Issuu

Lotus

Issue 14 2018

The Blue

Arts Magazine

in this issue Bonn Nibelunghalle Alanus Hochscule Honey Khor Beatrice Cron Sinaida Wolf Kunst Museum Bonn Bundeskunsthalle UPdate Gallery August Macke 1

Lotus The Blue

Arts Magazine

Treat people as if th ought to be and you what they are c

(Johann Wolfga

The Blue Lotus remains a wholly independent magazine, free from favour and faction.

The Blue Lotus Arts Magazine is an entirely free and non-associated publication concerned with bringing Asia to the world, and the world to Asia

hey were what they help them to become capable of being.

ang von Goethe)

inside.... 6 Editorial Thoughts on the current issue

by the Founding Editor

Bonn A bit of a wander by Martin Bradley

24 Bonn Art Project Modern statues enlivening Bonn

32 Nibelunghalle A Bonn tribute to Richard Wagner 52 Alanus Hochschule Bonn's university of Arts and Social Sciences 78 Art Therapy Musings By Malaysian artist Honey Khor 100 Beatrice Cron Paintings

114 Sinaida Wolf Digital Art 128 Kunstmuseum Bonn Bonn's most prestigious art museum

Front cover; Mechanical Revolution no2 by Sinaida Wolf

Issue 14 2018

136 Bundeskunsthalle The Art and Exhibition Hall of the Federal Republic of Germany 142 UPdate Gallery Private art gallery 152 August Macke Bonn's most famous artist son 158 Food & Drink A quick look at Bonn's food and drink

coming soon

Lotus Welcome to

The Blue Lotus Arts Magazine.

I founded The Blue Lotus (as Dusun) in 2011, originally to assist art students and nurture their curiosities in the history of Asian art, and to act as a conduit for Modern and Contemporary Asian art and Literature. I created this magazine with the intent to 'give back' to the art and literary worlds for all those years of enjoyment that I have received from both. The Blue Lotus is wholly free of favour. It is an entirely FREE magazine. No money is involved anywhere down the line except, that is, for my subscription to Adobe. This is my gift, for as long as I am able, to the world. The Blue Lotus aims to be a platform for international cooperation, aiming to bring creative Asia to the world, and the creative world right back to Asia. Now read on

Martin Bradley (Founding Editor)

photo by Dino Goh

If we do not believe within ourselves this deeply rooted feeling that there is something higher than ourselves, we shall never find the strength to evolve into something higher. (Rudolf Steiner)

Bonn by Martin Bradley

It was June. It was Bonn, Germany, close relative to Cologne. We were there to suss out Alanus Hockschule, the home to courses taken by my much better half (candidly referred to here as Ms Pulman, due to the book she was reading, her younger son is a keen Harry Potter fan, hence referred to here as Mr Potter, and her elder son, living in Dublin, known as Mr Dublin. Mr Heineken is Mr Potter’s close friend and was wearing a Heineken logo T-shirt. He had an interest in studying in Germany, using the DAAD, a joint organisation of German institutions of higher education and student bodies [it stands for Deutscher Akademischer Austausch Dienst or German Academic Exchange Service], he accompanied us on our journey).

I was sitting with Mr Heineken and Miss Pulman when I was asked if I wanted tea. ‘Yes, thank you, I’ll have tea.’ I replied to the giant blonde goddess of the skies. In far distant times, and far distant climes, on Liverpool Street Station, London, stood a hot drink vending machine. Those of us unlucky enough to be parched while there would, at some time, undoubtedly have attempted to gain a drink from said machine. The drinks, be they tea, coffee, hot chocolate or soup, all came in the same flavour - a less than artful combination of all the ‘tastes’ available. The tea I drank on the Emirates Boeing 777, somewhere between Kuala Lumpur and Dubai, tasted the very same. I need not have worried, as the coffee was far worse. It had been an interesting day so far. We four, Miss Pullman, Mr Potter, Mr Heineken and I, all from Puchong, Selangor, Malaysia, arrived at Kuala Lumpur International Airport (KLIA) in plenty of time to catch our flight to Dubai and, eventually, on to Frankfurt, Germany. The ‘Checking In’ queue was comparatively short and, all was going well, when Miss Pullman suddenly exclaimed ‘My bag, oh my goodness my bag!’ Playing the concerned husband, I enquired ‘bag, what bag darling?’ ‘That small green rucksack I had put all my clothes in.’ Notice the past tense. ‘Sorry’ I said, more than a little surprised ‘where was it. It wasn’t in the bedroom. I would have seen it.’ ‘No, it was in the car.’ ‘Not in the car boot. I opened it to leave my old trousers there.’ 8

â€œPĂźnktlich wie die Ma

aurer”

‘No, on the back seat of the car.’ Feeling a little petty and churlish, I reiterated ‘You left your bag, with all your clothes in, on the back seat of the car that we parked at Mr P’s house, some fifty minutes from where we are. And here we are at the ‘Check In’, having just put four small suitcases onto the conveyor belt.’ ‘Yes.’ ‘All the clothes for these 12 days.’ ‘Yes’ she said. I wanted to smile a wry smile, but could see that Miss Pulman was sorely troubled, and swallowed that budding smile. I said nothing about changing her name to Nicholas. Girls being girls, Miss Pullman soon recovered when she discovered that she would have to buy an entire new wardrobe for the trip. With a large, and spreading, grin upon her rouged lips, soon enough we were at Victoria’s Secret alone, except for the sales assistant, as the two teenage males, otherwise accompanying us, took one look at ladies undergarments, spun on their heels, and promptly disappeared. There is something rather unsavoury about being trapped in an enclosed vehicle and being forced to ingest other people’s excreted bodily gases. Although scientists now regale us with theories concerning smelling others farts, which they say, bring us together, I prefer be on my own and denied such a pleasure. The flight to Dubai was no better than, and indeed no worse than, many other such journeys in this respect. Gases flew randomly, and pungently with multiple personages seeking the source. It reminded me of that now infamous lift sketch with Peter Sellers as Inspector Clouseau, in the film ‘The Revenge of the Pink Panther’ (1978). Happy disembarked from the second of our intercontinental cigar tube flights, in Frankfurt, we sped along to another air terminal (2), to catch a train to Bonn. Happy to have planned so well from Malaysia, we stood on the rail platform expecting our 20. 59 train to Mainz, which was to take us swiftly onto Bonn. We were tired, but happily so to have come so far, exactly as planned. We were safe. We had landed in a culture which well and truly understands the philosophy of punctuality. Anal retentive about it, in fact. There is a German phrase, “pünktlich wie die Maurer” (to be punctual like the masons, or bricklayers who leave off work on the dot) it means to be very punctual, So what could possibly go wrong. Reality. We stood on platform 7, happily waiting for our train (DB ICE 1594) to arrive, knowing in our little foreign hearts that nothing on Earth, or indeed in Heaven, could possibly happen to detract from the assured punctuality of our expected German train. The digital message box glowed the current time and coming train times. With Germanic precision, the digital display punched itself into our consciousnesses. 20.59, or in English 8.59 pm, which came and ultimately went, but the train hadn’t. Those unforgivably disastrous words ‘5 minutes delay’ appeared on the display. ‘Darling, just checking, but what country are we in.’ ‘Germany’ she 11

replied with an unsaid question hanging on her lips. ‘Okay, just checking.’ Then, our no longer trustworthy display suggested that there may be a further delay. Twenty minutes. I wasn’t too concerned. Tired and weary, yes. Concerned, no. Until that is....... ‘The nine-twenty does not wait’, said the DB ticket collector on our finally arrived ‘not the 20.59 train’, with a small smirk. Our train from Frankfurt airport station to Mainz, was delayed 25 mins. This had already shaken my trust in German punctuality and, effectively, meant that we missed our connecting train (the 21.20 from Mainz to Bonn Hauptbahnhof ) and were forced to wait a further hour in the cold, wet, German night. This changed our Bonn estimated arrival time to midnight. I could practically hear the Bonn taxi drivers rubbing their hands in glee. We had been travelling 24 hours from South East Asia, and were beginning to feel every single hour of that long, long journey. I had texted ahead to the owner of the Air BnB, to tell him that we would be late. He said that he would stay up no matter what time we arrive. That was our first taste of German hospitality, a trend which was to continue throughout our stay in Bonn. Coincidently, it was also our first taste (although not literally) of Germans who cannot hold their liquor and scent Bonn's elder streets with the acidic smell of vomit. That night our Air BnB was quiet. The morning too. Birds were singing. All kinds of birds, chirping away like mothers at hairdresser’s. A slight rain had come and gone leaving trees, bushes and flowers in the far below garden distinctly moist. All in all, twas a pleasant way to be awoken. It really does depend, upon so many factors, as to what any person might perceive of Bonn, the ex-Capital of Germany. Some folk might yawn due to a distinct lack of external stimuli, once they had raised their dear young heads from their mobile phones, that is. Others might prefer the gentle, easy, practically meditative way the city has towards life. Bonn is a city where many people cycle, recycle and bask in pleasantries warmly offered to strangers who are, unknowingly, walking in lanes reserved for cycles adjacent to the sixth-oldest river on Earth. Bonn is both cosy and frustrating. Cosy because, like my favourite Catalan city of Figueres, it is walkable. Though there are buses, trams and taxis willing and able to escort you to most places around Bonn, there is also the quiet satisfaction of knowing that many of the city’s delights are within walking distance including, that is, supermarkets jam packed with many inexpensive edibles and drinkables. Bonn is frustrating because, unlike Figueres, there are not a plethora of lazy cafés where all human life may be witnessed. All the ‘tourist guide’ talk of a café culture either doesn’t exist, or is somewhere far off the beaten track where only locals (sworn to secrecy) know. While Miss Pulman sought clothing, I wandered in the annual German Summer precipitation. In that 12

DB Mobil - Das Magazin der deutschen Bahn

dampness I sought a café to rest my weary legs and, perhaps, to write a little. It was not to be. There were restaurants, a stall proffering its worst wurst and one eatery which encouraged its patrons to vend their own coffee from a machine with German instructions. I didn’t. I continued to wander and eventually wandered back to the clothing store where Miss Pullman continued to choose items of clothing to replace those allegedly forgotten in Malaysia. Still adjusting to European time, Malaysians - Miss Pullman, Mr Potter and Mr Heineken, slept early. The day continued to be bright until past 9.30 pm. It was a little disconcerting when I checked the time. The day came when we were to slip along to Cologne, just a hop and step away from Bonn. In many respects Bonn plays Robin to Cologne’s Batman, and are lumped together as the Cologne Bonn Region. Cologne is the fourth largest city in Germany whereas, in comparison, Bonn is essentially a small town named as a city, but remains both one of Germany’s oldest cities and the second, unofficial, capital of the country. Based on Charles Dickens ’Oliver Twist’, Lionel Bart’s 1960 musical ‘Oliver’ has a most significant line - “You've got to pick-a-pocket or two” sung within the their master Fagin’s lair, and celebrating the almost unbelievable dexterousness of Fagin’s pickpockets. The day we were to pick up Mr Dublin from Cologne airport, and transport him back to Bonn with us. The incident, when it happened, was something out of that musical, but set on a platform modern day Bonn Hbf (rail station). As I was climbing steps to board the train to Cologne, a slim, light brown hand was trying to insinuate itself into my left trouser pocket. I thought it must be Miss Pullman or Mr Heineken playing about but, there again, they wouldn’t, not like that. The presenting jacket sleeve was the wrong colour. It was a royal blue. None of my companions had that colour sleeve. I was struggling to board the train and, at the same time, trying to keep this small inquisitive hand out of my pocket. I turned with the realisation that I was mistakenly in the first class compartment, and began to climb back down the steps. The small hand ceased its fidgeting at the entrance to my pocket. The clumsy pickpocket (a young girl, maybe in her twenties) began eyeing another victim. I was too rushed, climbing back down, climbing up into another carriage, then trying to get a seat on the train to Cologne, to make a fuss. Later, I realised that she must have been after my mobile phone. Still a little betwixt bothered and bewildered (with apologies to Frank Sinatra) we wandered the streets of Cologne, some looking for clothes (still) while we others were more concerned with food and a little intrigued by cake shops selling wedding cakes topped with uni-sexed couples. The Cathedral found, entered and awed at, we travelled on to pick up Mr Dublin, and take him back with us to Bonn. And, all too soon Ms Pulman was off to Berlin to 'intern' at the Anthroposophische Medizin im Gemeinschaftskrankenhaus Havelhöhe (Anthroposophic medicine in the community hospital Havelhöhe). Essentially following on from the work she had already began with Alanus Hochscule, in Malaysia. 15

I was alone. Well, actually, I was living in the apartment with two teenage males, but I might just have well been on my own. We did everything separately and rarely talked, and then only in passing. Effectively they looked after themselves and I, apart from cooking them the occasional bacon for breakfast, looked after myself. It was a growing experience - for me! My solo adventuring, mostly lured on by hunger pangs, led me down all kinds of Bonn alleyways, roads and pathways. As I was still not au fait with Google maps, and the way that Google attempts to guide you to your destination, I found myself walking in the opposite direction so many times that I gave up using it. Waze was better, but was apt to chew up my Samsung's battery and so I adventured, aimlessly, making my own discoveries. I discovered Pizza. Yes, I am quite aware that Raffaele Esposito was the Neopolitan owner of a tavern called 'Pizzeria di Pietro e Basta Cosi' (19th C), and is considered by some to be the father of modern pizza, in Naples, Italy, but I discovered the Bonn pizza place, and it was pleasantly confusing. I have but one language, and that one I am still learning. However, 'Da Sasa' (Napolitanische Pizza aus Holzofen, or Neapolitan pizza from a wood oven), is a small hut-like building on KĂślnstraĂ&#x;e, they speak Italian, German and a little English and frequently boggled my mind by speaking all three in one sentence. Still, I have no complaints. 'Da Sasa' became my 'go to' place for lunch or dinner, or when I had neither the strength or ingenuity to cook for myself. Cooking solo is not like cooking for two or more. Cooking for 18

Da Sasa' Napolitanische Pizza aus Holzofen

La Trenda Latina

more than one is a commitment, for yourself is a chore and one that became more and more laborious the longer it went on. I mooched around discovering more supermarkets, big and small. As well as an Aldi Süd (or Albrecht-Diskont) store, literally just around the corner from where I was staying, within a minute or so I could reach a small Asian supermarket, the Thai-Viet Asia Markt (also along Kölnstraße) which gave me access to the ingredients for Bak kut teh (which is a pork rib dish cooked in a herb broth), including deep fried Tu Fo (Dou Pao). I just cannot seem to leave Asia behind when I travel! The other major find was the Rewe supermarket on Heerstraße. Rewe is a little more upmarket (no pun intended) than Aldi, and therefore more expensive for some things, but I found that between the three I could get, more or less, what I wanted. Lunch, or dinner, became whatever I could forage from the three supermarkets. Mostly, apart from having takeaway pizza, or cooking, I grabbed sandwiches or handy food in snazzy containers.

I longed to go into shop/cafes like 'La Trenda Latina', but having noone to share the experience with, I declined lest I look like the sad old man I really am. Language was the other thing. Although we are led to believe that most people in Germany speak English, in Bonn that did not seem to be the case. My German is very poor. I only gleaned a few sentences from my father (who had lived in Germany some time in the late 1940s). I was never taught languages, other than English, at school, and that deficiency has plagued me all my life. True, university tried to induce me into the strange ways of German philosophy, but words like 'augenblick', 'Sein und Zeit' and 'dasein' have little application in everyday conversation. 21

That very first day had been Monday (Montag), and pretty soon I had learned another German word - Geschlossen (closed). And just when I was feeling peckish too!

I roamed the city, mooched into the town centre, took the obligatory photography of Beethoven's statue, and the brilliant yellow Postamt, behind the statue, feeling very much like a refrain from T.S.Eliot.... And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me Eventually the day came when I rode the 'Flughfenzubringer' (airport bus) to Cologne airport, and brought Ms Pulman back to Bonn, after a quick Mc Donalds Signature 'The Spicy' burger with “jalapeño slices, pepper jack cheese, Batavia lettuce, mayo and a spicy relish” that is. Flights back to The Middle East and to South East Asia came and went, with only vague memories of standing the entire distance of the train journey from Bonn to Frankfurt airport. 22

Statue of Beethoven

Postamt, or central post office of Bonn

Bonn Town Centre

Muensterplatz fountain

The Bonn Minster

“Beethoven” sculpture by Markus Lüpertz

BONN ART PROJECT

Public art is direct, challenging and controversial. At the heart of a community’s social space the artist is making a statement which is visible to all. A highly individual statement, which – as with any public pronouncement – automatically provokes approval and rejection. Yet viewers cannot avoid this art. And irrespective of their response to it: they will form an opinion. Art in the public space is not conceived as a municipal facelift, but is a response to the question of how we wish to utilise the public space in the city we choose to live in. We welcome such a debate as it can help society to progress. (Walter Smerling, Artistic Director) Ludwig van Beethoven has been immortalised in countless portraits and monuments, which, with varying degrees of success, endeavour to represent his external appearance. Markus Lüpertz, in contrast, has adopted a very different approach: His Beethoven sculpture does not aspire to meet the conventional expectations of monuments, but is the sculptural projection of interiority, spirit and genius. The inaugural speaker at the ceremony Werner Müller referred to it as “revenge on the banal” – a characterisation, which appositely characterises Lüpertz‘s art in general and his “lounge-lizard” image in equal measure. Every artist is engaged in a permanent struggle to find his own path, the perfect form, or the ideal tone. Beethoven did it. And Markus Lüpertz does it. His Beethoven is not a portrait in the traditional sense, but a “depiction” of the inner turmoil of a conflicted genius. The sculpture comprises two elements – a seated figure and a bust at its feet. The nude

2 Tony Cragg, Mean Average, 2014 Remigiusplatz (City center) 2nd Bonn Art Project Turned on their own axle, the seemingly organic forms spiral upwards, imbuing this sculpture with a semblance of vitality and life. They appear to be attempting to break free of the bronze – as Lüpertz pushes the possibilities of his material to their furthest limit. The sculpture does not offer a dominant viewpoint, and as one walks around it continually offers new perspectives. And depending on the position of the viewer, one can fleetingly discern human profiles in the sculpture which suddenly appear and vanish just as quickly as one moves further along. Cragg has sited his self-contained, assured and purpose-free work of art in stark juxtaposition to the milling crowds, shops and cafés on the busy Remigiusplatz. And inexorably this monumental work seeks confrontation. “Artists in particular are responsible for the aesthetics of our surroundings“, stresses Tony Cragg. “Almost everything around us, is, in its formal appearance, mediocre at best, and serves only economic interests, and is merely a function of the economy. Sculpture can assume a special role here. It can bring into the world new, previously unseen forms, and in so doing generate new ideas. And thus it also fulfils a political function.”

Mean Average, Tony Cragg

ARC Â´89, Bernar Venet

3 Bernar Venet, ARC ‘89, 2016 B9 / Museumsmeile (Trajektknoten Helmut-Schmidt-Platz) 3rd Bonn Art Project Resembling a vast open portal are two rows of arches, some 17 metres in height, which have been constructed from 42 tonnes of pre-rusted Corten steel. With this work, Venet has in principle created a suite of sculptures: for depending on the perspective and angle of the 14 arches, his arc alters so fundamentally as one walks around it, that one could be deceived into thinking that there are several sculptures on this site. As a highly visible landmark on one of Bonn’s main traffic arteries, “ARC ´89” dominates the city’s skyscape. By choosing this location in the former government district, and by setting the arches at angle of 89 degrees, Venet is commemorating the collapse of the former GDR in 1989. The profound changes precipitated by the fall of the Wall also held far-reaching ramifications for the city of Bonn. In the re-unification of Germany the artist saw a challenge – but of a positive nature. Connotations such as openness to change, imagination and creativity, and the willingness to adopt fresh perspectives are all aspects which flowed into his work And this project was also informed by the vision of a united Europe; with a French artist having his sculpture assembled by a Hungarian steelwork company and installed in Germany’s former capital city.

4 Stephan Balkenhol, Homage to August Macke, coming in September 2018 Hofgarten (near Akademisches Kunstmuseum) 4th Bonn Art Project Stephan Balkenhol’s “Homage to August Macke” comprises an approximately 4.5-metre-high, publicly accessible pavilion with a glass roof, inside of which stands an over-sized bronze sculpture. It is a prototype of Balkenhol’s universe of figures. An ageless man clad in black trousers and a white shirt, exuding an inner tranquillity and devoid of any suggestion of movement or narrative attributes. Balkenhol’s human figures are characteristically neutral and undefined, their quintessential core always remaining concealed. For Balkenhol is not seeking to commemorate August Macke through his physique but through his work. And thus the coloured sky is the actual centrepiece of the sculpture. As he gazes into the firmament, the figure is placing himself in relation to the world; here stands August Macke, painter, seeker. A does Stephan Balkenhol. An artist. A human being. An everyman. Thus Macke is a projection screen for myriad associations, rather than a mere representation.

Within the framework of the Bonn Art Project, the Foundation is planning to commission an acclaimed artist each year until 2030 to design a work for its public space – Bonn as an urban museum. The works are to be created and financed completely through commercial sponsorship, without state or municipal funding: private-sector commitment to publicly accessible art....Used with permission 30

Homage to August Macke, Stephan Balkenhol

Fafner, the mighty dragon, lies there within these woods and protects with his monstrous bulk the Niblung gold, guarding it well. Siegfried’s conquering strength could quickly lay Fafner low: the Niblung’s ring would then come to me. And one sword’s all that I need, and Notung only will serve, when Siegfried deals him the blow: and I cannot forge it, Notung, the sword! Siegfried from Richard Wagner's Der Ring des Nibelungen

NIBELUNGENHALLE

Miss Pulman, Mr Dublin, Mr Potter, Mr H

Haus Drachenfels Kรถnigswinter

Heineken and Mr Bradley Go Adventuring

Drachenfels Cog Railway

Drachenfels Top station

The five of us, Miss Pulman, Mr Dublin, Mr Potter, Mr Heineken and I took the train out of the city of Bonn. That rambling

train followed the majestic Rhine River, to Königswinter, where we disembarked. We must have missed the sign for the Drachenfels railway (which runs from Königswinter to the summit of the Drachenfels mountain at an altitude of 289 m), so we sauntered, ambled until we saw in the distance a white painted building which, as we got closer, revealed itself to be ‘Haus Drachenfels’, and conveniently close to the railway we needed. The Drachenfels Railway (Drachenfelsbahn) is the oldest ‘cog’ railway in Germany. It had opened in 1883 because even back then there were people, like me, who baulk at the idea of walking (climbing) up what is effectively a mountain. We took the railcar to the top and, like other tourists, moseyed around looking at the Bonn panorama spread before us. Drachenfels (Dragon Rock) is one of seven hills in the Siebengebirge uplands between Königswinter and Bad Honnef. Atop the hill are the remains of the original castle, lower down is the tourist attraction of Schloss Drachenburg (Dragon Castle), a somewhat Disney castle built in a romantic glamour in the 1880s by a wealthy broker of stocks. In its modern heyday, that grand master of American Pop Art, Andy Warhol, attended one of the castle’s more lavish parties, hosted by its then owner Paul Spinat. Drachenfels is wrapped both in the saga of Siegfried (or Sigurd of Norse mythology) and his slaying of the dragon Fafner (Fafnir), and the 800 year old Nibelungenlied, the most popular German epic poem concerning Siegfried. Many believe that the famous slaying of the dragon Fafner took place in a cave on what is now called Dragon’s rock, or Dragon Mountain, and harks back to one of the oldest of German sagas subsumed into opera by Richard Wagner as the third section of his four work which comprise ‘Der Ring des Nibelungen’, or ‘The Ring 38

Cycle’ as it is known, composed in 1874. Wikipedia (believe it or not as you might say), recants this in regard to J.R.R. Tolkien (author of The Hobbit and Lord of the Rings) and his potential influence by Nordic/Norse mythology. “During his education at King Edward's School in Birmingham, the then young Tolkien read and translated from the Old Norse on his own time. One of his first Nordic purchases was the Völsunga saga. It is known that while a student, Tolkien read the only available English translation of the Völsunga saga, that by William Morris of the Victorian Arts and Crafts Movement and Icelandic scholar Eiríkur Magnússon.[7] The Völsunga saga and the Nibelungenlied were coeval texts made with the use of the same ancient sources. Both of them provided some of the basis for Richard Wagner's opera series, Der Ring des Nibelungen, featuring in particular a magical golden ring and a broken sword reforged. In the Völsungasaga, these items are respectively Andvarinaut and Gram, and they correspond broadly to the One Ring and the sword Narsil (reforged as Andúril). The Volsunga Saga also gives various names found in Tolkien. Tolkien wrote a book entitled The Legend of Sigurd and Gudrún, in which he discusses the saga in relation to the myth of

Drachenfels by British painter J.M.W. Turner

Sigurd and Gudrún." Drachenfels also fascinated the great British painter J.M.W. Turner, possibly due to the British poet, George Gordon Byron, 6th Baron Byron FRS, (known as Lord Byron) and his narrative poem ‘Childe Harold’s 39

Two Forms by Bettina Meyer

Nibelungenhalle 1913

Pilgrimage (published in 1812). Turner painted ‘The Drachenfels’, a watercolour, in 1830, and made sketches of Drachenfels between the years 1817 and 1840. In 1833 Turner drew for the engraved print ‘The Drachenfells’, executed by William Finden. A 1840 Drachenfels sketch can be seen as part of the ‘Würzburg, Rhine and Ostend Sketchbook’, in the Turner Bequest (1856) at London’s Tate Gallery.

Childe Harold's Pilgrimage (part)

The castled crag of Drachenfels Frowns o’er the wide and winding Rhine. Whose breast of waters broadly swells Between the banks which bear the vine, And hills all rich with blossomed trees, And fields which promise corn and wine, And scattered cities crowning these, Whose far white walls along them shine, Have strewed a scene, which I should see With double joy wert thou with me! — Lord Byron,

As enchanting as the top of the hill was, I was much more interested in dragging my party of Chinese Malaysians to the Nibelungenhalle, originally opened in 1913 on Richard Wagner’s centenary, and just a few minutes down the hill by oldest German rack/cog railway. In the Nibelungenhalle were the cultural delights of both Richard Wagner’s music and Hermann Hendrich’s paintings of ’Der Ring des Nibelungen’.

Sketch from a Boat on the Rhine, Looking Downstream; The Drachenfels by J.M.W.Turner 1817

Interior

Drachenhรถhle or Dragon's Cave

one woman

Every so often a book appears that reveals and illuminates a project that might otherwise remain largely unknown by the outside world: â€˜Colors of Cambodiaâ€™ is such a book. This is a highly personal and passionate account written by Martin Bradley and illustrated by Pei Yeou Bradley of her encounter with a remarkable art-based project in and around Siem Reap in Cambodia, and how she was drawn into practical involvement with the children for whom the project exists. The book shows how a small NGO run by William Gentry in Siem Reap has been able to reach out to children in local schools, some in areas of great poverty, through the medium of art, and to give them hope for the future in a country that has suffered so much. The children and their families who are drawn into the project prove how art can cross all borders of language and culture. The book also tells of how Malaysian children and their parents have been encouraged to support the project and to become involved with the children and their work.

This is a highly personal and passionate account written by Marti remarkable art-based project in and around Siem Reap in Cambodia, for whom the 50

nâ€™s journey

And there is the additional touch of magic as Pei Yeou and Martin tell of their meeting and of how he too was drawn into the story, and contributes to it, and of how it changed his life. His sensitive words and poetry add another colour to this unique book In a world in which the news is bad more often than not, this inspirational book tells a story of optimism and success, and of how dreams can become true. Richard Noyce, Artist and Writer, Wales, July 2012 contact honeykhor@gmail.com martinabradley@gmail.com http://colorsofcambodia.org/

in Bradley and illustrated by Honey Khor of her encounter with a , and how she was drawn into practical involvement with the children project exists. 51

alanus ho

fĂźr kunst und

ochschule

d gesellschaft

Goethe's colour the

"Goethe's colour theory has in many ways borne fruit in art, physiology an aesthetics." Werner Heisenberg,

Orange Demands Blue, Johann Wolfgang von Goethe

eory

y nd

Memories of a Mandolin Man by Martin Bradley

We had previously met Professor Prof. Hildrun Rolff, who has been a professor of Art Therapy at the Alanus Hochschule (university) in Alfter, Bonn, since 2011, by the banks of a grey River Rhine. That day had promised rain and, over the course of our loitering around the town centre, kept its promise. While we four had sauntered out of Nordstrasse, loving every moment of the cool German weather and revelling in the small meadow, past the Römerkran (Roman Crane sculpture) and towards the end of Augustusring, Prof. Rolff had cycled to meet with us on that mild June day, and made arrangements for us, with the addition of Mr Dublin (with whom we were destined to catch up with at Der Flughafen Köln/Bonn (Bonn/Cologne airport) to visit Alanus Hochschule. We met Professor Rolff, for the second time, at Bonn Hauptbahnhof (Bonn railway station), where she guided us toward the line which was to carry us all (now including Mr Dublin) towards Alfter. Having stepped down from the train at our destination, I was suitably impressed to see Alanus Hochschule as the subheading to the rail sign Alfter and, beyond it, a mural. We had, indeed, arrived. The sign told us so.

True to form the day had brightened, bringing blue skies and ‘little fluffy clouds’ (a song by The Orb, 1990) enough to gladden any downcast heart. Flat, yellow fields, in places tinged with green, accompanied us, and there was a distinct spring in our steps as we began approaching a gateway structure bearing the legend WWW.ALANUS.EDU. The Alanus university, founded in 1973, had taken its name from Alanus ab Insulis (or Alanus from Insulis), a French scholar/poet/monk, a teacher at the famous (Cathedral) School of Chartres and whom Rudolf Steiner believed to be one of the founding fathers of anthroposophy. The Alanus Hochschule für Kunst und Gesellschaft is divided into two campuses (campi?), and we were entering the newer of the two (Campus II, opened 2009) in Villestraße. Within the remit of this campus was Architecture; Art Therapy (behind the orange door); Education Science; a Seminar building; a main building and a cafeteria. The latter housed a vending machine proffering a mind boggling ‘Kaffee Hell’, ‘Expresso Hell’ and a ‘Choc Hell’, as well as a variety of non-hellish drinks, perhaps for the angels. Even the usual mess of places concerned with higher or tertiary education was missing from this campus, for it seemed regimented, structured and designed to promote and provoke a ‘tidy’ mind. While every attempt with the architecture had been made to meld 55

new, concrete, rectangular structures with areas which should have been, well, messy, ie vegetation, grass and trees, the overall effect was a ‘campus’ trying to meld, etc etc etc. Even the ‘Wilde Zone’ (named after Oscar?

Or a German spelling) was respectably trimmed to prevent too much wildness amidst the pristine buildings. It was as if someone had said ‘Well, I don’t mind wildness, but not too wild’. Even the cafeteria’s Vivani chocolate bars (their covers painted by artist Annette Wessel who hails from Castrop-Rauxel, not that far from Bonn) seemed to say art, yes, but here, confined to here. This, second of Alanus’s campus, exuded orderliness, regimentation, form following function and (seemingly) a Bauhaus concern with these words from Alfred Barr… “because we live in the 20th century, the student architect or designer should be offered no refuge in the past but should be equipped for the modern world in its various aspects, artistic, technical, social, economic, spiritual, so that he may function in society not as a decorator but as a vital participant.” (1938). Down the road, and up the hill, just two kilometers from the centre of Alfter, in a section called Johannishof, told an altogether different story. I hold up my hands and confess. I am an old hippie. I ran away from home, to a ‘hippie commune’ in North Yorkshire, when I was 17. I guess that I had conjured some sort of artistic haven acting as a magnet to which all creatives would one day be drawn. It wasn’t. It was simply a rundown cottage on the fringes of Halifax. I tell you this because, as we approached the original Alanus campus, there was that same dream art commune, made tangible, there in Alfter, Germany. I instantly fell in love with the place, and that was before Professor Rolff had led us through the amazing buildings, before I saw the art and the artists, and certainly before I saw one young artist sit on the grass, grab his mandolin and just play into that bright Summer’s day. That action brought to mind Donovan Leitch and his song ‘The Mandolin Man and His Secret, from the double album ‘A Gift From A Flower 56

with thanks to Beatrice Cron

To A Gardenâ€™ (1967). I was mesmerised. It was the 1960s/70s all over

again. After I had learned that the site boasted a Guest House (which has rooms designed by art students and lecturers from Alanus University and Alanus Training Centre). It also backs onto the Kottenforst Nature Park. I was so sorely tempted to stay, forever. Inside one of the intriguing old farm buildings was a huge, carved, wooden door which took our combined breathes away, though it ultimately fitted right in to the bohemian nature of this exciting organic campus. Professor Rolff led us through studios used by artists drawn there from across the globe, easing past easels daubed with paint spillages, which vied with artworksin-progress for our attention. I was home. I was in heaven. I too wanted to approach canvases with considered colours and brush away my hours listening to music of the soul. Outside, white Tudoresque walls, ornamented with blackened exposed beams, were graced with climbing red roses and stunning purple clematis which, in a slight breeze, waved to the nearby nature reserve. I imaged youths in white cotton, torn blue denim jeans, gamboling through seeding grass in the reserve to the sound of that mandolin, under incredible azure skies and titanium white clouds smudged with grey for distinction. Like all bubbles, it burst. We were escorted back to the railway station, and somewhat reluctantly headed back towards Bonn Hauptbahnhof, ready for further adventuring but with just a tinge of sadness to leave the Alanus Hochschule.

A man should hea

read a litt

and see a fine picture

in order that w

may not obliterate the

which God has implant

(Johann Wolfga

ar a little music,

tle poetry,

e every day of his life,

worldly cares

e sense of the beautiful

ted in the human soul.

ang von Goethe)

with thanks to Beatrice Cron

Department of Visual Arts The Department of Fine Arts fills the profiling aspects of art and society of the Alanus University with its content. Thus, the study of the visual arts offers a wide range of artistic topics , which include the artistic work in the studio as well as social and socio-artistic fields of work. From the context of their different orientations, the professors offer topic-related projects as well as work in a fixed class group. In the fine arts, the study programs Painting / Graphic / Photography and Sculpture / Media / Installation are available. In addition, the university offers the art education pedagogy therapy a societal application- related access to the artistic work. In fine arts, the degree program concludes with the Bachelor of Fine Arts. This degree qualifies you to take up a Master degree program in fine arts (Master of Fine Arts) and - if you have acquired further specific qualifications - to study the subject of teaching for high schools and comprehensive schools (Master of Education) or Art Therapy (Master of Arts). , The field of study Sustainable Design is offered by the Alanus University in a franchise at the ecosign / Academy of Design in Cologne. 72

with thanks to Beatrice Cron

Department of Artistic Therapies and Therapy Science The Department of Artistic Therapies and Therapeutic Science of the Alanus University has the task of therapeutic, scientific and artistic education and research and in particular the professional qualification in the fields of art therapy and eurythmy therapy. Studying art therapy or eurythmy therapy at Alanus College means being able to fully qualify for the varied needs of this therapeutic work experience.Â The basics of the therapeutic core competences are the own artistic development, art therapeutic, medical as well as psychotherapeutic contents.

with thanks to Beatrice Cron

alanus ho

fĂźr kunst und

ochschule

d gesellschaft

art the some musings on anthroposophical

anthroposophische ku In beauty we find again our connection with the world. Man cannot exist without living freely in himself, and without finding his connection with the world. Man finds his individuality in thought that is free. And by raising himself to the realm of beauty â€” the realm of art â€” he finds he can, again in co-operation with the world, create out of himself what the world has made of him. Rudolf Steiner

Sunny day reflections We find reflections of appearances in mirrors. We find reflections of our souls within our hearts. Breathing in, breathing out...I look deeply into myself. Every individual has their own perception, according to their own life experience. We tend to create our own statements, have different feelings and meanings when encountering art. There are moments of observing our feelings, when reflecting. Feeling and emotions are energy sources enabling us to transcend our inner polarities. I am able to note my reactions, right or wrong. To think about them and remind myself on the importance of the moment. Paying attention and being aware in my daily life experience is important, and I am able to slow down in many ways, because of this practice. Mindfulness, concentration born of observing the now, enhances my faculties of seeing, hearing, feeling. Being in the now helps me to pay attention to the details of the material that I am working with, the texture, the feel and sense of the work. Working with clay, with concave and convex, continuing with free sculpture are challenges in life, going through different processes of "thinking" and decision making. The process of doing homework with my observations and reflections does help examine possibilities. lt also helps to develop ideas and brings me clarity. 78

erapy

unsttherapie

by honey khor

In Art Therapy, it was a great discovery to learn all kind of art materials and methods. Each material and method bringing differences in feeling and interaction. Everyone responds to art materials differently in feeling, thinking and using their will. We see three faculties (Thinking, Feeling & Willing) and correspond through techniques of drawing, painting and clay modelling, where one area often dominates over another. It is amazing to discover how art materials interact with us. Thinking. When we work with lines in drawing, we need concentration, focus, our attention is needed as we are going through our thinking processes.Working with colour involves a soul-movement, reflected in the mood of a painting Feeling can be set by colours. Colours have the ability to connect with our inner, emotional, world. We can discover harmony in the quality of colour and can use it to regain emotional balance. Willing. Clay modeling is a technique used to stimulate the will. You have to work with cold clay to model it into a shape, it requires physical energy and power. lt requires will-power to see it through until the work is finished. Working with clay re-activates enthusiasm and inner power to undertake action. lt is used for reenforcing a sense of personal boundaries.

Colour from plants

What is the di would we feel i the essential c experience colo me questions ar and this proces natural process with the healing

ifference when sensing colours? How in a world without colours. What are characteristics of colours? How do we ours biologically and culturally? For rise.. I search for more information ss allows me to become more aware of ses in and around me. I am impressed g potential of colour, line and form.

â€œPhenomenology offers an answer to a long needed unbiased approach to art therapy in all its spheres: theory, training, and professional practice.â€? Betensky, M. (1995) What do You See? Phenomenology of Therapeutic Art Expression. Jessica Kingsley Publishers. London. P. 13.

as axis called tree, a One of under of the 84

This is Yggdrasill s mundi.In Norse mythologyit is also d Mimameidr. Yggdrasill is the world a giant ash supporting the universe. its roots extends into Niflheim, the rworld; another into Jรถtunheim, land e giants; and the third into Asgard, home of the gods. 85

These are portraits performed with my eyes closed. I am excited doing this, and with the possibility of making changes. My thoughts go further when I finally look at the painting, thinking, wondering what did I draw. Is this my current stage of life, closing one eye to many things? I think that I really love drawing with my eyes closed, falling in love, fascinating, these feelings have helped me enhance my art journey.

Drawing wit great fun, is a proc 88

th both hands, eyes closed. This was a feeling of freedom, so lovely. It cess of working with chaos, bringing curiousity, seeing, searching. 89

Different pressure was used on the surface to create tones before erasure. I favoured the usage of erasure. It created light, making objects alive. During my collage, I had realised that charcoal was a material that I find really difficult to handle, due to the sweat in my palm. But over the years, I learned that things will only work it if we tried hard enough accept difference.

With no intension / idea in mind I started to move the charcoal on the paper. I stopped and looked at the surface, adding layer after layer. I was excited seeing the form almost creating itself. I recognised how our mind works, responding to each action and decision I took. I was very happy with the results of the charcoal layering.

Understanding, compassion, joy, equanimity are the four aspects of love. We need time to practice and look deeply into our love ones. To be there, attentive; to observe, and understand. Love consists, as much as anything, of understanding.

With conscious and mindful breath, we reunite our body and mind, arriving in the present moment. We become aware of the presence of mind, body, intention.

Breathe, I am letting go thinking back to myself concentrate on my breath I smile I am here body and mind together I am here alive completely alive I see the light the path the way I should walk

ire

It was great in the right to do something and strength of 94

t learning about how to handle power way. I can feel 'Now I have my time g for myself'. Forces, determination f concentration in Mars does help me achieve my dreams 95

lim sto carv

Observation of this lime stone was a good experience, a process of looking at the stone so deeply, thinking what are the possibilities of the shape, what could it could become and itâ€™s innate movement. Slowly it shows me the way. It was nice that I can take my time, learning about how to make the changes and how the result becomes unbelievable beautiful.

me one ving

It was physical and soul growing, and what a great experience working with this. I was shocked, but then I calmed down and began to work slowly and steady. From nothing to something, from outer to inner, the stone changed and I changed and loved the life forces.

Clay mo

Transformation, Change and Reconstruct. This is a wonderful way to see the step by step development reaching out for concave and convex. What a great possibility I discovered!

odelling Life and art are both journeys. Entering into the process of art, whether it be therapeutic art or art as therapy, enriches the soul 99

Every prayer is a struggle for a lasting voice and the evocation of a love that is not beheaded by death. Their reality ranges from the domesticity of our sensual life to the adventures of the Credo ... " from a poem by E.Wellmann

Magic Bird

Bild 14 von 17

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beatrice cron

Zuzweit

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Der richtige moment

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"Of the density and the danger zones" By Marcelo da Veiga The artist has always been in the field of tension between inside and outside. The confrontation with this polarity is intrinsic to man, but the artist lives it in a special and, above all, particularly intense way. He creates structures in which his inner life lives and becomes perceptible to others. He takes the outside in such a way that, unlike in reflection, he tries to overcome distance and not to create distance. He expresses himself in a way in the world and lets the world so affect him that he outgrows the ordinary and ordinary experience. The artist does not live civic discrete and secure, but he breaks through the conventional discretion by talking about himself and talking about himself and he breaks through the usual protective wall of distance and inconspicuousness, by doing things more than for the normal man conducive, lets into itself. The artist is an exposed person in the numerous meanings of this word. He lives dangerously and in a quandary with himself; it is the danger of being exposed and exposed and the temptation to exchange them for a normality. A normality that is, of course, a fiction and exists only for those who do not want or seek it and do not make themselves aware of it. For a painter who not only uses colours, but for whom colour is the substance as well as the content of the painting, it is necessary to exaggerate the sensitivity to the material and the intensity in expressing itself. He works on the border of consciousness, where the distinction between mind and matter is abolished and on which a meditative experience space of its own kind emerges. It generates power and intensity through subtlety, in an act of de-materialization and materialization at the same time. As a result, he is exposed to an inner abundance and threat at the same time, which mediate and stabilize him again and again presents high challenges. The painting by Beatrice Cron draws from this peculiar zone of density and danger in which things can not be fixed. It makes the colour to the substance and content at the same time and seems to express at first glance only colour tensions and harmonies. This impression is correct, but only for the first look. If, however, the gaze becomes a response to the colour event, it becomes complex and itself an event, then it loses first of all its hold on the foreground and enters the danger zone of the unfixable mental density. The spiritual density and subtlety, which can be

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experienced in action and therefore only in immersive sharing, is a sign in the works of this painter. Her picturesque language is her own, but through her style of painting she also belongs to a painterly flow, in which, in dealing with the colour on the border of ordinary consciousness, one consciously encounters the reality of the spiritual and makes a concealing opening to the world to express. A prerequisite for this type of painting is a special training in the active experience of colours and the will to form that inspires them. It requires the ability to push the experience of colour so much that the colour speaks and can be heard by being designed. The talking to the colour happens in a contemplative space, which has to recreate each time. It is, therefore, a painting that is only about painting, but in which the painter also encounters the colour and its inherent formative potential in the encounter with nature.

from website....http://www.beatrice-cron.de/

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Flockenflaum

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Views from studio work

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Last days of the Callas

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Sinaida Wolf Sinaida Wolf (her artist name), German artist, studied art at the University Of Arts, Ottersberg, Germany. She has participated in various exhibitions in Germany and abroad, the last being a group exhibition: the Seoul, Korea International Photo Festival 2018, which ran 5/31 through 6/6/2018. In her other profession, she works as a professor of art therapy in Germany, teaching digital art and art therapy. She also teaches abroad in Malaysia, China and the Philippines. Artist Statement â€“ Sinaida Wolf, July 2018 A rough sketch of the artistâ€™s thoughts on her process, as described to the poet, from a very recent conversation. The main artistic process I follow is one of layering. With digital work, as compared with painting alone, there seems to develop and manifest more of an element of surprise during the process of creation. Layers themselves are each highly individual expressions, and a relationship develops with each, between it and the artist. The surprise is felt as a sense of wonder at something new emerging from the process of layering. Patience can be said to be very much at work, as meaning is something that must be awaited, before then being able to follow or further develop that meaning, once it becomes clear enough. Concrete expression of the overall meaning is often revealed in the creation of a title or the inclusion of poetry. https://diaphanouspress.com/ 115

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Art seed 5

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Mechanical Revolution no2

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Little Things

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Little Things 2

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The other avatar love letter noVII

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Tenderly

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Photo Reni Hansen

exhibition programs, all of our endeavors aim at defining the Kunstmuseum Bonn as a location where, on a regional, national, and international level, important artistic issues and positions are highlighted, reflected upon, and with respect to future developments, anticipated as well so that this Museum is firmly established in the public consciousness as one of the major museums and exhibition locations in the Federal Republic of Germany. 130

With one of the internationally most important collections of German art – based on the seminal inventory of works by August Macke –, the Kunstmuseum disposes over a collection profile that is unparalleled throughout the country. The collection focuses on the Rhenish Expressionists, German Art after 1945 including Joseph Beuys’ Multiples as well as graphic art including photography and the video center Ingrid Oppenheim. The museum’s relevance has been steadily growing over the past decades. In this development, one of the special features of Bonn’s collecting policies has been to refrain from attempts to document German art with a claim to encyclopedic scope, but rather concentrate on a manageable number of eminent artists, and then purchase from them entire groups of works and ensembles. One emphasis our Museum has established in this undertaking is to explore the potentials for development in painting. Our current activities are largely geared towards expanding previous research on the immanent and self-referential features of the picture with a focus on the social context and the social-political reality. As far as the museum’s exhibitions and collections are concerned, additional special emphasis has been put on presentations and purchases in the field of photography and media art. Furthermore, we pay special attention to crossovers in media art and to the interfaces between the individual media. As a Museum focusing on the development of German art before the backdrop perspective of international

Photo Commerell

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Thomas Scheibitz

Ansicht und Plan von Toledo

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Thomas Scheibitz's work, which moves between the poles of painting and sculpture, has steadily gained in importance and attention since its first major international appearance in the German Pavilion at the Venice Biennale in 2005. Today, the artist born in 1968 in Radeberg belongs to the internationally acclaimed, discursive positions of his generation.

Spix I

The work's relevance derives from the systematic consistency with which it questions the media it uses in terms of its specificity, performance and challenges. At the centre of both the painterly and the object-related work is the question of a new relationship between figuration and abstraction. A large image archive, from which Scheibitz, in spiritual relation to Aby Warburg's Mnemosyne-Atlas, combines the most varied pictorial material according to the criterion of formal and associative similarity, serves as the basis for sculptures and gemaide, in which the artist is able to reduce, read and reduce directly readable objectivity reformulated until it acquires the character of a nonmimetic or symbolic abstraction, in which each element used acquires the character of a self-standing "representative." In a long process of "ambivalent alignment between intuition, memory, and invention" (Scheibitz) The image and the sculptural carp appear as overturned figures between autonomous positing and a world and reality reference that can still be produced. With around seventy works, this was one of the most extensive exhibitions that the artist has developed in the last ten years, with more than half of the works shown by the artist newly created for the show. The compilation is complemented by selected works from the years 1995-2016, which paradigmatically visualise the lines of development, continuities, but also new approaches of this work.

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SSW

Schwere Blume

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Cross and Valley

Kanne

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Bundeskunsthalle

The Art and Exhibition Hall of the Federal Republic of Germany â€“ in short, the Bundeskunsthalle â€“ is a unique venue devoted to art, culture and science. Central to the programming are exhibitions of art of all periods, including contemporary art, as well as shows devoted to cultural history, archaeology, science and other areas of knowledge. Further to these exhibitions, the Bundeskunsthalle develops and presents an independent performing arts programme with guest performances and in-house productions by different artists and ensembles from the world of theatre, performance, dance and music.

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Art and Exhibition Hall roof garden Photo: Tania BeilfuĂ&#x;

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Art and Exhibition Hall Entrance north side Photo: Peter Oszvald

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The Bundeskunsthalle sets out to look not only at Western culture, but to take a global view. Equally important is the institutionâ€™s commitment to wider audience participation in culture and to comprehensive social and crosscultural inclusion and integration. This commitment is reflected not only in the exhibitions themselves but also in the accompanying programme of events, which include discussions, lectures, talks, guided tours and workshops. Through its many cooperative projects, the Bundeskunsthalle has established an international network of contacts with cultural and scientific institutions and gained access to wider audiences whose input and responses are valued as part of an ongoing dialogue. The exhibitions and events hosted by the Bundeskunsthalle are integral to the institutionâ€™s remit to act both nationally 139

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Broom at sea, Anja Kleemann-Jacks

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UPdate GALLERY's mission is to promote artistry and professionally present it to the public. The prerequisite is that their works find an original style and develop their own formal idiom. Artists who present themselves in our rooms get access to our existing national and international network, take advantage of their opportunities and expand their own. "After the exhibition is before the exhibition", all talents can continue to benefit from our support through various marketing tools. In regularly changing exhibitions, the artworks are presented to all art lovers. Cultural events, such as Readings and musical performances of various genres also enrich our gallery. We, as founders of the UPdate GALLERY, have recognized the power of art in today's fast-paced, performance-driven society. Thus, the possibility of connecting to so-called "corporate galleries" is focussed to provide the artist on the one hand, further presentation platforms. The future-oriented entrepreneur, on the other hand, not only gives his rooms a "face", but also helps his employees to inspire and thereby increase their creativity. A win-win situation arises on several levels. 143

With flowers Anja Kleemann-Jacks

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Fischerin Sonja by Tetiana Albitska-Kostomarova

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Bullwurf by Tetiana Albitska-Kostomarova

Galka by Tetiana Albitska-Kostomarova

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Hidden Tree 1, Zhang Meng

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Hidden Tree 01, Zhang Meng

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Forellen II, Suat Sensoy

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Forellen III, Suat Sensoy

UPdate GALLERY UG (haftungsbeschränkt) Maren Bosbach//Wendy Hack Im Krausfeld 7 //53111 Bonn +49 ( 0)163-216 1408 info@update-gallery.com www.update-gallery.com Öffnungszeiten// Mi.Do.Fr. 14-18.00 Uhr Samstag . 13-17.00 Uhr Termine nach Vereinbarung 151

St. Mary's with Houses and Chimney (Bonn)

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The Church of Saint Mary in Bonn in Snow

August Macke "A work of art is a parable, it is man's thought, an autonomous idea of an artist, a song about the beauty of things: a work of art is the noble differentiated expression of man who is capable of something more than merely saying: 'Isn't that beautiful?’ "Auguste Macke. August Robert Ludwig Macke, although born in Meschede, Germany ( January 1887), spent his school years (1896 to 1904) in Cologne and Bonn. Then, from 1906 to 1908, Macke studied in the Arts and Crafts School as well as the Academy of Fine Arts in Düsseldorf, while making a living as a stage designer. Simultaneously Macke attended drawing classes with Lovis Corinth. Macke went to Italy and, in 1907, went to Paris where he saw the works of Paul Cezanne and Robert Delaunay. After a one year Military Service (1907 to 1908), Macke married and settled with his wife, in Bonn. His return to Bonn saw him grow as a painter, and was influenced by Franz Marc, whom he met in in Munich in 1910. Not long after Macke became associated with German (Rhine) Expressionism and "Der Blaue Reiter" ("The Blue Rider”) group of colourists including Wassily Kandinsky. In the February of 1911, Macke and his family took up residence in a building at 88 Bornheimer Straße (now number 96), which is now the August Macke Museum. It is there in his studio that Macke's most important paintings were created, as well as prints, sculptures and numerous other objects. In 1912, Macke contributed his essay ‘Die Masken’ (concerning forms as masks) to Der Blaue Reiter Almanac (first edition 1912), after he discovered an interest in Oscar Wilde’s essays about masks (“The Decay of Lying” and “The Truth of Masks.”). Later that year (1912), Macke travelled with his works to show in numerous exhibitions, while back in 153

Cover of Der Blaue Reiter Almanach (1911)

Die Masken by August Macke

his Bonn studio, the mural "Paradies" (Paradise) was being constructed with tempera and oil on plaster, jointly by Macke and Franz Marc. This mural was later removed and re-situated in the Westfälisches Landesmuseum, Münster. In 1913 Macke and is family spent eight months in Hilterfingen, by Lake Thun in Switzerland, then in the April of 1914, Macke underwent a trip to see Tunis, St. Germain, Hammamet and Kairouan Tunisia, with Paul Klee and Louis Moilliet. War was declared in July 1914. After his return to Bonn, Macke was drafted into the German army (8th Army Corps), as a deputy Sergeant, later taking over the Sergeant’s roles. In August he was in the trenches and, in the September of 1914 (aged 27), died at Perthes -les-Hurlus, Champage-Ardenne, France, at the beginning of the World War I (1914). Short though his life was, Macke had been influenced by, and in turn influenced, some of the most important artists of the ‘Modern’ era. “Germany today certainly has no idea what it owes to this young, dead painter—how much he accomplished, how much he succeeded at. Everything he touched with his skilled hands, anyone who came near him, came alive— every kind of material, and above all, the people whose imagination he magically captured with his ideas. How much we painters in Germany owe to him! What he has sowed will still bear fruit, and we, as his friends, want to make sure that they do not remain a secret.” (Franz Marc, in his obituary for August Macke, 1914 154

Paradies, 1912

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Our street with horse riding, Bonn

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Fritz-kola is a soft drink made in north Germany

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and drink

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ead

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Moser-Roth is a brand of German choc

colate produced by Storck for Aldi

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Local Bonn beer

Sion Kolsch is a speciality beer from Cologne, Germany

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Dusun Publications The Blue Lotus Publications

Books by Martin Bradley

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Books by Martin

Bradley 179

CAMBODIA CHINA ITALY

WITH MARTIN BRADLEY

MALAYSIA PHILIPPINES SPAIN 180