#TheGreatWayfinders #Kammeroper #DigitaleSteinzeit #KunstmuseumStuttgart #NeueMusik #StuttgartEvents

📸 Fotos: Alberto Novell, Tim Berresheim
🖼 Studie: Tim Berresheim

#Kammeroper #DigitaleSteinzeit #KunstmuseumStuttgart #NeueMusik #StuttgartEvents

Neonkunst

Wort- und Körperkunst

Teppichkunst

Ein Geschenk an die Stadt. Also wirklich! #KunstmuseumStuttgart

In 1925, German artist Otto Dix painted this striking portrait of Anita Berber, a celebrity of the Weimar Republic, known for her scandalously androgynous performances and licentious lifestyle. She was legendary for her excessive alcohol and drug consumption as well as for her ecstatic nude dance performances. Although Berber posed naked for this portrait, Dix depicted her wearing a slinky flitted dark red dress spotlighted from a red mist background like the main character she was on and off the stage. Striking a vamp-like pose, with her right hand on her hip, her posture is graceful and confrontational yet detached as she turns her head to look away from us. The image ends at her knees. A high turtleneck plays up her thin neck. Her hair is a rich red, and she wears very thick white makeup and dark smoky eye makeup, which gives her face a mask-like appearance. Dix reminds us that everything, even Berber’s over-the-top sexuality and persona, is an act and a performance. In 1922, Berber married the German poet and actor Sebastian Droste and the two of them created a book of poetry and photography titled "Dances of Vice, Horror and Ecstasy," which they also performed in various nightclubs. They both struggled with alcohol and drug addiction, most notably cocaine, and their performances and poetry often included references to drugs. In the stage performance titled Absinthe, Berber danced while consuming the drink by the same name. An excerpt from her poem Cocaine reveals the painful power of the drug in their lives: Cocaine Outcry Animals Blood Alcohol Pains Many pains And the eyes. Excerpt from: Anita Berber, Cocaine. Between 1918 and 1925, she appeared in 25 films. Her marrieage with Droste ended in 1923, and she married her 3rd husband, American dancer Henri Chatin-Hofmann in 1925. In 1928, at the age of 29, she suddenly gave up alcohol, but sadly passed away later the same year and was buried in a pauper's grave in St. Thomas Cemetery in Neukölln, Berlin.

"Portrait of the Dancer Anita Berber" by Otto Dix (German) - - Oil and tempera on plywood / 1925 - Kunstmuseum Stuttgart (Germany) #WomenInArt #artwork #art #PortraitofaWoman #GermanArt #AnitaBerber #OttoDix #Dix #ArtText #GermanArtist #womensart #icon #1920s #WeimarRepublic #KunstmuseumStuttgart

#stuttgart
#kunstmuseumstuttgart

'!Àṅĝşť', Öl, Acryl, Kohle, Sprühlack auf Leinwand, 110x90, 2025

#newmunichpainting #contemporaryart #contemporarypainting #malerei #munichart #jamaisvu #kunstmuseumstuttgart #color #colour #new #art #museum #future #geometriedersprache #nofuturezärtlichkeit #danagreiner

On Saturday 29 March from 1:15 to 2:00, then on Sunday 30 March from 12:30 to 1:00, I watched "The #Clock" by #christianmarclay. "A looped 24-hour video montage of scenes from film and television, synchronized with the local time. Absolutely Brilliant!
#kunstmuseumstuttgart

Christian Marclays „The Clock“ im Kunstmuseum Stuttgart - Kunst Mag Man stelle sich vor, dass man in ein Museum geht, sich dort hinsetzt, 24 Stunden sitzen bleibt und anschließend wieder geht. Das ist nicht möglich und würde auch keinen Sinn ergeben? Doch! Am 14.…

Das #KunstmuseumStuttgart zeigt mit „The Clock“ von #ChristianMarclay eine 24-stündige Videoinstallation, die über 1000 Filmszenen zu einem monumentalen Zeitdokument verdichtet. #Videokunst #Collage #Stuttgart

#kunstmuseumstuttgart