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On April 7 Johannes Paul Raether gave a performance at the Stedelijk Museum, Amsterdam. Raether is an artist who lives and works in Berlin. At the center of his work are constructed identities (Avataras, AlterIdentities or SelfSisters) emerging at various sites in public space where they research, teach and tell stories. In the guise of his so-called self-sisters, named Transformella, Protektorama, or Schwarmwesen, Raether challenges conventional assumptions about identities, bodies, and technology.

Raether’s works and performances were shown at, among others, the 9th Berlin Biennale, Palais de Tokyo in Paris, Fridericianum in Kassel, transmediale 2017 in Berlin. Recent solo exhibitions took place at District in Berlin, Transmission Gallery in Glasgow, and Ludlow 38 in New York City. Raether publishes in Texte zur Kunst and is currently Professor at the Kunstakademie in Düsseldorf.

 Text courtesy: Katja Kwastek, professor of Modern Art History, Vrije Universiteit.

On April 7 Johannes Paul Raether gave a performance at the Stedelijk Museum, Amsterdam. Raether is an artist who lives and works in Berlin. At the center of his work are constructed identities (Avataras, AlterIdentities or SelfSisters) emerging at various sites in public space where they research, teach and tell stories. In the guise of his so-called self-sisters, named Transformella, Protektorama, or Schwarmwesen, Raether challenges conventional assumptions about identities, bodies, and technology.
Raether’s works and performances were shown at, among others, the 9th Berlin Biennale, Palais de Tokyo in Paris, Fridericianum in Kassel, transmediale 2017 in Berlin. Recent solo exhibitions took place at District in Berlin, Transmission Gallery in Glasgow, and Ludlow 38 in New York City. Raether publishes in Texte zur Kunst and is currently Professor at the Kunstakademie in Düsseldorf.
 Text courtesy: Katja Kwastek, professor of Modern Art History, Vrije Universiteit.

Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl
Johannes Paul Raether www.stevenligthert.com www.stevenligthert.nl

Regarding his previous performance Eine ihrer Schwestern at Künstlerhaus Stuttgart:

Berlin-based artist Johannes Paul Raether (born in 1977) creates unlikely characters that have taken on lives of their own and multiple identities. The characters move in time through several appearances in various settings. Raether collects, edits and organizes text material according to how the characters carry out their missions. Each character has their own set of skin colour, material, fabric and performative objects.

Raether approaches the form of solo exhibition with a critical question of how certain elements of stage such as props, light and methods of theatricality relate to an exhibition installation and a program. He describes making an exhibition as “producing a sequence of situations rather than an arrangement of objects.”
For the solo project at Künstlerhaus Stuttgart Raether will engage with two of his recent characters: Transformella, who first appeared in 2010, and Protektorama from 2011. During the exhibition context the two characters become “one of her sisters.”

Protektorama is a the world-healing witch, a smurf-like figure with a cheat sheet, a little ritual case and a ceremonial wand. She occupies a world healing forest, a dark anti-capitalistic cult spot that resembles an arena – or possibly an exercise machine – and also functions as a smartphone-film-studio. The witch declares Marx a sorcerer, a Kinder surprise egg transforms into a Voodoo doll, while the film maker Maya Deren is witness to a journey through the history of markets, money and the value-form. The abstract principles of the capitalist relations of production have slipped into the dead products like Japanese spirits – into all things and beings. They circle the globe in mega-commodity streams while the world-healing witch attacks this ghostly and irrational empire with her rather anti-climatic and ineffective counter-spell.

Her older sister Transformella calls herself ‘Queen of Debris,’ blown backwards into the future of reproduction. She appears on the scene wearing a coat made from baby-strollers, a latex suit and a 3D printer that is self-printing. In a tour de force lecture, involving rubber, milk and latex-lotion, she illuminates the complex issues around industrial human reproduction, the self-replication of machines, liberal eugenics and the collective imaginations that frame trans-human capitalism. She resumes with a proposal on how to surpass the limitations of the traditional family model by surrogate pregnancy and genetic engineering to extract the emancipatory moments of a capitalist technological progress.

The show is based around transformation: the status of objects in the exhibition space changes according to their status of being used as a performance object, a prop or a sculpture. The installation changes according to the setting the character needs, the status of live performance or documents of performing and how the artist himself transforms into fragments of reality of the two different characters.

Text courtesy: Künstlerhaus.de url: http://kuenstlerhaus.de/kuenstlerische-dialoge-iii-johannes-paul-raether-eine-ihrer-schwestern/
Regarding his previous performance Eine ihrer Schwestern at Künstlerhaus Stuttgart:
Berlin-based artist Johannes Paul Raether (born in 1977) creates unlikely characters that have taken on lives of their own and multiple identities. The characters move in time through several appearances in various settings. Raether collects, edits and organizes text material according to how the characters carry out their missions. Each character has their own set of skin colour, material, fabric and performative objects.
Raether approaches the form of solo exhibition with a critical question of how certain elements of stage such as props, light and methods of theatricality relate to an exhibition installation and a program. He describes making an exhibition as “producing a sequence of situations rather than an arrangement of objects.”
For the solo project at Künstlerhaus Stuttgart Raether will engage with two of his recent characters: Transformella, who first appeared in 2010, and Protektorama from 2011. During the exhibition context the two characters become “one of her sisters.”
Protektorama is a the world-healing witch, a smurf-like figure with a cheat sheet, a little ritual case and a ceremonial wand. She occupies a world healing forest, a dark anti-capitalistic cult spot that resembles an arena – or possibly an exercise machine – and also functions as a smartphone-film-studio. The witch declares Marx a sorcerer, a Kinder surprise egg transforms into a Voodoo doll, while the film maker Maya Deren is witness to a journey through the history of markets, money and the value-form. The abstract principles of the capitalist relations of production have slipped into the dead products like Japanese spirits – into all things and beings. They circle the globe in mega-commodity streams while the world-healing witch attacks this ghostly and irrational empire with her rather anti-climatic and ineffective counter-spell.
Her older sister Transformella calls herself ‘Queen of Debris,’ blown backwards into the future of reproduction. She appears on the scene wearing a coat made from baby-strollers, a latex suit and a 3D printer that is self-printing. In a tour de force lecture, involving rubber, milk and latex-lotion, she illuminates the complex issues around industrial human reproduction, the self-replication of machines, liberal eugenics and the collective imaginations that frame trans-human capitalism. She resumes with a proposal on how to surpass the limitations of the traditional family model by surrogate pregnancy and genetic engineering to extract the emancipatory moments of a capitalist technological progress.
The show is based around transformation: the status of objects in the exhibition space changes according to their status of being used as a performance object, a prop or a sculpture. The installation changes according to the setting the character needs, the status of live performance or documents of performing and how the artist himself transforms into fragments of reality of the two different characters.
Text courtesy: Künstlerhaus.de url: http://kuenstlerhaus.de/kuenstlerische-dialoge-iii-johannes-paul-raether-eine-ihrer-schwestern/

Portretfotograaf Arnhem. Steven Ligthert is een Nederlandse topfotograaf die zich richt op portretten, portretfotografie, portret en documentaire fotografie. Zo legt hij onder meer dansvoorstellingen vast, en fotografeert hij voor verschillende culturele organisaties (cultuur, cultureel, Theater, Theater aan de Rijn, Theater a/d Rijn, Musis, Stadstheater, Musis-Stadstheater), en voor diverse bladen (zoals Metropolis M, Volkskrant Magazine, Theaterkrant, Moving Futures en meer). Steven fotografeert in Arnhem en in Amsterdam, en portretteert mensen. Hij is een portretfotograaf en doet ook bruiloften en bruidsfotografie. De Arnhemse fotograaf heeft meerdere jaren ervaren met portretfotografie en bruiloften. Zakelijke portretten, LinkedIN, social media, Facebook en voor bedrijven en bruiloften, bruiloft. Bruidsfotograaf. Portretfotograaf Arnhem Steven Ligthert.

Steven Ligthert is a Dutch portrait photographer. LinkedIN photo, Facebook photo, professional portrait. The Arnhem-based photographer specializes in portraits, portraiture photography, portraits and documentary photography. He photograph among others dance performances for multiple cultural organizations in the Netherlands and abroad (culture, cultural, arts, art, entertainment, theatre, choreography, Theater aan de Rijn, Theater a/d Rijn, Musis, Stadstheater, Musis-Stadstheater, Arnhemse Podia, Moving Futures). He shoots wedding, portraits, newborns.

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