Permanent Whiner Futurists: Salzburg Exhibition
“…everything is incorporated here: whether it is the ‘beautiful city’ of Trakl or the Mozartkugel, everything is incorporated.” Hardly anyone hated the city of Salzburg as much as Thomas Bernhard. Of course, that doesn’t change the fact that the writer is widely honored here at every possible opportunity. Rarely, however, has this happened so charmingly as in the new exhibition “Salzburg Unique” at the Salzburg Museum in the New Residence. There, Bernhard’s grumpy Salzburg phrases are set alongside wonderfully funny illustrations of a permanent melancholy. You have to laugh at quotes like: “The people of Salzburg were always terrible, like their weather, and when I come to this city today, not only is my judgment confirmed, everything is even more terrible.”
In any case, the exhibition on Salzburg is quite successful: although it does not omit the tourist marks of this city, which actually constitute Salzburg for many of its visitors, that is, Mozartkugel, the cafés and the Salzburg Festival, it still shows what it’s still Salzburg. has to offer in terms of art and cultural history. Amazingly archaic races from Krampus and Perchten, for example. And the architectural counterpart of the literary grump: Salzburg master builder Gerhard Garstenauer. In the 1960s and 1970s, the architect, who died in 2016, provided the already fantastic Bad Gastein, the sophisticated mountain town south of Salzburg, which looks as if Wes Anderson provided the master plan and where Art Nouveau houses arise. of rocky gorges. , with frankly fantastic concrete buildings. The Garstenauer hill station in Sportgastein, for example, looks like the urban future should start in the Alps. His local rock pool could still serve as the setting for a new James Bond movie to this day. And the congress center’s photographs of him in the exhibition make it clear what utopian spirit was at work in Bad Gastein. Today, many lack the imagination of the role that the gigantic building could play. It has been empty since 2007 and is falling into disrepair. Laura Weissmuller
Lights On: Mendelssohn’s Violin Sonatas
The three violin sonatas by Felix Mendelssohn Bartholdy (1809 – 1847) make a living from underexposure. This has to do with his own scruples, because he did not have the Sonata in F major printed in 1838 and did not complete the revision. He composed the first sonata in F major at the age of eleven, the sonata in F minor op.4 was written in 1823. Alina Ibragimova and the pianist Cèdric prove that these three pieces, each in its own way, are very original and attractive as Tiberghien violin. They show that Mendelssohn has nothing to do with supposedly romantic sentimentality. Ibragimova’s light yet intense violin tone and Tiberghien’s uninhibited approach make the three sonatas and one grandiose fragmentary movement a thrilling encounter with the neoclassical genius of Mendelssohn (published by Hyperion). Harold Eggebrecht
Charlatan, unstoppable: Ryan Reynolds
He just put Dwayne Johnson out of his mind in “Red Notice,” before that he joked in “Free Guy” about a sad existence as a supporting video game character. Now the next hit from Netflix comes with “The Adam Project”: Ryan Reynolds currently dominates the world of cinema like no other star and producer. The Canadian has been the funny talker on talk shows for a long time, but since “Deadpool” he too has successfully incorporated this personality into his roles. In the new film, his loose mouth has even doubled: he finds himself a time-traveling test pilot at the age of twelve, and the hilarious insults come and go. Do we currently need entertainment in which every sentiment and every heroism is countered with a stupid catchphrase? but hello and how. Tobias Kniebe
Architecture as valuable material: “Upcycling” exhibition
“Garbage” is the title Wolf Haas gave to his new book about researcher Simon Brenner. These days, this is the first thing that comes to mind when you think of trash. Second place goes to the “Great Pacific Garbage Patch.” This is a North Pacific garbage patch that would cover Germany four and a half times.
What doesn’t immediately spring to mind, however, is the startling fact that construction is responsible for more than half of the world’s waste problem. The world is not only suffocating with plastic waste, but above all with construction waste. The trash that is almost inadvertently created by building, furnishing and using our homes, especially when buildings that are actually intact are torn down, is one of nature’s most vicious climate killers and worst destroyers. However, this is hardly on the radar: subtle architecture as an aesthetic discipline also has a rather dark side.
In this context, the “Upcycling :: ReUse” exhibition comes at the right time. (Although the commendable sample does have a fairly neat use of colons, capitals, and trendy anglicisms, at least in the title.) The exhibition organized by the Center for the Construction of Rhineland-Palatinate Culture in the Mainz Bridge Tower until April 8 focuses on the need for recycling-oriented and resource-saving planning and construction. Under the title “Reuse instead of throwing away”, it brings together exemplary projects and exhibitions from the fields of architecture, urban planning, landscaping, interior architecture and design.
The exhibition buildings, a collapsible system made of old wood, conceived by budding interior designers at the Mainz University of Applied Sciences, also serve the idea of recycling. By the way, upcycling is not about riding your bike uphill, it’s about waste products or seemingly useless materials being turned into new products as climate friendly as possible. Garbage becomes something special: a valuable material. Basically, it is a modern alchemy that takes economics and ecology into account equally. Except the magic also lies in being existentially important in a very real way. Gerhard Matzig
In Chicago’s Neon Night: James Caan as “Thief”
Frank carries his dreams with him, in pocket size: a collage of photographs, a house, a wife, a child, what he needs for a happy life, folded in his wallet, behind the credit cards. James Caan is Frank in ‘Thief’, 1981, Michael Mann’s first feature film (new on DVD from Pidax). He walks with an elastic step but with a tight body, he spent a lot of time in prison, now he sells cars. And he carries out great robberies, diamonds or money, coldly organized. He was away from life for years, says Michael Mann, he didn’t know the latest technology and he didn’t know how to talk to a girl. Only as a “professional criminal” is he fully himself (James Caan had to open a safe to prepare for the role). In the end, the neon night of Chicago catches up with him, glowing cool and comforting in the rain. Fritz Goettler