Valeska Gert

"Valeska Gert war in den 1920er Jahren in Berlin, Moskau und Paris berühmt für ihre Auftritte als "Grotesk-Tänzerin". Auch das Kino entdeckt sie als Schauspielerin. Umgekehrt entdeckt Valeska Gert auch den Film als ästhetisches Stilmittel für die eigenen Performances. Ihrer Zeit weit voraus, überträgt sie Elemente wie Zeitraffer, Zeitlupe und Filmschnitt auf den Tanz. 1933 von den Nazis als „entartet“ diffamiert, verlässt sie Deutschland bis 1947 und hat keine nennenswerten Filmrollen, bis sie 1965 von Federico Fellini und später vom Jungen Deutschen Film wiederentdeckt wird."
(source: Film Museum Potsdam ><)

Otl Aicher – Hans Scholl, Sophie Scholl: Briefe und Aufzeichnungen

The most beautiful book recently encountered (by chance at a friend's place) – looking for the designer I discovered that it was Aicher. Aicher himself had been closely linked to the German student resistance group 'white rose' that actively opposed the Nazi regime. Sophie and Hans Scholl were both shot in 1943, these are correspondences and letters written by the siblings from their teens until their execution. The beautifully and subtely used white space, the way the contents of the pages meet in a middle line as the paper lets the words shine through, the way Aicher lets the type sit extremely close to the edge of the paper  – everything about it makes one wonder in awe.

The book was published in 1984 by S. Fischer Verlag.

Merve Verlag

I knew they made amazing books, for some reason I never went on their website. (By: Anke Wisch and Jan Ries, contribution by Marcos Weskamp)

Call Me Kuchu – Trailer

Directed by, Katherine Fairfax Wright & Malika Zouhali-Worrall

Twen, Design by Willy Fleckhaus, 1959 – 1971

>  https://www.google.de/search?um=1&hl=de&client=firefox-a&hs=mec&rls=org.mozilla:de:official&q=twen&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&bvm=bv.1355534169,d.d2k&bpcl=40096503&biw=1608&bih=788&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=k9HpUKXtCsTH0QWIloHgAg <

Steve Paxton

^" […] Trying to find out what’s going on and then being aghast that we didn’t know it already, or didn’t sense it, or didn’t intuit it. What stops the intuition? What makes us not see or feel the helix happening when we walk?

How to address the simple things. They’re so simple. The front of the body versus the back of the body. Nobody ever addressed that in a dance class. It’s so obvious that it doesn’t need to be addressed. This is the kind of thing that really turns me on. The foot hitting the floor, how does it do it? How does the weight get transferred? How does the body last as long as it does if it is used correctly? Amazing questions. The mind/body relationship, endless fluctuating fascinations. "

Interview found here: >< 

Article in the New York Times (><)

Wayne McGregor

Currently reading:

1968 – From Event to Myth. Gelcher-Holtey, I. (ed.). 2008.