Search results for ""Johannes""

Johannes Gutenberg wasn't just an inventor. He was also a goldsmith, printer and publisher. Young readers will discover how this man found a way to bring information to people near and far.

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When the State Bauhaus opened in Weimar in 1918, the Swiss artist and art theorist Johannes Itten (1888 – 1967) was one of the first teachers to be appointed by Walter Gropius. With his preliminary course, Itten had a considerable effect on the creative training in the Bauhaus; to this day his insights into the theory of colours set standards in art education and in the field of design. Enquiring mind and lecturer, painter and art teacher – Johannes Itten was a very thoughtful artist personality which was reflected in numerous theoretical texts and artworks covering a wide range of styles. Constantly in dialogue with students and colleagues as well as in a study of other cultures and artistic ideas, Itten created works in which he examined colours, their aura, contrasts and forms. Inspired by Adolf Hölzel, his teacher at the Stuttgart Academy, Itten developed, amongst other things, the famous doctrine of colour types whose significance extends far beyond the realms of art into everyday culture. The acknowledged Itten expert Christoph Wagner introduces the artist with his complex and symbolic work and traces an arc from the revolutionary Bauhaus teacher and founder of various art schools to the art theorist of the theory of colours.

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Johannes Cabal is back - a little older, a little wiser, but just as sharply funny, cuttingly sarcastic, and unexpectedly violent as ever.For necromancer Johannes Cabal, dealing with devils, demons and raising the dead is pretty much par for the course. But when his attempt to steal a rare book turns sour, he is faced by a far more terrifying entity - politics. While awaiting execution for his crime, Cabal is forced to resurrect an inconveniently deceased emperor. Seizing his chance, the cunning Cabal engineers his escape, fleeing the country on a state-of-the-art flying ship. But the ship has more than a few unpleasant surprises, including an unwelcome face from the past and the small matter of some mysterious murders. Cabal may work with corpses but he has absolutely no intention of becoming one. Drawn into a deadly conspiracy, is he shuffling dangerously close to the end of his mortal coil?

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Die neutestamentliche Forschung hat sich in den letzten Jahren eingehend mit dem letzten Buch der Bibel befasst. Von den Ergebnissen ist freilich wenig in der kirchlichen Verkündigung und bei normalen Bibellesern und -leserinnen angekommen. Dieser Kommentar möchte deshalb in allgemeinverständlicher Sprache den Ertrag der wissenschaftlichen Auslegung der Offenbarung einer breiten Leserschaft vermitteln. Er fragt aber darüber hinaus auch nach ihrer Botschaft für uns heute. Die Situation der Empfängergemeinden wird erklärt und die zeitgeschichtlichen Hintergründe werden hervorgehoben. Vor allem aber werden die Perspektiven herausgearbeitet, die über die zeitbedingten Aussagen hinausführen. Die alttestamentlichen Quellen der Visionen werden aufgezeigt und zur Entschlüsselung ihrer Symbolik genutzt. Auch die genaue Analyse des Aufbaus der Schrift wird zu einer wichtigen Lesehilfe. Die Spannungen innerhalb der Botschaft des Buchs werden klar benannt: Rigoristische Anforderungen an die Treue der Gemeinde neben bedingungsloser Einladung zu Gott, Theologie des Kreuzes neben blutigen Gewaltfantasien, Betonung der gnädigen Erwählung und die Bedeutung der Werke für das Urteil Christi. Doch es sind diese scheinbaren Widersprüche, die der Botschaft ihr besonderes Profil und Tiefenschärfe geben. Die Ermutigung zu einem Verhalten, das sich nicht von der Vergötterung menschlicher Macht verführen lässt, und zur Hoffnung auf den Sieg der gerechten und gnädigen Herrschaft Gottes hat bleibende Bedeutung auch für die Kirche heute.

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Happenstance and gesture play a central role in the creative work of the ceramicist Johannes Nagel (b. 1979). His objects, which are orientated towards traditional ideas of vessels but are also freely composed, examine the associations between form and idea. Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence. The publication focuses on Nagel's oeuvre from the last four years. Earlier work groups are also presented as highlights. The collector Jörg Johnen and the philosopher Marcel René Marburger set Nagel's work in relation to artistic tendencies of the twentieth century and shine a light on the intellectual-historical background of the gestural as an intermediary between the power of imagination and its manifestation in an object. Text in English and German.

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Johannes Cabal and his rather inexact powers of necromancy are back once more. This time, his talents are purchased by The Fear Institute as they hunt for the Phobic Animus - the embodiment of fear. The three Institute members, led by Cabal and his Silver Key, enter the Dreamlands and find themselves pursued by walking trees plagued with giant ticks, stone men that patrol the ruins of their castles, cats that feed on human flesh and phobias which torment and devastate. The intrepid explorers are killed off one by one as they traipse through this obfuscating and frustrating world, where history itself appears to alter. Cabal, annoyed that the quest is becoming increasingly heroic, finds himself alone with the Institute's only remaining survivor, and after a shockingly violent experiment, begins to suspect that not everything is quite as it seems...

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The start of a fantastic new series.Johannes Cabal has never pretended to be a hero of any kind. There is, after all, little heroic about robbing graves, stealing occult volumes, and being on nodding terms with demons. His purpose, however, is noble. His researches are all directed to raising the dead. For such a prize, some sacrifices are necessary. One such sacrifice was his own soul, but he now sees that was a mistake - it's not just that he needs it for his research to have validity, but now he realises he needs it to be himself. Unfortunately, his soul now rests within the festering bureaucracy of Hell. Satan may be cruel and capricious but, most dangerously, he is bored. It is Cabal's unhappy lot to provide him with amusement.In short, a wager: in return for his own soul, Cabal must gather one hundred others - in one year.One year to beat the Devil at his own game. And isn't that perhaps just a little heroic?

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Helen Hirsch has been director and head curator at the Kunstmuseum Thun since 2007.Christoph Wagner is a lecturer and head of the Art History Department at the University of Regensburg in Germany.

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Text in Danish.

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Text in English & German. Johannes Peter Hölzinger studied architecture at the Städelschule in Frankfurt am Main from 1954 to 1957. After a residency fellowship at the Deutsche Akademie Villa Massimo in Rome he founded a "planning association for new forms of the environment" in 1965 together with Zero artist Hermann Goepfert, who has since died. One of the most successful results of his work with Goepfert was a new design for the Schloßpark in Karlsruhe on the occasion of the Bundesgartenschau in 1967, which won a major German architectural prize, the Hugo-Häring-Preis. From 1991 until his retirement in 2002 Hölzinger directed the art and public-space course at the Akademie der bildenden Künste in Nuremberg. Individualistic and oppositional in comparison to other post-World War II architectural achievements, the design of Hölzinger's buildings is very distinctive. The playful elements of Postmodernism are as alien to his work as the functionalism of New Building. Because of his association with Hermann Goepfert, Hölzinger is much more closely connected with the art scene of his time. The integration of art and architecture is a unique feature of his buildings. If we try to assign a category to this "object architecture" (a term he coined himself), we will find less overlap with architecture than with fine art. From the very beginning Hölzinger saw architecture as an artistic discipline. Light kinetics offered him important new perspectives. Lighting design and the resulting colour changes of white walls play a vital role in his work.

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