Search results for ""deutsche""

Explores contemporary art that challenges deadly desires for mastery and dominion. Amid times of emboldened cruelty and perpetual war, Rosalyn Deutsche links contemporary art to three practices that counter the prevailing destructiveness: psychoanalytic feminism, radical democracy, and war resistance. Deutsche considers how art joins these radical practices to challenge desires for mastery and dominion, which are encapsulated in the Eurocentric conception of the human that goes under the name “Man” and is driven by deadly inclinations that Deutsche calls masculinist. The masculinist subject—as an individual or a group—universalizes itself, claims to speak on behalf of humanity, and meets differences with conquest. Analyzing artworks by Christopher D’Arcangelo, Robert Filliou, Hans Haacke, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Louise Lawler, Martha Rosler, James Welling, and Krzysztof Wodiczko, Deutsche illuminates the diverse ways in which they expose, question, and trouble the visual fantasies that express masculinist desire. Undermining the mastering subject, these artworks invite viewers to question the positions they assume in relation to others. Together, the essays in Not-Forgetting, written between 1999 and 2020, argue that this art offers a unique contribution to building a less cruel and violent society.

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Explores contemporary art that challenges deadly desires for mastery and dominion. Amid times of emboldened cruelty and perpetual war, Rosalyn Deutsche links contemporary art to three practices that counter the prevailing destructiveness: psychoanalytic feminism, radical democracy, and war resistance. Deutsche considers how art joins these radical practices to challenge desires for mastery and dominion, which are encapsulated in the Eurocentric conception of the human that goes under the name “Man” and is driven by deadly inclinations that Deutsche calls masculinist. The masculinist subject—as an individual or a group—universalizes itself, claims to speak on behalf of humanity, and meets differences with conquest. Analyzing artworks by Christopher D’Arcangelo, Robert Filliou, Hans Haacke, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Louise Lawler, Martha Rosler, James Welling, and Krzysztof Wodiczko, Deutsche illuminates the diverse ways in which they expose, question, and trouble the visual fantasies that express masculinist desire. Undermining the mastering subject, these artworks invite viewers to question the positions they assume in relation to others. Together, the essays in Not-Forgetting, written between 1999 and 2020, argue that this art offers a unique contribution to building a less cruel and violent society.

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Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.

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Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.

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How did Germany’s gold reserves arise and which role has gold played as a currency across the centuries? What significance did gold reserves have then and what is its role today? In this book the gold reserves of the Bundesbank are vividly illustrated and presented to readers in such an informative way that it seems as if you were holding them in your hands. The transfer of significant gold reserves from the depots in New York and Paris to Frankfurt has been the subject of considerable public interest in recent years. These German gold reserves are administered by the Deutsche Bundesbank, and this book provides detailed information for the first time about the development, use and storage of the gold in the bank’s own vaults. Interesting insight into the mining and processing of gold as a raw material, as well as authoritative knowledge about its qualities, are impressively complemented visually by the lavish illustration of selected gold ingots from the reserves of the Bundesbank.

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Since its debut nearly 70 years ago, the Berlin International Film Festival - known as the Berlinale - has become one of the world's leading showcases for cinematic talent and ranks amongst the industry's best attended events. Every year, photographs from the festival - held every February - capture the attention of the world. This selection of images of the Berlinale from the 1950s to the present in the archives of the Deutsche Kinemathek features highlights from on and off the red carpet. In addition to the stars and directors, it includes images of lively press conferences, parties, fans, award ceremonies, and some rare instances of calm amidst the hustle and bustle of the festival. From a historical perspective, the collection draws attention to the development of Berlin itself and the transformations within the film industry. These are revealed by images of interiors, by the fluctuations of fashion, and by the way, changing over time, that people interacted with photographers and journalists.

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About a decade ago, Deutsche Bank initiated the Artist of the Year program. On the occasion of its 10th anniversary it is now for the first time awarding three artists at the same time: Maxwell Alexandre, Conny Maier, and Zhang Xu Zhan. What all three have in common is that they came to contemporary art via unusual paths and bring very specific life experiences and cultural influences with them. Maxwell Alexandre was born in Rocinha, Rio de Janeiro’s largest favela, where he still lives today. The paintings and installations of the artist of African descent revolve around community and violence, hip-hop and spirituality. Conny Maier lives and works in Berlin and Portugal and is one of the most important discoveries in the current German painting scene. Maier’s art reflects a world shaped by representation and materialism, in which people seem to lose control. Zhang Xu Zhan was born in 1988 into a family that has been making and trading in traditional paper figurines for over a century. His stop-motion films, staged in immersive installations, take us into the realm of nature spirits and demons. With translations of the text about the work of Maxwell Alexandre in Brazilian Portuguese, with translation of the text about the work of Conny Maier in German and with a translation of the text about the work of Zhang Xu Zhan in Chinese. Text in English, Portuguese, Chinese and German.

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The aim of the Recommendations is the technically correct exploitation of the subsoil for geothermal purposes. It should be of assistance in avoiding impairment of soil and groundwater during the operation of the plant and buildings.

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