In Weimar’s valley of the river Ilm a park was created in the style of an English garden between 1778 and 1830. Johann Wolfgang von Goethe was initially involved in its creation, but withdraw from its further development. ⠀
The Park on the Ilm is part of the World Heritage Site «Classical Weimar» and features some architectural treasures on its margins.

Already in 1776 duke Carl August had invited von Goethe to Weimar and gave the poet a country house with a garden in the valley as a gift, because he wanted him to stay. Another reason for the gift was, that for the polical functions he was proposed for, the citizenship and property of land were required. So on 21st of April 1776 the house and the property was handed over to J. W. von Goethe and repair work and equipment started soon after. ⠀
The interior was intended to be without ornaments and excuberance – simple and in beautiful forms. We will see this principle recur later in another building near the park. ⠀
Goethe lived in this country house until he moved into the city in 1872. ⠀
During his period in the house he created everlasting poetry like the poem «To the moon» which is also on display in the house, handwritten by the poet himself. Goethe also swam in the river Ilm by night in the moonlight – which was quite unusual in his times, even by day. The main rooms of the house are up to now not yet electrified and give quite a good impression how it was to live there. ⠀
The sculpture «Altar of Agathé Tyché» which is a bowl resting on a cube is said to be one of the first abstract sculptures in Germany. It combines of the stability of the cube with the unsteadiness of the globe. Tyché is the Greek goddess of destiny, agathé is Greek for good – so it’s a symbol for good fortune and therefore also called «Stone of the good luck». •


Archeological & Archival, Spacial

A walk in the Park on the Ilm in Weimar retracing classical Johann Wolfgang von Goethe and the modernist Bauhaus

Archeological & Archival, Photography, Visual & Iconic

My view on art & culture in February 2017 in my private pictures & meandering words

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Hanne Lippard's exhibition «Flesh» at KW Berlin

Hanne Lippard’s exhibition «Flesh» at KW Berlin

Finally I made it into the exhibition of Norwegian artist Hanne Lippard at KW Berlin called «Flesh», which was run over at the opening weekend and which is set in an attic style space reachable though a spiral staircase located in the center hall. In this environment paved with flesh-coloured carpet banal phrases and self help techniques are bent together by Hanne Lippard to form an acoustic artwork which fills the empty environment with an extra low ceiling in which it is set. Putting words, homonyms and homophones on top of each other she piles up a wall of sound to break through for the visitor. We become the listener to a surrealistic piece which preaches peace and peaks in appeasement, while we stare out of the windows to gaze over the roofs into the lives of the others. «If not now then when?» •

«alien matter», an exhibition as part of the 30th Transmediale-Festival in Berlin – here I am inside the artwork «Video Palace #44 – The Hidden Universe, 2017» by Joep van Liefland | Photo: Unknown helping hand @ HKW – Thank you! ❤

«alien matter», an exhibition as part of the 30th Transmediale-Festival in Berlin – here I am inside the artwork «Video Palace #44 – The Hidden Universe, 2017» by Joep van Liefland | Photo: Unknown helping hand @ HKW – Thank you! ❤


Stella Geppert: «Arbusti - Moving Studies & Homeopathic Interventions», Full HD, Loop 10 min, Venedig, 2014 / 2015
Interview, Performative, Sound & Vision, Spacial

«Für mich haben Gespräche architektonische Formen.»

Die Künstlerin Stella Geppert entwickelt in ihren Arbeiten raumbezogene und performative Konzepte und Installationen.
Mit Norbert Bayer sprach sie über ihre neuesten Arbeiten, demokratisches Handeln und ihre Träume. 

Stella Geppert zieht sich zu Beginn des Gesprächs den Kapuzenpullover über. Beim Überziehen des Pullovers rutscht ihr die Sonnenbrille, die sie in den Haaren trug, auf die Nase.

Stella Geppert: (lacht) Wie Sie sehen, kann ich mit dem Anziehen eines Kapuzenpullovers gleichzeitig meine Sonnenbrille auf die Nase stülpen.

Norbert Bayer: Sehr gut! Könnte das bereits eine Ihrer Performances sein?

Das ist für mich zunächst einmal eine Inspiration, aus der eine Intervention hervorgehen könnte.

Und was macht für Sie eine Intervention aus? Worin unterscheidet sie sich von der Performance oder dem Happening?

Also mit Happenings – ich bin zwar happy – aber mit Happenings hab ich nicht so viel am Hut. Für eine ortsspezifische Arbeit bedarf es eines langen Recherchevorlaufs. Gute Interventionen von mir sind hingegen aus dem Zufall heraus entstandene Situationen. Meine Objekte sind immer aus Situationen und Handlungen heraus entstanden, denn es gibt für mich keinen Gestaltungsprozess, der losgelöst wäre von alltäglichen Handlungen.