120 years Hristo Kavarnaliev

Image result for hristo kavarnalievThe exhibition includes 120 works by Hristo Kavarnaliev, which are examples of his work from the different periods of his development. The curator has gathered drawings, gouaches, watercolors and paintings by the National Art Gallery, the Museum of Renaissance in Varna, the Military History Museum, the galleries in Varna, Dobrich, Kavarna, Balchik, as well as a number of prestigious private collections. All of them are arranged in the halls of the entire first floor of the City Art Gallery. In a separate room is a documentary photo exhibition: pictures from the personal album of Kavarnaliev, as well as authentic documents, publications and artworks of printed publications made by the artist. Here was the cooperation of the Pencho Slaveykov Regional Library in Varna. Thus, along with the impressive paintings, visitors can also touch Hristo Kavarnaliev’s personality and its significance in the cultural climate of Varna during the first half of the last century.

Impressive is the fact that such a retrospective exhibition of the great Bulgarian marinist is organized and opened for the first time in his hometown after his death in 1951. The reasons for this are different and perhaps the most important one is that his works are scattered mostly in private collections all over the country and abroad. There is no family and public cultural memory for this artist, which is why his name has sank for many years in oblivion. With the noble efforts of organizers, museum and gallery specialists, and collectors, today we worship the talent and creativity of our great classics and we ask him for some kind of forgiveness for oblivion. We do it in the days of the Nativity of Christ, whose name Kavarnaliev brings.

On the eve of the exhibition came the monographic book about Hristo Kavarnaliev. After a winning project, it was financially supported by the Culture Fund at the Municipality of Varna as well as by the Cavallet Gallery. Author Valeriy D. Postharov tracks the life and creative growth and development of the artist, the historical and social conditions for building his worldview in the dramatic first half of the last century, his aesthetic pursuits after his specialization in Germany, the establishment of his creative creed, his numerous exhibitions and reviews of their criticism. In a comparative plan, Kavarnaliev’s place is depicted in the varied palette of the Bulgarian classic, where he, deservedly and universally, is titled as the most original and sincere artist of the sea.

The edition is luxurious, large-format, full-color and includes over 120 color reproductions of Kavarnaliev’s works. Numerous black and white photographs from the artist’s personal album document moments of adolescence and student life, his period of wartime wartime artist during World War I, his specialization with Franz von Stuk in Munich in 1920, his active exhibition life, and friendships with Alexander Dobrinov, Rayko Aleksiev, Pancho Vladigerov, Alexander Bozhinov, Andrey Protic, Georgi Velchev, William Watson, Prof. Musman and others. From this album are also exciting pictures of little Christo with his mother. The book includes some more interesting publications of Kavarnaliev in the press. Here is also published the authentic story of the artist himself about his youth, written in the year before his death.

In January, among the paintings in the exhibition, there will be the premiere of the book and a round table in which specialists and public figures will talk about the creativity and personality of Hristo Kavarnaliev.

The organizers of the exhibition are:

Varna Municipality, GHG Varna and Cavallet Gallery. The curator of the exhibition, as well as the author of a monographic book about the great Bulgarian classic is Valeriy D. Postharov.

How the artists find the gallery

Image result for art galleryAs an art manager, I receive constantly nominations from authors who want to present and sell their work. Unfortunately, few of them know the unwritten rules that lead to this goal. The way to reach the audience can be very individual to the different authors, but the most representative way to reach real connoisseurs is always through an art gallery.

Galleries most often work with a certain range of authors and the responsibility of which names will be displayed weighs on the galley’s shoulders. His task is to shape the overall artistic concept of the gallery and thereby impose certain values. These values ​​should not be related to the galley’s personal bias, but should be a reflection of an in-depth analysis of artistic processes.

Art criticism in Bulgaria is hard to write, and in fact this genre is largely doomed to failure. I have often wanted to express my critical insight into certain processes, or even on certain authors, but so little is criticism that there are too many “geniuses” of discarding. The other problem of this genre is in the negative image the critic builds up in, and in a small country like Bulgaria, it is very easy to offend someone. Therefore, I believe there is a better way of presenting and validating values.

The gallery is a critic without criticism. He stands firm behind his position and builds a complete picture of the artistic life. There is room for new authors in this painting, but they must clearly follow the past line maintained by the gallery artist. Normally, he closely follows all the processes and is interested in new artists to work with. Apart from the selection of artists, the gallery creates its critical vision and the selection of the paintings themselves. He has the final say whether a work will be included in the author’s presentation.

How do the artists find the galley?

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It is usually the opposite – it is the galley who discovers the author and invites him. This often places the young artist in a vicious circle. How can his works reach an audience and how can his work be seen by a gallery artist? This step requires a lot of tact and sometimes long-term planning. So I will outline some of the most common mistakes that artists allow in their desire to work with a gallery artist and will allow some advice to those of you who want to take along this path:

 

  1. First of all, there must be conceptual similarities between the work of the galley and the author’s creativity. This is the easiest step, but most often neglected by the artist. It is enough to pay attention to what authors work the gallery and compare it with. Here comes a difficult question, the answer of which is not always easy to accept. Do your works have the same height? If the answer is no, then you will surely find another gallery that presents authors close to you.

  2. Many authors start with great ambitions early on. They meet the galley and at the first meeting they want to present a solo exhibition. Most galleries have a long-term program, and the most common excuse that such an artist will hear is that there are no free dates for the next one or two years. The right approach requires more patience and willingness of the author to take part in any general exposition.

  3. In order for the galleryist to get a complete picture of the author and to see how much his creativity fits in the line followed by him, he must see more work. Many artists present 2-3 paintings to the galleys and look forward to admiration and instant purchases. This is not impossible, but it is very unlikely. To impress a man whose eyes have tens of thousands of works of art, these 2-3 works must be built in an extremely complete style, as is the case with some well-established artists at the height of their work. So the best option is to show more (but selected) pictures. Meet the galley, leave a postcard with your site where you have a full portfolio and invite him to the studio to see the live pictures.

  4. Every artist is also an experimentalist. However, it is not a good eye for distant artists. One thing is to have a blue and a pink period and it is another thing to work in different styles at the same time. This suggests the creator’s wandering, not his broad horizons. Choose only close-to-style and storied works and present them as a project you are currently working on.

  5. I often receive letters like this: “I present to you the artist (name). If you are interested in his art, I would be glad to cooperate! (name) – art manager ” . I understand the desire of many artists to attach importance. The ego is an important companion of any real creator. However, a letter like this only tells how the author or so-called “art manager” knows the art market. The artists do not have an impresario. With rare exceptions, they also do not have a butler, a gardener or even an assistant. The artists are lonely birds in their art, and Mathis has bought his own dyes for the rest of his life. But the artist has a galley. Here I am not saying that it is bad for someone else to introduce you to the galley. It would even be a close-knit artist to introduce you. But in no case do you entrust your person to someone else’s hands.

  6. Some artists have unreasonably high prices. The price of a work is not determined solely on the basis of its own qualities, but as a complex process in which purely market aspects are also involved. Trust the galley – this is his job and he would also have an interest in selling expensive, but that is not always possible.

  7. Finally, I will look again at a market peculiarity. We live in a global world where information is easily accessible. It is inappropriate for an author to offer the same work at different prices in Bulgaria and for example in the United States. This is a very risky move that ultimately is dishonest to those who have to be most valued by the author – his buyers. I have had cases in which I refuse to work with an author, because his American galle player should not understand that he sells 10 times cheaper in Bulgaria. This is ridiculous. Of course, there are exceptions. If the author lives, works and sells mainly in one country and goes to another country to make his exhibition, then it would be a good gesture to comply with the local low standard. Or if it comes from a low-standard country and makes an exhibition in a country where the costs of the event are very high, the price increase is justified.

 

 

The Art Market in 2014 – Cavallet Gallery

Image result for art marketI publish these data with the stipulation that the art market in the world is not what is in Bulgaria. Noting this fact, I can not but admit that our country is an incubator of great talents and worthy names for the world stage of fine arts. The quoted values ​​do not interpret the origin of the authors or their nationality, but refer to the characteristics of individual markets. It is likely that many works of Bulgarian authors, or those of Bulgarian origin, are also present in these deals, but they are mainly realized in foreign markets.

Art trade is mainly concentrated in three countries that cover 83% of the world market. This statistic is so frightening that it provokes the big players on this scene to seek a realization in one of these three countries – the United States, China and the UK.

All Europe (and the whole world) is an art exporter for the countries mentioned above. In Europe, as has already become clear, the UK dominates, which holds 63% in 2013, followed by France (19%), Germany (5%), Italy (3%), Austria (2% ), Spain (1%) and the Netherlands (1%). Other EU countries remain 4%. Given these data, we should not assume that Bulgaria is a marginal country. These statistics show that not only Bulgaria is isolated from the world stage, but that this can be said for most of the world. Here, on purpose, I used the word “isolated,” but I would like to emphasize that concentrating the process in several countries has a positive effect on the export of art. How positive this is, we can only guess. One of the consequences that leads to it is

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the globalization of world trends in art.

Before I leave you alone to look at the info, I will comment on another interesting statistic. The world art market is managed by 309,000 companies, which employ 2.8 million people and provide employment to 438,000 additional people in auxiliary sectors. On the other hand, companies like Google or Ford have annual revenues equal to or doubles in the entire art market, but only engage 50,000 and 181,000 people respectively.

I can not hide that these figures help me better understand how much contrasting world we actually live in.

What are your observations on these processes? I’d be glad to share on our Facebook page!

 

Why are some looking for "bedroom paintings"? – Cavallet Gallery

Image result for bedroom paintingsPerhaps it will sound strange, but one of the most common searches on the Internet when people are interested in paintings is ” bedroom paintings.” “Wall Paintings” (absurd and incorrect wording in nature) also has a very high percentage of applications and given all the different art installations and performances touted daily from conceptualist, it’s a landslide victory for Fine Arts in its classic form. But let me go back to ” bedroom pictures” – not because these works are exposed by presumption on a wall, but because this search awakens some interesting controversies that I would like to analyze in the context of art anthropology.

Recently, the great collector and friend of mine, Dr Ernst Jude, shared with me a curious anecdote of the life of the German Impressionist Max Lieberman. A valuer of his work goes to the artist and wants him a picture of his home – a work that fits well into the new architectural masterpiece of the buyer. Lieberman responded to him laconically that if he made a picture of him, he would have to order the architect a new home for his work.

Lieberman is also known for other examples that protect his position as an artist. A prominent surgeon wants an express portrait of his wife, who has a birthday after a few days. Lieberman tells him:

– Your work ends with the death of your patients, but my portraits will remain for my glory or my shame.

And refuses the order.

This position does not express the narcissistic satisfaction of an artist. This is an illustration of the values ​​in our civilization.

The paintings are more than decoration for the interior. It is they who give life to a space and fill it with energy. Man is changing home, but he carries his collection of works of art. It’s unbelievable how, by arranging his well-known works in a new home, one already feels at home. And do you have childhood memories of the paintings at home? These fragments of childhood are deeply rooted in human consciousness and bring a sense of warmth and coziness. The art goes far beyond the utilitarian interior design and transfers its values ​​from generation to generation.

If we leave aside the collec- tive passion for buying certain works, artists or genres, then the surest choice for a picture choice is to leave the original emotion with which we conquer a work. I would not recommend choosing to be in relation to the living room, carpet, or wall color. All these details are transient companions in our lives. The message expressed by the artist extends far beyond the material world. His suggestion is strong and will conquer the hearts of our children, even when we are not. You can guess where the couch, carpet or anything else will be …

Choosing a genre:

Of course, when we want to create a world of coziness and harmony in our home, we can think of these works of genres in each of the rooms. In this way, this is a question of a style or genre summary that can help us in choosing and arranging an existing collection. Every work is an active participant in the dialogue with the viewer, it gives us certain attitudes and feelings that are characteristic of different moments of our daily life.

For example, genres such as nude and landscape are especially suitable for a bedroom. For the kitchen and dining room are interesting still-life and interiors. For a living room these would be larger landscapes, figural compositions or portraits. Portraits are also an interesting solution for a working cabinet or office, although there are more abstract works typical of that. Children’s room paintings can be different figural compositions, in which the authors unfurl their fantasy. These are, of course, the most general guidelines that may also be inappropriate for the individual case.

Choice of equipment:

If, however, we are facing a difficult choice and we still can not make a decision, we can also think from the point of view of the known techniques used. Graphics, including etching, aquatint, dry needle, and various types of metal or wood engravings, should be exposed to walls where there is no direct sunlight. This applies equally to the pastel as well as to most techniques on paper. Prolonged exposure to ultraviolet rays is capable of damaging the pigments used or even causing changes in the structure and color of the paper itself. For this reason, the listed techniques are particularly suitable for corridors or darker northern rooms.

Painting techniques that do not require framing behind glass are also good in bright rooms. These are basically paintings painted with oil or acrylic paints on canvas or other hard surfaces such as wood and wood. Although quality glasses are now available that prevent light from appearing and create blues from which we do not see the works themselves, the ultimate effect is never so good. The invoice of painting requires it to be directly perceived, because it is often an essential element of the author’s style.

Format selection:

The small format is like poetry in the visual arts. It does not bear the decorative-monumental nature of the great paintings, but requires special attention. It awakens the viewer’s desire to be “read” and predisposes to intimacy. Its place is not on large empty walls. The small format stands well in niches, columns, furniture, and more in more intimate spaces. It is good to be in a group with other small works.

The medium and large format paintings have close inspiration in the interior. They are suitable for large rooms and long empty walls. For them, the necessary distance is required to look at them. In the bedroom, it is normal to have few works with more air between them, while for the other rooms it is well placed to group them in closely spaced compositions.

In this line of thought, arranging pictures is a complex compositional process that can not be affected in this article. It is subject to many factors such as stylistics, technique, format, picturesque and color features, composition, wall illumination, and so on in virtually all aspects of art.

Finally, before you buy a “wall painting”, make a link to a gallery that can professionally consult you. These consultations cost nothing but they can guide you in the broader art world. For all questions, you can always contact us!

 

Sony World Photography Awards

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What is the World Photography Organization?

Being passionate about photography since my youngest age, I had to introduce you to the World Photography Organization which is WPO initial.
It is simply a worldwide organization highlighting both amateur and professional photographers.

 

Its strength is to be established in more than 60 countries allowing it to connect photographers from around the world, with different cultures and different visions of our world.

The WPO is best known for the organization of the annual Sony competition, the Sony World Photography Awards, which I will go over below in more detail.

 

What is Sony doing in all this?

The Sony World Photography Awards, more commonly known as SWPA, has been showcasing the world of photography for over 11 years now through a competition. This contest is unique because it is global!
For the WPO, Sony is a partner of choice being one of the market leaders.

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Just for information to show the craze, last year is more than 1 million photos that were shared in this contest!
As you can imagine, the 2018 edition is already on track and has already been launched since last June.
Everyone can participate and it is also what makes the richness of this contest but be careful because there are still specific types and themes to respect.

Indeed we find four very different official competitions where we have to take the official terms:

  • Professional
  • Open
  • Youth
  • Student Focus

It should be noted that each of its competitions has its own rules and specificities.

 

How to participate ?

To participate, nothing more simple just register directly on the site and upload your photos while respecting specific themes depending on the competition.
If you’re still wondering what camera to use for this contest, check out the different types of cameras to make your own opinion.

 

Anyway, here are the different topics to study if I can say according to the competitions:

The Professional section is divided into 10 categories where we have:

  • Architecture
  • Contemporary Issues
  • Creative
  • Current Affairs
  • News
  • Discovery
  • landscape
  • Natural World
  • Wildlife
  • Portraiture
  • SportStill Life

You will be able to send between 5 to 10 shots.

 

For the second competition, Open , you will be able to send only one photo among the following topics:

  • Architecture
  • Culture
  • Enhanced
  • Motion
  • Landscape & Nature
  • Portraiture
  • Still Life
  • Street Photography
  • Travel
  • Wildlife

 

With Youth competition, there will be a certain age to respect. Indeed you will need to be between 12 and 19 years old and you think about a photo on the theme of the environment (My environment).

 

Finally the Student Focus is totally reserved for photography students.

 

Calendar to respect

What would be a good contest without its calendar?

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Here are all the dates to know to be in time:

We will start with the deadlines to send your photos:

  • Student Focus until December 4, 2017 (Yes, hurry up my student friends, the deadline is near)
  • Open and Youth until January 4, 2018
  • Professional until January 11, 2018

 

Regarding the results:

  • Finalists from February 27, 2018
  • Winners of the Open and National Awards from March 27, 2018
  • Photographer of the year and laureates of the “Professionnals” competition from 19 April 2018

 

Studio lighting for photographers

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Photographers are used to saying that the best lighting for photography is natural light, but even if it’s true most of the time, a majority of the artistic and commercial photographs you see these days have been taken in the past. using a studio lighting. Almost all the images you see have been lit by professionals to meet specific artistic criteria, then manipulated numerically, sometimes to be unrecognizable from the original image.

 

Once you have mastered the basic settings of your camera, you may want more control over the finished image by improving the configuration of your indoor photographs. Whether you are taking portraits of people or taking pictures of backgrounds, you will need adequate lighting like Lampcommerce to get the most out of your subject. Here’s a quick start guide to studio lighting for photographers who want to take it to the next level.

Studio Flash

Even if you are familiar with the flash of your camera, studio flashes are another pair of sleeves. The flash itself consists of a fragile glass part, filled with gas wrapped in a wire. Electricity is used to create a burst of light when the gas is excited. The gas level is controlled by the dials on the device, allowing you to adapt to your needs.

Light modelers

These are parts of equipment such as mono blocks, brolly reflectors, and broadcast boxes. Between them, these light modelers can meet almost any purpose of photography. The most versatile among these is the diffusion box. It can make it possible to create the choice of diffused light or directional light, depending on whether you use the attached diffuser. If you have a limited budget, you may want to purchase a distribution box so you can use it in different ways, depending on your project.

Universal Spot

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This type of device is usually used with a mono block. It gives you precise control with which you can really make the most of your spotlight. It is also suitable for use in projection.

Generator

The generator allows you to film anywhere (for example for outdoor sessions) and to be independent of the power depending on where you are. You never know when you will need more power and more light! You can also control the lamp of the generator itself.

Photography professionals most often start finding equipment on sites like Kijiji and eBay. Keep your start up costs as low as possible by buying used equipment. Used photographic equipment is sold in many appliance stores such as those present on Tottenham Court Road in London. With the great availability of equipment nowadays, anyone can learn the basics of these techniques directly at home.

You are now ready to venture into the world of studio lighting. Once you have mastered the accessory lighting, we encourage you to play with the equipment mentioned in this article. In the very near future, you will be able to take masterful shots of people, food, animals and everything else. For inspiration, look at the work portfolios of people like Nick Knight, Michael Muller, and Inez and Vinood.

 

Instagram is it denaturing the photograph?

Disney in all its parks since 2015, Coachella in the spring , Milan since the beginning of the summer, bans on the sale and use of selfie poles are multiplying and could appeal to others. If this can make you smile, some authorities see the selfie poles as a real scourge polluting the tourist places. This testifies above all to a new era in which we evolve, a certain narcissism in which it is imperative to put forward on social networks including Instagram. Photography is no longer seen as an art, but as a means of putting oneself forward, so is Instagram distorting photography ?

Does photography want to be narcissistic?

It is difficult to define the photograph or even to give it an original meaning. Let us take again some writings of André Bazin, one of the founders of Cahiers du cinéma . He spoke of “essential objectivity of photography”, that is to say that for the first time nothing is interposed between an object and its representation, the objective is substituted for the human eye. Out, if we start from this principle, the Man is not supposed to see himself, except reflection, he observes the world. Photography would be a way to freeze a scene that is observed. The philosopher Roland Barthes adds that photography is proof that the scene has existed and it is perhaps there, the key to our growing narcissism.

Instagram, the permanent highlight

Through photos, short videos and “stories”, Instagram allows you to put your life on the stage. The holidays can be seen as a highlight, the perfect time to show friends how exciting life can be. The selfie allows us to prove or justify that we are in such a place and that we have lived a particular moment. As 1 & 1 explains on her blog , Instagram’s goal is to search for popularity. The user is therefore in the permanent search for a development by using the image as proof, to finally join the thought of Roland Barthes.

An opposition between artistic photography and the proof of lived experience

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The opposition is not always simple and sometimes even these two principles merge. Yet we still distinguish today the photography enthusiast of the person taking a selfie. The difference ? In one case the subject is the place observed, in the other the person being in the observed place. Even without necessarily taking a selfie, social networks have pushed to change the subject of photography, making “me” not the photographer but the heart of the message of photography. It is finally what disturbs the passionates of photography, we are no longer in the capture of the present moment but in a proof of its existence. There is therefore a denunciation not wanting to enjoy but want to be admired.

Social networks have changed the use of photography by developing this desire to put forward. Yet Roland Barthes, 30 years before social networks, had already detected the ability of photography to prove that a scene had existed. Finally social networks have only highlighted a peculiarity of photography but certainly in the service of narcissism.

 

From the Rivers and Parting: Esther Kinsky’s Frontiers – A review essay with a view to photography

cover-9783957570567 The River Lea grazes the city of London and “their distant stories”, he touches any center or penetrates the metropolis, but he flows past. He loses himself and finally flows into the Thames. Barrens mixed with nature, human souls and the remnants of civilization can be found on the banks of this river. Thrown away paper, dirty ragged rags lie between the grasses. Homeless people lay on the shore, madmen or peculiar figures who have fallen out of society meet the narrator. All this touches the ego only marginally, it is true, but these people glide past again, they briefly look into the view, become a narrative and they disappear again. A sad landscape. Endgame atmosphere – but poetic. An endgame that is able to divulge its charms in the desert. In these lost zones of London, the walker discovers a beauty of silence and seclusion. Nothing that bothers, because here it drives no tourists, no curious onlookers. Nothing is beautiful here, nothing worth seeing, nothing that could hold a viewer to linger in front of a beautiful landscape and to seek the anchor points of the scenery, after which the picture is structured and finds its structure. From the tristesse pictures of the suburbs, this emptiness reminds me of London from Aki Kaurismäki’s hired a contract killer .

Thus, the narrator walks these paths day by day, always a little further than before, beyond the old destination, and during this walk she finds part of her childhood in the Imago. Settlements, factories: a glimpse of impressions, what is actually unconnected suddenly comes into correspondence and means personal. The childhood on the Lower Rhine in the 50s. Mosaic creates impressions. Silently, these impressions point to a past that gradually opens up to detail, showing signs – a medical history. But only remoteness makes these memories, only when walking, the ego comes home “and with ever greater devotion stared into the little things that lay unnoticed on the wayside, the abandoned and the unprotected, the lost and the rejected, which crumbled to pieces became unrecognizable. “This walk, look and look is almost a penitential exercise.

Not only that Brechtian “Smudge the tracks” may be considered a reading instruction for city dwellers, but also the directive to learn to read these tracks on the edge of the fallow land . Just as the indigenous inhabitants of the natural worlds in the jungle or in savannas know how to read the signs of nature, here the garbage of civilization, which is piled up at the edges of the cities, comes into view and becomes a sign. But at the same time, these found things are only signs of something else, and this thing-ontology is a recurring theme in Kinsky’s novel. Densification and displacement push it to another place that does not seem to be entirely of this world. That Kinsky calls the Passover festival in her reflections should not be due merely to chance. Or just yet and completely immanent: to bring one’s own consciousness, one’s own life into reconciliation.

The narrator observes, she collects things she finds along the way. But above all, she is constantly photographing with a Polaroid camera. It depicts what she sees and in which she senses a special moment: the veryness of things, their trace, their position in space – even when these things are no longer viewed or used, they become meaningful through the camera. The Polaroid is the principle of direct duplication, it transforms an object into a picture in a few seconds and we hold the image of a thing in our hands. What we see is not what it is. Never before in the history of humanity was the immediate duplication of the world, its image so direct and so possible. But these photographs also serve to authenticate the real: that it was not a dream that showed itself on the river. In this context of mediated authenticity, connections also connect to Katja Petrovskaya’s debut novel Perhaps Esther and Helmut Lethens “The Shadow of the Photographer” as links: a literature as a trace of memory, in which the medium of photography plays a central role. Both in Kinsky’s and in Katja Petrowskaja’s novel we find photographs that structure narration.

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“With a small, cheap camera, I took pictures that later shamed me. When I looked at them, it seemed almost indecent to keep those fractions of strange lives, these pictures of fleeting gestures, aimless looks, lurking postures in my room, snippets of completely unknown people, unaware of this temporary immortality of a portion of their time in my hand suspected. “

The photographs form a center of the novel in Esther Kinsky as well as in Katja Petrovskaya. Around the pictures a story is told, they are places of storage and memory, immediate visualizations. Photographs are the presence of the absent, remembered past. Existence of what once was. Photography is the only medium that gives us a realistic picture of what has long since passed. But it is a picture at a standstill. Fixed time. Perhaps this is the reason why poetry, which works with photographs, always gets a far melancholy tone, because it deals with transience and explicitly makes this offense a topic.

Kinsky’s novel is preceded by two photographs, so far he does not begin with language, but with two pictures. The first photo, blurred at the edges, held in sepia tone, and sharp only in the center, where a child finds himself in the middle of a garden. Written below: the blind child . The child looks, his head tilted slightly upwards, his eyes raised, but looking out of dead eye sockets into nothingness or into the sky, while around him the blur of the world sets in as if in a twirling vortex. See without seeing: Blindness and Insight . The second photograph shows a landscape with a river, taken from a slightly elevated position, power pylons in the background and a heap. One suspects something like industrial or commercial buildings: a landscape that can be found on the fringes of many cities, when the river, industrial estate and nature merge and the city loses itself more and more into the natural environment.

“The ultimate condition of everything is river.” The (falsely) attributed to Heraclitus “Everything flows” may resonate as a philosophy and view of life: on the opposite left page is a quote from the writer Iain Sinclair. Of course, photographs are exactly the opposite of flow and flow. They capture irretrievably elusive time, the tearing life, and freeze the moment: memories that should remain. When we look at these pictures, which we find in our personal photo albums, we keep descending into the same river, seeing each other in the portrait as what we once were and yet coming out as others, because we, as the viewer, see the distance between us think about it today and us today. We have aged.

Even literature can be such a medium of remembrance. However, the literature works differently, metaphorizing the flow, as in the quote by Sinclair, who, as a role model for Kinsky’s Walk, also traveled through East London and whose landscapes in literature are soul images – not unlike the prose of Kinsky. Iain Sinclair is as good as unknown in the FRG. The edge of the Orizont appeared last year at Matthes & Seitz. If one reads his book Rodinsky’s room written together with Rachel Lichtenstein, one discovers some literary references to Esther Kinsky’s On the River : These moments of the riddle, the play between document and fiction determine both texts. If one traces once again the routes described by Kinsky in East London, we would surely recognize one or the other described detail.

But what good is such a realism of a literature that is aimed at recognizing places, if it is not about realistically portray? Literary landscapes are not real landscapes. For Charles Dickens, I do not need a map of London to understand the scenery, as Nabokov once posited. Kinsky is about something else. Memories are not listed on any city map. At best, when the finger leaves the streets, imagination flashes.

Here, in these linguistic and photographed images, a multi-layered phenomenology acts: it is not only the states of the soul that are reflected in the things, but at the same time the things and the locations show themselves, at least for the moment, taking shape: the rundown quarter in which the narrator lives, with its shops, the resident small traders, the charity shop for Bosnian refugees, the trader Greengrocer Katz (who also appears in Lichtenstein and Sinclair’s text), and the pious Jews who shop at Katz and come to an end of the novel to prepare for Passover. Enigmatic, alien and unrelated.

All that Kinsky tells about walks and changes of location remains strangely out of time. Despite interspersed data such as the Bosnian war. No sooner is there any information about when everything that the ego tells me is going on. Nothing social from the proliferating London, at most the poverty of the district. At most we know that the narrator grew up on the Lower Rhine “My childhood was on a river”, probably in the 50s. We learn that she had a child with whom she eventually emigrated to Canada for a while. We read about her father, who for the first time in his life stood with tears on his face at the airport in Germany when she said goodbye to him. But these tears touch the nameless narrator unpleasantly. Farewells as crystallized and magnified under a magnifying glass or from the ice. Then travel to Israel, to Poland. Penances and Judaism.

We only know a few things from her biography, and many things turn out to be an idea. There must have been a drastic event, but the readers learn nothing or only hints: why the narrator moved to East London, in this neighborhood of immigrants, people on the edge of society, a Hasidic Jewish community, the devout, who occasionally appear in their narrative contexts and incidentally the Gypsies – earlier, in their childhood on the Rhine, still with shaggy horses and carriages moving from place to place, stocked, later with caravan and automobile. As sedentary as the narrator in the course of her strange life.

At most, the narrative ego is sedentary on the banks of the rivers when it walks, collects the objects or when it takes pictures. Life in the pictures. “My walks on the River Lea were slow and haphazard. I looked and listened and sought memories. I took pictures and leafed through layers of memory. “

Detailed and branching, the narrative self depicts in a dense, partly poetic language that fills with perception, these days in London’s East as well as in hints and as a digression of time in other places of the world. This story also meanders like the river and seeks its way: from the source into the sea and without pausing. A rapt literature, sometimes a quiet mourning, but without despair. Nothing is celebrated melancholy as an effect here. The melancholic is melancholy – no more, no less. Contemplative might be the right term.

Image result for rivers and parting

The perception of the world reaches into the tonal colors of concepts. There the narrator finds a term like “Gadenruhm”. One hears him, reads, trivializes, ponders: certainly, the narrator works as a translator, and just as strange the concepts must first sound in order to be able to transfer them to their place of meaning, if we translated the term from one to the other sphere; from the sound to the sense of: Gardenroom.

On the river , this foray through the brief episode of a life in a sometimes lyrical tone is atmospherically dense and intense. This prose of a thing-ontology with sensory added value is not really my thing, because in some places the observing is overloaded with the finely chiselled and the exalted tone. Rilke sound, which even then tipped into the arts and crafts. But despite this fine tone of heightened sensitivity, the novel works, we do not come from the river while reading. Something about this prose captivates. Maybe it’s the urge to go for a stroll, which sharpens the eye and captivates the reader. Volatility without intention and intention: To describe all those moments, spellbound by the narrator and yet freed again from the fixation, and to confront them with one’s own gaze. A narrative as a presumably biographical search for clues and a prose that does not convey any message.

“… the city that I had laboriously learned to spell in years to give my own names, names that I’m only going to see from the network of memory trickles, the rubble of deposited images and sounds and the tissue intertwined Must fish and read words. “

Also, this setting of names has something to do with Judaism. With the adamite naming, a kind of prayer, and we are thinking of Walter Benjamin’s theory of language magic. Telling is mysticism.

A book review must necessarily reduce and trim its subject matter. Choosing the specific from the multitude of impressions is the task. In this case, it is difficult for me to grasp what – that perhaps motivated the length of this criticism. In Esther Kinsky’s At the river, there are many such places that do not go out of their heads, because they trigger reflexes in their exact perception. Physical reading. And at the same time the text flows in its observations, could continue to flow in this way of narration.

This is perhaps the compositional lack of the book. Because little is covered in the prose by a continuous history, the links are loosely and associatively fragments, which are indeed significant in context, but could have turned out completely different. Like the scraps of life we ​​are struggling to bring into a durable order. Contingency. Literature of this kind, as Kinsky writes, is contingency consciousness compensation. That telling about shock helps to make no sense in everything. The Jews celebrating Passover. We need our rituals and we need the traditions.

But the novel solves this perpetual sketch of reminiscence in prose, which never breaks off, because the eye and the mind are always aware of it, so that he can make a cut: Passover is her own departure for the narrator – it is just spring and therefore time for a new, for another beginning. Enough and done. On the banks and through the eastern quarters, strolling enough, sifting enough, photographing enough, she moves away from London, has her few belongings tucked away by the movers and taken to somewhere else. And as at the beginning of the novel, at the end of the last walk, that confused king appears again: the man who speaks with the ravens, insane, and a prophet wrapped in cloth around his head. A messianic emptiness that narrates in a wonderful picture of nature: the place where the river flows into the sea and water in water divides into each other indiscriminately is a zone of indifference. Movement is the essence of the rivers and streams of this world. Sensually rich, this novel condenses the aimless. In melancholy and in intensity. A great lyric prose. And I’m already looking forward to Kinsky’s grove .

 

Money Expenditures Growing Faster…

Money Expenditures Growing Faster…

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But still too slow.
Final Sales of Domestic Product grew at a 2.9 percent annual rate in the second quarter according to the revised figures. I favor a 3% target and so this figure is nearly there. Unfortunately, the level of Final Sales of Domestic Product remains way too low, and it will never catch up at this rate.
Interestingly, the inflation rate estimated Final Sales of Domestic Product grew at a 1.9% annual rate. This is close to the Fed’s target for inflation (thought the core CPI is their favorite measure of the price level.) Note that this implies that real Final Sales of Domestic Product is growing approximately 1 percent. While the productive capacity of the economy is supposedly growing slowly, this growth rate of real expenditures will result in a growing output gap.
It is interesting that there was deflation for both durable and nondurable consumer goods, and a 1.8 percent inflation rate for consumer services. Deflation continued to impact equipment and software and residences. Oddly enough, nonresidential structures had a 2.6% annual inflation rate.
The most significant inflation rate was exports–4.8%
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First photo contest of human generation

First photo contest of human generation

  • Image result for human generation paintingsocial action
  • Photo contest
  • solidary photography
  • poverty
  • solidarity

Through an email I received the news of the first photography contest of human generation . Generaciónhumana.org is an organization united in a network for social change.

Theme of the contest:

The theme of the photo contest follows the line of the organization and encourages the participation of professional or amateur photographers by sending photos of their authorship that reflect or protest against poverty, social response and solidarity in Spain, between 2007 and 2014.

Economic awards:

The prize money is in cash and the sum is interesting. I encourage you to visit the contest “Images for the story” if you are interested in this type of contest. But above all I encourage you to participate if you are a human being and you are against poverty, you are supportive or social activist.

And so you know something more about the contest published in this photo blog I leave you with the text I received in my email:

I would like to share with you and your audience the start, today February 12, of the 1st Social Photography Contest . Images for the history, with the theme: Poverty, Social protest and Solidarity in Spain, 2007/2014, that Generación Human @ organiza.

Endowed with four cash prizes totaling 7,000 euros , this Photo Contest was born in 2014 and will be repeated every year with different themes, but always dedicated to Photography of social interest.

The objective of Generación Human @, the organizing entity of the Contest, is the creation of a large Documentary Graphic Fund, a bank of images highly specialized in social issues and freely available to all.

Generación Human @ has enabled channels on Facebook, Twitter and Instagram to send and receive the images that are grouped under the hashtag #imagenesparalahistoria. A competition open to both professionals and amateurs, in which even the photos by mobile can participate, adding to the Professional Jury Prizes another popular one in which the best among the most voted photos will be awarded.

As highlighted in the Contest Bases, the depth and intensity of the human and social message transmitted by the images, added to their photographic quality, will be especially valued . The Imagery Fund for the History Generation Human @ is collecting this year reflects the human face of this crisis, in the images of those who have suffered the most, impoverishment, unemployment, evictions … but also in the demonstrations of citizen protest, tides white, green or orange and movements such as 15M or Surround the Congress and the enormous diversity of actions of individual and collective solidarity. Events that were captured by photojournalists and professional photographers, but also by the citizens who witnessed or staged those situations.

The Contest starts on Wednesday, February 12 and ends on May 30, 2014.

United in Network for Social Change is the motto of Generation Human @ and the images that bear witness to social injustice are fundamental to raise awareness of the need for social change. For this reason we would be very grateful if you can disseminate this initiative to your blog, allowing your followers to also get to know it, participate, incorporate their images into the Human Generation Documentary Graphic Fund and, perhaps, win some of the prizes.