UNSERE VIRTUELLEN TÜREN SIND RUND UM DIE UHR FÜR SIE GEÖFFNET!
Liebe Besucherinnen und Besucher,
trotz der Schließung des Museums bleiben unsere virtuellen Türen weit für Sie geöffnet. Gerne möchten wir Ihnen in der kommenden Zeit Ihre Tage mit Design, Architektur, angewandter Kunst und Ideen verschönern.
Begeben Sie sich auf einen virtuellen Rundgang durch das MAK, tauchen Sie ein in die digitale MAK-Sammlung, recherchieren Sie in unseren digitalen Beständen oder lassen Sie sich von unserem Objekt des Tages überraschen.
ANDACHTSBILD MIT DEM MARTYRIUM DER HEILIGEN CORONA
Seit jeher unterliegt die Gestaltung unseres Alltags einem stetigen Wandel. Momentan erleben wir alle eine durchaus abrupte und einschneidende Veränderung, die sich massiv auf die täglichen Abläufe unseres Zusammenlebens auswirkt. Wir ändern unsere Rhythmen, setzen andere Schwerpunkte, brechen mit alten Gewohnheiten oder entdecken manche von ihnen von Neuem. Für viele ist in diesen Tagen und Wochen die Wohnung zum eingeschränkten Lebensraum geworden: Treffpunkt digitaler Kommunikation, Spielplatz, Arbeitsraum und notgedrungen auch Rückzugsort. Möglicherweise erlangen ja manche Dinge in unserer häuslichen Umgebung neue Aufmerksamkeit und eine andere Wertigkeit.
photo baselswitzerland´s first international art fair dedicated to photography September 15 – 20, 2020
photo basel, Switzerland’s first and only international art fair dedicated to the photographic medium, is pleased to announce its new date for the sixth edition. In accordance with Art Basel week, photo basel will open on September 15th and run until September 20th, 2020. A contingent of over 40 international exhibitors will present works by artists from more than a dozen countries, fostering a dialogue between members of the photographic and broader art world communities.Our selected galleries will exhibit artists from emerging talents to icons of the medium’s history, such as Lee Miller, Irving Penn Jeanloup Sieff, William Klein, Helmut Newton, Guy Bourdin, Inge Morath, Philippe Halsman, Albert Steiner, Alfred Stieglitz, Annie Leibovitz, Peter Bialobrzeski, Roger Humbert, Georges Rousse, Newsha Tavakolian, Ayana Jackson, Sebastian Riemer, Ege Kanar, André Kertész, Sarah Moon and many more.
Alongside the main section of the fair, photo basel will host a curated and dedicated program that aims to further expand the appreciation for, understanding of and conversation about the medium of photography, its artistic positions and practices. photo basel NEW DATE: September 15 – 20, 2020
We are striving to create a hub for artistic photography in the cultural capital of Switzerland, Basel. Our goal is to ignite photography in Basel for the long haul. Our vision is that each exhibitor, collector, aficionado and visitor together are creating a unique photo basel DNA.
the fair
photo basel strives to include and combine galleries that are young as well as those that are renowned, Swiss exhibitors as well as international ones, those with a bold contemporary program as well as others with strong historic positions. The fair aims to provide its visitors and collectors with the ultimate chance to connect with galleries whose respective exhibition programs demonstrate a strong predilection for translating the DNA of momentous photographic practices, historic and contemporary, as well as a gift for revealing talents, from emerging or previously overlooked to underrated or established.
Karola Kraus stellt ihre Lieblingssongs und -bücher vor, welche sie geprägt haben – Tipps für die Zeit der Krise und danach
Songs
Kapitulation von Tocotronic “Wir dürfen angesichts der schwierigen Situation nicht kapitulieren.”
Was ist Musik von Justus Köhncke “Das ist der Beweis, dass man mit minimalen Aussagen große Wirkung erzielen und dabei eine unglaubliche Sinnlichkeit spüren kann.”
Josephine von Chris Rea “… wie wenn man auf einer Harley Davidson mit dem geliebten Mann durch Kalifornien braust.”
Somethin´ Stupid von Robbie Williams und Nicole Kidman “So schön kann Liebe sein!”
Jane B von Jane Birkin “Solche Skandale dürfte es gerne öfter geben.”
We Have All the Time in the World von Louis Amstrong “Mit diesem Lied könnte man die Welt umarmen.”
Summerwine von Nancy Sinatra und Lee Hazelwood “Das ist der Inbegriff eines zeitlosen, erotischen Sommerhits.”
Jeanny von Falco “Dieser Song erinnert mich an meine Begegnung mit Falco in der Paris Bar in Berlin, als ich für ihn das Schwarzwaldlied gesungen habe und er mir dafür einen Handkuss gegeben hat.”
If You Don’t Know Me by Now von Simply Red “Wer mich bis jetzt noch nicht kennt …”
Diamonds Are Forever von Shirley Bassey “Mein schönstes monochromes Bild besteht aus Tausenden von funkelnden Steinen.”
Jetzt trink ma no a Flascherl Wein von Hans Moser “Ich freue mich schon auf die Zeit, in der wir wieder Ausflüge zu den Heurigen machen können …”
Magistrate’s Court TA-03-20 In Tel Aviv – Jaffa Plaintiff: Moti Mizrahi, ID 004400842 11 Nitzana St., Tel Aviv-Jaffa 6811711 By Attorney Yuval Lippe and / or Nurit Asher Fenig Moshe Kol St. 1/3, Tel Aviv – Jaffa 6962648 Tel: 052-2923932; Fax: 153-522-923932 – contrary Defendants: 1. Tel Aviv-Jaffa Municipality 69 Ibn Gvirol St., Tel Aviv-Jaffa 6416201 2. Jordash Israel Ltd., H.P. 512636382 33. Opera Building Hotel Limited Partnership, H.F. 550266308 Both at 1 Sapir St., Herzliya 4685205
The nature of the claim: mercury, violation of moral right, copyright, negligence, contractual, tort, damages Mental, hurting reputation, doing wealth and not trial, slander ₪ Claim amount: 1,750,000
Exhibit 2 – Attached photograph of the plaintiff dated 14.01.2020, first looking at the pile of debris that was once his work, The statue “Eastern Kiss” – watching as his pain was evident from his gaze. The anguish and sorrow are evident and reflected in a simple picture Exceeding any thousand-word description.
Artist Moti Mizrahi “They turned my sculpture into a scrap heap“: Where did the piece from the Opera Tower go? Artist Moti Mizrahi spent two years solving the mystery – what happened to the sculpture he created for the opera tower in the 1990s. Only recently revealed that the piece was dismantled and parts of it were abandoned in the building’s parking lot, and he is suing the boutique hotel owners set up there for almost NIS 2 million By @NaamaRiba
For about two years, artist Moti Mizrahi did not know what the fate of the “Eastern Kiss” sculpture he created for the foyer of the opera tower in the 1990s. It is a large work more than 13 meters high and was familiar to anyone who has ever entered the tower’s entrance floor. But in 2017, after the rights to open a new boutique hotel were acquired, the sculpture disappeared. Only two months ago, after lengthy attempts to include lawyers and municipal officials, Mizrahi discovered that his work had been dismantled and demolished – and abandoned in the building’s parking lot. The artist claims that not only did the Opera Hotel Herbert Samuel not bother to update him that the statue was dismantled – she also tried to deliberately hide the fate of his work.
A view of the balcony from the street, before the renovation. The sculptures in the corners have been preserved (Photo: Sheeran Carmel)
Opera Herbert Samuel Hotel
A huge, tall, bright lobby welcomes guests to the Opera Herbert Samuel Hotel, which recently opened on the ruins of the Opera Tower Mall, at the intersection of Hayarkon, Allenby and Herbert Samuel Streets in Tel Aviv. The mall that died years ago, after planning and redesigning, became another hotel owned by the Nakash brothers – this time a three-story, 115-room beach hotel.
Only the two greenish statues of Motti Mizrachi at its edges remain as evidence of the building’s previous roll. As you exit the dining room onto the terrace, the atmosphere changes suddenly – the busy road and the promenade is bustling.
In the glamorous days of the mall, the lobby area served as a cafe extension, overlooking two floors of shops, with a large sculpture by artist Motti Mizrahi. Today it is a polished space with a bright and shiny stone floor, surrounded by facades covered with white plasterboard, with little artificial vegetation flowing from the metal railings. Mizrahi’s sculpture, by the way, “did not fit the new design,” says public relations officer Ethan Levinstein, “and he waits in the parking lot for the municipality or sculptor to come and take it.”
Statement of Claim A. Introduction: A. The plaintiff submits this claim on his behalf, but at the same time it has a broad public statement regarding culture and art. Which is essentially for the benefit of the public, its welfare and its rights, and the blatant and disparaging manner of all those on the part of the defendants, As reflected by the defendants’ attitude to the artistic aspect in general and public space in particular, and to the shameful and condescending expression Given by them, not often, to the artist and the art, and especially to the case as to our case, where foreign considerations and money making become the line Practically guides and constitutes the sole discretion in their relation to the artist and his creation, to the extent that the culture is discarded And art as a blank, worthless tool and its replacement in a private business project. B. As we will see in the lawsuit below, the place of the creators and artists whose rights have been enshrined in law and wide-ranging rulings, Become one of the most insignificant, until the bodies responsible for maintaining and maintaining the rights of the artists And the plaintiff as part of them, do not even regard this duty as a recommendation and ignore their responsibility grossly and blatantly and the consequences Stemming from their conduct, knowing that they act on the margins of the law and even outside it, while trampling on fundamental values Inherent in art and creation.
third. The interest of the claim in the creation of art created by the plaintiff, at the invitation of the defendant 1 and / or the entrepreneur Mr. Alfred Akirov in 1992, which includes the work known as “Oriental Kiss” and the supplementary work “The Fall of the Muses”, for this purpose Combining them together, as interior and exterior sculptures in the “Tel Aviv Opera” (hereinafter “the Tower”), which is built as a 3-story tower Commercial and above residential apartments, the first in Israel and the largest in his era. D. Construction of the building now known as the “Opera Tower” in Tel Aviv for the consolidation of the lots on which Magic Cinema and the San Remo was completed in 1993. The tower is located near Hayarkon and Allenby streets. In the early 1930s, the area was built Hotel San Remo. In 1945, a building that functioned as a ‘magic’ cinema was built next to 1948. In the War of Independence it did In the Navy headquarters building. The first Knesset held its meetings in the “Magic” cinema for more than nine months 1949. Subsequently, the building was transferred to the Tel Aviv municipality, which held the City Council meetings. The structure of the “Israeli Opera” dates from 1958 to 1982 and hence its name. God. “Oriental Kiss” – the work created by the plaintiff “Oriental Kiss”, is a sculpture that rose to a height of 13.5 meters And stood in great glory in the tower’s plaza. The work expresses the history of the building, which is intertwined with the establishment The state, the acclimatization of all its citizens to its various shades, along with its tradition, values and personal history Of the plaintiff, his family and his generation, on whom they grew up and brought them with them to Israel, and instilled it from the bottom of their hearts and minds to the whole. and. In essence, it is said that the work “Oriental kiss” was created by the plaintiff with a mix of impressive techniques and figures A 3-foot-tall man and woman, accurate to the smallest anatomy details. The plaintiff tried to maintain a motion, thus That despite the physical statics of the work, it moves in space and time and in a delicate balance between Heaven and earth, between East and West, humanity and technology, control and static versus freedom of movement. All this, in spirit ‘Operatic’ is appropriate to where it was placed. When the front of the “Opera Tower”, at the entrance, is placed the complementary work “The fall of the Muses”, in which the accordion, muses and the Israeli spirit in danger of falling are expressed.
Appendix 3 – Contains 4 photographs of the “Eastern Kiss” pieces, with debris left and cigarette butts on them, . ‘ Welding marks, cutting and brutal destruction of the sculpture for objects scattered side by side, from 15 images in the appendix
Plaintiff 1. Mr. Motti Mizrahi
Motti Mizrahi (“the plaintiff” or “the artist” or “the sculptor”), born in 1946 in the Shabazi neighborhood of Tel Aviv-Jaffa, Old-age parents of troubled parents of Iraqi-Persian origin. 2. The prominent Israeli artist living today and a multidisciplinary international artist, engaged in photography, sculpture, video, 1973 studied at Bezalel Art Academy. The plaintiff has both limbs from childhood as a result and multimedia. In 1969 From a chronic illness that also hurts his vision, he uses the crutches to walk and his disability is often manifested in his various works. 3. Plaintiff’s works are considered from the 1970s to the present day as key works of Israeli art, Dealing with personal, social and political experience. His works explore relationships between groups in society In Israel and around the world, dealing with issues of oppression and control of strong groups in weak groups. 4. The plaintiff belongs to a generation that began operating in the 1970s, the conceptual period in Israeli art. His body was then the center For all his work. His disability and pains were used in performances such as Via Dolorosa, and in the staged footage “Foot with Wing”, And “King of Jerusalem,” or “Fool on the Hill.” During the 1970s, the plaintiff contacted the school of seminary, When the common denominator was social, the common denominator was the reference to the content Personal, cultural and social at the center of the work, returning from abstraction to program form. 5. Throughout the years of work, the plaintiff has received wide international recognition and numerous prestigious awards, including an office award. Education and Culture for 2002, Culinary Prize for Young Artist of the Israel Museum, Israel Museum of Sculpture Award Sandberg and more.
“Sie haben meine Skulptur in einen Schrotthaufen verwandelt“: Wo ist das Stück vom Opernhaus geblieben?
Der Künstler Moti Mizrahi hat zwei Jahre damit verbracht, das Rätsel zu lösen – was mit der Skulptur passiert ist, die er in den 1990er Jahren für den Opernhaus geschaffen hat. Erst kürzlich wurde bekannt, dass das Stück abgebaut und Teile davon auf dem Parkplatz des Gebäudes zurückgelassen wurden. Er verklagt die dort eingerichteten Boutique-Hotelbesitzer wegen fast 2 Mio. NIS
Naama Riba Gepostet um 8:11 PM
Der Künstler Moti Mizrahi wusste ungefähr zwei Jahre lang nicht, was das Schicksal der “Eastern Kiss” -Skulptur war, die er in den 1990er Jahren für das Foyer des Opernturms schuf. Es ist ein großes Werk, das mehr als 13 Meter hoch ist und jedem bekannt war, der jemals das Eingangsgeschoss des Turms betreten hat. Nach dem Erwerb der Rechte zur Eröffnung eines neuen Boutique-Hotels im Jahr 2017 verschwand die Skulptur. Erst vor zwei Monaten stellte Mizrahi nach langwierigen Versuchen, Anwälte und Gemeindebeamte einzubeziehen, fest, dass seine Arbeit abgebaut und abgerissen worden war – und wurde auf dem Parkplatz des Gebäudes aufgegeben. Die Künstlerin behauptet, das Opernhotel Herbert Samuel habe sich nicht nur nicht darum gekümmert, ihn über den Abbau der Statue zu informieren, sondern auch versucht, das Schicksal seiner Arbeit absichtlich zu verbergen.
This is what the abandoned mall looks like two years ago: The sculptor of the artist Motti Mizrahi did not fit the new design and he waits in the parking lot until the municipality or sculptor collects it (Photo: Sheeran Carmel)
OBERES BELVEDERE IM BLICK: Georg Eisler1928–98 Eröffnung:Opening: 24. September 2020 Kuratiert von Kerstin Jesse Ausstellung: 24. September 2020 – 10. Jänner 2021 Prinz Eugen-Straße 27, 1030 Wien https://www.belvedere.at/georg-eisler-1928-98
IM BLICK: Georg Eisler 24. September 2020 – 10. Jänner 2021
„Die Zwischenräume sichtbar zu machen, die perspektivischen, emotionellen und geistigen Zwischenräume von Figur zu Figur“ – so formulierte Georg Eisler 1963 sein künstlerisches Anliegen. Obwohl Eislers zumeist großformatige Werke spontan und ungezwungen wirken, rang er damit, das Sichtbare in eine unverwechselbare Bildsprache zu übersetzen. Davon zeugen die persönlichen Tage- und Arbeitsbücher des Künstlers, die in den Jahren von 1962 bis 1997 entstanden und dieser Im Blick-Ausstellung als Ausgangspunkt dienen. Die meist selbstkritischen Aufzeichnungen erlauben einen ungefilterten und offenen Einblick in das Schaffen des Künstlers. Anhand ausgewählter Kunstwerke wird der Fokus auf das Malerische der meist kritischen Interpretationen der Wirklichkeit gerichtet.
In Kooperation mit dem Georg und Alice Eisler-Fonds für bildende Künstler und Komponisten wird seit Anfang 2019 im Belvedere an einem Werkverzeichnis des Künstlers gearbeitet.
Georg Eisler wird am 20. April 1928 als einziger Sohn des bekannten Komponisten Hanns Eisler (1898–1962) und der Sängerin und Gesangspädagogin Charlotte Eisler (1894–1970) geboren. Als er sieben Jahre alt ist, lassen sich seine Eltern scheiden. 1936 Umzug mit seiner Mutter nach Moskau; 1938 vereitelte Rückkehr nach Wien und Aufenthalt in Prag; 1939 Flucht über Polen und Göteborg nach England mit den Stationen Birmingham, Manchester und London. 1942 freundet er sich mit Erich Fried an. 1944 lernt er Oskar Kokoschka kennen und nimmt in der Londoner Foyle’s Art Gallery erstmals an einer Ausstellung zu österreichischer Kunst teil. Nach einer ersten Einzelausstellung im März 1946 in Manchester kehrt der 18-Jährige im September in das zerstörte Wien zurück. Besuch des Abendaktes von Herbert Boeckl und Bekanntschaft mit Alfred Hrdlicka, Rudolf Schönwald und Fritz Martinz. Diverse Nebenbeschäftigungen, um seinen Lebensunterhalt zu verdienen. Intensive Auseinandersetzung mit der Malerei und Reisen unter anderem nach Italien, Holland, Frankreich, Deutschland und England. 1958 erste Einzelausstellung in Wien in der Galerie Wolfrum und zusehends intensivere Ausstellungstätigkeit auch auf internationaler Ebene. 1964 erste Monografie über Eisler, verfasst von Erich Fried und Ernst Köller. 1965 Österreichischer Staatspreis für Malerei. 1966 Heirat mit der Juristin Alice Gerson (1930–2011). Von 1968 bis 1972 Präsident der Wiener Secession. Ab 1970 Lehrtätigkeit, auch in den USA; in diesem Jahr publiziert Otto Breicha eine Monografie mit einem Werkverzeichnis. 1971 Preis der Stadt Wien für Malerei; 1974 Ehrenkreuz für Wissenschaft und Kunst. 1982 Teilnahme an der Biennale in Venedig und Beginn einer langen Freundschaft mit dem französischen Fotografen Henri Cartier-Bresson. 1997 umfassende Retrospektive im Oberen Belvedere, die er mitgestaltet. Eisler stirbt am 15. Jänner 1998 an den Folgen eines Krebsleidens. Er erhält ein Ehrengrab der Stadt Wien.
Georg Eisler | Esther Private collection
Esther Private collection Georg Eisler Esther 15.1.1995 Bleistift auf Papier, 24x32cm frame 35,5×45,5cm Schenkung Georg EislerEsther Private collection Georg Eisler 16.1.1995 für Esther Bleistift auf Papier, 38x56cm Frame 53x70cm Schenkung Georg Eisler http://www.estherartnewsletter.com/links
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