Leni Riefenstahl was the central propagandist for the Nazis, and one could productively think through her work as the attempt to make politics aesthetic (Benjamin). Here, you can watch her disturbing Triumph of the Will:
Here, you can see Fassbinder’s Ali: Fear Eats the Soul, as a kind of counterpoint…
“The Emergence of the Modern Age: Jews in the Kaiserreich and the Weimar Republic.”
After a morning with Adorno and other friends, Rube and Mandy put on their country mouse shoes and took the U2 to the U3 to Dahlemdorf Ubahn station: a thatched hut, btw., from whence they walked to Grunewald, Berlin’s largest greenspace. They walked around the eponymous Grunewaldsee, stopping to eat only twice (having fortified themselves at the Crobag in the Alex-U), first at Forsthaus Paulsborn and then again, a mere kilometer later, at their new favorite Biergarten, Châlet Suisse.
Marianne und Juliane: [note: film contains graphic Holocaust footage]
Wiki re the director: “Margarethe von Trotta (born 21 February 1942) is a German film director who has been referred to as a “leading force” of the New German Cinema movement. […] Von Trotta has been called ‘the world’s leading feminist filmmaker.’ The predominant aim of her films is to create new representations of women. Her films are concerned with relationships between and among women (sisters, best friends, etc.), as well as with relationships between women and men, and involve political setting. Nevertheless, she rejects the suggestion that she makes ‘women’s films.'”
c/o Berlin (which has moved and is no longer in Mitte; Hardenbergstraße 22, 10623 Berlin) is a contemporary exhibition space dedicated to photography. Out of the four photographers being exhibited right now, we focused on the central two, both born in the 1940s and still working today: American photographer Stephen Shore and East German photographer Ulrich Wüst.
The Shore-show is a retrospective, which means we moved through is work chronologically (although since Shore moved between New York and pan-US projects, the show had a spatial element and made me think in particular a lot about how we might document our time here in Berlin and after, above and beyond the standard food-and-culture memoir), starting with his move at age 18 into Warhol’s Factory, through a conceptual period (grids!) in the 70s, into larger format, rich scenes of suburban and urban Americana, and finishing (somewhat disappointingly but I’d love it if someone argued me out of that thought) into the digital, streaming world of Instagram.
The Wüst collection is otherwise-organized: categorically, spatially and seasonally, with Stadtbilder (Cityscapes), Spätsommer (Late Summer), and Randlegen (Peripheries).
© 2024 Rube and Mandy go to Berlin. Spring. 2016.
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