Samstag, 29. August 2009

Wörter über Städte.. London

Tendría la luna se me encontraras esperándote en Parsons Green
y me llevaras en el tube hasta donde fuera por la mano,
me besaras sin tiempo por Piccadilly Street
y en Covent Garden me abrazaras fuerte,
me llevaras a comer a China Town,
luego aún nos fuéramos a Camden
y en Regent canal nos sentiéramos uno sólo mirando al agua.
La luna ha bajado a mis manos !!
No me digas adiós en Putney Bridge.

Mittwoch, 26. August 2009

seitens der Städte, London,

Thames 2009

Comprimento : 346 km
Nascente: perto da aldeia de
Foz: mar do Norte
País(es): Reino Unido
O rio Tâmisa ou Tamisa, (em inglês: River Thames) é um rio do sul de Inglaterra, que banha Oxford e Londres e desagua no mar do Norte. Com um comprimento de 346 km, nasce perto da aldeia de Kemble na região de Cotswolds e atravessa Oxford, Wallingford, Reading, Henley-on-Thames, Marlow, Maidenhead, Eton, Windsor e Londres.

Dos tempos do 'Grande Fedor' – como o Tâmisa ficou conhecido em 1858, quando as sessões do Parlamento foram suspensas por causa do mau cheiro – até hoje, foram quase 120 anos de investimento na despoluição das águas do rio que cruza a cidade de Londres. Bilhões de libras mais tarde, remadores, velejadores e até pescadores voltaram a usar o Tâmisa, que hoje conta com 121 espécies de peixes. Se a poluição começou ainda nos idos de 1610, quando a água do rio deixou de ser considerada potável, a despoluição só foi começar a partir de meados do século XIX, na época em que o rio conquistou a infame alcunha com o seu mau cheiro. A decisão de construir um sistema de captação de esgotos também deve muito às epidemias de cólera das décadas de 1850 e 1860.

infra-estrutura construída então continua até hoje como a espinha dorsal da rede atual, apesar das várias melhorias ao longo dos anos. Na época, os engenheiros criaram um sistema que simplesmente captava os dejetos produzidos na região metropolitana de Londres e os despejava no Tâmisa outra vez, quilômetros abaixo. Na época, a solução funcionou perfeitamente, e o rio voltou a se recuperar por alguns anos. No entanto, com o crescimento da população, a mancha de esgoto foi subindo o Tâmisa e, por volta de 1950, o rio estava, mais uma vez, biologicamente morto. Foi então que as primeiras estações de tratamento de esgoto da cidade foram construídas.
Vinte anos depois, em meados da
década de 1970, o primeiro salmão – um peixe reconhecidamente sensível à poluição – em décadas foi detectado no Tâmisa. Hoje, encontrar salmões no rio não causa mais nenhum espanto, mas ainda assim, a Thames Water, a empresa de saneamento de Londres, continua investindo somas avultadas no sistema de esgoto.

O rio tâmisa atravessa diversas áreas urbanas do
Reino Unido e é atravessado por cerca de 214 pontes, 20 túneis, 6 linhas férreas e um vau.

Montag, 24. August 2009

seitens der Städte, London, Walter Sickert

Camden Town 2009

Walter Sickert, 1911

Walter Richard Sickert
(May 31, 1860 – January 22, 1942) was a German-born English Impressionist painter and a member of the Camden Town Group. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects.

Sickert was born in Munich, Germany. His father, Oswald Sickert, was a Danish-German artist and his mother Eleanor was the illegitimate daughter of the English astronomer Richard Sheepshanks.

The family left Munich to settle in England at the time of the Great Exhibition, Oswald's work having been recommended by Freiin Rebecca von Kreusser to Ralph Nicholson Wornum, who was Keeper of the National Gallery at the time.

The young Sickert was sent to University College School from 1870-1871 before transferring to King's College School, Wimbledon, where he studied until the age of 18.

Though he was the son and grandson of painters, he at first sought a career as an actor; he appeared in small parts in Sir Henry Irving's company, before taking up the study of art as assistant to James McNeill Whistler. He later went to Paris and met Edgar Degas, whose use of pictorial space and emphasis on drawing would have a powerful effect on Sickert's own work.
He developed a personal version of Impressionism, favouring sombre colouration. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature".

Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art.

By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative
arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and café-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English Art Club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived.

Just before
World War I he championed the avant-garde artists Lucien Pissarro, Jacob Epstein, Augustus John and Wyndham Lewis. At the same time he founded, with other artists, the Camden Town Group of British painters, named from the district of London in which he lived. This group had been meeting informally since 1905, but was officially established in 1911.
It was influenced by Post-Impressionism and Expressionism, but concentrated on scenes of often drab suburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings.

Sickert regularly portrayed figures placed ambiguously on the borderland between respectability and poverty. From 1908-1912 and again from 1915-1918 Sickert was an influential teacher at Westminster School of Art.

Walter Sickert, The Camden Town Murder, originally titled, What Shall We Do for the Rent?, alternatively, What Shall We Do to Pay the Rent,1908 (detail)
On 11 September 1907, Emily Dimmock, a part-time prostitute cheating on her partner, was murdered in her home at Agar Grove (then St Paul's Road), Camden, having gone there from the The Eagle public house, Royal College Street. After sex, the man had slit her throat open while she was asleep, then left in the morning.
The murder became an ongoing source of prurient sensationalism in the press.

For several years Sickert had already been painting lugubrious female nudes on beds, and continued to do so, deliberately challenging the conventional approach to life painting—"The modern flood of representations of vacuous images dignified by the name of 'the nude' represents an artistic and intellectual bankruptcy"—giving four of them, which included a male figure, the title, The Camden Town Murder, and causing a controversy, which ensured attention for his work.

These paintings do not show violence, however, but a sad thoughtfulness, explained by the fact that three of them were originally exhibited with completely different titles, one more appropriately being What Shall We Do for the Rent?, and the first in the series, Summer Afternoon.
These and other works were painted in heavy impasto and narrow tonal range. Many other obese nudes were painted at this time, in which the fleshiness of the figures is connected to the thickness of the paint, devices that were later adapted by Lucian Freud.
Sickert's interest in Victorian narrative genres also influenced his best known work, Ennui, in which a couple in a dingy interior gaze abstractedly into empty space, as though they can no longer communicate with each other. In his later work Sickert adapted illustrations by Victorian artists such as Georgie Bowers and
John Gilbert, taking the scenes out of context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved. He called these paintings his "Echoes".

Sickert also executed a number of works in the 1930s based on news photographs, squared up for enlargement, with their pencil grids plainly visible in the finished paintings. Seen by many of his contemporaries as evidence of the artist's decline, these works are also the artist's most forward-looking, seeming to prefigure the practices of Chuck Close and Gerhard Richter.
He is considered an eccentric figure of the transition from Impressionism to modernism, and as an important influence on distinctively British styles of avant-garde art in the 20th century.

Henry Tonks. Sodales: Mr Steer and Mr Sickert, 1930.
One of Sickert's closest friends and supporters was newspaper baron
Lord Beaverbrook, who accumulated the largest single collection of Sickert paintings in the world. This collection, with a private correspondence between Sickert and Beaverbook, is in the Beaverbrook Art Gallery in Fredericton, New Brunswick, Canada.
Sickert's sister was
Helena Swanwick, a feminist and pacifist active in the women's suffrage movement.
Sickert died in
Bath, England in 1942 at the age of 81. He had been married three times. His first wife, Ellen Cobden, was a daughter of Richard Cobden. His third wife was the painter Thérèse Lessore.

Sonntag, 23. August 2009

seitens der Städte, Wortes uber Stadte,

Esta névoa sobre a cidade, o rio, as gaivotas doutros dias, barcos, gente apressada ou com o tempo todo para perder, esta névoa onde comeca a luz de Lisboa, rosa e limão sobre o Tejo, esta luz de água, nada mais quero de degrau em degrau.


Freitag, 21. August 2009

seitens der Städte, musics auf Städte,

Alabama Song ou Alabama Song (Whiskey Bar)
- é uma canção da banda estado-unidense, The Doors, e lançada no álbum homónimo. Ela foi tirada de uma ópera alemã da década de 30 chamada "The Rise and Fall of The City of Mahoganny" ("A Ascensão e a Queda da Cidade de Mahoganny"), escrito por Bertolt Brecht e Kurt Weill. Em 1966, a esposa de Ray, Dorothy Fujikawa, tinha uma gravação dessa ópera, cantada por Lotte Lenya. Ela mostrou a música para Ray e Jim, e sugeriu de imediato que fizessem uma versão de rock da canção.
Mimo à minha amiga de Alabama

seitens der Städte, musics auf Städte,

Andy McCluskey

Enola Gay
You should have stayed at home yesterday
Ah-ha words can’t describeThe feeling and the way you lied
These games you playThey’re going to end in more than tears some day
Ah-ha Enola GayIt shouldn’t ever have to end this way
It’s eight fifteen
And that’s the time that it’s always beenWe got your message on the radio
Conditions normal and you’re coming home Enola GayIs mother proud of little boy today
Ah-ha this kiss you giveIt’s never going to fade away
Enola GayIt shouldn’t ever have to end this way
Ah-ha Enola GayIt shouldn’t fade in our dreams away
It’s eight fifteen
And that’s the time that it’s always beenWe got your message on the radio
Conditions normal and you’re coming home Enola GayIs mother proud of little boy today
Ah-ha this kiss you giveIt’s never ever going to fade
Enola Gay - Wikipédia, a enciclopédia livre:
«Enola Gay foi o nome dado ao bombardeiro B-29 que lançou a bomba atómica sobre a cidade japonesa de Hiroshima no dia 6 de Agosto de 1945. Foi pilotado pelo coronel Paul Tibbets Jr., então com 30 anos, comandante do 509º Grupamento Aéreo dos Estados Unidos, que desde Fevereiro de 1945 preparava-se para a missão. A fim de realizá-la, Tibbets escolheu pessoalmente um quadrimotor B-29, baptizando-o com o nome Enola Gay em homenagem à sua mãe».

Donnerstag, 20. August 2009

seitens der Städte.. Praha: Frank Gehry

Casa Dançante, Praha 2009

Frank Owen Gehry

Nascido Ephraim Owen Goldberg (Toronto, 28 de fevereiro de 1929) é um arquitecto canadense, naturalizado estado-unidense.
Ganhador do
Pritzker Prize, que é tido como o Nobel da arquitectura.
Gehry conhecido pelo seu
design arrojado na arquitetura, repleto de estruturas curvas, geralmente em metal. Seus projetos, implantados em diferentes cidades do mundo, tornaram-se atrações turísticas e incluem residências, museus e sedes de empresas.

Sua obra mais famosa é o Museu Guggenheim Bilbao, em Bilbao, Espanha, todo feito revestido de titânio. Outros projetos importantes são o Walt Disney Concert Hall no centro de Los Angeles, a Casa Dançante em Praga, República Checa, e sua residência particular, em Santa Mônica, California, os quais marcaram o início de sua carreira.

O Vitra Design Museum é um museu de património privado, internacionalmente renomado, para design em Weil am Rhein, Alemanha.

Nascido em Toronto numa família judaica, Gehry mudou-se aos dezessete anos para Los Angeles, Califórnia, para depois se formar na University of Southern California em arquitectura. Depois estudou planejamento urbano em Harvard. Actualmente vive em Los Angeles.
2007 projectou e realizou no Walt Disney Concert Hall um palco desmontável inspirado numa taverna lisboeta, para a actuação da cantora portuguesa Mariza naquela sala. Foi a primeira vez que Frank trabalhou tão próximo de um artista ligado à música.

A Casa Dançante (em checo Tančící dům) é um prédio de escritórios no centro de Praga, na República Checa. Ela foi desenhada pelo arquitecto Vlado Milunić, em cooperação com o arquitecto canadense Frank Gehry em uma área ribeirinha vazia na qual havia um prédio que foi destruído durante o Bombardeio de Praga, em 1945. A construção iniciou em 1994 e terminou em 1996.
O estilo não tradicional era muito controverso na época. O presidente checo Václav Havel, que viveu próximo por décadas apoiou o projeto, esperando que o prédio se tornasse um centro de atividades culturais.
Originalmente chamada
Fred e Ginger (Fred Astaire e Ginger Rogers - a casa lembra vagamente um par de dançarinos) a casa situa-se entre os prédios neobarroco, neogótico e art nouveau pelos quais Praga é famosa.
Na cobertura existe um restaurante francês com vistas magníficas da cidade. Os planos de se tornar um centro cultural não foi realizado. Hoje é um prédio comercial com firmas multinacionais. Como é situado em uma rua bastante movimentada, o prédio depende de circulação forçada de ar, fazendo com que o interior fique menos agradável aos ocupantes.
Im: Wikipedia

Mittwoch, 19. August 2009

seitens der Städte, Praha,

John Lennon´s wall - Praha 2009
Kino: Photoghrapher Hope Hayes

seitens der Städte.. Walking by London

Walking by London between century 18 and 20

In: Victoria and Albert Museum- London