I haven't heard the song featured there, but I surely would like to. Chanson Deux Hinter Den Dingen do Donald Duck and Mickey Mouse come into all this? You know the drill by now. The horror I always felt I have sic. Labels:experimentalindielife after lifeminimalnew waveproject fourpsychedelicsynthpopUK.
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Post a Comment. Here we have a long sought-after LP from Germany. It contains the well-circulated track "Der Staat" and, not surprisingly, a few other gems. This is the list of songs performed by the French singer Mireille Mathieu. Most Italian-language Mireille songs are conducted by Paul Mauriat , some are conducted by Ennio Morricone with whom she recorded the album "Mireille Mathieu chante Ennio Morricone" in This list contains songs who are sung in at least two languages.
The year shows in which a song was first published. From Wikipedia, the free encyclopedia. Redirected from List of Mireille Mathieu songs. You can help by adding to it. January Archived from the original on 24 April Retrieved 12 December La Rochefoucauld.
Die Monochromien sind die letzte Stufe dieser Entwicklung. Helnwein demonstriert dieses neue Wollen an "Repliquen" eigener Werke vorangegangener Epochen. So an einem seiner bekanntesten Portraits, dem "Selbstportrait des Schreckens". Es ist eine Verinnerlichung, die er erreicht, wie sie noch an einem weitern Bild auf eine geradezu erschreckende Weise greifbar wird. Ein weiteres Novum kommt hinzu: das Arbeiten in Triptychen. Helnwein vereinigt hier die drei "Modi", die in seinem Schaffen eine Rolle spielen: das Foto, den "Aquarell-Realismus" und als letztes die "absolute Malerei".
Doch mir scheint hier geht es dem Maler weder um Stille noch um Harmonie, es geht ihm um Konfrontation. Er wird seine Handschrift jeweils dem Sujet anpassen. Doch die Stille, das Meditative ist dazugekommen. Helnwein ist an einem Wendepunkt seines Schaffens angelangt.
Lassen sie sein bisheriges Schaffen in Schlaglichtern Revue passieren. Es ist brillant gemalt. Zweifellos: Sie treffen mit ihren Bildern einen Nerv der heutigen Zeit. Als Markenzeichen haben Sie den bandagierten Kopf. Bei den Happenings wie bei den Bildern. Ob sie sich selbst darstellen oder andere, ganz gleich, ob es sich um Kinder oder Erwachsene handelt: ohne Bandagen scheint es bei Ihnen nicht zu gehen. Sie haben ja selbst einen Hinweis zur Deutung gegeben: Humphrey Bogart mit seinem bandagierten Kopf in "Dark Passage" - Bogart wartet darauf, dass sich hinter diesen Bandagen ein neues Gesicht bildet.
Diese Bandagen sind der Kokon, hinter dem ein neuer Mensch entsteht. Symbol der anonymen Menschen, des Massenmenschen, der kaum noch den anderen kennt und kaum noch vom anderen gekannt wird.
Der gesichtslose Irgendwer! Der mumifizierte Nobody! Einer von den vier Milliarden des Ich habe mich anfangs immer wieder gefragt, weshalb malt Helnwein das alles - dies krankhaft abnorme, diese furchtbaren Entstellungen vor allem der Kinder? Sie lieben die Kinder. Schrecklich entstellte Kinder, gewiss Kinder, die in die entsetzliche Maschinerie des Irdischen geraten sind. Kinder mit bandagiertem Kopf. Er zeigt uns die Flucht in eine zweite Existenz.
Eine Existenz des Rausches. Mit sympathischen Menschen ist Ihr Werk bei Gott nicht gesegnet. Wenn es keine entstellten und seelisch verkorksten Menschen sind, keine Opfer von Unfall und Sadismus, dann stellen Ihre Portraits Schlawiner und Luftikusse dar, Typen, denen man am liebsten aus dem Weg geht.
Dabei sind Sie ein geborener Portraitist. Ihre "Idole des Die Portraits sind technisch von faszinierender Perfektion. Und immer wieder der bandagierte Kopf. Die Gesichtslosigkeit. Die Isolation. Die Einsamkeit der Menschen. Das Ende des Individuums. Vor dem es kein Warum und kein Entrinnen gibt. In seinen Zeichnungen werden die Menschen den absurdesten Ereignissen unterworfen. Um deren Sinn sie nicht wissen. Wie eine Logik in etwas suchen, das keine Logik kennt?
Dornenhecken aus Strichen. Striche, in deren Spinngewebe der Mensch gefangen ist. Sie wehren sich gegen jede "Klassifizierung" , gegen die Ablage in "Regale". Er versteckt sein Gesicht hinter Bandagen - nur um noch besser gesehen zu werden. Mich am rein Malerischen erfreut.
Ich habe mir angeschaut, wie Helnwein ein Glas oder eine Vase malt oder eine Tasse, einen Manschettenknopf oder auch ein Messer. Es bedarf nur des Abendhimmels, der sich in einem Fenster spiegelt, um Helnweins Meisterschaft zu erkennen. Tragen wir nicht alle irgendeine Narbe im Gesicht? Oder eine Zwergnase?
Oder Krokodilsrachen? Von den einen geliebt, von den anderen verdammt. Auch wenn Sie als Boris Karloff oder Frankenstein tituliert werden. November It was to our good fortune that Gottfried Helnwein also strove to break away from the museum and gallery sector in order to communicate with a larger public.
This appeared on a grand scale on the site between the cathedral and Museum Ludwig, and at a time of "photokina", with its hundreds of thousands of visitors. The metre picture wall did not fail to hit its mark: it induced bewilderment as well as aggressiveness. After a few days numerous pictures had been slashed, one even stolen. Gottfried Helnwein saw the exhibition as a process which would continue and be reflected in later presentations.
The pictures were not renewed, but patched up, so that this reminder of the persecution of Jewish people would bear the traces of a lack of insight and understanding in the present day. There is not a more destructive judgement on one's fellow human beings than to declare his existence superfluous and possibly even damaging.
Man has developed numerous variations of this attitude. A more dangerous one is that of the self-centred whereby one's fellow human beings are usually ignored or at best viewed as a nuisance. A fatal one is the ignorance which makes it possible to simply not acknowledge the misery of whole nations, be it due to convenience, be it due to negligence.
Finally, there is the possibility to institutionalize attitudes of this nature and to legitimize them by law, which led to the establishment of societal hierarchies in the national or international structure of peoples.
In such cases a ratification of this type is mostly scientifically anchored and substantiated. The National Socialists had combined all these elements in a particularly perfidious way and developed a system from a mixture of arrogance, racial theory, dictatorship and military might which allowed them to define "life not worth living", to discriminate against, and eventually to annihilate, millions of people.
Since the turn of the century science had described and evaluated racial characteristics with the help of a profusion of pseudoscientific literature. The hundred metre "picture wall", which was developed and constructed by Gottfried Helnwein on the occasion of the "photokina '88" and erected between Museum Ludwig and the Cologne Cathedral along platform 1 of the main station, serves to remind us of this occurrence - the mass murder of six million Jewish, Romany, Sinti and other peoples.
I admire the work of Gottfried Helnwein a great deal. This photographic testimony encourages reflection and provokes the examination of conscience, which is necessary for every one of us where racism is concerned.
The laceration of the portraits is proof of the fact that we cannot be indifferent to the warning of the "final solution". As early as April , the SA organises a boycott of all Jewish businesses and a decree forbids the employment of Jewish people as functionaries. September 15, The Nuremberg Laws withdraw the German nationality from Jewish people, forbid marriage and extra martial relationships between Jewish people and Aryans.
In the course of the next few years Jewish people are excluded from professional occupations. The assassination of the German diplomatic counsellor in Paris, von Rath, by a young, polish Jew leads to "Reichskristallnacht", in the night of November 9th to 10th, , during which the businesses and residences of Jewish people and the synagogues are plundered. Decrees enforce the complete exclusion of Jewish people from economic life in the days which follow.
A fine to the amount of one billion Marks is imposed upon them, they are forced to wear yellow stars, they are forbidden to leave Germany, they are arrested and deported soon after. The nucleus of Nacht und Nebel lies in "Reichskristallnacht".
Thereafter, the sorting according to the shape of the nose or the ears, the colour of the eyes or hair begins, all coupled with pseudo-scientific arguments which exemplify the perversity of it all. It was Gottfried Helnwein's intention to remind us admonishingly of exceptional laws and the abhorrent Aryan theory of Eugenics.
The series of childrens' portraits stigmatises racial ideology and it exudes an extraordinary force. Moreover, it is this radial energy which provoked the knife attack by a nostalgic, as the monumental pictures were being exhibited between the cathedral and Museum Ludwig in Cologne. I consider myself lucky to be able to exhibit this gallery of memories in its present form in Lausanne. There are also a number of photographers from the East to be found there, in the name of the new emerging Europe, now that totalitarianism is being forced back.
The childrens' faces are to remind us that innumerable victims were needed during the past sixty years to get out of "the Night and the Fog. Der Tod kommt in der Badewanne. Dies ist nicht zuletzt dem durch seine Bilder in photographischem Realismus, vor allem durch seine an Folter-Aufnahmen erinnernder Selbstbildnisse bekannt gewordenen Wiener Maler und Graphiker Gottfried Helnwein zu danken.
Ja, aber darf man das, mit einem bereits historischen Bild wie dem toten Politiker in der Badewanne auf dem Theater "spielen"? Kresnik und Helnwein "spielen" nicht mit einer gerade aktuellen Bild-Assoziation. Wie blickt Shakespeare auf das Ende seines Helden? After his first sensational cover on "Suicide in Austria" for the Viennese political and cultural magazine PROFIL , Helnwein acquired the undeservedly prejudiced image of being a journalistic photo designer who supplies large-circulation pictorials, metropolitan billboards, and the befuddling poster industry of youth culture with psychoshocks.
For instance, his affectionately hagiographic paintings of idols such as Mick Jagger, Peter Alexander, Muhammad Ali, Niki Lauder, Joseph Beuys, and just recently of Marlene Dietrich are criticized as having little to do with art and much with public relations; they are regarded merely as a stylish tribute to hedonistic consumer culture and its mass-media contents.
Looking back today, Helnwein doesn't see himself as a painter, photographer, illustration designer, or a style artist from some other artistic category, but rather as being in the vicinity of "conceptual art", which tries to eliminate the subjective limitations of the separate visual media, techniques, styles and strives for an objectivation of artistic formulation via a fusion of all visual communication forms.
Like Cindy Sherman, he works out a strategy of projective masks and mirror images revealing to the art viewer his own thinking and wishes. The subjectless staging of the viewer's reality become more important than the subjective likeness or reality by the artist. Here, it will be shown how this reorientation from the self-portrayal of the artist to the self-search of the viewer is done, paradoxically, with Helnwein's "self-portraits". Helnwein's experimental versatility can scarcely be pigeonholed.
His art contains works reminiscent of the Little Masters [of the German 16th Century] as well as bizarre-fantastic drawings in the tradition of Redon and Kubin. Also, his active commitment to "anti-psychiatry", anti-authoritarian education, disarmament, and more ecological consciousness is usually forgotten.
Helnwein takes motifs and forms popular culture and uses them partly as caricatures and partly as grotesque alienation. His annoying hypernaturalism is unsettling and borders on ironic exaggeration. The Brecht-Benjamin maxim, "Don't take up the good old [elements], but the bad new," was already a determining factor of his beginning in the early seventies. The academically trained painter from Rudolf Hausner's Viennese School confesses today to have learned more from rock music and Walt Disney than from Mozart and Leonardo da Vinci.
One day, he decided on success and started looking for a form of communication which is popular, easily understood, entertaining, and which justifies its existence in the masses' interest in it. Thus, crossing boundaries to work with such things as photography, comic strips, science fiction, juvenile media, and painting, as well, was an obvious practical consequence.
Behind the reception-aesthetic opening and reduction of the work of art to a relative role is the old idea of the plebiscitary participation of the public, which, to be sure, is currently aimed, in the light of post-modernistic ideology, at a more-or-less non-committal, playful participation by the person interested in art.
For under this grimacing mask, with the eyes covered by operating clamps, and underneath the bandaged head the painter's face is itself put on display by this disguise. From this it may be seen that the Viennese Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt's grimacing sculptures are to belong, on which one of Freud's pupils wrote a long treatise.
One sees, too, the common ground of these works with those of Arnulf Rainer or Nitsch, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. And one sees how this fascination with body language goes back to the expressive gesture in the work of Egon Schiele.
But Helnwein goes a step further: he portrays himself - not Helnwein the painter, but "Helnwein in bandages portrait," indirectly conveyed, redundant face photographed and reproduced on the side wings of large triptychs, between which a painted surface or another photograph may be seen.
It contains the well-circulated track "Der Staat" and, not surprisingly, a few other gems. Unfortunately this isn't the best rip, but I tweaked it as well as I could I've gotta run for now, have a nice Sunday, everyone. Ok, so it's been kind of a while. I've had a few different requests lately. Everything from, "Hey, can you post the b-side of Picture Book? Post more shit, asshole! Yes, I admit, I've been absent for a long time. Sorry about that. The personal life has kept me quite busy, but I should also mention that hidden 80s gems, although plentiful, have for the most part been uncovered.
Very few diamonds left to uncover, I wager. Not to suggest there's nothing left to find. There is. I just have much less time on my hands to hunt them down. What's more, I've wanted to keep the quality of this blog's posts at what I consider a very high level.
I never intended this to be endless. A new post every week just for the sake of posting. There are a lot of blogs out there that can serve that need. I will probably never shut down this blog altogether, but posts will be much more sporadic and random. I do have a completely badass tape from France planned at some point in the not too distant future. You'll love it. Ok, enough out of me, I've wasted enough time.
You've heard the title track of this 7-inch on CN4 but as I said above, the b-side has been requested Pretty slick record and extremely rare, that's for sure. There happens to be a copy of it up on eBay at the moment, so bring your A-game if you plan to be the new owner.
By A-game, I mean a lot of money. They appear on the excellent Subtle Hints compilation, as well as another compilation called "Against The Tide". I haven't heard the song featured there, but I surely would like to. It's called "Scarlet Everywhere", so if anyone out there can help, please do! The band has a Facebook and are very friendly, go give them a like and say hello. You can here an alternative version of the song, here. Labels: , laughing in my hand , minimal , new wave , picture book , reflex action , synthpop , UK.
Here we have yet another hidden wave gem from the UK. This one was instantly catchy from the second I dropped the needle. After a couple rounds of chorus I assumed I'd gotten everything the song had to offer, but then it dropped a bit of female vox into the mix -- a pleasant surprise.
The b-side isn't as upbeat, but a quality track indeed. Labels: , all fall down , arecibo , changing face , minimal , new wave , synthpop. Here's a 7" from France that should feel a bit familiar if you've been following the blog for a while. This was another project of Odile Arias of the band Vienna which I've shared here and here. The sound is very similar, as there's almost no difference between the bands other than name.
So, if you liked Vienna you'll like this too. Labels: , academie , france , minimal , new wave , odile arias , rendez vous , synthpop , vienna. Looking for a fix of that melancholic, DIY minimal synth sound?
Well strap up, here comes an injection. The UK, land of so many nuggets, is responsible yet again for this one. The title track is a true gem of driving, pulsing synth and just the right touch of guitar mixed in. The b-side is a sleepy guitar-only ballad, but you won't mind when you go back to the a-side for another listen. The band was supposedly going to release an LP, although I'm "fairly" certain that never happened I hope I'm wrong.
Maybe it was recorded, though. Maybe someone out there knows. Maybe a band member will see this and let us know. For now, Enjoy! Labels: , alone , cry , looking to the future , minimal synth , new wave , synthpop , UK. I was going to say this could be the last compilation I'll ever post, but I thought I wouldn't do another after vol.