normal portfolio 2013

normal industries2013

villa stuck munich

covers to ricochet catalogues 1–5 (2010–11)

ricochet, #1 cris koch

inhaltcOntents

4–5 micHael BuHRs: vORwORtpReface

8–17 anne maRR: 343 m/s343 m/s

18–27 unteRgescHOssBasement

28–33 maRtin Heindel: Sie kamen vOn den steRnen, und Sie BRacHten ihre Bildnisse mit sicH

they came fROm tHe staRs and they BROugHt their images witH tHem

34–35 staiRway tO stuckstaiRway tO stuck

36–37 aHnengaleRieancestRal pORtRait galleRy

38–41 tReppenaufgangstaiRcase

42–45 cRis kOcH und JOcHen flinzeR peR e-mail im gespRäcH

an email cOnveRsatiOn Between cRis kOcH and JOcHen flinzeR

46–47 BiOgRapHienBiOgRapHies

48 impRessumimpRint

RicOcHet #1cris Koch343 m/s

5. Grace Zabriskie als Sarah Palmer in der US-Serie »twin Peaks« (1990–1991) von David Lynch und Mark Frost (Filmstill) | Grace Zabriskie as Sarah Palmer in the U.S. television series “twin Peaks” (1990–1991), created by David Lynch and Mark Frost (film still)

6. Affenkot | Monkey Dung, 2009, Acryl, tusche, collage auf Leinwand | Acrylic, india ink, collage on canvas, 180 x 150 cm

7. Trauer | Grief, 2008, tusche, Marker, Ölkreide, Lack auf Papier | india ink, marker, oil crayon, enamel on paper, 48 x 35 cm

2. Mademoiselle Budapest, 2005, Acryl, Marker, Papier auf Pappe, vier teile | Acrylic, marker, paper on cardboard, four parts, 100 x 140 cm, Sammlung | collection of Elena Sprogies

3. Base 12, 2007, Acryl auf Leinwand | Acrylic on canvas, 110 x 90 cm

4. 178, 2007, Marker, Buntstift auf bedrucktem Papier | Marker, crayon on printed paper, 21,2 x 14,2 cm

Ein Museum ist ein simples Konstrukt: Es beschafft, bewahrt und

erforscht materielle Zeugnisse von Menschen und ihrer Umwelt

und macht diese bekannt, indem es sie ausstellt. Es ist eine der

Öffentlichkeit zugängliche Einrichtung im Dienste der Gesellschaft

und ihrer Entwicklung. Doch wie kann eine dergestalt der Nach-

haltigkeit verpflichtete Einrichtung der Beschleunigung der

gesellschaftlichen Veränderungen folgen, wie können die Brüche

und Diskontinuitäten, die sich immer rasanter auftun, nachvoll-

ziehbar gemacht werden?

Die Villa Stuck stellt sich mit der Reihe RicochEt dieser heraus-

forderung und präsentiert in den Räumen der ehemaligen

Künstlervilla Franz von Stucks Künstlerinnen und Künstler

der Gegenwart, die sich mit Diskursen unserer Zeit sowie

aktuellen politischen oder gesellschaftlichen Problematiken

auseinandersetzen.

Die Künstlerinnen und Künstler, cris Koch, Samantha Dietmar,

hito Steyerl und Ahmet Ö ̆güt, zeigen allesamt zum ersten Mal in

Einzelausstellungen ihre Arbeiten in München. Für jede der vier

Ausstellungen werden im Dialog zwischen Kurator/in und Künstler/in

Räume im Gesamtkomplex der Villa Stuck ausgewählt, die dem

charakter des jeweiligen Projekts entsprechen. cris Koch, der den

Auftakt der Reihe setzt, verwandelt in seiner Ausstellung 343 m/s

nicht nur einen Ausstellungsraum im Untergeschoss der Villa Stuck,

sondern bezieht das zentrale treppenhaus in seine installation mit ein.

RicochEt interveniert, prallt auf, hinterlässt Spuren – auch inner-

halb des Ausstellungsprogramms der Villa Stuck – und legt neue

Perspektiven und Positionen offen. Das Begleitprogramm bezieht,

wie die Ausstellungen selbst, unterschiedliche Gattungen mit ein,

Musik, Film, Diskussion. Ein Blog, villastuck-blog.de, der die vier

Projekte im Netz ergänzt und weiterführt, soll die Diskussion rund

um die Ausstellungen auch außerhalb des Museums fortsetzen.

Ricochet, französisch für den Auf- bzw. Abprall, bezeichnet auch

sogenannte Querschläger. Dies sind Projektile, die auf Grund

von Störungen wie Luftwiderstand oder gestreiften und durch-

schlagenen Gegenständen, nicht an ihrem Ziel ankommen.

A museum is a simple entity: it procures, it preserves and it

researches material evidence of human beings and their

environment, and it raises awareness of them by exhibiting them.

it is an institution accessible to the public and serving society

and its advancement. Yet despite being committed to sustainability

in this manner, how can such an institution keep up with

the acceleration of society, how can the disjunctions and

discontinuities which emerge at an ever faster pace be made

comprehensible?

the Villa Stuck has taken up this challenge by opening the

galleries of the former artist’s residence of Franz von Stuck to

contemporary artists. During the exhibition series RicochEt,

four artists reflect on the discourses of our time and address

topical political or social issues.

For each of the artists, cris Koch, Samantha Dietmar, hito Steyerl

und Ahmet Ö ̆güt, it is the first time that their work is being

presented in solo exhibitions in Munich. in preparation for the

four exhibitions, the artists and curators selected the areas

within the entire Villa Stuck building complex that correspond

best to the individual projects. Kicking off the series, cris Koch

in his exhibition 343 m/s has not only transformed a downstairs

gallery of the Villa Stuck, but also included the central stairwell

in his installation.

RicochEt intervenes, reverberates, leaves its mark – as can

be seen in the Museum Villa Stuck’s exhibition programme –

and opens up new perspectives and approaches. the supporting

programme of special events, like the exhibitions themselves,

includes various art forms – music, film, discussion. A blog,

villastuck-blog.de, which complements and carries forward the

four projects on the web, is intended to encourage debates arising

from the exhibitions to continue outside the museum.

“Ricochet” refers, among other things, to a projectile that does

not reach its target on account of interferences such as

aerodynamic drag or objects grazed or penetrated. With the

RicochEt exhibition series, the Museum Villa Stuck aims to raise

Die Ausstellungsreihe RicochEt will ein Ziel erreichen, nämlich

die Besucherinnen und Besucher der Villa Stuck sensibel zu

machen für die künstlerischen Diskurse, die cris Koch wie auch

die weiteren Künstlerinnen und Künstler in ihren Arbeiten führen.

Störungen und Widerstände sind dabei ausdrücklich erwünscht!

ich danke allen beteiligten Künstlerinnen und Künstlern für ihre

Auseinandersetzung mit dem Konzept der Reihe wie auch mit den

institutionellen Bedingungen der Villa Stuck. Die Diskussionen, die

für die einzelnen Projekte geführt werden, werden sicherlich Spuren

hinterlassen und haben damit schon zum Gelingen beigetragen.

Ein besonderer Dank soll an dieser Stelle cris Koch gelten, der

über einen Zeitraum von mehreren Wochen seine installation in

der Villa Stuck mit höchster Akribie eingerichtet hat. Die in diesem

Buch versammelten installationsfotos stammen von John-Patrick

Morarescu und Nikolaus Steglich, bei denen ich mich für ihre

Mitarbeit bedanke.

Mein herzlicher Dank gilt des Weiteren den Kuratorinnen der Reihe,

Anne Marr, Sabine Schmid und Verena hein, die für die Konzepte

der Ausstellungen verantwortlich sind. Verena hein möchte ich

darüber hinaus für die redaktionelle Betreuung der Publikations-

reihe danken, die im Kerber Verlag erscheint. Für den vorliegenden

Band bedanke ich mich bei den Autoren Anne Marr, Martin heindel

und Jochen Flinzer, den Lektorinnen Stefanie Adam und Sarah

trenker sowie, für die Übersetzung der texte, bei Bram opstelten.

Für die Betreuung des Begleitprogramms danke ich Bernhard

Schneider, Kitty von Korff und Johanna Berüter für die Einbindung

der RicochEt-Projekte in FRÄNZchEN, das Kinder- und Jugendpro-

gramm der Villa Stuck. Alle Projektbeteiligten sind sehr gespannt auf

die Ergebnisse von SoNic StUcK, dem Bandwettbewerb im Begleit-

programm der Ausstellung. ich danke allen Mitwirkenden an dieser

Stelle und natürlich auch den Bands, die am 14. März anlässlich der

Finissage von 343 m/s ein Konzert in der Villa Stuck präsentieren

werden. Schließlich gilt ein großer Dank den Medienpartnern der

Reihe, ZÜNDFUNK (dem Szenemagazin auf Bayern 2) und mucbook.

de, welche die Ausstellungen mit großem Engagement begleiten.

MichAEL BUhRS | DiREKtoR

visitors’ appreciation of the artistic discourses pursued by

cris Koch and the other artists in their works. in this process

we explicitly welcome interference and resistance!

i am grateful to all of the artists involved for addressing and

reflecting on the concept of the series as well as the institutional

conditions of the Villa Stuck. the ongoing debates related to the

individual projects are bound to leave their mark and, in doing so,

contribute to making the series a success. At this point i would like

to express my particular gratitude to cris Koch for his incredibly

meticulous work during the preparation of his installation at the

Villa Stuck. i would like to thank John-Patrick Morarescu and

Nikolaus Steglich for contributing the installation photographs

included in this volume.

i am also deeply grateful to the curators of the series, Anne Marr,

Sabine Schmid and Verena hein, who are responsible for the

exhibitions’ concepts. in addition, i would like to thank Verena

hein for the editorial supervision of the series of accompanying

publications which are published by Kerber Verlag. For their

contributions to the present volume i would like to thank the

authors, Anne Marr, Martin heindel and Jochen Flinzer, as well as

Stefanie Adam and Sarah trenker for copy-editing and Bram

opstelten for translating the texts. i am indebted to Bernhard

Schneider for supervising the supporting programme of special

events and to Kitty von Korff and Johanna Berüter for integrating

the RicochEt projects into FRÄNZchEN, the Villa Stuck’s art

education programme. All those involved in the project anxiously

anticipate the results of the rock band competition, SoNic StUcK,

which will take place on 14 March as part of the supporting

special events programme. Marking the conclusion of the 343 m/s

exhibition on that date, several bands will present a concert at

the Villa Stuck. i would like to extend my thanks to everybody

who contributed to this event, not least, of course, the bands

themselves. Finally i am deeply indebted to the series’ media

partners, ZÜNDFUNK (Bayern 2's pop-culture radio show) and

mucbook.de, for their strong commitment to the exhibitions.

MichAEL BUhRS | DiREctoR

4vorwortpReface

28Sie Kamen von Den sternen, UnD Sie brachten ihre bilDnisse mit sichthey came fROm tHe staRs and they BROugHt their images witH tHem

Namecthulhu

GeburtstaGunbekannt (vor Äonen)

Geburtsortextraterrestrisch (eigentlich extradimensional)

KörperGrösserichtig groß

besoNdere KeNNzeicheNFlügel auf dem Rücken, tentakel im Gesicht

mutterspracheunbekannt

FamilieNstaNdledig

VerwaNdteAzathoth, Nyarlathotep, Shub-Niggurath, Yog-Sothoth u. v. a.

mitGliedschaFt iN parteieN uNd VereiNeNDie Großen Alten

hobbysWelten vernichten. Sieht gerne Zivilisationen beim Untergang zu.

derzeitiGer auFeNthaltsortPh’nglui mglw’nafh cthulhu R’lyeh wgah’nagl fhtagn.

in seinem haus in R’lyeh wartet träumend der große (tote) cthulhu.

lebeNsmottoDie größte Gnade auf dieser Welt ist, so scheint es mir,

das Nichtvermögen des menschlichen Geistes, all ihre inneren

Geschehnisse miteinander in Verbindung zu bringen.

Namecthulhu

date oF birthUnknown (aeons ago)

place oF birthExtraterrestrial (actually extra-dimensional)

body heiGhtReally big

ideNtiFyiNG characteristics Wings on back, facial tentacles

NatiVe laNGuaGeUnknown

marital statusSingle

relatiVesAzathoth, Nyarlathotep, Shub-Niggurath, Yog-Sothoth and many others

party or associatioN membershipsthe Great old ones

hobbiesDestroying worlds; likes to watch civilisations perish.

curreNt whereaboutsPh`nglui mglw`nafh cthulhu R`lyeh wgah`nagl fhtagn.

in his house at R`lyeh, (dead) cthulhu waits dreaming.

liFe mottothe most merciful thing in the world, i think, is the inability of the

human mind to correlate all its contents.

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ricochet, #3 hito steyerl

ricochet #4, ahmet ogut

RICOCHET #4ahmet ÖğütWHEREvER I gO I sEE yOuR sHadOW bEHInd mE

inhaltCOnTEnTs

4–5 mICHaEl buHRs: vORWORTpREfaCE

6–13 ExplOdEd CITy

14–19 vEREna HEIn: WHEREvER I gO I sEE yOuR sHadOW bEHInd mE

20–21 THIngs WE COunT

22–25 andREas spIEgl: dIE OHnmaCHT und IHRE kRITIkbaTTlIng pOWERlEssnEss

26–27 On THE ROad TO OTHER lands

28–29 TOday In HIsTORy

30–33 THE pIgEOn-lIkE unEasE Of my InnER spIRIT

34–43 EIn gEspRäCH zWIsCHEn aHmET ögüT und öndER özEngIa COnvERsaTIOn bETWEEn aHmET ögüT and öndER özEngI

44–45 guppy 13 vs OCEan WavE

46–47 bIOgRapHIEnbIOgRapHIEs

48 ImpREssumImpRInT

6eXPloDeD CityExplOdEd CITy

Exploded City (Explodierte Stadt), 2009, Installation, Modellstadt, Mischtechnik | installation, scale model buildings, mixed materials. Courtesy of the artist. Commissioned by Istanbul Foundation for Culture and Arts (IKSV)

14wherever i go i see your shaDow behinD me WHEREvER I gO I sEE yOuR sHadOW bEHInd mE

Wherever I go I see your shadow behind me (Wohin ich auch gehe,

dein Schatten ist stets hinter mir) – Ahmet Öğüt sieht sich als Künstler innerhalb eines soziologischen und politischen Beziehungsgeflechts von Vergangenheit und Gegenwart. Der Titel, den er für seine Aus-stellung im Rahmen der Reihe RICOCHET im Museum Villa Stuck gewählt hat, verweist auf dieses Geschichtsbewusstsein und damit auf das Koordinatensystem, in dem er seine Arbeiten verortet – in seinen Worten: »Den Schwerpunkt dieser Ausstellung sollen Arbeiten bilden, bei denen es um die Vorstellung geht, die ›Geschichte‹ neu zu schreiben, zu rekonstruieren, neu zu denken.«1

Genaues Beobachten und sorgfältiges Recherchieren sind Ausgangs-punkt seiner Beschäftigung mit Geschichte. Zentral ist für ihn das Verhältnis von Individuum und Gesellschaft. Öğüt zeigt dabei die gesellschaftlichen Zwänge und Regeln sowie deren Sinnlosigkeit auf. Fragen nach Identität, Selbstbestimmung, Verantwortung und Freiheit sind als Tiefenschicht seiner Kunstwerke zu erkennen. Es geht ihm nicht um die Aneignung oder Weiterführung bereits formulierter Konzepte oder Ideen anderer Kunstwerke, vielmehr sind Intertextuali-tät und verschiedene Ebenen der Interpretation die Motoren seiner Arbeitsweise. So setzt Öğüt seine persönliche Referenz hinzu: »Wir Leben im Zeitalter der Intertextualität. Wenn ich ein Werk schaffe, stoße ich davor oder danach immer wieder auf Bezüge, die es mir erlauben, meine eigene Arbeit aus einer Vielzahl verschiedener Blickwinkel zu betrachten.«2

Die aktive Teilnahme des Besuchers an der Ausstellung, seine Interaktion steigert die Aufmerksamkeit und weist gleichzeitig auf theatralische Momente hin in dem Sinn, dass der Zuschauer durch Zustimmung oder Ablehnung zum Gelingen beitragen kann. Letzt-endlich lässt die individuelle Erfahrung den Besucher neue Erkennt-nisse erwerben. Dennoch ist Öğüts Kunst nicht belehrend. Vielmehr lenkt sie den Blick des Betrachters auf Leerstellen,3 auf undefinierte Nebenschauplätze der gesellschaftspolitischen Struktur, die es ihm erlauben, diese zu hinterfragen. Die Vielseitigkeit, die unsere eigene Identität, unsere Gesellschaft und auch Geschichte ausmacht, die vielschichtiger und verzweigter ist als eine offizielle, politisch motivierte Linie, wird durch die Benennung dieser Leerstellen betont. In den Arbeiten dieser Ausstellung steht Öğüts Beschäftigung mit Nebensträngen einer offiziellen Geschichtsschreibung im Vorder-grund – mit der Intention, das kollektive Gedächtnis zugunsten

einer Vielzahl historischer Narrative zu verändern.4 Die aktive Teil-nahme des Ausstellungsbesuchers erreicht dabei, dass dessen individuelle Erfahrung Teil seiner persönlichen Erinnerung wird und dadurch Öğüts künstlerische Beschäftigung mit politischen oder gesellschaftlichen Brennpunkten oder Phänomenen in verschiedene Narrative eingeht.

Für seine Ausstellung im Museum Villa Stuck entwickelte Öğüt eine Intervention, die durch die Reduzierung der Deckenhöhe charakteri-siert ist. Dies irritiert nicht nur den Besucher in seiner Wahrnehmung des Raumes und damit der Ausstellung, sondern hinterfragt auch die Funktion des zweiten Obergeschosses der historischen Villa Franz von Stucks (1863–1928). Franz von Stuck erbaute 1897/98 seine Künstlervilla, die unter dem Anspruch des »Gesamtkunstwerks« repräsentative Rauminszenierungen, ein Künstleratelier sowie privates Wohnen verbindet. Im obersten Stockwerk der Villa Stuck befanden sich die Wirtschaftsräume, die sich in der Konzeption des Gebäudes architektonisch klar von den Räumen der unteren Geschosse unter-scheiden. Ablesbar ist dies an der Gestaltung der Fassade, die dieses Geschoss eindeutig als Attikageschoss kennzeichnet, und an der reduzierten, funktionalen – eben nicht repräsentativen – Raumhöhe.5 Diesen Ansatz verfolgt Öğüt auf konsequente Weise, indem er die Decke auf 1,55 Meter abhängt, eine für Museen eigentlich unübliche Raumhöhe. Der Besucher ist gezwungen, sich gebückt durch den Raum zu bewegen. Die Perspektive ändert sich, der Blickwinkel auf die darin präsentierte Modellstadt Exploded City ebenfalls. Das Konzept Öğüts ist inspiriert von Spike Jonzes Kultfilm Being John

Malkovich (1999, Drehbuch: Charlie Kaufman), der hauptsächlich im Zwischengeschoss, dem 7 ½ Stock eines Bürogebäudes, spielt. Die räumliche Enge spiegelt die Selbstbezogenheit der Protagonisten wider,6 und der Zuschauer ist mit einem klaustrophobischen Grund-gefühl konfrontiert.7 Der Film wirft Fragen nach Identität, Freiheit und Möglichkeiten eines Perspektivwechsels auf. Durch Irritation, den Überraschungseffekt des niedrigen Stockwerks und durch die veränderte Körperhaltung zeigt Öğüt den Besuchern Möglichkeiten individueller Wahrnehmung auf. Indem er Blickwinkel verändert, hat die suggestive Kraft von Öğüts Werk das Potential, Ansichten zu revidieren und zu verändern, er selbst erkennt: »Die Dinge sehen je nach Standort anders aus. [...] Es ist sonderbar, was mit der Geografie passiert: einhundert Meter weiter weg kann die Welt ganz verschieden sein. Es ist etwas Unerklärliches, ein Witz, eine

Ahmet Öğüt regards himself as an artist working within a sociological and political web of connections between past and present. Wherever I go I see your shadow behind me – the title he chose for his exhibition in the RICOCHET series at the Museum Villa Stuck – is indicative of this historical consciousness and of the system of coordinates that he uses for his oeuvre. As he puts it: “In this exhibition I focus on works that are about the notion of rewriting, reconstructing and rethinking ‘history’.”1

Öğüt's examination of history is based on his close study and thorough research of the relevant topics. His central concern is the relationship between individuals and society. He focuses on societies constraints,its rules and its absurdities. Issues of identity, self-determination, responsibility and freedom can be discerned as forming the subtext of his works. Rather than being interested in appropriating pre-formulated concepts or ideas of other artworks and taking them a step further, it is intertextuality and multiple levels of interpretation that fuel his artistic practice. Accordingly, Öğüt adds his personal reference: “We are in the age of inter-textuality. Whenever I make a work, before or after making it, I encounter many references allowing me to see my own work from many different perspectives.”2

A visitor’s active participation in, or interaction with, the exhibition leads to increased attention on his or her part. At the same time, it adds a theatrical component, in that a viewer, through his or her rejection or approval, becomes a factor in its success. Ultimately, the individual experience may provide the visitor with new insights. Rather than lecturing, however, Öğüt’s art draws the viewer’s attention to history’s “gaps”3 or what could be termed as undefined issues of the socio-political structure, which he presents as a question. The many-sidedness defining our own identity and society, as well as history – which is more complex and more widely ramified than any official, politically motivated line – is highlighted by addressing these gaps. Öğüt’s interest in exploring the by-roads of official history is central to the works in this exhibition and is guided by the wish to transform collective memory in favour of a plurality of historical narratives.4 What the active participation of visitors to the exhibition achieves in the process is that, in each case, the visitors’ individual experience becomes part of their personal memory, thus allowing Öğüt’s

artistic treatment of political or social issues or hot spots to enter a variety of narratives.

For his show at the Museum Villa Stuck Öğüt devised a form of intervention art by decreasing the ceiling height of the exhibition space. This not only confounds visitors’ perception of the gallery and, by extension, of the exhibition, but also demands a reassessment of the second floor’s function in the historic villa of Franz von Stuck (1863–1928). Franz von Stuck built his artist’s residence in 1897/98, aspiring to create a “total work of art” by combining luxuriantly furnished representative spaces, an artist’s studio, and private living quarters. Located on the top floor of Stuck’s villa were the utility rooms which were clearly distinguished from the spaces on the floors below in the way the building was designed. This can be seen in the way the façade design unequivocally defines this level as an attic floor, and by its reduced, functional – and, indeed, not representative – ceiling height. Öğüt continues this approach in a consistent manner by lowering the ceiling to 1.55 metres, a height that is really infeasible for a museum.5 Visitors are forced to stoop through the gallery. There is a change in perspective and likewise in the angle from which Exploded City – the city made up of model structures that is displayed in this gallery – is viewed. Öğüt’s concept is inspired by Spike Jonze’s cult movie Being John Malkovich (1999, screenplay by Charlie Kaufman), which is largely set on an intermediate storey, floor 7½ , of an office building. The confined space reflects the protagonists’ self-centredness,6 and viewers are confronted with a basic feeling of claustrophobia.7 The film raises issues of identity, freedom and possible changes in perspective. By confounding visitors through the surprise effect of the lowered ceiling and the change in posture, Öğüt points out the possibilities of individual perception. In changing viewing angles, his work, by means of its suggestive power, is potentially able to alter and reverse views. As Öğüt acknowledges himself: “Things look different from different places. [...] It’s strange what happens with geography. One hundred metres further away, the world can be totally different. It’s mysterious, it’s a joke, it’s a tragedy. That’s want I want in the work, these different levels that make possibilities appear.”8

Öğüt’s Exploded City (2009) should be viewed under the same premise. The installation which consists of a model city, a glossary and a prose poem was conceived by Öğüt for the Pavilion of Turkey

26on the roaD to other lanDsOn THE ROad TO OTHER lands

On the Road to Other Lands (Unterwegs zu anderen Ländern), 2008, Künstlerbuch | artist book veröffentlicht von | published by A Prior Magazine in collaboration with 5th Berlin Biennial. Courtesy the artist.On the Road to Other Lands (Unterwegs zu anderen Ländern), 2008, Künstlerbuch | artist book, veröffentlicht von | published by A Prior Magazine in collaboration with 5th Berlin Biennial. Courtesy of the artist.

ricochet #5, martin mayer & quirin empl

Die Reihe RICOCHET präsentiert in der ehemaligen Künstlervilla des Malerfürsten Franz von Stuck (1863–1928) Künstlerinnen und Künstler der Gegenwart, die sich mit Diskursen unserer Zeit sowie aktuellen politischen oder gesellschaftlichen Problematiken auseinandersetzen und diese durch ästhetische Transformation einer Neubetrachtung öffnen. Für jede der Ausstellungen werden gemeinsam mit den Künstlerinnen und Künstlern Räume im Gesamtkomplex der Villa Stuck ausgewählt, die neben dem klassischen White Cube-Ausstellungsraum auch historische Repräsentationsräume des Künstlerfürsten und einen Künstlergarten umfassen. RICOCHET interveniert, prallt auf, hinterlässt Spuren – auch innerhalb des Ausstellungsprogramms der Villa Stuck – und legt neue Perspektiven und Positionen offen.

ricochet #1 Cris KoCh14. JANuAR – 14. MäRZ 2010 | KuRATORIN: ANNE MARR

ricochet #2 saMantha dietMar22. APRIl – 27. JuNI 2010 | KuRATORIN: SAbINE SCHMID

ricochet #3 hito steyerl22. JulI – 26. SEPTEMbER 2010 | KuRATOR: MICHAEl buHRS

ricochet #4 ahMet Öğüt11. NOVEMbER 2010 – 23. JANuAR 2011 | KuRATORIN: VERENA HEIN

ricochet #5 Martin Mayer und quirin eMpl8. JulI 2011 | KuRATORIN: SAbINE SCHMID

museum villa stuckriCoChet

Die wichtigste Nachricht zuerst: RICOCHET geht weiter! Nach

einem fulminanten Auftakt 2010 mit gleich vier Ausstellungen in

der Villa Stuck waren die letzten Monate ruhig. Cris Koch, Samantha

Dietmar, Hito Steyerl und Ahmet Öğüt – diese vier Künstler boten

dem Publikum einen faszinierenden Einblick in die zeitgenössische

künstlerische Produktion und lösten den Anspruch von RICOCHET

auf höchst individuelle Art und Weise ein: Die Reihe RICOCHET

präsentiert Künstlerinnen und Künstler der Gegenwart, die sich

mit Diskursen unserer Zeit sowie aktuellen politischen oder ge-

sellschaftlichen Problematiken auseinandersetzen und diese

durch ästhetische Transformation einer Neubetrachtung öffnen.

Die zweite gute Nachricht: RICOCHET bleibt überraschend. Denn

die fünfte Ausgabe der Reihe bringt für einen Abend das Foyer

des Museums zum Flimmern: Martin Mayer und Quirin Empl

zeigen anlässlich des fünften Sommerfestes in der Villa Stuck

eine interaktive Licht-Installation in diesem modernen Verteilerraum

des Museums, der ansonsten hauptsächlich Museumskasse und

Café beherbergt. Eine einmalige Aufführung, durch die vorliegende

Publikation dokumentiert und kuratiert von Sabine Schmid, der –

zusammen mit den beiden Künstlern – an dieser Stelle mein großer

Dank für die Realisierung der Rauminstallation gilt.

Gesamtkunstwerk und Mapping, zwischen diesen beiden extremen

Polen oszillieren die ortsspezifischen Interventionen von Mayer

und Empl. Es freut mich außerordentlich, dass beide Künstler das

Sommerfest als den passenden Rahmen für ihre Arbeit ansehen,

die in der Tat nicht zuletzt durch die Aktion des Publikums beeinflusst

wird. Mein Dank gilt Bernhard Schneider für die Gesamtorganisation

des Tages, wie auch für die Einbindung von FRÄNZCHEN in den

Ablauf, dies zusammen mit Anna Schneider und Johanna Berüter.

Zuletzt gilt mein Dank allen Beteiligten an der Publikation, Martin

Mayer und Quirin Empl, Sabine Schmid, Verena Hein sowie Petra

Kottmair und Jonathan Wood von normal industries für die Gestal-

tung, ebenso allen Mitwirkenden bei der technischen Umsetzung

der Installation. Auch die Kooperation mit unseren Medienpartnern

lebt durch RICOCHET #5 weiter, ZÜNDFUNK, das Szenemagazin

auf Bayern 2, und mucbook.de, das München-Blog – wir freuen

uns auf die kommenden gemeinsamen Projekte!

MICHAEL BUHRS | DIREKTOR

the Journey Continues …

VS, 2011, Screen Shot der Simulation für die Villa Stuck

vs

VS, 2011, Screen Shots der Simulation für die Villa Stuck

on3, 2010, Visuals im Chorprobenraum des BR-Rundfunkorchesters während des Live-Acts von Joasihno beim on3-Festival

on3

Durchfahrt – überfangen von einem verglasten Oberlicht im Rund-

bogen – und von einer Türe flankiert. Zur Gartenseite öffnen sich

zwei Durchfahrten mit Rundbögen. Im ersten Stock werden die

beiden Gebäude durch einen Gang verbunden. Die Einfahrt wurde –

während der Instandsetzung und Restaurierung der Villa Stuck

von 1992 bis 2005 – zwischen 1998 und 2000 geschlossen und

manche Wandpartien neu verputzt, zudem erhielt sie ein Glasdach

vom Verbindungsgang hin zu den Bögen der Gartenseite und

empfängt heute den Besucher mit Informationstheke und Kaffee.

Dieser Raum zwischen Villa und Atelier, zwischen Straßenseite

und Künstlergarten liegt im Fokus des Mappings von Martin Mayer

und Quirin Empl. Teile der ehemaligen Außenwände des Ateliers

und der Villa und auch die Toreinfahrten bilden die Wände des

rechteckigen Raumes, ebenso weiße Wandflächen aus der Zeit

der Restaurierung. Auf diese vielseitigen architektonischen Elemente

werden feine Linien aus Licht projiziert und so wird nicht der

Ausstellungsraum selbst, sondern das Foyer des Museums Teil

der ortsspezifischen Aktion und der interaktiven Rauminstallation.

SABINE SCHMID | KURATORIN

1 URL: http://www.essen-fuer-das-ruhrgebiet.ruhr2010.de/programm/bilder-entdecken/ ruhrkunstmuseen/mapping-the-region.html (24.05.2011).

2 Rudolf Frieling: »Augmented Reality. Vom Mapping und der Kunst im digitalen Zeitalter«. In: Ausst.-Kat. Vermessen. Strategien zur Erfassung von Raum, Bündner Kunstmuseum Chur. Nürnberg 2009. S. 41–51, hier S. 46.

3 Ebd. S. 49f.

4 Katharina Ammann: »Übersicht als Illusion. Vermessungsstrategien in der Kunst«. In: Frieling 2009 (wie Anm. 2). S. 9–14, hier S. 10f.

5 Frieling 2009 (wie Anm. 2), S. 49.

6 URL: http://on3.de/element/8275/martin-mayer-und-quirin-empl-der-raum-ist-der-star (25.05.2011).

7 Dieter Daniels: »Sound & Vision in Avantgarde & Mainstream«. In: Medien Kunst Netz, Bd. 2. Hg. v. Rudolf Frieling und Dieter Daniels. Wien 2005. S. 59–73, hier S. 59f.

8 URL: http://www.ardmediathek.de/ard/servlet/content/3517136?documentId=6324068 (24.05.2011).

9 Vgl. Wolfgang Kemp: »Kunstwerk und Betrachter: Der rezeptionsästhetische Ansatz«. In: Kunstgeschichte. Eine Einführung. Hg. v. Hans Belting et al. Berlin 20036. S. 247–266; Wolfgang Kemp: Der Betrachter ist im Bild. Köln 1985; Wolfgang Kemp: Der Anteil des Betrachters. München 1983.

10 Annette Hünnekens: Der bewegte Betrachter. Theorien der interaktiven Medienkunst. Köln 1997. S. 11.

11 Ebd. S. 106.

12 Ebd. S. 53; vgl. auch Gerhard Johann Lischka und Peter Weibel: »Polylog. Für eine interaktive Kunst«. In: Kunstforum International, Bd. 103, Sept./Okt. 1989. S. 65–87.

40 41

66 67

stan Douglas, Michigan Theatre, 1997/98; Alma’s Beauty College, 1997/98; Abandoned Apartment Building, 1997/98; Collapsed House, 1997/98

Michigan Central Station, 1997/98; YWCA and YMCA on the Site of the New Tiger Stadium, 1997/98; The Horseshoe, Paradise Valley, 1997/98

14 15

“This project [Third World Blondes Have More Money] had the sole mission of documenting the objects that

this particular group of people decided to bring into their homes, the personal environment they inhabit and

the style they chose to identify with.” Daniela rossell

Daniela rossell, Third World Blondes Have More Money (Jeanette in Her Mother’s House), 2002

street life & home stories, 236 page hardcover (2011)

street life & home stories infopoint banners

PhotograPhs from the goetz collection

s t r e e t l i f e & h o m e s t o r i e s

1 June – 11 sePtember 2011

evelyn hofer, Harlem Church, New York, 1964, © the estate of evelyn hofer

fotografien aus Der sammlung goetz


1. Juni – 11. sePtember 2011

tobias zielony, Factory from the series: Trona – Armpit of America, 2008, © the artist




Die ausstellung Street Life and Home Stories präsentiert Werke

von 24 Künstlerinnen und Künstlern aus dem fotobestand

der sammlung goetz. im fokus dieser themenkomplexe wird

eine umfangreiche auswahl von Kunstwerken vorgestellt, deren

schwerpunkt eine auseinandersetzung mit gesellschaftlichen,

politischen und sozialen sujets bildet. es ist das Konzept der

ausstellung, Wechselwirkungen zwischen epochen und zwi-

schen künstlerischen herangehensweisen darzulegen, ohne

dabei didaktisch oder chronologisch vorzugehen. Die stadt,

die straße und das häusliche umfeld sind die zentrale bühne

für diese epochenübergreifenden themen.

Street Life and Home Stories presents works by 24 artists

from the photographic archive of the goetz collection,

introducing an extensive selection of artworks that, focusing

on these two thematic ranges, reflect a concern with social

and political issues. the exhibition aims to expose interactions

across different periods and between various approaches,

without resorting to a didactic or chronological mode. the city,

the street and the domestic environment provide the main

stage for these transgenerational themes.

PhotograPhs from the goetz collection


1 June – 11 sePtember 2011

ed van der elsken, Vali Myers, REVE, 1950, © the artist




Francis alÿs nobuyoshi araki Diane arbus stan Douglas William eggleston elmgreen & Dragset eD van Der elsken Walker evans hans-Peter FelDmann nan golDin Paul graham canDiDa höFer evelyn hoFer sven Johne steve mcQueen robin rhoDe Daniela rossell august sanDer cinDy sherman laurie simmons thomas struth WolFgang tillmans JeFF Wall tobias Zielony

rose issa projects london

Published to accompany an exhibition by Rose Issa Projects at the Beirut Exhibition Center in Lebanon,

Zendegi features the work of 12 contemporary Iranian artists: Maliheh Afnan, Farhad Ahrania, Mohamed

Ehsai, Monir Farmanfarmaian, Parastou Forouhar, Shadi Ghadirian, Bita Ghezelayagh, Taraneh Hemami,

Abbas Kiarostami, Farhad Moshiri, Najaf Shokri and Mitra Tabrizian. This exhibition sheds light on life

and art in Iran as seen through the eyes of several of its most prominent and emerging artists. Coming

from different generations, and using diverse media, they present, investigate and interpret current

themes and issues of relevance through their own aesthetic language, merging tradition with modernity.

£10.00

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zendegi, catalogue for beriut exhibtion center (2011)

£ 10.00

Selma Gürbüz is one of Turkey’s best-known and most inspired contemporary artists.

She draws on personal experiences to create visual elegies in which wonder and magic

emerge from seeming chaos. Human and animal characters inhabit her fairytale settings,

in images that reference shadow theatre, the art of silhouettes and animation as well as

Ottoman, Japanese and European art history.

SE

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SElma GürbüzSHadOwS Of my SElf EdiTEd by rOSE iSSa

selma gürbüz, hardcover book 48 pages (2011)

rose issa projects, website

Contemporary art from the near east sinCe 1982Rose Issa PRojects269 KensinGton hiGh st. LonDon W8 6na t: +44 (0)20 7602 7700 e: [email protected] WWW.roseissa.Com

artists representeD inCLuDe: maLiheh afnan, Jananne aL-ani, ayman BaaLBaKi, monir farmanfarmaian, Bita GhezeLayaGh, Chant aveDissian, farhaD ahrarnia, fathi hassan, hassan haJJaJ, KhaLiL raBah, parastou forouhar, raeDa saaDeh, seLma GürBüz, susan hefuna, taraneh hemami anD WaLiD siti

hassan haJJaJ, Marques Toliver (detail), edition of 7, digital C type print, coloured woven plastic and wooden frame, 132 x 97 cm, 2010

rose issa projects ad for v&a magazine

Shadi Ghadirian is one of Iran’s leading contemporary photographers. Born in Tehran in 1974, she has exhibited

widely in Europe and the US, and her work has been collected by museums worldwide. She came to the limelight

in the late 90s with her Qajar series, in which she examines the paradoxical position of women in Iran. Women

in traditional clothing pose with items such as a bicycle – permitted a hundred years ago, and now forbidden to

women. Ghadirian’s oeuvre is a spirited wink at authority. With witty parodies of domesticity, she neatly sidesteps

both restrictions and expectations.

Rose Issa is a freelance curator, specialised in contemporary visual arts and films from the Arab world and Iran.

‘The photographs hint at what it means now to be young and Iranian: to be fond of bootlegged blockbusters

but equally attached to history.’ The Independent on Sunday

SAQIwww.saqibooks.com

uk £9.99 us $14.95 can $16.50

Iranian Photographer

SHADI GHADIRIANEdited by Rose Issa

SHADI G

HADIRIAN ir

anian p

hotographer

Shadi Ghadirian, 64 page Softcover (2008)

‘I am a photographer, and this is the only thing I know how to do’

Like thisShadi Ghadirian’s photographs are startling. They

transcend geographical boundaries to bring us into

direct contact with another world.

Ghadirian is one of the most outstanding young

photographers of her generation, born in Tehran in

1974, at the height of the Iranian economic and

cultural boom and just a few years before the Islamic

Revolution. She came to the limelight in the late 1990s

with her Untitled Qajar series, and since then has

become one of the most active and inspiring artists

from Iran – one who exhibits widely in Europe, the

United States, the Middle East and beyond, and is

collected by museums worldwide. Her fascination

with the paradoxical life of women in Iran today, which

takes place mostly behind closed doors, is a spirited

wink at authority and shows the witty parody of social

expectations, social restrictions and loopholes that

form her life and times.

Ghadirian’s own life and work is shaped by the rules

and restrictions of post-revolutionary Iran, a rich source

of subject matter. In the past thirty years, Iran has

experienced far-reaching change in politics, society

and the arts. Artists there face censorship, import-

export restrictions, the absence of a cultural

infrastructure to promote art, poor supplies and

equipment1, few professional galleries2 and, most

recently, global banking sanctions force Iranian

artists and galleries to rely on complicated financial

transactions to receive payment for their work. In

spite of this, the country keeps producing artists of

the highest calibre.

photography has always had a strong following in

Iran, ever since the Qajar court enthusiastically

embraced it in the early nineteenth century, when

Nasser el-Din Shah (1831–96) became a keen

photographer and prolific collector of photographs.

After the Islamic revolution of 1979, there was an

intense focus on photography once again as Iranians

rushed to document their surroundings during the

long and destructive Iran-Iraq war (1980–8).

photographers followed in the wake of Iran’s

internationally successful new-wave film-makers,

and the visits and consequent stardom of many Iranian

artists in exile who came back to Iran for inspiration,

8

‘I deal with social issues that concern me and inspire me. In the Domestic series, a woman is condemned to repetitive routines of tea making, preparing meals, cleaning, sweeping and serving. In Iran, few people live on their own, especially girls. The only time we are faced with practical domestic duties is when we are married, hence the association of domestic chores with marriage. Had I lived alone for some time, like many of my friends in Europe, maybe such work would not have inspired me’ Shadi Ghadirian

such as Shirin Neshat and Shirana Shahbazi.

Furthermore, the Middle East, and in this case Iran,

with all its complex and intricate social histories, is

simply a rich and aesthetically inspiring place: artists

do not need to invent a pure concept in order to

work. There is already much to say: the raw material,

unexplored aesthetics and life stories are all there.

Furthermore, it is a good time to be a photographer

in Iran. When Ghadirian graduated in 1998 from

Azad University, she was one of the first to graduate

from the photography department. Tehran had a few

modest art galleries, and of those, only a handful

accepted photography as an art form. The art scene

has changed immensely in the last few years. Interest

in photography has exploded and galleries are now

competing with each other, sometime hiring large

hotel halls to exhibit their artists. photographers, who

used to work mainly for newspapers and magazines

(which were censored and gradually closed down),

have finally started making a decent living from their

work. Galleries are hunting young talent, collectors are

buying sometimes haphazardly priced works, but the

buzz is there and the market is encouraging young

talent to come out.

Ghadirian’s work is almost exclusively about the

personal concerns of Iranian women of her generation.

The evolution of her work over the last decade has

its own social context: she illustrates the quest of

teenage youth for more liberty, questions women’s

assigned roles and endless domestic chores, explores

the quest for a more colourful life, reveals the reach

of censorship, and wonders about the fate of a

generation living in front of a computer. Ghadirian’s

work is therefore autobiographical, a visual contact

with the country and its systems. Above all, hers is

a perfect example of how photography can have

a social function and maintain the highest visual and

technical aesthetics.

Untitled Qajar series, 1998

Before and after her graduation, Ghadirian worked as

a part-time assistant to her teacher, the photographer

and photography historian Bahman Jalali, who

founded Iran’s photography Museum3 with his wife

Rana Javadi. At the time, Jalali and Javadi were the

most enthusiastic photographers and publishers in

9

‘When someone asks what there is to do,Light the candle in his hand. Like this.’ Rumi

20

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The qajar Series1998-99

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34

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BiographyShadi Ghadirian was born in 1974 in Tehran, Iran

and graduated with a BA in photography from the

Azad University, Tehran in 1998.

Selected solo exhibitions

2008

Los Angeles County Museum of Art, California

2007

photography Festival of Istanbul, Turkey

Gallery B21, Dubai

2006

Al Maamal Foundation, East Jerusalem, palestine

2002

Villa Moda, Kuwait

Silk Road Gallery, Tehran

1999

Golestan Gallery, Tehran

Selected group exhibitions

2008

Word Into Art, DIFC, Dubai

2007

Noorderlicht Photofestival, Netherlands

La paz, Bolivia

San Diego Convention Centre, California

Silk Road Gallery, Tehran

2006

Inaugura en Tucumán,

Mexico Selyemes Fenyek, Budapest

Le Rectangle, Lyon, France

Representation and Use of the Body in Art,

Galerie Helene Lamarque, paris

Ey! Iran: Contemporary Iranian Photography,

Gold Coast City Art Gallery, Australia

Images of the Middle East, DCCD,

Copenhagen, Denmark

Word into Art: Artists of the Modern Middle East,

The British Museum, London

60

57

The Veiled Mirror,

Contemporary Iranian Photography,

De Santos Gallery, Houston, Texas

French Cultural Centre, Damascus, Syria

Distinctive, Artspace Witzenhausen, Amsterdam

Blessed are the Merciful,

Feigen Contemporary, New York

2005

Third Line Gallery, Dubai

Baudoin Lebon Gallery, paris

Aeroplastics, Belgium

After the Revolution, San Sebastian, Spain

Rebel Mind Gallery, Berlin

West by East, CCCB, Barcelona

2004

Far Near Distance,

The House of World Culture (HKW), Berlin

Chobi Mella 3, Bangladesh

photography Biennale, Luxemburg

photography Biennale, Moscow

San Jose Museum of Art, California

2003

Ville De Boulogne-Billancourt, France

Sorbonne University, paris

Konstmuseum, Gothenberg, Sweden

Sharjah International Biennial 6

The Veil, touring exhibition, The New Art Gallery,

Walsall, Liverpool, and Oxford

Harem Fantasies and the New Sheherezades,

touring exhibition, CCCB Barcelona and Lyon

2002

Glimpses of Iran,

Thessaloniki Museum of photography, Greece

The Museum of Contemporary Art, Tehran

2001

Iranian Contemporary Art,

Barbican Art Centre, London

Regards Persans, Espace Electra, paris

Fnac, paris

Space Gallery, Toronto

photospania Festival, Madrid

61

This is the first English-language monograph on her work, published on the occasion of her first solo show

in the UK at Leighton House Museum in London. With essays by curator and film-maker Lutz Becker and

author and art critic Russell Harris, this publication presents a selection of the most startling highlights

of Forouhar’s work so far – created in response to the dramatic social and political upheaval that she

experienced after the Iranian Revolution of 1979 and the murder of her parents in Tehran.

Though the inspiration behind Forouhar’s subject matter may be tragic, her work has a great emotional

range: the results are sometimes macabre, occasionally darkly humorous and often purely joyful.

The Iranian artist Parastou Forouhar expresses her reaction to the perplexing situations in her homeland

through a wide variety of techniques, from photography to digital drawings and multi-media installations.

SAQIwww.saqibooks.com

uk £14.99 us $21.95

parastou f

orouhar a

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Art, Life and Death in Iran

PARASTOU FOROUHAREdited by Rose Issa

parastou forouhar, 128 page Softcover (2010)

arabicity such a near east, blue coat gallery liverpool (2010)

ArAbicity Such a Near eaStbAsEl AbbAs & ruAnnE Abou-rAhmE chAnt AvEdissiAn AymAn bAAlbAki fAthi hAssAn rAEdA sAAdEh

Published to accompany an exhibition by Rose Issa Projects and the Bluecoat in Liverpool, “Arabicity: Such a Near East” features the

work of Basel Abbas & Ruanne Abou-Rahme, Chant Avedissian, Ayman Baalbaki, Fathi Hassan, and Raeda Saadeh. These six artists

explore their cultural heritage and express what they find in unique and varied ways. Through performance, painting and installation,

“Arabicity” presents their conceptual and aesthetic concerns, executed with warmth, humour and poetry.

£4.99

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IRANIANPHOTOGRAPHY

NOWEDITED BY ROSE ISSA

iranian photography now, hatje cantz, 236 page hardcover (2008)

5

This dynamic survey of contemporary photography shows myriad talents, some already well known and others confidently emerging on to the scene. It incorporates a wide spectrum of styles and approaches that is richly rewarding, ranging from journalism to advertising, to staged narratives and montage, and industrial photography to fine art practice. Included here are images made in and about Iran and by Iranians living outside the country. As a result, there are multiple viewpoints, appropriate for these fractured times— and fitting for a country where collisions between personal, social, religious, and political life can be emotive, troubling and complex. What binds these individual voices together, however, is an overriding sense of urgency.

Photographic practice in the West—or at least in the European-American axis that has dominated the history of the medium until relatively recently—sometimes lacks this urgent quality: productions in the Western tradition can hinge on established photojournalistic styles, subtle reinterpretations of aesthetic precursors, or on knowing references to critical theory. This is engendered and supported by a widespread culture of studying, teaching, collecting, publishing, and exhibiting liberal fine art and issue-based photography. In contrast, one has the intuitive impression that much of the work in this book is created by photographers who, lacking the luxury of such support—or goaded by oppressive forces outside of their control—are compelled to short-circuit to the emotive heart of an issue. And the issues are varied and tackled in differing ways.

Here, there are intense images that address notions of personal yearning and loss; the display or hiding of the body and its sensuality; the interior and the domestic world and

its relationship to the outside or social sphere; vanishing or enforced ritual and tradition; meditations on the landscape as a theatre for conflict or as an emblem of the spirit; and concerns expressed over moral and social rule. The creative impetus can sometimes be sharpened by oppressive situations or a sense of displacement. In an environment of censorship, dissenting voices cut through: certain figures do this with flagrant and defiant opposition, others by using the stoical methods of reportage to preserve and document; some employ a quiet, meditative approach; while others cleverly re-present images using a sense of nostalgia or wry humor.

The images in Iranian Photography Now come from a selection of individuals grappling with the state of a country where tradition and modernity face each other and must relate to the wider world today. This is deeply colored by the impact of Iran’s recent history of war and revolution, and by the presence of traditions, social structures, and religious codes, which carry a sense of dignity even alongside the weight of oppression. By bringing this work together and into the light, this book importantly contributes to a better, more multifaceted understanding of a culture and its people. Photography is a decisive tool in the service of this role due to its inherent immediacy and accessibility. Such photographs can be seen as a mirror held up to our times, reflecting back even more powerfully what it may be forbidden directly to depict. And it is in the act of reflecting the physical world that it also offers possibilities through which it can be transcended.

Martin BarnesSenior Curator of Photographs, Victoria & Albert Museum, London

PREFACE“Here, there are intense images that address notions of personal yearning and loss;

the display or hiding of the body and its sensuality; the interior and the domestic world

and its relationship to the outside or social sphere; vanishing or enforced ritual and

tradition; meditations on the landscape as a theater for conflict or as an emblem of the

spirit; and concerns expressed over moral and social rule.”

9

IRANIANPHOTOGRAPHY

NOW

aCKnOWLeDGeMents

I would like to thank all the artists in this book for their participation, and Abbas Kiarostami, Shirin Neshat, and Shadi Ghadirian in particular, for their invaluable assistance. I am also grateful to Dr Martin Barnes and Professor Homi Bhabha, who wrote the foreword and preface, for their positive and thoughtful contribution.

This publication was produced with the kind support of the Prince Claus Fund for Culture and Development, the Netherlands. Special thanks go to the Fund's Director, Els van der Plas, and Peter Stepan. I would also like to express my gratitude to Mrs Fadwa Al Homaizi for her unhesitating generosity. Finally, I salute the production team—the ever-patient Petra Kottmair, Francesca Ricci, and Katia Hadidian—and the pioneering publisher, Hatje Cantz.

rOse issaLondon, 2008

COntents

PREFACEFOREWORDINTRODUCTIONABBASMEHRAN AFSHAR-NADERIREZA ARAMESHMEHRANEH ATASHIFEREYDOUN AVEGOHAR DASHTIPARASTOU FOROUHARSHADI GHADIRIANHASSAN GHAFFARIAMIRALI GHASEMIMEHDI GHASEMIKAVEH GOLESTANRODIN HAMIDIARASH HANAEIGHAZALEH HEDAYATPEYMAN HOOSHMANDZADEHBAHMAN JALALIMAHMUD KALARIDARIUSH KIANIABBAS KIAROSTAMIABBAS KOWSARIALI MAHDAVIMEHRAN MOHAJERJAVAD MONTAZERIMALEKEH NAYINYSHIRIN NESHATHAMED NOORIMOHSEN RASTANIOMID SALEHISEIFOLLAH SAMADIANJALAL SEPEHRSHIRANA SHAHBAZIMITRA TABRIZIANNEWSHA TAVAKOLIANSADEGH TIRAFKANMEHDI VOSOUGHNIABIOGRAPHIESRECOMMENDED READING

004006010016020024030034038044048056060068074080084090094100106114118126134140144152158162168174182188192198206212218224234

10 11

STILL REVELATIONSThis publication is a celebration of the unique

vision of thirty-six Iranian artists living in Iran

and abroad. Here you will find well-known

and established photographers together with

emerging talents, all of whom distinguish

themselves with the originality of their vision,

whether documentary, artistic, or conceptual.

Each of the artists discusses their work and

comments on the selected images, and their

statements preface each entry, organized

in alphabetical order rather than by theme

or genre.

The greatest difficulty in compiling this book was choosing which photographers to include—so many of them deserve monographs and an international career. In the end, my selection was personal and intended as an introduction to the many talented photographers from the region rather than a definitive academic study. Many great names are not featured, such as Reza, Manouchehr Deghati, and Chayan Khoi, all of whom live in France; and Hasan Sarbakhshian, Rana Javadi, Kaveh Kazemi, Arman Stefanian, and Jamshid Bayrami, all of whom work and publish in Iran. There is such a wealth of creativity in the region that it is impossible to do all the artists justice in one publication.

Despite the recent focus on the contemporary Middle Eastern art market, there are very few publications or archives about contemporary Iranian artists themselves. This is a modest attempt to remedy the situation, an open invitation to scholars and curators to visit Iran, invite artists to exhibit abroad, and develop and document their work.

In Iran, the therapeutic and cathartic function of artistic creation and expression has never been as strong as it is now. This book hopes to reveal the visual pulse of the country—one that reflects the joy, the grief, the traumas of its recent history, and the intermingling of life and art. In doing so, it reveals the artists’ quest for a new aesthetic, a quest anchored in self-belief and urgency. Their work does not reflect superficial modernity and the media’s interpretation of the news, but rather their emotions about the here and now—the resilience needed to transcend the harassments of daily life.

Although poetry is traditionally the principle means of artistic expression in Iran, photographers here have now transformed the medium into the poetics of image. Iran has a strong visual culture: geographically, from the fertile mountains of the north to the deserts of the central and southern plains; historically, with its abundance of architectural and archaeological sites; and artistically, in its rich pre-historic, Zoroastrian and Islamic art and artifacts. It is also a country in which people communicate mostly with their eyes, which express what society prevents from being written or spoken. This language of the eyes is highly developed and sophisticated, and photography is now its tool.

Over the last decade, and the last two years in particular, the art scene in Iran has radically changed and is enjoying an unexpected boom, with many artists becoming very fashionable and highly sought after. What is so extraordinary is that despite institutional and infrastructural shortcomings

(government funding and art patronage are non-existent), a lack of comprehensive theoretical and practical training, and the scarcity of art criticism and art publications, photography—which has a long but interrupted history in Iran—is now flourishing.

PHOtOGraPHy in iran: 1840s tO 1970s

Soon after its invention in the first decades of the 19th century, photography was enthusiastically embraced by Persia’s Qajar kings, most famously during the reign of Nasseredin Shah (1848–1896). He transformed many aspects of life in the palace, introducing European modes and technological innovations: Persia produced its first daguerrotypes in 1844—just five years after the discovery of the technique in Paris—and photography soon became part of the curriculum at Dar al-Funun, an academy founded to train upper-class youths. The earliest photographers in Iran were from France, Austria, Italy, and Russia, some of whom were invited to become instructors at Dar al-Funun. Perhaps in recognition of the Shah’s hobby, at the inauguration ceremony of the Crystal Palace in 1851, Queen Victoria herself presented the visiting Persian delegation with the latest camera.

Nasseredin Shah was not only an avid photographer but a collector, too. He amassed an estimated 20,000 original prints, encompassing the work of royal and court photographers, and preserved them in albums, many of which are in the library of the Golestan Palace Museum in Tehran.1 The museum is a treasure trove of photographs, encompassing court ceremonies, hunting expeditions, shackled prisoners, landscapes, anthropological portraits, and portraits of the king’s entourage, from servants of the royal court to his own haramsara (women’s quarters), which housed nearly three-hundred wives and concubines. These ladies are

sometimes provocatively posed: the portraits are intimate and bold, so bewildering that they could fill several publications.2

The Shah was not the only royal interested in photography, however. The Crown Prince in Tabriz and numerous other princes had royal photographers appointed to their court, often Armenians. The courts also sent painters and photographers to Europe to learn the latest photographic techniques, and photography remained an aristocratic pastime until the advent of more affordable photographic equipment led to its widespread popularity. By the late 19th century, in the East as in the West, portrait photography had to become part of a colonial, Orientalist and ethnological ideology as opposed to the aesthetic artform that it is today. The subjects were photographed outdoors, in studios, and against painted backdrops, and the medium proved an instant success among the wealthy classes, who enjoyed photographs as a status symbol. By the early 20th century, photographic studios were established in major cities throughout Iran, and portraits and wedding photographs became staples of the new bourgeoisie. At the same time, administrative officials, missionaries, and hobbyists took photographs of their own, turning their cameras to a wider variety of subjects and recording facets of everyday life.

Photography became particularly influential both as a medium in its own right and for its effect on painting and drawing. It transformed the style of Qajar painting, previously highly formulaic and stylized, and helped the descriptive realism of the new painting style, developed by leading artists such as Kamal al Molk (1852–1940), who often relied on photographs for his portraits. It is in fact thanks to the introduction of photography that court portraiture became more descriptive and less emblematic during the last decades of Qajar rule. Photography as an artform rather than a form of documentation was not explored until the 1960s in Iran,

12 13

tHe 1990s: tHe infLuenCe Of iranian CineMa

After the end of the Iran-Iraq War, what saved the cultural scene was Iranian New Wave cinema’s international success. Film director Amir Naderi’s The Runner (1985), Abbas Kiarostami’s Koker trilogy, which began with Where is the House of my Friend? (1987), Mohsen Makhmalbaf’s The Cyclist (1989) and Rakhshan Bani Etemad’s Narguess (1992) opened new doors for the art scene in Iran.

Here was the signal that the arts were thriving and that despite financial and political restrictions, artists could continue to express themselves through metaphor, symbol, and by simply showing life in Iran. Art became something that could save you from oblivion, lead to invitations abroad, create international recognition that offered some protection as well as providing opportunities to learn more.

While Iranian cinema came to the forefront of the international festival scene in the 1990s, photography followed a parallel path. The Tehran Museum of Photography opened in the late 1990s through the sheer force of will of its founders, who included the photographers and teachers Bahman Jalali (page 100) and his wife, Rana Javadi. A few years after its opening, the government decided to run the small institution, which has since lost its momentum.

With the election of President Khatami in 1997 came a period of social openness: many young artists, filmmakers, and photographers could finally show their work to the public. Photography matured as newspapers could publish images that were previously censored. However, this official era of the "Dialogue of Cultures" was short-lived—the

optimism that followed its introduction was beset by factional struggles within the ruling establishment. Within a few years, newspapers were closed down and publishers strictly censored—a period reflected in Mehran Mohajer’s series, Undistributed Packages (page 140), where newspapers that are no longer allowed to be read wrap books that can no longer be sold.

During that short-lived era of openness, many Iranian artists who lived abroad were inspired to visit their country, such as Shirin Neshat (page 158), Shirana Shahbazi (page 192), and Mitra Tabrizian (page 198). These artists captured an aesthetic that was as yet unexplored, recognizing its originality with the fresh eyes of the visitor. In the case of Neshat, her work moved from photography (the now-famous Women of Allah series), to double-screen video art, and more recently to a feature film, Women Without Men, inspired by Shahrnoush Parsipour’s novel of the same name. In Shahbazi’s case, she would have preferred me to choose something more Farangi (‘Western’) from her work, as she does not feel at ease with what she refers to as "ethnic marketing." Tabrizian’s photos in contrast, illustrate the notion of homeland and the loneliness of the outsider—not just of the emigré, but of those at the heart of society itself .

tHeMes anD reveLatiOns

Over the years, I have found myself drawn to images that reflect what I see as recurring themes in contemporary Iranian art and cinema, themes that I consider "real fictions"—a subtle mix of documentary and fiction that blurs the line between reality and creativity.

when art students were encouraged to visit Europe to improve their skills. Some photographers and filmmakers traveled to the West in the late 1960s and early 1970s during the Pahlavi regime (1925–79), mainly because they were offered better promotional opportunities and freedom of expression.3 Those who stayed in Iran, such as Mahmud Kalari (page 106), Iran’s top cameraman and director of photography, or the late photojournalist Kaveh Golestan (page 74), who sadly died while on assignment in Kurdistani Iraq (2003), chose to portray the darker side of a country in the full swing of petro-dollar prosperity.

Major historical events, such as the pre-revolutionary demonstrations, social turmoil, and the American hostage crisis, led many Iranian photographers living abroad to return on behalf of international photo agencies and publications. These included Abbas (for Magnum), Reza (for Time-Life and National Geographic), Manouchehr Deghati (for Sipa Press), and Alfred Yaghoubzadeh (for Associated Press and Sigma). Photojournalism became the main medium through which the world became aware of the Iranian Revolution.

POst-revOLutiOnary PHOtOGraPHy

The 1979 Islamic revolution and the devastating Iran-Iraq war of 1980–88 resulted in a wave of emigration and a brain drain to the West, Japan, Turkey, and India. Many connections with the past were erased as universities, museums, libraries, and galleries were closed, the school curriculum changed to incorporate the new religious requirements, and publications, imported books, and films were censored. The government’s objective was to use photography for propaganda in support of

patriotic sacrifice, and murals of martyrs and spiritual leaders now adorned the walls of public buildings as Islamic values were imposed on every aspect of life.

The war was a time of isolation and unprecedented despair and loss. Entire cities were completely destroyed, mostly in the south and on the borders with Iraq. There was an urgent need to preserve on film vulnerable, much-loved sites before they could be destroyed, as well as to document the recent devastation and reflect on the temporality of life. It was at this time that photographic departments were established at the leading universities, photographic magazines were launched, and a number of photographic institutions were founded.

During these early years of the Islamic Republic, many documentary photographers and filmmakers so emphasized the social injustice, widespread poverty, and lack of welfare in Iran that their dark work was dubbed Gedagraphy (‘Beggargraphy’) by art critic and curator Hamid Severi The dominance of Gedagraphy and the many restrictions in subject matter from this period led other, more art-oriented photographers towards non-ideological work—formalism, abstraction, country life, and nature. Director Abbas Kiarostami (page 118) travels the country in search of locations for his films—“I feel at home in a car” he says—and has captured these travels in landscapes with a Zen-like stillness and solitude.

At the same time, the photographers and filmmakers who went to the war zones and documented what they saw came back with images so bleak that nobody wanted to publish them. For example, it took Kaveh Golestan more than a decade to show some of his images of the dead, and only after he had "disguised" them with a wash of color.

"BY ADDRESSING THE PERSONAL, NATIONAL, AND INTERNATIONAL ISSUES AFFECTING THEIR COUNTRY,

17

ABBAS When taking photographs, I see in black and white. I am in a state of grace: aware of light and movement,

I perceive the event in its political, social, religious, or purely aesthetic dimensions, while acknowledging the

relationship between humans, nature, and beasts. For me, this works better in black and white, because

monocolor is not real. Color is a distraction.

My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity—the

suspended moment —intervenes during action, in the viewfinder. A reflection of the subject precedes it.

A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real

photographic writing develops, sequencing the images.

This is why a writer’s spirit is necessary for this enterprise, for isn’t "photo" "graphy" actually "writing with

light"? The difference that while the writer possesses his word, the photographer is possessed by his

photography, by the limit of the real, which he must transcend so as not to become its prisoner.

Young man, three veiled girls on a four-seater motorbike from the series Iran Diary (Shahr Rey, 1997) © Abbas/Magnum Photos

18 19God from the series Iran Diary (2001) © Abbas/Magnum Photos

Young women paragliders, wearing the Islamic hejab, jump from the hills overlooking the capital from the series Iran Diary (Tehran, 2000) © Abbas/Magnum Photos

AMIRALI GHASEMIThis documentary photo series, made in collaboration with artists, designers, musicians, and DJs, is part of my

Tehran Remixed multimedia journey into Tehran’s underground life. Tehran Remixed is an adventure through the

invisible veins of the metropolis and reflects the different aspects of young Iranians’ social life, lost in their

secret, wicked, and hedonistic dreams: private parties of chilled-out intellectuals; crowded streets with teenage

girls waiting for a ride; internet surfers showing off over Web cams in the dead of night.

In contrast to the prejudicial images of the international mass media, the series Party attempts to visualize

another side of Tehran, like my earlier Coffeeshop Ladies. This series of documentary photos was taken in

Tehran's most popular cafés (called "coffeeshops" in Iran), which are a symbol of social freedom due to the

absence of proper public gathering places. Coffeeshops are where the splendidly motivated young and the

intelligentsia gather, and are a meeting place for journalists, too. To protect the young ladies in these

photographs, their faces are blanked out, so that the media cannot misuse or manipulate their identities.

Just as the media use every piece of information as a double-edged sword, manipulating it in positive and

negative ways, I share my images with a larger audience over the Internet and examine their effect by placing

them in different contexts. My feelings about this are uncertain, somewhere between failure and success,

because despite trying to protect the images by erasing some pieces of information and adding others (such as

text and multimedia), they are interpreted very differently and associated with subjects such as censorship,

women’s rights, the hijab, and Islam.

From the series Party (Tehran, 2005)

62 63From the series Party (Tehran, 2005) From the series Party (Tehran, 2005)

HERE WE AREA SERIES OFEXHIBITIONS BY ARTISTS FROM THE MIDDLE EAST AND NORTH AFRICA

Geometry of Hope Monir Shahroudy Farmanfarmaian 18 – 12

July, Insight talk 19 June 15.00 Land on Fire Walid Siti 16 July

– 3 Aug, Insight talk 16 July 15.00 Stitched Farhad Ahrarnia

13 Aug – 6 Sept, Insight talk 13 Aug 15.00 Dakka Marakesh

Hasan Hajjaj 10 Sept – 3 Aug, Insight talk 11 Sept 15.00

Museum entrace fee applies to all exhibitions. Talks are free, no booking required. Leighton House Museum

12 Holland Park Road, London W14 8LZ Tel: 020 7602 3316 www. leightonhouse.co.uk Open 11 - 17.30 daily,

Closed on Tuesdays Adults £3, Concessions £1 Regrettably Wheelchair Access Is Not Possible

CURATED BY ROSE ISSA

promo poster for leighton house museum exhibitions

You put an ember in my heart and abandoned me in the darkness of this city.If, one day, I arrive at the threshold of your meeting, don’t ask me about darkness or light, what I know is only the story of burning.Burning by Farhad Shakely

WALID SITILAND ON FIRE

walid siti catalogue for leighton house museum exhibition

Land on Fire 06

The Seven Sisters, acrylic on paper, 56 x 76cm, 2001

FR: To what extent have politics had an impact on your life and work, not only stylistically, but also thematically?

WS: At college, my work was a bit “everywhere”. I had just come out of Iraq and was impressed by my teacher, the cultural scene

in Ljubljana, the different trends coming from magazines. At that stage, my work didn’t reflect my upbringing, although sometimes

you could see elements related to that. I was trying to experiment and put all the influences in. only later did I start to develop my

own character, my own line. of course, even from my time in Baghdad my work has always been influenced by politics, although

not directly expressed. After a few years in Ljubljana, the difficult political situation in Iraq and the Kurdish issue brought back the

will to be engaged in my work, to express what was going on there. When I came to London, my political views were stronger.

Sometimes this can be negative, for when you always want to express something, you can burden the work, but at other times, it

gives your work a foundation; it comes from an idea and can say something. But I am glad it has been like that, as it helped me to

carry on working at a later stage, going back to my history, my country.

FR: This exhibition includes drawings and paintings, but you started as a print-maker. How did the shift in technique happen?

WS: I have always drawn a lot since print-making and drawing are very connected. It was drawing that gave me a platform to shift

slowly towards painting, and it was a very gradual process. I discovered later that painting has different rules; a different temper

and different materials are involved, which need different treatment. It was a very slow process from print-making to painting, but

the drawing has always stayed and is my most recurrent expression.

Land on Fire 08

“I develop the work, but theFR: Before the mid-1990s, your work is very different in spirit and outlook; it’s bolder, more colourful and diverse. nevertheless,

there are recurring themes and imagery in the recent works in this exhibition. There is a transition from one stage to another, but

somehow the different phases are linked, and the imagery comes back in a more abstract way.

WS: I have a two-way relationship with my work: I develop the work, but the work develops me as well, makes me question the

techniques I use to express my ideas. My work has become more metaphoric. The elements within the painting have become more

condensed, more focused and simplified... perhaps more repetitive as well, because I concentrate on an idea and try to exhaust all

of its possibilities before moving on. But even the new stage is connected to the previous one. In the late nineties I started larger

paintings, the landscape became simpler and the colours more monochrome. My recent work has fewer elements than before, but

the symbols are repeated.

FR: Stones are one of the most detectable and recurring images, to the point of inspiring the Precious Stones series, which you

have explored over several years. The stone expresses the idea of the individual, but also of a collective, communal spirit.

WS: Stones have several meanings in our tradition. There is the stone of the Kaaba in Mecca, but also the stone of the Kurds, part

of the mountain that is our only friend. Furthermore, the stone is part of a pedestal, of monuments, arches, and many architectural

features. There are so many meanings embedded in stone that life, in a way, starts evolving around it. In the Precious Stones

series I explored the idea of this evolution around a central piece. Whatever it symbolises, the stone has some secret, precious

meaning with an almost magnetic power over people. It creates movement around it and constructs a relationship between the

elements that evolve around it. This mass that drives power between one element and the other also creates an identity, a unified

body of a state or society. Within that unity one feels the strength of being part of the whole, while being constrained by the

general movement and magnetism that make it difficult to develop as an individual; to pursue one’s own inspiration and dreams.

09 Land on Fire

work develops me as well”

19 Land on Fire

From the series, Family Ties, acrylic and crayon on paper, 56 x 76cm, 2004-2008

Land on Fire 18

FR: To what extent have politics had an impact on your life and work, not only stylistically, but also thematically?

WS: At college, my work was a bit “everywhere”. I had just come out of Iraq and was impressed by my teacher, the cultural scene

in Ljubljana, the different trends coming from magazines. At that stage, my work didn’t reflect my upbringing, although sometimes

you could see elements related to that. I was trying to experiment and put all the influences in. only later did I start to develop my

own character, my own line. of course, even from my time in Baghdad my work has always been influenced by politics, although

not directly expressed. After a few years in Ljubljana, the difficult political situation in Iraq and the Kurdish issue brought back the

will to be engaged in my work, to express what was going on there. When I came to London, my political views were stronger.

Sometimes this can be negative, for when you always want to express something, you can burden the work, but at other times, it

gives your work a foundation; it comes from an idea and can say something. But I am glad it has been like that, as it helped me to

carry on working at a later stage, going back to my history, my country.

FR: This exhibition includes drawings and paintings, but you started as a print-maker. How did the shift in technique happen?

WS: I have always drawn a lot since print-making and drawing are very connected. It was drawing that gave me a platform to shift

slowly towards painting, and it was a very gradual process. I discovered later that painting has different rules; a different temper

and different materials are involved, which need different treatment. It was a very slow process from print-making to painting, but

the drawing has always stayed and is my most recurrent expression.

Land on Fire 08

“I develop the work, but theFR: Before the mid-1990s, your work is very different in spirit and outlook; it’s bolder, more colourful and diverse. nevertheless,

there are recurring themes and imagery in the recent works in this exhibition. There is a transition from one stage to another, but

somehow the different phases are linked, and the imagery comes back in a more abstract way.

WS: I have a two-way relationship with my work: I develop the work, but the work develops me as well, makes me question the

techniques I use to express my ideas. My work has become more metaphoric. The elements within the painting have become more

condensed, more focused and simplified... perhaps more repetitive as well, because I concentrate on an idea and try to exhaust all

of its possibilities before moving on. But even the new stage is connected to the previous one. In the late nineties I started larger

paintings, the landscape became simpler and the colours more monochrome. My recent work has fewer elements than before, but

the symbols are repeated.

FR: Stones are one of the most detectable and recurring images, to the point of inspiring the Precious Stones series, which you

have explored over several years. The stone expresses the idea of the individual, but also of a collective, communal spirit.

WS: Stones have several meanings in our tradition. There is the stone of the Kaaba in Mecca, but also the stone of the Kurds, part

of the mountain that is our only friend. Furthermore, the stone is part of a pedestal, of monuments, arches, and many architectural

features. There are so many meanings embedded in stone that life, in a way, starts evolving around it. In the Precious Stones

series I explored the idea of this evolution around a central piece. Whatever it symbolises, the stone has some secret, precious

meaning with an almost magnetic power over people. It creates movement around it and constructs a relationship between the

elements that evolve around it. This mass that drives power between one element and the other also creates an identity, a unified

body of a state or society. Within that unity one feels the strength of being part of the whole, while being constrained by the

general movement and magnetism that make it difficult to develop as an individual; to pursue one’s own inspiration and dreams.

09 Land on Fire

work develops me as well”

StitchedFarhad ahrarnia

The Roots of a Scream, 36 x 30 cm, 2008

Artist Farhad Ahrarnia was born in Shiraz, Iran and now lives in the UK. The publication

of this catalogue celebrates his first solo exhibition in London, curated by Rose Issa, at

Leighton House Museum, summer 2008.

farhad ahrarnia catalogue for leighton house museum exhibition

STITCHEDKNOTS OF POWER STROKES OF DESIRE LIBERTY OF VOID

FARHAD AHRARNIA

The Flesh of Words, 113 x 99 cm, 2008

7 STITCHED

Left: On the Shores of Infi nite Thoughts41 x 33 cm, 2006-07

Bavar, 58 x 20 cm, 2006 STITCHED 18

History is the collective narrative of humanity that links the living experience of the

present generation with that of past generations. It is an account of seemingly endless

chains of events, which are intertwined with distant echoes, rumours and mythology. In its

history, humanity defi nes itself, fi nds its existential meaning and recognises the embrace

of destiny.

Despite the knowledge of precise historical dates, names of kings, of politicians, important

philosophers and artists, the writing of history is and will always remain a highly subjective

matter. But our culture believes that the larger outline of historical knowledge is to be trusted

as defi nitive, solidly unchangeable. The assumption that there is an objective, scientifi cally

based history often affects the outcome of historical events themselves. Dogmatic

assumptions of historical rights and wrongs can lead nations into social catastrophe, even

war. Revolutions are made ‘to change the course of history’. Revolutionaries believe that

they can turn the wheels of destiny; they re-write history the way they perceive it to be or

the way they want it to be interpreted.

Nevertheless history tends to survive all attempts to force its spirit. Its natural current

fl ows through small social groups like the family circle or the tribal unit; it is kept alive by

the telling of stories, through poetry, traditional songs, through the handing on of skills,

of books, objects and images. Such memory is the living source of history resistant to

politically manipulated ‘historical truth’.

‘THERE IS NO LONGER WISDOM. ONLY THE PRODUCTS OF ITS DECAY REMAIN; ONE IS FOLLY, WHICH HAS THE COMFORT

AND ASSURANCE OF WISDOM WITHOUT ANY OF ITS SUBSTANCE; THE OTHER IS THE RUMOUR OF TRUE THINGS.’

WALTER BENJAMIN

The Body of her Spirit, 44 x 26 cm, 2007

13 STITCHED

SI LE VIOL, LE POISON, LE POIGNARD, L’INCENDIE,

N’ONT PAS ENCORE BRODÉ DE LEURS PLAISANTS DESSINS

LE CANEVAS BANAL DE NOS PITEUX DESTINS,

C’EST QUE NOTRE ÂME, HÉLAS! N’EST PAS ASSEZ HARDIE.

IF RAPE AND POISON, DAGGER AND BURNING,

HAVE STILL NOT EMBROIDERED THEIR PLEASANT DESIGNS

ON THE BANAL CANVAS OF OUR PITIABLE DESTINIES,

IT’S BECAUSE OUR SOULS, ALAS, ARE NOT BOLD ENOUGH!

CHARLES BEAUDELAIRE

Under her Spell, 34 x 40 cm, 2007

In his colourful and bold works, Hajjaj playfully questions stereotypes, using accessories by big-name

fashion brands to subvert traditional Moroccan dress. Hajjaj poses friends, Gnawa musicians and local

characters from Marrakesh in theatrical narratives that draw on his Moroccan childhood and later

experience of the international fashion industry.

Drawing on street culture, music and fashion, the characters portrayed in Dakka Marrakesh take pleasure

and pride in their culture, engaging the viewer in a politics of observation that questions and plays with

the traditional Western outlook.

Ilham, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2000

Hassan Hajjaj Dakka Marrakesh

hassan hajjaj catalogue for leighton house museum exhibition

2

two years ago, after knowing Hassan Hajjaj for more than 15 years, i received a mysterious

phone call from him. He wanted to show me some of his photographs. i knew him as a fashion

and furniture designer, dJ, musician, dancer, footballer and restaurateur. We also had quite a

few friends in common, like amina, the tunisian singer and actress who played in bertolucci’s

The Sheltering Sky, based on a novel by Paul bowles, who spent most of his life in Morocco.

Hajjaj came to see me with a suitcase full of contact sheets and prints that he had kept secret

for years, till he was ready for this body of work to be shown to the public. i was astounded

by the amount of work: no full-time artist or young photographer that i knew had gathered as

many images. Dakka Marrakesh (‘Marrakesh beat’) is the result of that meeting, and is the first

solo photographic exhibition in the UK by this british-based Moroccan artist.

Hajjaj poses friends, Gnawa musicians and local characters from Marrakesh, where he has a

home, in theatrical narratives that draw on his Moroccan childhood and later experience of the

international fashion industry. Feeding off clichéd images, such as the veiled Muslim woman,

at first glance Hajjaj seems to be creating orientalist fantasies. only on closer inspection do

we see that that the veils and jelabbah worn by his subjects are covered in fashion logos, thus

forcing the viewer to question the very nature of stereotyping.

in one image, Ilham (on the cover of this catalogue), a woman reclines on cushions in a room

reminiscent of an oriental harem. However, unlike the usually demure odalisques of art

history, this one stares back at us, oozing with self-confidence. in Saeda, a pair of heavily

made-up eyes gaze at the camera. the remainder of the head and face are hidden behind a

‘Louis Vuitton’ veil. bejewelled hands painted with traditional henna cover saeda’s ears. she

is confident, relaxed – suspended somewhere between the traditional and modern, between

east and West.

Beauty Revisited

3

Tagia Boy in Blue, digital C-type print with hand painted background and tyre and wood frame, 50 x 40 cm, 2000

6 Hayat in Veil in Pink, Blue Camo Veil, Peace in Blue, Just do It in Blue, digital C-type prints with hand painted backgrounds and tyre and wood frames, 50 x 40 cm, 2000 7Y Bandana Veil, Puma Blue Veil, Stars Veil in Blue, Saida in Green, digital C-type prints with hand painted backgrounds and tyre and wood frames, 50 x 40 cm, 2000

24 L.V. Babouche, digital C-type print and handmade walnut frame with Coke cans, 100 x 128 cm, 2006 25The Odd 1 Out, digital C-type print and handmade walnut frame with tomato cans, 132 x 93cm, 2000

30 Ilham, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2000 31Mwarka, digital C-type print and handmade walnut frame with mixed cans, 94 x 129 cm, 2006

chant avedissian, 96 page Softcover (2006)

Chant Avedissian

Cairo Stencils

Ch

an

t Ave

dissia

n C

airo S

ten

cils

Diva

The Best Lady of Them All

19

Om

Kal

sou

m’s

Gre

ate

st H

its

18

Sta

r o

f th

e O

rie

nt

16

Diva

Om Kalsoum was the most charismatic and famous Middle Eastern singer of

the twentieth century.

She was born in 1904 in a small village in the Egyptian Delta and arrived in

Cairo in the 1920s. She immediately attracted the best poets, composers and

musicians of her time, and by the 1930s began to appear in films.

Every Thursday night, for more then ten years, her concerts were broadcast on

the radio, and millions of people throughout the Arab world would gather in

cafés, restaurants or their homes to hear her sing.

She recorded some three hundred songs. During Egypt’s turbulent period

(1946-1954), she sang lyrics with nationalist and political overtones, which

came to embody the hopes and aspirations of the Arabs. A great supporter of

Nasser, after the 1967 war she gave concerts to raise funds for numerous

Egyptian charities. Her funeral in 1975 was the largest ever attended.

by Saeb Eigner

Zak

i Ro

sto

m

24

Icons of the Nile

During the golden age of Egyptian cinema, from the late 30s to early 60s, the

dreammakers of the Nile created an industry that would dominate the Arab

world for decades.

This era of glamour was dominated by greatly talented singers, like the

legendary Om Kalsoum, the Arab diva par excellence; Asmahan a stunning

Druze princess with a thrilling voice whose mysterious death at the age of 26

is still the subject of endless speculations, her heart throb brother Farid Al-

Attrach a composer who accompanied many stars with his romantic songs,

including the alluring great dancers Tahiya Carioca and Samia Gamal; his rival,

Abdel Halim Hafez, the ‘dark nightingale’, the dream of the 50s and 60s

generation, whose death in 1977 was followed by a wave of suicides. The sex

symbol Hind Rostom; the classic ‘bad- guy’ Zaki Rostom; the director-actor

Anwar Wagdi; Shadia, the ‘comedian’; Kouka ‘the bedouin’ or the fragile

looking Faten Hamama who acted in more than 100 melodramas.

Most of these artists, still hugely popular decades after their deaths,

incarnated, each in their own style, the ideal character, and remain to this day

the matinee idols throughout the Arab world.

Icon

s o

f the

Nile

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Contemporary arab representations

Ce catalogue est celui de l’exposition Re-Orientations sur les représentations arabes contemporaines, réalisée

lors de la Semaine Arabe du 3 au 7 novembre 2008, où le Parlement européen a voulu jeter un pont culturel,

politique, économique et social par dessus la Méditerranée. A côté des événements artistiques et culturels,

les organes politiques du Parlement, commissions, délégations interparlementaires, ont décidé également de

consacrer une partie de leurs travaux, dans le cadre de leurs compétences respectives, aux problématiques

communes au Monde arabe et à l’Europe.

This publication celebrates Arab Week, from the 3rd to the 7th November 2008, part of the Intercultural

Dialogue series by which the European Parliament is endeavouring to build a cultural, political, economic

and social bridge to the Arab world. Alongside artistic and cultural events, the Parliament’s political bodies,

committees and inter-parliamentary delegations will, within the framework of their respective remits, look

at the common problems facing the Arab world and Europe. Co

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Cover image: CHANT AVEDISSIAN, Al Watan Al Arabi (The Arab Nation), detail

re-orientations catalogue for the european parliment, 120 page Softcover (2008)

introductionintroduction

6

Dans le cadre de l’année européenne du dialogue interculturel

2008, le Parlement européen, en partenariat avec la Ligue

des Etats arabes, consacre une semaine à la promotion

du dialogue avec les pays arabes. Par cette initiative, le

Parlement européen apporte sa pierre au rapprochement

décidé en février 2008 à Malte lorsque la première réunion

des Ministres des affaires étrangères de l’Union européenne

et de la Ligue des Etats arabes avait placé le dialogue

interculturel au centre des relations entre les deux régions.

Le monde arabe est à la fois voisin proche de l’Europe et, à

travers les communautés arabes présentes dans les Etats-

membre de l’Union, partie intégrante de la réalité européenne.

Dès lors, maîtriser un environnement culturel plus ouvert,

mais aussi plus complexe, où diverses identités culturelles et

croyances coexistent est devenu une clé indispensable tant

pour nos populations que pour les responsables politiques

qui refusent le ‘choc des civilisations’ et veulent relever les

défis communs de notre temps.

Le Parlement européen est convaincu que le dialogue

interculturel est un outil irremplaçable. Pour déployer tout son

potentiel, il exige un respect de la dignité, des convictions

religieuses et de pensée, et des points de vue des différents

partenaires. Le premier pas vers le dialogue est toujours la

curiosité, l’envie de connaître l’autre et la détermination à

briser les stéréotypes.

Dans cet esprit, la Semaine arabe qui se tient au Parlement

européen à Bruxelles du 3 au 7 novembre 2008 se propose

de mettre en lumière non seulement la richesse et la diversité

culturelles des pays arabes, mais aussi les dynamiques et

facettes de leurs sociétés et leur inscription dans le contexte

plus large de la mondialisation. La démarche du dialogue

épouse la logique des bâtisseurs de ponts, des passeurs

d’idées, tels Averroès, qui alimentent le savoir, diffusent la

connaissance de l’autre et véhiculent l’inspiration mutuelle.

‘Re-Orientations’ est une exposition inédite d’art visuel

arabe contemporain, spécialement conçue en complément

du grand éventail des activités politiques qui se déroulent

pendant la Semaine arabe. Elle nous propose de sortir des

sentiers battus et de jeter un regard nouveau sur la création

artistique arabe de notre temps. Elle nous montre une culture

arabe en dialogue avec le monde, qui puise ses inspirations

dans le patrimoine spécifique de chaque pays tout comme

dans une modernité universelle.

Par l’édition de ce catalogue, le Parlement européen a voulu

laisser une trace pérenne de sa Semaine arabe, témoignage

vivant de son engagement pour le dialogue avec le monde

arabe. Il permettra à un plus large public d’apprécier les

œuvres des artistes et rappellera, de par son existence, que

dialoguer est un exercice permanent dont nulle génération ne

saura se dispenser.

Je me félicite de l’étroite coopération du Parlement européen

et de la Ligue des Etats arabes qui est désormais bien

ancrée et remercie cordialement son Secrétaire général, S.E.

Amr Moussa, dont le soutien précieux a permis de mener à

bien cette initiative.

Hans-Gert pötteringpresiDent oF tHe eUropean parLiament

7

32

tarek al ghoussein

Untitled II – Looking at Palestine from the series Self Portraits, digital print, 60 x 80 cm, 2003

33

THE SELF PORTRAIT SERIES IS A COMMENTARY ON

CONTEMPORARY WESTERN MEDIA REPRESENTATIONS

OF THE PALESTINIAN AS TERRORIST. THE PROJECT

STARTED AS A RESULT OF MY GROWING FRUSTRATION

WITH THE WAY IN WHICH THE PALESTINIANS AND

OTHER ARABS WERE BEING (MIS)REPRESENTED IN

THE WESTERN MEDIA. IN ADDITION, I WAS DRAWN TO

THE APPARENT SIMILARITIES BETWEEN THE MYTH OF

SISYPHUS – WHO WAS CONDEMNED FOR ETERNITY

TO HEAVE A BOULDER UP A MOUNTAIN ONLY TO HAVE

IT ROLL DOWN AGAIN – AND THE GROWING ‘MYTH’

GENERATED THROUGH THE WESTERN MEDIA THAT

ALL PALESTINIANS ARE TERRORISTS AND THAT THE

PALESTINIAN INTIFADA, LIKE SISYPHUS, SEEMS

CONDEMNED TO AN ENDLESS CYCLIC STRUGGLE.

TRANSCENDING MEDIA REPRESENTATIONS HAS BEEN

AN ONGOING ‘UPHILL BATTLE’ FOR ALL ARABS.

THE UNTITLED SERIES IS CONCERNED WITH BARRIERS,

LAND, LONGING AND, ULTIMATELY, BELONGING. IT IS AN

ExTENSION OF THEMES I HAVE BEEN ExPLORING FOR

THE PAST FEW YEARS. DURING THE PROCESS LEADING

TO THESE IMAGES, IT BECAME INCREASINGLY CLEAR

TO ME HOW BARRIERS, LAND, LONGING, AND IDENTITY

INFORM, SHAPE AND DEFINE EACH OTHER.

THE TERM ‘IDENTITY’ IS HIGHLY CONTESTED AND

CAN BE TAKEN TO MEAN MANY THINGS, DEPENDING

ON THE CONTExT. NEVERTHELESS, THERE HAS

BEEN WIDESPREAD AGREEMENT THAT SIGNIFICANT

ASPECTS OF IDENTITY ARE RELATED TO A PARTICULAR

PLACE; HENCE, NATIONAL IDENTITY RESULTS FROM

CONNECTIONS TO AN INDIVIDUAL’S COUNTRY OF

ORIGIN. AS I ATTEMPT TO COME TO TERMS WITH

THE ISSUES RELATED TO MY PERSONAL ExPERIENCE

AS A PALESTINIAN-KUWAITI THAT HAS NEVER LIVED

WITHIN THE BORDERS OF PALESTINE, IT HAS BECOME

APPARENT THAT THIS CURRENT BODY OF WORK SEEKS

TO TRANSCEND THE OBVIOUS REFERENCE TO THE

UNETHICAL ‘DEFENSE BARRIER’ BEING CONSTRUCTED

IN PALESTINE. THE ‘WALLS’ AND ‘MOUNDS’ THAT

APPEAR THROUGHOUT THE IMAGES ALSO SPEAK OF

MY OWN INDIVIDUAL STRUGGLES, IRRESPECTIVE OF

THE CONVENTIONAL NOTIONS OF NATIONAL IDENTITY.

ALTHOUGH I DID NOT SET OUT TO INVESTIGATE THE

NOTION OF TRANSIENCE, THIS SERIES DEVELOPED

FROM A PROCESS OF ExPLORING IDEAS RELATED TO

LAND AND PLACE. WHILE UNExPECTED, THE STRONG

EMPHASIS ON LONGING LED TO A CONSIDERATION OF

CHANGING LANDSCAPES AND EPHEMERAL MOMENTS

THAT ARE FIxED IN TIME RATHER THAN LOCATED IN A

SPECIFIC PLACE.

TAREK AL GHOUSSEIN

28

raeda saadeh

Diana, digital print, 100 x 120 cm, 2007

29

Mona Lisa, digital print, 86 x 63 cm, 2007

48

naBil Boutros

above: Prière, Lambda print mounted on aluminium, various sizes for each set-installation, 2005

Below, right: Vendredi Saint, Lambda print mounted on aluminium, various sizes, 2005

Pages 53-54: Salam, Lambda print mounted on aluminium various sizes, 2005

49

42

Youssef naBil

Ghada Amer, hand-painted silver gelatin print, 39 x 26 cm, new York, 2002 Youssef Chahine, hand-painted silver gelatin print, 39 x 26 cm, cairo, 1999

43

Natacha sleeping, hand-painted silver gelatin print, 26 x 39 cm, cairo, 2000

62

maliheh afnan

Veiled Declaration, mixed media on paper, 84 x 104 cm, 2006

63

Veiled Melancholia, mixed media on paper and gauze, 61 x 46 cm,2006

104

espace priVé – femmes d’ima ges en tunisie

MOUNA JEMAL SIALA: Un intérieur extérieur from the series Kaléidoscope familier, digital print, 74 x 74 cm, 2007

105

espace priVé – femmes d’ima ges en tunisie

patricia triki, DANS MORNAG INNER, PRéSENTE UNE

VISITE IMPRESSIONNISTE D’UNE MAISON ABANDONNéE

DANS LES MOINDRES RECOINS DE SON VéCU.

mouna karraY, DANS KIOKO ET MOUNA, EST UN JEU

DE RôLE Où L’ARTISTE REPRODUIT DANS DES POSES

QUASI IDENTIQUES LES GESTES D’UNE JAPONAISE AFIN

DE SEMER LE DOUTE SUR LA SIMILITUDE ET L’ALTéRITé.

lilia Benzid ExPLORE LES FRONTIèRES DE L’INTIME

DANS UNE INTERROGATION POéTIQUE QUELQUE PEU

DéSABUSéE SUR LE QUOTIDIEN.

dora dhouiB PRéSENTE L’ALPHABET, INSTALLATION

LUDIQUE DE 28 PHOTOS EN éCHO AUx 28 LETTRES

DE L’ALPHABET ARABE. CHACUNE DES LETTRES

CORRESPOND à UNE DéFINITION QUI FORME UN LExIQUE

QUE LES JEUNES FILLES POURRAIENT INTéGRER DANS

LEUR éDUCATION.

faten gaddes, DANS LES CHOSES ONT UNE âME,

MONTRE DES OBJETS ET DES SCULPTURES QUI

MEUBLENT SON INTéRIEUR ET AVEC QUI ELLE DIALOGUE

EN PERMANENCE. ELLE LES ANIME ET LES TRANSFORME

EN HABITANTS à PART ENTIèRE DE SA MAISON.

marianne catzaras, DANS SA SéRIE, DU DIMANCHE

MATIN, COMMUNIQUE à PARTIR D’UN UNIVERS ONIRIQUE

ET FANTASMAGORIQUE, L’INCOMMUNICABILITé DU COUPLE

ET LA RUPTURE DE L’éCHANGE DU MASCULIN-FéMININ.

meriem BouderBala, DANS ETOFFES CUTANéES,

INSTALLATION VIDéO à PARTIR D’ANIMATION DE PHOTOS

S’INSPIRE DE LA DéMARCHE DU PSYCHIATRE GAETAN

DE CLéRAMBAULT ET DE SON OBSESSION ORIENTALISTE

DU VOILE ET DU DRAPé.

mouna Jemal siala COMPOSE UN KALéIDOSCOPE

FAMILIER à PARTIR DES PHOTOGRAPHIES DE SES TRIPLéS

QU’ELLE MULTIPLIE INDéFINIMENT TOUT EN FORMANT

AINSI DES MOTIFS GéOMéTRIQUES INSPIRéS DE L’ART

ISLAMIQUE.

nicène kossentini FILME LA DISPARITION; AUTOUR

DES RéSONNANCES DE L’éLéMENT AQUATIQUE ET DE

LA MUSIQUE. LES MOUVEMENTS DE L’EAU SUIVENT

LES ONDULATIONS ET LES VARIATIONS DE LA MUSIQUE.

dalel tangour, DANS QUAND LES BOUGIES SERONT

éTEINTES, DéNONCE, à PARTIR D’UN PORTRAIT DE LA

MARIéE TRADITIONNELLE, LE RITUEL QUE SUBIT LE CORPS

DE LA FEMME AU COURS DE LA PRéPARATION DE CETTE

CéRéMONIE.

CE DIAPORAMA, D’UNE ExPOSITION MONTRéE à TUNIS AU PALAIS KHEIREDINE, EN NOVEMBRE 2007, PRéSENTE LES

œUVRES RéCENTES DE 10 PHOTOGRAPHES ET VIDéASTES TUNISIENNES QUI ExPRIMENT DES REGARDS SUR LEURS

ESPACES CRéATIFS INTIMES.

einblick iran

ein blick iran, exhibition logo & catalogue (2012)

diva operalondon

For further information, please contact

Diva Opera115 Princes GardensLondon W3 OLR

Tel: (44) 020 8579 9649 Fax: (44) 020 8579 9669

E-mail: [email protected] Web: www.divaopera.com

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L a B o h è m e c o s ì f a n t u t t e O r p h é e a u x e n f e r s P e r f o r m a n c e s 2 0 0 9 L a B o h è m e c o s ì f a n t u t t e O r p h é e a u x e n f e r s P e r f o r m a n c e s 2 0 0 9

programme design since 2002

20092009Giacomo Puccini

La BohÈme

WoLFGanG amaDEuS moZaRT

così fan tutte

JacQuES oFFEnBacH

OrphÉe aux Enfers

February

march

may

June

July

august

September

october

December

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061112171820232426272830

0304070809111314151625

050708091118202226272830

0509101230

02/030910

040506091113

Opera Gala (private)Opera Gala (private)

COsì fan tutte

Orphée aux enfersOrphée aux enfers

COsì fan tutteOrphée aux enfersla BOhèmela BOhèmeOrphée aux enfersOpera Gala (private)COsì fan tuttela BOhèmeCOsì fan tuttela BOhèmeCOsì fan tutteCOsì fan tutte

la BOhèmeOrphée aux enfersCOsì fan tutteCOsì fan tutteCOsì fan tutteOrphée aux enfersla BOhèmeCOsì fan tutteOrphée aux enfersOpera GalaOpera Gala

COsì fan tuttela BOhèmeOrphée aux enfersCOsì fan tutteCOsì fan tutteOrphée aux enfersla BOhèmeCOsì fan tutteOrphée aux enfersprivate perfOrmanCela BOhèmeCOsì fan tutte

COsì fan tuttela BOhèmeOrphée aux enfersla BOhèmela BOhème

la BOhèmeOpera GalaOpera Gala (private)

COsì fan tutteOpera Gala (private)COsì fan tutteCOsì fan tutteCOsì fan tutteCOsì fan tutte

PERFoRmancES 2009

inverlochy castle, ScotlandLondon, uK

Wiltons music Hall, London

Théâtre du Passage, neuchâtel, SwitzerlandThéâtre du Passage, neuchâtel, Switzerland

Wotton House, Buckinghamshire, uKLulworth castle, Dorset, uKLulworth castle, Dorset, uKSyon Park, London, uKSyon Park, London, uKcornwall, uKThe Whittaker Hall, GuernseyThe Whittaker Hall, GuernseyStuckeridge House, Devon, uKStuckeridge House, Devon, uKStuckeridge House, Devon, uKcaen, France

Holkham Hall, Wells next The Sea, norfolkHolkham Hall, Wells next The Sea, norfolkDijon, FranceDijon, FranceDijon, FranceSalisbury, uKDomaine des Vaux, Jersey, ciDomaine des Vaux, Jersey, ciDomaine des Vaux, Jersey, ciDomaine des Vaux, Jersey, ciWiltshire, uK

Haut-anjou, FranceFestival de la Vézère, Brive, FranceFestival de la Vézère, Brive, FranceFestival de la Vézère, Brive, FranceVendée Romane, FranceLes azuriales opera, St.Jean, cap FerratLes azuriales opera, St.Jean, cap FerratLes azuriales opera, St.Jean, cap FerratLes azuriales opera, St.Jean, cap FerratSaint Tropez, FranceLes azuriales opera, St.Jean, cap FerratLes azuriales opera, St.Jean, cap Ferrat

manor Farm, Fingest, Henley-on-ThamesStationers' Hall, London, uKStationers' Hall, London, uKFestival de L'orne, FranceDrapers Hall London

maison Lafitte, FranceJersey, ciJersey, ci

Théâtre du Passage, neuchâtel, Switzerlandneuchâtel, SwitzerlandThéâtre du Passage, neuchâtel, SwitzerlandThéâtre du Passage, neuchâtel, SwitzerlandThéâtre du Passage, neuchâtel, SwitzerlandThéâtre du Passage, neuchâtel, Switzerland

David Stephenson as Guglielmo

Orphée aux enfers

L’opinion publique

Eurydice

orphée

aristée/Pluton

Junon

minerve

mercure

cupidon

Venus

Diane

Jupiter

mars

John Styx

Pauline Birchall

catriona clark

Jaewoo Kim

nicholas Ransley

Elizabeth Donovan

Suzanna Purkis

Kevin Jones

Stefanie Kemball-Read

catherine Bouchier

Rebecca Hodgetts

Tom mcVeigh

David Stephenson

Daniel Howard

music by Jacques offenbach

Libretto by Ludovic Halevy

Dialogue by nathan naylor

Translated into French by Fiona murray

and François mengin

music Director

Director and Set Designer

choreographer

costume Designer

Stage manager

Deputy Stage manager

Wardrobe Supervisors

French coach

Bryan Evans

Wayne morris

Jenny Weston

nicola Jackson

matthew muller

Louise Brown

Louise cassettari

Freya Pointer

Francesca Previ

Fiona murray

8

Management

Patron:

General Director:

music and artistic Director:

Director of Productions:

marketing and PR:

administrative assistant:

Friends administrator:

Resident Designer:

Stage manager:

artistic consultants:

advisory Board:

committee of Honour:

marilyn Horne

anne marabini Young

Bryan Evans mBE

Wayne morris

Karen Pearson

Francesca Previ

Richard mitham

nicola Jackson

matthew muller

Peter coleman-Wright

noel mann

cheryl Barker

Phyllida Fellowes

Peter Gillard

andrew nickels

Wendy Verco

Honor Blackman

Lord Graham

Geraldine Whittaker cBE

John Whittaker cBE

Acknowledgements

Diva Opera would like to thank: The following companies and individuals:

agence Diane du Saillant; Singerdirectory.com; The Friends of Diva opera for

sponsoring costumes in Così fan tutte, Orphée aux Enfers and La Bohème; Brian

Peters of angels for his help in designing the wigs; Bryan Evans mBE and mark

Holford for the photographs of the operas.

The following people for their special support of the Friends of Diva opera:

BEST FRiEnDS SPEciaL FRiEnDS

mr. and mrs. Peter Beckwith mr. Jeremy Brown

mr. martin Bralsford mr. and mrs. charles crowther

ms. Linda Fenwick mr. George Denman

mr. and mrs. Joseph Karaviotis mr. Brian Horne

mr. Peter Harrison mrs. Derek maltwood

mr. and mrs. oscar Lewisohn mr. Brian norman

mr. Peter urquhart Sir christopher Paine

Geraldine Whittaker cBE mr. and mrs. neil Record

John Whittaker cBE mr. Jack Foxon

ThE cOsTuMEs, PROPs AnD sETs WERE MADE by:academy costumes (men’s tailoring in Orphée aux Enfers)

Joanna close (Ladies costumes in Così fan tutte, Orphée aux Enfers and La Bohème)

Wendy Knowles (Ladies costumes in Orphée aux Enfers and La Bohème)

Henry mcLean (men’s tailoring in Così fan tutte and Orphée aux Enfers)

David mcmurray (Ladies costumes in Così fan tutte)

Freya Pointer (men’s costumes in Orphée aux Enfers)

mervyn Wallace (men’s Tailoring in Così fan tutte and Orphée aux Enfers)

The wigs were supplied by angels, 1 Garrick Road, London nW9

The sets for Così fan tutte, Orphée aux Enfers and La Bohème were made by

andy Latham and painted by John campbell.

9

mathew Hargreaves and catriona clark as Figaro and Susanna in Diva opera's 2008 production of Le Nozze di Figaro

Orphée aux enfers

catriona clark and Tom mcVeigh as Eurydice and Jupiter



Tel: (44) 020 8723 8555 Fax: (44) 020 8723 6357

E-mail: [email protected] Web: www.divaopera.com G

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DIE ZAUBERFLÖTEDIE ZAUBERFLÖTEDIE ZAUBERFLÖTE

COX AND BOXAS A MATTER OF PATTERTOSCA

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COX AND BOXTOSCAEUGENE ONEGINDIE ZAUBERFLÖTE EUGENE ONEGINDIE ZAUBERFLÖTEEUGENE ONEGINEUGENE ONEGINDIE ZAUBERFLÖTETOSCA

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PERFORMANCES 2005

Maisons Laffitte, FranceAuxerre, FranceIstres, France

The Whittaker Hall, GuernseyThéâtre du Passage, Neuchâtel, Switzerland Stationers' Hall, London

Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland Spencer House, LondonBrittany, FranceYvelines, France

Charterhouse, UKYorkshire, UKStationers' Hall, LondonStableyard, OxfordshireSyon Park, TwickenhamSyon Park, TwickenhamStuckeridge House, DevonStuckeridge House, DevonThe Whittaker Hall, GuernseyThe Whittaker Hall, Guernsey

Holkham Hall, NorfolkHolkham Hall, NorfolkHertfordshire, UKDijon, FranceDijon, FranceDijon, France Domaine Des Vaux Opera Festival, JerseyDomaine Des Vaux Opera Festival, JerseyDomaine Des Vaux Opera Festival, Jersey Domaine Des Vaux Opera Festival, JerseyLulworth Castle, DorsetRayol, FranceSisteron, FranceArdeche, France

Festival de la Vézère, Brive, FranceFestival de la Vézère, Brive, FranceFestival de la Vézère, Brive, FranceFestival de Quimper, FranceVouvant, Nuits Musicales en Vendée RomaneHaut Anjou, FranceLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap FerratLes Azuriales Opera Festival, St.Jean, Cap Ferrat

Festival de l’Orne, France

The Potteries, Jersey

Goldsmiths Hall, London

Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland Théâtre du Passage, Neuchâtel, Switzerland

Giacomo Puccini

Tosca

Wolfgang amadeus mozart

Die zauberflöte

Peter Ilitsch Tchaikovsky

Eugene Onegin

2005

Music Director and Piano

Director

Designer

Choreographer

Stage Manager

Deputy Stage Manager

Assistant Stage Manager


Italian Coach

Bryan evans

Wayne Morris

Nicola Jackson

Jenny Weston

Matthew Muller

Denise furey

Nicholas Stevens

francesca Previ

rebecca Hobbs

rebecca Brown

fiona Murray

fiorello,

servant to the Count

Count Almaviva,

a Spanish Nobleman

figaro, a barber

and general factotum

Doctor Bartolo,

rosina’s guardian

rosina

Basilio,

a singing teacher

Berta,

Bartolo’s maid

An Officer

A Soldier/Notary

Daniel Howard

Nicholas Sharratt

Christopher Steele

(June 23, 25, 29 , July 11)

David Stephenson

Stewart Kempster

Cerys Jones

richard Mitham

Sally-Ann Shepherdson

John evanson

Kevin Jones Music by Gioacchino rossini

Libretto by Cesare Sterbini

founded on Beaumarchais

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di

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igli

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David Stephenson and Cerys Jones as figaro and rosina

26 27

diva opera on tour 1997-2006

4342

Act I

Lieutenant B.f. Pinkerton of the U.S. Navy

is about to enter into an arranged marriage

with Cio-cio-san, or Butterfly, as she is

known to her friends. He is looking over

the house he has leased from Goro, a local

Japanese marriage broker. Sharpless,

the American Consul, arrives and warns

Pinkerton that the arrangement he is

about to enter into will invite tragedy, as

Butterfly has fallen in love with Pinkerton

and is taking the marriage very seriously.

Pinkerton ignores his advice.

Butterfly arrives with her friends and

relatives for the wedding (Spira sul mare

e sulla terra). The marriage ceremony

begins, but in the midst of the celebrations

The Bonze, Butterfly’s Uncle, a Shinto

Priest, arrives and curses her for forsaking

her religion and converting to Christianity

(Cio-cio-san abbominazione!). Her friends

and family in turn denounce her, but

she proclaims her love to Pinkerton and

together they enter their new home (Vieni

la sera ….vogliatemi bene).

Act II

Pinkerton has been gone from Japan for three years and Butterfly has been living alone

in their house. Her maid and friend, Suzuki, tries to convince her that her husband will

never return, but Butterfly is sure that he will come back to her (Un bel di, vedremo).

Sharpless arrives with a letter from Pinkerton but is interrupted by Goro who brings

Prince Yamadori, a potential suitor to Butterfly. Butterfly will not hear of an alliance

with Yamadori and insists she is still married to Pinkerton. Knowing the letter he brings

announces the marriage of Pinkerton to an American girl, Sharpless is reluctant to read

it to Butterfly, but instead tries to persuade her that Pinkerton has been unfaithful and

has forgotten her. Butterfly reveals that, unknown to Pinkerton, she has borne him a son.

Sharpless realises that he cannot reason with her and leaves, promising to tell Pinkerton

about the child. A cannon shot from the harbour announces the return of Pinkerton’s

ship. With the help of Suzuki, Butterfly happily decorates the house with flowers in

anticipation of his arrival (Scuoti quella fronda di ciliegio). As night closes in, she waits

for her husband.

Act III

Butterfly has kept her vigil all night but as she goes to rest, Sharpless and Pinkerton

arrive. At first Suzuki is joyful at their return but is soon devastated when she learns the

truth, that Pinkerton is married. Pinkerton sees about him the proof of Butterfly’s love

and loyalty and acknowledges the anguish he has caused (Io so che alle sue pene). He

bids a farewell to the house he once knew (Addio fiorito asil) and leaves Sharpless and

his wife to claim his son. When Butterfly returns she sees Kate Pinkerton and demands

to know who she is. She tells her that Pinkerton may take his child but that he must

return for him in half an hour.

Distraught, she tells her son to go and play and stabs herself to death. Pinkerton rushes

into the house calling to her but he is too late.

madama butterfly synopsis

ActE I

B.f. Pinkerton, lieutenant de la Marine des

etats-Unis est sur le point de conclure

un mariage arrangé avec Cio-cio-san,

connue sous le nom de Butterfly. Avec

Goro, agent matrimonial japonais, il visite

la maison qu’il a louée. Sharpless, consul

américain entre et prévient Pinkerton que

l’arrangement qu’il va conclure risque de

provoquer une tragédie car Butterfly est

véritablement tombée amoureuse de lui et

prend le mariage très au sérieux. Pinkerton

n’écoute pas ses conseils.

Butterfly arrive avec sa famille et ses

amis pour le mariage (Soira sul mare e

sulla terra). La cérémonie commence,

mais pendant la fête, le Bonze, oncle

de Butterfly et prêtre shinto la maudit

d’avoir renoncé à sa religion en se

convertissant au Christianisme ( Cio-

cio-san abbominazione !). Ses amis et

sa famille à leur tour la renient mais elle

réaffirme son amour pour Pinkerton et

ensemble, ils entrent dans leur nouvelle

maison (Vieni la sera..vogliatemi bene).

ActE II

Pinkerton est parti depuis trois ans ; Butterfly vit seule dans sa maison. Sa servante et

amie Suzuki tente de la convaincre que son mari est parti pour toujours mais Butterfly

est certaine qu’il reviendra (Un bel di vedremo).

Sharpless arrive avec une lettre de Pinkerton, mais il est interrompu par Goro qui se

présente avec le Prince Yamadori, un mari potentiel pour Butterfly. Celle-ci ne veut pas

entendre parler d’une alliance avec Yamadori et insiste qu’elle est toujours l’épouse

de Pinkerton. La lettre de Pinkerton contient la nouvelle de son mariage avec une

Américaine. Sharpless ne peut se résoudre à la lire à Butterfly, mais tente plutôt de

la convaincre que Pinkerton a été infidèle et l’a oubliée. Butterfly n’entend rien et lui

apprend qu’elle a donné naissance à un garçon peu après le départ de Pinkerton.

Sharpless accepte qu’il est impossible de la raisonner et part en promettant d’informer

Pinkerton de l’existence de son fils. Un coup de canon retentit annonçant le retour du

navire de Pinkerton. Avec l’aide de Suzuki, Butterfly décore la maison avec des fleurs

pour l’accueillir (Scuoti quella fronda di ciliegio). La nuit tome et elle attend son mari.

ActE III

Butterfly a veillé toute la nuit. Au moment où elle part enfin se coucher, Sharpless

arrive avec Pinkerton. Dans un premier temps, Suzuki est remplie de joie par ce retour

mais elle est consternée lorsqu’elle apprend que Pinkerton s’est remarié. Pinkerton

voit partout la preuve de l’amour et de la fidélité de Butterfly et prend conscience de

tout le mal qu’il a provoqué (Io so che alla sua pena). Il fait ses adieux à la maison qu’il

a jadis si bien connue (Addio fiorito asil) et laisse sa nouvelle épouse et Sharpless

récupérer son fils. Lorsque Butterfly aperçoit Kate Pinkerton, elle demande qui elle est.

Comprenant la situation, elle se dit prête à abandonner son fils mais que Pinkerton doit

revenir le chercher dans une demi-heure.

effondrée, elle envoie le garçonnet jouer dehors et se donne la mort. Pinkerton surgit

dans la maison en criant le nom de Butterfly, mais trop tard.

Hairdressing / Japan, c.1880, Kimbei, Kusakabe (1841-1934) / Private Collection, The Stapleton Collection / Bridgeman Giraudon

Die Zauberflöte, festival de L’epau, france 2001

'all the performers wereexcellent...'

10th Seasontouring worldwide 1997-2006

1997

Don Pasquale Donizetti

L’Italiana in Algeri rossini

La Bohème Puccini

1998

Il Barbiere di Siviglia rossini

Carmen Bizet

Die entführung aus dem Serail Mozart

L’elisir d’amore Donizetti


1999

Cavalleria rusticana Mascagni

Pagliacci Leoncavallo

Tosca Puccini

Le Nozze di figaro Mozart

Die fledermaus J. Strauss

La Voix Humaine Poulenc

2000

Die Zauberflöte Mozart

La Traviata Verdi

L’Italiana in Algeri rossini


2001

Don Giovanni Mozart

Les Contes d’Hoffmann Offenbach

La fille du régiment Donizetti

Trial by Jury Gilbert & Sullivan


2002

Carmen Bizet

Così fan tutte Mozart

La fille du régiment Donizetti


Die fledermaus Party Scene J. Strauss

with special guest José Carrerras

2003

rigoletto Verdi

Die fledermaus J. Strauss

La Bohème Puccini


Chez Maxim Lehár

with special guests José Carreras

and Sally Burgess

2004

La Cenerentola rossini

Lucia di Lammermoor Donizetti

Cox & Box Gilbert & Sullivan

Die entführung aus dem Serail Mozart

Die fledermaus Donizetti

with special guest José Carreras

2005

Tosca Puccini

Die Zauberflöte Mozart

eugene Onegin Tchaikovsky

Cox & Box Gilbert & Sullivan

As a Matter of Patter Gilbert & Sullivan

2006

Così fan tutte Mozart

L'elisir d'amore Donizetti

Il Barbiere di Siviglia rossini

Madama Butterfly Puccini

Gianni Schicchi Puccini

22 23

Music Director and Piano

Director

Designer

Stage Manager

Deputy Stage Manager

Assistant Stage Manager


Bryan evans

Wayne Morris

David roger

Matthew Muller

Denise furey

Nicholas Stevens

rebecca Hobbs

rebecca Brown

francesca Previ

B.f Pinkerton,

Lieutenant in the US Navy

Goro, a marriage broker

Suzuki,

Cio-cio-san’s maid

Sharpless,

US Consul at Nagasaki

Cio-cio-san,

Madama Butterfly

Cio-cio-san’s Mother

The Cousin

Uncle Yakuside

The Aunt

The Commissioner

The Bonze,

Cio-cio-san’s uncle

Prince Yamadori

Kate Pinkerton,

Lieutenant Pinkerton’s wife

Sorrow

Cio-cio-san’s friends

and relatives

Cameron rolls

Kevin Jones

Claire Bradshaw

Amanda floyd

(July 12, December 13)

David Stephenson

Melinda Hughes

Nicola Dunne

Claire Groom

John evanson

Catherine Parkin

richard Mitham

Stewart Kempster

Daniel Howard

Catriona Holt

eden Morris

Michaela Davies

Paul Koelbloed

ma

da

ma

bu

tt

er

fly

Music by G Puccini

Libretto by Illica and Giacosa

Melinda Hughes as Cio-cio-san

pr ogra mme notes

by Roderick Swanston

After the success of Tosca, Puccini was

eagerly looking for a source for his next

opera. In the summer of 1900 while in

London he saw David Belasco’s one-act

play Madam Butterfly about a geisha girl

who was abandoned by an American

lover. The play had been based on a

magazine article about a real incident,

and Puccini was much moved by the

play. Perhaps the first thing that attracted

Puccini was the potential Japanese

atmosphere he could create in the opera.

Like many at the time he was fascinated

by the exoticism of Japan, which for two

hundred years till the mid-nineteenth

century had been closed to foreigners.

Once opened by American seamen it

was inevitable there would be a clash

of cultures and expectations between

the enclosed indigenous community and

the arriving Americans.

At first Puccini was keen to focus as much on Japan and the geisha girl as he could.

Describing what he was doing to achieve this, he wrote to his publisher in 1902. “I have

had a visit today from Mme Ohyama, wife of the Japanese Ambassador (in rome). She

told me a great many interesting things and sang some native songs to me. She has

promised to send me some native Japanese music”. The ambassador’s wife also made

some suggestions to Puccini about the appropriateness of some of the Japanese names

he had assigned to some of the characters.

Despite these initial intentions, and the inclusion of original Japanese music, the

emphasis of the opera gradually shifted away from Japan towards Pinkerton and his

fateful liaison with Madam Butterfly. The plot thus became more about a love affair

with an exotic background than an exploration of clashing cultures. But this did not

stop Puccini from penning some of his most beautiful music to evoke Japan and the

wedding ceremony.

Puccini confessed he had difficulty making Butterfly come out right. Musically he

wanted to create a kind of Italian equivalent of the subtle sensuality of Debussy’s

Nocturnes. He achieved this and the result is one of his most poised and gorgeous

scores. But dramatically things did not go as smoothly. He found it hard to reduce the

libretto’s size to keep the story from being cluttered by too much exotic detail. By the

time of the first performance in february 1904 in Milan he had only partly achieved

this, and the first night audience made it clear to him that more work was required.

The second act could hardly be heard for cat-calls. However, Puccini withdrew the

score and by the time of its next performance in the smaller theatre in Brescia he had

honed and pruned it to the perfect opera it is today. That night’s audience gave it the

rapturous reception it has received ever since.

44 29

Melinda Hughes as Cio-cio-san



Tel: (44) 020 8723 8555 Fax: (44) 020 8723 6357

E-mail: [email protected] Web: www.divaopera.com

Gra

phic

Des

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& P

hoto

Com

posi

tion:

nor

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indu

strie

s w

ww

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by

Mar

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and

Mel

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2 0 0 62 0 0 6

1 0 t h S e a s o n

Giacomo Puccini

La BohÈme

WoLFGanG amaDEuS moZaRT

così fan tutteJacQuES oFFEnBacH

OrphÉe aux Enfers

2009

diva opera& josé carreras

an evening with

j o s É c a r r e r a s & D i va o p e r aaccompanieD by pianists lorenzo bavaj & anna tilbrook

performing the party scene from Die fleDermaus by johann strauss

programme cover (2010)

barnet concept

concept

concept

concept

postcards

CREATIVITY

DER TYP DIRK WALTHER IST EIN FREIGEIST. EINER, DER SEIN SCHNITT-HANDWERK VON KLEIN AUF GELERNT HAT, UND NICHTS WENIGER AUFREGEND FINDET, ALS AUF DER STELLE ZU TRETEN. DESHALB HAT SICH DIRK WALTHER SCHON MEHRMALS IM LEBEN VERÄNDERT. KOSMOPOLITISCH, NEUGIERIG, INTERESSIERT, SPONTAN UND UNBEDINGT PROFESSIONELL – DAS TRIFFT AUF BEIDE ZU: AUF DIRK UND BARNET. DIE AUFGABEN BEI BARNET IST DIRK WALTHER EINER VON ZWEI TEAMSPIELERN UND DIREKTOREN. ER IST ALS SALON STYLIST, AUSBILDER UND SESSION STYLIST ENG MIT DEM FASHION- UND MEDIEN-NETZWERK RUND UM DEN GLOBUS VERBUNDEN DIE STATIONEN LEHRZEIT IN SEINER HEIMATSTADT KULMBACH IN DEN SPÄTEN ACHTZIGERN – UMZUG NACH BERLIN – DOCH NACH MÜNCHEN – ETABLIEREN IN EINEM GROSSEN FRISEURUNTERNEHMEN UND ERSTE ERFAHRUNGEN IM SEMINAR- UND FRISEURSHOW-BEREICH – LEHREN UND LERNEN, DAS IST DIRKS METIER! – MITTE DER NEUNZIGER KURS IM HAIRSTYLING- UND MAKE-UP-BEREICH – FREIE MITARBEIT BEI FILM-, FERNSEH- UND FOTOPRODUKTIONEN – FESTANSTELLUNG BEI BRITISCHEM FRISEURUNTERNEHMEN – ART DIRECTOR – INTERNATIONALE SEMINAR- UND TOURNEEERFAHRUNGEN – UMZUG NACH LONDON – CREATIVE DIRECTOR BEI WINDLE, LONDON/COVENT GARDEN – AUSBAU DER SEMINARAUFGABEN – KONTAKT ZU RENOMMIERTER HAIR- UND MAKE-UP-AGENTUR IN LONDON: FREIBERUFLICHKEIT – FOTOSHOOTINGS FÜR INTERNATIONALE MODEZEITSCHRIFTEN, MUSIKLABELS, WERBEAGENTUREN – FRISIEREN VON STARS – MODESCHAUEN DIE REFERENZEN (FOTOGRAFEN) LORENZO AGIUS – KATE BARRY – HENRIK BULOW – LARRY DANSTON – CHRIS DUNLOP – CHRISTOPHE GROTHGAR – NICK HADDOW – KIM KNOTT – NEIL KIRK – BARBARA METZ – GUSTAVO PAPALEO – CHRIS PYTON – DENNIS SCHONEBERG – ED SYKES – KLAUS THYLMAN – LUKE THOMAS – VICTOR YUAN (PRESSE) ALLEGRA – AMICA ITALIANA – BUSINESS VOGUE – COLLECTIONI – DAZE & CONFUSED – ELLE – ES MAG – HARPERS & QUEEN – I-D – INSTYLE – MARIE CLAIRE – NYLON – SLEAZENATION – SUNDAY TIMES – TANK – TATLER – TELEGRAPH – VOGUE JAPAN (SHOWS) MARTIN KIDMAN – AMANDA WAKLEY – MARK WATSON – GRADUATED – FASHIONWEEK UK 2002, 2003 (WERBUNG) APPOLINARIS – AVON – DEBENHAMS – DOLCE & GABBANA – GEORGE – HEAD & SHOULDERS – OIL OF OLAZ – PETER HAHN – PUIZ BUIN – SWAROVSKY (STARS) VICTORIA BECKHAM – TONI COLLET – SHIRLEY HENDERSON – ELIZABETH JAGGER – JADE JAGGER – PATSY KENSIT – HEIDI KLUM – JASMINE LE BON – HEIKE MAKATSCH – MELANIE C – SUMMER PHOENIX – MIRANDA RICHARDSON – LIBERTY ROSS – VICTORIA SMIRFIT – OLIVIA WILLIAMS

DIRKWALTHER

PERSÖNLICHKEITEN, DIE AUF IHRE ÄUßERE ERSCHEINUNG WERT LEGEN

„TYPEN“

SPONTAN

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SOLVENT

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TEXT: ASTRID DOBMEIER DESIGN: BLOOM DESIGN (WWW.BLOOMDESIGN.DE) PHOTOGRAPHY: CHRISTOPH GROTHGAR & RALPH PULLMANNS MANY THANKS TO: OUR PARENTS, GIRLFRIENDS, ULLA VAN DEN HEUVEL, ALEXANDER BARB AND DEJAN.

concept

barnet concept, brochure

NETWORK

BARNET KEN

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E GREN

ZEN.

DENN: N

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EN EI

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ILT, E

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BARNET arbeitet eng mit dem Londoner Friseursalon Windle

(Covent Garden) zusammen – und umgekehrt. Im Laufe der Jahre

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in dem der Austausch im Vordergrund steht. Entwicklungen in der

Modestadt London haben Einfluss auf das Friseurhandwerk und gehen

Hand in Hand mit neuen Ideen in München.

Der europäische Gedanke wird bei BARNET praktisch verwirklicht:

Londoner Friseure machen bei uns als Gast-Schneider Halt,

umgekehrt besuchen Friseure der Münchner Filiale die Hairdresser in

London. Reisen bildet – und für BARNET bedeutet das: neue Inspirationen

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DER TYP DIRK WALTHER IST EIN FREIGEIST. EINER, DER SEIN SCHNITT-HANDWERK VON KLEIN AUF GELERNT HAT, UND NICHTS WENIGER AUFREGEND FINDET, ALS AUF DER STELLE ZU TRETEN. DESHALB HAT SICH DIRK WALTHER SCHON MEHRMALS IM LEBEN VERÄNDERT. KOSMOPOLITISCH, NEUGIERIG, INTERESSIERT, SPONTAN UND UNBEDINGT PROFESSIONELL – DAS TRIFFT AUF BEIDE ZU: AUF DIRK UND BARNET. DIE AUFGABEN BEI BARNET IST DIRK WALTHER EINER VON ZWEI TEAMSPIELERN UND DIREKTOREN. ER IST ALS SALON STYLIST, AUSBILDER UND SESSION STYLIST ENG MIT DEM FASHION- UND MEDIEN-NETZWERK RUND UM DEN GLOBUS VERBUNDEN DIE STATIONEN LEHRZEIT IN SEINER HEIMATSTADT KULMBACH IN DEN SPÄTEN ACHTZIGERN – UMZUG NACH BERLIN – DOCH NACH MÜNCHEN – ETABLIEREN IN EINEM GROSSEN FRISEURUNTERNEHMEN UND ERSTE ERFAHRUNGEN IM SEMINAR- UND FRISEURSHOW-BEREICH – LEHREN UND LERNEN, DAS IST DIRKS METIER! – MITTE DER NEUNZIGER KURS IM HAIRSTYLING- UND MAKE-UP-BEREICH – FREIE MITARBEIT BEI FILM-, FERNSEH- UND FOTOPRODUKTIONEN – FESTANSTELLUNG BEI BRITISCHEM FRISEURUNTERNEHMEN – ART DIRECTOR – INTERNATIONALE SEMINAR- UND TOURNEEERFAHRUNGEN – UMZUG NACH LONDON – CREATIVE DIRECTOR BEI WINDLE, LONDON/COVENT GARDEN – AUSBAU DER SEMINARAUFGABEN – KONTAKT ZU RENOMMIERTER HAIR- UND MAKE-UP-AGENTUR IN LONDON: FREIBERUFLICHKEIT – FOTOSHOOTINGS FÜR INTERNATIONALE MODEZEITSCHRIFTEN, MUSIKLABELS, WERBEAGENTUREN – FRISIEREN VON STARS – MODESCHAUEN DIE REFERENZEN (FOTOGRAFEN) LORENZO AGIUS – KATE BARRY – HENRIK BULOW – LARRY DANSTON – CHRIS DUNLOP – CHRISTOPHE GROTHGAR – NICK HADDOW – KIM KNOTT – NEIL KIRK – BARBARA METZ – GUSTAVO PAPALEO – CHRIS PYTON – DENNIS SCHONEBERG – ED SYKES – KLAUS THYLMAN – LUKE THOMAS – VICTOR YUAN (PRESSE) ALLEGRA – AMICA ITALIANA – BUSINESS VOGUE – COLLECTIONI – DAZE & CONFUSED – ELLE – ES MAG – HARPERS & QUEEN – I-D – INSTYLE – MARIE CLAIRE – NYLON – SLEAZENATION – SUNDAY TIMES – TANK – TATLER – TELEGRAPH – VOGUE JAPAN (SHOWS) MARTIN KIDMAN – AMANDA WAKLEY – MARK WATSON – GRADUATED – FASHIONWEEK UK 2002, 2003 (WERBUNG) APPOLINARIS – AVON – DEBENHAMS – DOLCE & GABBANA – GEORGE – HEAD & SHOULDERS – OIL OF OLAZ – PETER HAHN – PUIZ BUIN – SWAROVSKY (STARS) VICTORIA BECKHAM – TONI COLLET – SHIRLEY HENDERSON – ELIZABETH JAGGER – JADE JAGGER – PATSY KENSIT – HEIDI KLUM – JASMINE LE BON – HEIKE MAKATSCH – MELANIE C – SUMMER PHOENIX – MIRANDA RICHARDSON – LIBERTY ROSS – VICTORIA SMIRFIT – OLIVIA WILLIAMS

DIRKWALTHER

NAME“I’

M ’AVIN

ME B

ARNET CHOPPED

ON SA’ADAY!”; “I

’M HAVIN

G MY HAIR CUT O

N SATURDAY!”;

“AM SAMSTA

G LASSE I

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BARNET ist die Abkürzung für “Barnet Fair”, ein Ausdruck, der im

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DER TYP LUIGI IST ITALIENER, EIN FREUND DER PRÄZISION – UND DER RUHEPOL BEI BARNET. ER IST FARBEXPERTE UND LEBT DAS LEBEN IN VERSCHIEDENSTEN NUANCEN. UM VERWECHSLUNGEN VORZUBEUGEN, GAB IHM DIRK EINST DEN SPITZNAMEN „GINO“, DAS IST BIS HEUTE SEIN RUFNAME GEBLIEBEN. MIT HAARFARBE ZU ARBEITEN, IST FÜR IHN WIE MALEREI – EINE KUNST. DIE AUFGABEN BEI BARNET IST LUIGI FECE EINER VON ZWEI TEAMSPIELERN UND DIREKTOREN. ALS SALON STYLIST, AUSBILDER UND SESSION STYLIST IST AUCH ER ENG MIT DEM FASHION- UND MEDIEN-NETZWERK RUND UM DEN GLOBUS VERBUNDEN. DIE STATIONEN LEHRZEIT ENDE DER ACHTZIGER IN NEAPEL BEI „FRATELLI QUAGIOZZI“ – UMZUG, UMZUG, UMZUG: LUIGI MACHT IN VERSCHIEDENEN ITALIENISCHEN STÄDTEN UND SALONS HALT – ERWEITERUNG DES FACHWISSENS – UMZUG NACH ISCHIA ANFANG DER NEUNZIGER – SAMMLUNG ERSTER DEUTSCHER SPRACHKENNTNISSE: LUIGI SCHREIBT SICH GELERNTE SÄTZE ZUM EINPRÄGEN AUF DEN HANDRÜCKEN – SPRUNG INS AUSLAND – 1995 UMZUG NACH MÜNCHEN – HIER KREUZEN SICH DIRKS UND LUIGIS WEGE BEI EINEM BRITISCHEN FRISEURUNTERNEHMEN – UMZUG NACH STUTTGART – SPEZIALISIERUNG AUF FARBTECHNIK – ERSTER FARBTECHNIKER BEIM BRITISCHEN FRISEURUNTERNEHMEN, AUSBAU DER FIRMENABTEILUNG – RÜCKKEHR NACH MÜNCHEN – SHOWS, FOTOSHOOTINGS, MODESCHAUEN – ART DIRECTOR TECHNICIAN – AUSBILDUNGEN IM GESAMTEN DEUTSCHSPRACHIGEN RAUM – SALON-MANAGEMENT – AUFBAU VON TEAM UND STAMMKUNDSCHAFT DIE REFERENZEN (PRESSE) CLIPS – FREUNDIN – JOY – MAXI – TOP-HAIR (STARS) WOLFGANG FIEREK – JENNIFER NITSCH – MARCUS SCHENK – MARIA SCHRADER

LUIGI„GINO“FECE

barnet concept, website

barnet concept, logo/ci barnet school, website

pélagie gbaguidi, artist, 2013

websites

tilman schall, architect, 2012

cibahuntsman

fashiontrends intranet

Radiance >> Micaceous grace

The colors emit a mineral brightness, patina and light reflections – a ray of calming harmony. The atmosphere

appears predestined for a blend of historical quotations, modern materiality and fine surfaces that can show both

elegance and patina.

autumn/winter 2006/07 n o . 0 5 / 1 0 1 5 s a m p l e n o . 1

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C h a n g e s o f s h a d e m a y

b e p o s s i b l e d u e t o p r i n t e r

s e t t i n g s .

t i g e r e y e

m i n e r a l w h i t e y e l l o w y q u a r t z n u g g e t g o l d o l i v e b r o w n

s o f t g r a y w a r m b l u e - g r a y d u l l g r a y - b r o w n

t e c h n o l o g y

Only complete, integrated solutions will ensure optimum performance. Our experts can provide support and advise at all stages of processing. Ask them about our sizing, pretreatment, coloration and finishing systems for your specific article and equipment.

e f f e c t fashion coating end use trousers, jackets, blousonsfabric polyamide

1. pre-impregnation application method padding

product 1st step Ciba® PHOBOTEX® FMX

process 1st step padding, drying

2. coating application method foam coating

p r o d u c t s 2nd s t e p Ciba® DICRYLAN® AC, Ciba® DICRYLAN® STABILIZER FLN Ciba® LYOFIX® CHN, Ciba® DICRYLAN® THICKENER HV30 SiLiglit® PES glitter 2510/51-3hex gold

process 2nd s t e p one coat (knife-over-roller, shoe knife), drying, calandering

3. top coating application method paste coating

p r o d u c t s 3rd s t e p Ciba® DICRYLAN® SAW, Ciba® DICRYLAN® DEFOAMER D Ciba® DICRYLAN® THICKENER HV30

p r o c e s s 3rd s t e p one coat (floating knife, sharp knife), drying, curing

care labeling inside out iron left sideValue beyond chemistry

Ciba Specialty Chemicals

Fashion Trends autumn/winter 2006/07

Edition 2005

Copyright © 2005 Ciba Specialty Chemicals Inc. All rights reserved.

All trademarks mentioned are either property of or licensed to Ciba Specialty Chemicals and registered in relevant countries. SiLiglit® is a registered trademark of Sigmund Linder GmbH, Germany.

IMPORTANT: The following supersedes Buyer’s documents. SELLER MAKES NO REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, INCLUDING OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

No statements herein are to be construed as inducements to infringe any relevant patent. Under no circumstances shall Seller be liable for incidental, consequential or indirect damages for alleged negligence, breach of

warranty, strict liability, tort or contract arising in connection with the product(s). Buyer’s sole remedy and Seller’s sole liability for any claims shall be Buyer’s purchase price. Data and results are based on controlled or

lab work and must be confirmed by Buyer by testing for the intended conditions of use. The product(s) has not been tested for, and is therefore not recommended for, uses for which prolonged contact with mucous

membranes, abraded skin, or blood is intended; or for uses for which implantation within the human body is intended.

Please note that products may differ from country to country. If you have any queries, kindly contact your local Ciba Specialty Chemicals representative. Further information at web site: http://www.cibasc.com/textile-effects

0600028E – June-05, Printed in Germany

Radiance >> Micaceous grace

Global Marketing Basel

Ciba Specialty Chemicals Inc.P.O. Box CH-4002 Basel

Fax: +41 61 636 48 04E-mail: [email protected]

Ciba Specialty Chemicals

Region Europe

Ciba Spezialitätenchemie Pfersee GmbH

Rehlinger Str. 1

86462 Langweid a. Lech

Germany

Tel: +49 8230 41-0

Fax: +49 8230 41-370

Region Asia

Guangdong Ciba Specialty Chemicals Ltd.

Flying Geese Mountain Industrial Park

Shilou Town, Panyu District, Guangdong

511447, PR China

Tel: +86 20 8484 5100

Fax: +86 20 8484 5222

Region Americas

Ciba Specialty Chemicals Corporation

4090 Premier Drive

USA-High Point, North Carolina 27265

Tel: +1 888 873 2422

Fax: +1 336 801 2808

The colortrends and description are taken from "DMI COLOUR MOODS" and "COLOURS & MATERIALS" trend books of the "Deutsches Mode-Institutes" of Germany. www.dmi-fashion.net

© Deutscher Fachverlag GmbH.

Spiritual >> Invisible secureness

Graphic drawing combines functionalism and abstraction with moving and flowing forms. Elemental like water

and multifarious like its original forms, the result is contrasts, surfaces and structures. They form a link between

memories and the future.

autumn/winter 2006/07 n o . 0 5 / 8 3 5 s a m p l e n o . 8

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s e t t i n g s .

h a z y r o s é

p a l e a q u a m a r i n e p e a r l y r o s é d e e p o c e a n b l u e o n y x

p e w t e r g r a y v e l v e t v i o l e t m i d d l e g r a y

t e c h n o l o g y

e f f e c t s freshness, comfort & easy care,

soft & smooth handle

end use business & casual shirts, blouses, bedlinen

fabric cotton

1. pre-softening

application method padding

products 1st step Ciba® ULTRAPHIL® HCT

Ciba® DICRYLAN® WK NEW

process 1st step padding, drying

2. moist crosslinking application method padding

p r o d u c t s 2nd s t e p Ciba® KNITTEX® FA CONC.,

Ciba® KNITTEX® CATALYST UMP, CIBAFLOW® SF PLUS

Ciba® DICRYLAN® WK NEW, Ciba® DICRYLAN® BSRN

Ciba® TURPEX® ACN NEW, CIBATEX® OC-CLD

process 2nd s t e p padding, drying to residual moisture, batching,

washing off, neutralizing, drying

3. top finish application method padding

p r o d u c t s 3rd s t e p Ciba® ULRATEX® UM NEW, Ciba® ULTRATEX® FMW

p r o c e s s 3rd s t e p padding, drying

care labeling Only complete, integrated solutions will ensure optimum performance. Our experts can provide support and advise at all stages of processing. Ask them about our sizing, pretreatment, coloration and finishing systems for your specific article and equipment.

Fertility >> Natural charm

The mood reflects facets of nature, growth and life cycles. Stimulating naturalness is the starting point for techni-

cal innovation – bionic geometry is a design element and motif. The balance of decoration and clarity is reflected

by the wealth of botanic structures. New perspectives are opened up in the zoom between micro and macro.


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s e t t i n g s .

c o l d j a d e i t

p e r i d o t m i n t g r e e n w i n t e r s k y g r e e n - t i n t e d g r a p h i t e

r u s t i c b r o w n r e d e l m o l i v e - g r a y

products Ciba® ULTRATEX® UM NEW

Ciba® KNITTEX® FEL

Ciba® KNITTEX® CATALYST MO

process padding, drying, curing

care labeling

effects easy care, soft, smooth & silky touch

e n d u s e T-shirts, tops, twin sets

fabric vicoses/polyester


Intimacy >> Overlapping red

The seemingly familiar impression of warmth and energy created by these colors opens up a relationship of fashionable

ambivalence: is the mood one of extroversion or vulnerability, softness or hardness, femininity or masculinity?


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s e t t i n g s .

r o s e w o o d

p i n k a n t h r a c i t e c o r a l r e d s h i m m e r i n g c o p p e r b u r n t s i e n n a

g e n t l e p o w d e r p i n k d r y l a v e n d e r r i c h b e r r y r e d

t e c h n o l o g y


product Ciba® ULTRAPHIL® TG

process exhaustion, drying

care labeling

effects durable hydrophilicty, no static cling,

warm and luxurious handle

e n d u s e T-shirts, tops, cardigans, dresses

fabric polyester/elastane

application method exhaustioninside out iron left side

ciba, fashion trends collage & brochure

Sculpture >> Form

Simplicity evolves to become complex, tradition combines with experiment and logic with playfulness. Deep

monochromic tones fan out in interplay between light and shadow, imparting a cool, mystical harmony. Materials

and colors interact to give a sculpture effect.

s a m p l e n o . 3

c o l o r t r e n d

t e c h n o l o g y

product ULTRAPHIL® HSD

process padding, drying

care labeling

effects moisture management

e n d u s e shirtings, blouses, dresses

fabric polyester


autumn/winter 2007/08

0 7 0 8 - 1 5

0 7 0 8 - 0 9 0 7 0 8 - 1 0 0 7 0 8 - 1 1 0 7 0 8 - 1 2

0 7 0 8 - 1 3 0 7 0 8 - 1 4 0 7 0 8 - 1 6



s e t t i n g s .


Soft Shell >> Versatile

Soft, neutral tones lend themselves to both sensuous and technical interpretation. Like skin, surfaces are waxy,

with some irregularities, and materials smooth, subtle, warm and glowing. Transparency and translucence reveal

abstract structures, such as linear patterns, overlays and seams, which provide contours.

s a m p l e n o . 1

c o l o r t r e n d



s e t t i n g s .

0 7 0 8 - 0 7

0 7 0 8 - 0 1 0 7 0 8 - 0 2 0 7 0 8 - 0 3 0 7 0 8 - 0 4

0 7 0 8 - 0 5 0 7 0 8 - 0 6 0 7 0 8 - 0 8

t e c h n o l o g y



products OLEOPHOBOL® SRM


care labeling

effect Ultra Release Teflon® fabric protector

(hydrophilic stain-release)

e n d u s e sports and leisure wear

fabric polyester


Mosaic >> Sparkling

Graphic elements and reflections lend structure to chance. Flashes of color and spots of light, as unpredictable as

shooting stars, break through the darkness and give rhythm to restrained, almost monochromic colors. As in a mosaic,

geometric order acquires decorative dynamism.

autumn/winter 2007/08 s a m p l e n o . 7

c o l o r t r e n d

t e c h n o l o g y

products ULTRAPHIL® PA

process padding, drying

care labeling

effect moisture management

e n d u s e sports wear

fabric polyamide


0 7 0 8 - 3 1

0 7 0 8 - 2 5 0 7 0 8 - 2 6 0 7 0 8 - 2 7 0 7 0 8 - 2 8

0 7 0 8 - 2 9 0 7 0 8 - 3 0 0 7 0 8 - 3 2



s e t t i n g s .


City Lights >> Geometrical

Translucent glass tones, shimmering surfaces and metallic gloss reflect nature in a city environment. Repetition, rows

and grids impose order on diversity; synthetics subtly imitate natural materials. Micro and macro are combined in

fibers, structures and surfaces. Colors reflect, abstract and distort naturalness.

s a m p l e n o . 5

c o l o r t r e n d



s e t t i n g s .

t e c h n o l o g y


0 7 0 8 - 2 3

0 7 0 8 - 1 7 0 7 0 8 - 1 8 0 7 0 8 - 1 9 0 7 0 8 - 2 0

0 7 0 8 - 2 1 0 7 0 8 - 2 2 0 7 0 8 - 2 4

products KNITTEX® FFRC

MEGASOFT® LUX

SAPAMINE® FPG


care labeling

effect shape stability, luxurious feel

e n d u s e sports and leisure wear

fabric cotton/elasatane




s e t t i n g s .


Fashion Trends autumn/winter 2007/08

Edition 2006

Copyright © 2006 Huntsman Corporation. All rights reserved.

All trademarks mentioned are either property of or licensed to Huntsman Corporation and registered in relevant countries.

Teflon® is a registered trademark of DuPont used under licence by INVISTA Inc. and its affiliates.

IMPORTANT: The following supersedes Buyer’s documents. SELLER MAKES NO REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, INCLUDING OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.

No statements herein are to be construed as inducements to infringe any relevant patent. Under no circumstances shall Seller be liable for incidental, consequential or indirect damages for alleged negligence, breach of

warranty, strict liability, tort or contract arising in connection with the product(s). Buyer’s sole remedy and Seller’s sole liability for any claims shall be Buyer’s purchase price. Data and results are based on controlled or

lab work and must be confirmed by Buyer by testing for the intended conditions of use. The product(s) has not been tested for, and is therefore not recommended for, uses for which prolonged contact with mucous

membranes, abraded skin, or blood is intended; or for uses for which implantation within the human body is intended.

Please note that products may differ from country to country. If you have any queries, kindly contact your local Textile Effects representative. Further information at web site: http://www.huntsman.com/textile_effects/

0600042E – July-06, Printed in Germany

Soft Shell >> Versatile

The colortrends and description are taken from "DMI COLOUR MOODS" and "COLOURS & MATERIALS" trend books of the "Deutsches Mode-Institut" of Germany. www.dmi-fashion.net

© Deutscher Fachverlag GmbH.

Textile EffectsGlobal Marketing Basel

Huntsman Advanced Materials (Switzerland) GmbH Textile EffectsKlybeckstr. 200CH-4057 Basel

Fax: +41 61 636 48 04e-mail: [email protected]/textile_effects

Huntsman Textile Effects

Region Europe

Huntsman Textile Effects (Germany) GmbH

Rehlinger Str. 1

86462 Langweid a. Lech

Germany

Tel: +49 8230 41-0

Fax: +49 8230 41-370

Region Americas

Huntsman International, LLC

Textile Effects

4050 Premier Drive

High Point, NC 27265

Tel: +1 800 822 1736

Fax: +1 336 801 2808

Region Asia

Huntsman (Guangdong) Ltd.

Textile Effects

Flying Geese Mountain Industrial Park

Shilou Town, Panyu District, Guangdong

511447, PR China

Tel: +86 20 8484 5100

Fax: +86 20 8484 5222

normal portfolio 2013

Documents

bedrucktem papier marker

villa stuck ausgewhlt

untergeschoss der villa

paper on cardboard

enamel on paper

collage on canvas

leinwand acrylic on

reihe ricochet