors, bohemian artists and other creative types to move in.

Talking with Zuleika I asked her: “and then what happened?” She  invited me in marzhan and explains me what is the MAP. Tachels has a new structure, place (Alte Börse di Marzahn) and a new project for the future: The Mobile Atelier Project (MAP) that has the goal of focusing on gentrification and uses it to create an alternative way of thinking free space: making the concept of nomadisation  a letimotiv of creation.

For understanding better what  the Tacheles was really and the soul of its artists I advise you a docu-film: THE LAST DAYS OF TACHELES by the director Stefano Casertano, that touched me because you will see the true spirit of these artists. He had the opportunity to live and follow them for a whole year (not so easy to get), then through their emotions, disappointments a journey towards new hope (maybe!).

I recommended it because the thing that struck me was a poetic and imagery that reminded me to the characters of Ermanno Olmi movies. His characters and cinema always move to represent something is going to disappear (the end of a homeless man in “The Legend of the Holy Drinker”, and the end of civilization in Lombardia in “The Tree of Wooden Clogs”) through an humanist vision, where human being is at the center of his vision, but not to do social criticism but simply to dig into the intimacy of his characters. I’ve seen the same on the movie The last days of Tacheles: simply the soul of these artists closely with their fears, disappointments and ideals. This docu-film inhabit a strong humanist space.  Note: a wonderful piano soudtrack by Maya Stern enriches the film.

Not surprisingly Olmi started his career as a documentarist.

t2 I’m a creative worker (or also artist for somebody, but It’s a word that really I don’t love so much) and the last part of Casertano’s docu-film,  where you can see the great disillusion of the Tacheles artists the days before the closing, really moved me. I don’t  know if everyone can understand, but It’s s really a tear heart to see the dismantling of a place where you spent half of your life, your ideals and beliefs.

The movie premiere will be in Rome, 22 march at the RIFF FESTIVAL.

I don’t think Tacheles will even be mentioned in history books of art because it did not produce any “great artists” or “iconic works”. But It was an experiment in the power of imagination. May it be restless in memory.

http://tachelesmovie.com/

http://artprotacheles.blogspot.it

http://daringhouse.com/eng/the-last-days-of-tacheles/


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Jimmy Nelson: BEFORE THEY PASS AWAY and Mongolian Inspiration.

“Fine horses and fierce eagles are the wings of the Kazakh”.

JNelson (6) I decided to realize one of my dreams in life this year: a travel in Mongolia. It’s a land that always fascinated me, maybe because I know, I have the memories of the past: in one of my previous lives I was a warrior Mongol leader.

I know it is strange to tell about that, not the last (where I was a Thai monk), but one of many my previous lives, I have clear memories and scenes in front of me regarding this life. So I always wanted to travel one day in Mongolia! I love all the Mongolian culture: clothing, jewelry, traditions, landscapes etc.

All this talk about to say and show you a great photographer that I Love so much: JIMMY NELSON. In Berlin today Camera Work and CWC Gallery has inaugurated his wonderful exhibition:  BEFORE THEY PASS AWAY.

In many respects, the term »unique« describes the people portrayed by Jimmy Nelson best: Representatives of the world’s last indigenous peoples are the protagonists in Nelson’s photographs. His works go far beyond serving solely as a neutral visual document, serving the public’s vague idea about the existence of those tribesmen and peoples.

With his epochal series, Jimmy Nelson establishes an awareness for the fascinating variety of the culture- and history charged symbols of the people, reflecting their rites, customs and traditions, that hitherto has not existed to this extend. Among several other countries his journeys led Nelson to Ethiopia, Tanzania and Kenya, to China and Nepal or Siberia and Mongolia.

JNelson (5)  The cultural prosperity of the indigenous populations of those countries differentiates itself even further within each single tribe in a new and different way.

The spectator is confronted with the unknown and foreign in a genuine sense through the unfamiliar exoticism of the luxuriant fur robes of the Kazakhs in Mongolia, the colorful cloths of the Maasai in Tanzania, the pearl jewelry and feather decorations of the nhabitants of Goroka in Papua New Guinea, or the unembarrassed bare skin, if not tattooed or painted, of the Karo in Ethiopia.

His pictures oscillate between being a visual testament of authenticity and being the expression of a calculus of composition committed to the ideas of beauty, pride and dignity.

JNelson (10) Pride and dignity lie in the looks of the portrayed persons’ eyes that are vigorous enough to transcend the photograph’s restriction by frame even in front of a totally diminished background. They tell exactly those stories that are of vital importance to Jimmy Nelson and that he is keen to find on his journeys.

Different perspectives and layers of meaning thus seem to overlap and intermingle in the photographs. Their contents’ authenticity poses the question as to which extent, or in which cultural frame, such attributes can be attested by the spectator. For the tribesmen their bodies are jewelry just as the ones they decorate them with. JNelson (8)

This game with signs, repeated by Nelson in his visual language, encodes his works with ambiguity, is eventually a game of appearances. To generally bring appearances into question is one of the central messages Nelson took with him on his journeys.

Exhibition from March 8, 2014
CAMERA WORK ⋅ Kantstrasse 149 ⋅ 10623 Berlin · Germany · Tue–Sat 11a.m. – 6 p.m.
CWC GALLERY · Auguststrasse 11–13 · 10117 Berlin · Tue–Sat · 11a.m. – 7p.m.

 

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Berlin, Berlin – A poetic visualization of a city’s manifesto by Nehemias Colindres

I love Berlin! I’m italian but Berlin is the city that made me feel at home for the first time.

Watch this wonderful video on VIMEO. https://vimeo.com/87454480

berlin (1) American Director Nehemias Colindres creates an ODE to his adopted city: Berlin. He’s a great talent and for the past four years Colindres has been working on music videos and commercials alongside veteran directors, including Paul Hunter and Wayne Isham. Recently, Nehemias penned his first feature and directed several commercial spots.

Nehemias Colindres filmmaler originally from L.A. and now living in Berlin. He has obviously fallen in love, like me, with our beloved exciting, free spirited and sometimes also very solemn capital city. Colindres expresses his emotions in his beautiful short film “Berlin, Berlin – A poetic visualization of a city’s manifesto”.: a melancholic movie and its beautiful pictures succeed in catching the different vibes of the streets of Berlin.

berlin “My name is Nehemias Colindres, I am pleased to present you my latest lifestyle film. We are very proud of this project and think it embodies a certain essence about Berlin.

BERLIN BERLIN is a poetic visualization of our beloved city. It takes us on an emotional journey throughout Berlin, it shows us the highs and lows of what it means to be in Berlin.”

The movie shows what it is like to live in this great but sometimes overwhelming place. A magic visualization of the spirit of Berlin.

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BERLIN LOCATION as SCENOGRAPHY for a great Photographer: ERWIN OLAF

The famous fashion and advertising photographer Erwin Olaf chose Berlin as set design for this latest series, interacting with the city spaces and architecture.

Into his pictures you can see thecapacity of capturing solitude, remorse and sadness in his sumptuous compositions.

Berlin, Fechthalle Westend – © Erwin Olaf

 When I saw for example  this photo for the first time, set at the Berlin Fechthalle in Westend, I seem to see the the loneliness of harlequins by Pablo Picasso of his Blue period. Character seem quite so hopelessly cut off from the rest of the world here as in the paintings of the Blue Period.

Then all his work as you can find also the study of light that recalls the Nordic and Flemish painting.

 Amongthe locations used for this series: Clärchens Ballhaus Mitte, Stadtbad Neukölln, Rathaus Schöneberg, Altes Stadthaus Mitte, Olympia Stadion Westend, Freimaurer Loge Dahlem.

8_'Berlin, Olympia Stadion Westend' - 25th of April, 2012853

Berlin, Olympia Stadion Westend – © Erwin Olaf

7_'Berlin, Freimaurer Loge Dahlem' - 22nd of April, 2012841

Berlin, Freimaurer Loge Dahlem – © Erwin Olaf

6_'Berlin, Olympia Stadion Westend, Selbstporträt' - 25th of April, 2012854

Berlin, Olympia Stadion Westend, Selbstporträt – © Erwin Olaf

4_'Berlin, Altes Stadthaus Mitte' - 8th of July, 2012852

Berlin, Altes Stadthaus Mitte – © Erwin Olaf

3'_Berlin, Rathaus Schöneberg' - 9th of July, 2012864

Berlin, Rathaus Schöneberg – © Erwin Olaf

2_'Berlin, Stadtbad Neukölln' - 23rd of April, 2012844

Berlin, Stadtbad Neukölln – © Erwin Olaf

1_'Berlin, Clärchens Ballhaus Mitte' - 10th of July, 2012847

Berlin, Clärchens Ballhaus Mitte – © Erwin Olaf