peter bies

Wort zum grauesten Mittwoch:
"Im Grunde sind es immer die Verbindungen mit Menschen, die dem Leben seinen Wert geben." – Wilhelm vom Humboldt

Hier ein Termin für die Liebhaber von Poetry Slams:

Veddel Poetry Slam Workshop

Für Newcomer und erfahrene Poeten der Elbinsel und aus Hamburg.

veddellive und Kampf-der-Künste bieten Workshop mit Poetry Slam:

Ein einzelner Mensch auf der Bühne, ein Mikro, ein Text ? mehr ist es nicht. Und doch braucht die Kunst des Poetry-Slam Zeit und Übung. In dem fünfteiligen Workshop werden Ideen für Texte entwickelt und eigene Texte besprochen. Wie präsentiere ich gut vor Publikum, was ist meine Grundidee, kommt das rüber, was ich sagen will? Michel Abdollahi führt die Teilnehmer ein in die spannende Welt des Poetry Slam und macht jeden fit für die Bühne. Für Anfänger und Profis.

Die Teilnehmer stellen ihre Texte beim Poetry Slam am 28. Februar 2009 bei veddellive in der Sporthalle Veddel vor.

Workshop Termine:

7. Dezember

11. Januar

8. Februar

22. Februar

Jeweils von 16 ? 18 Uhr Sport- und Kulturhalle Veddel, am Zollhafen 5b.

Um verbindliche Teilnahme an allen fünf Terminen und dem Poetry Slam wird gebeten.

Anmeldung unter: hamburg@kampf-der-kuenste.de (Jan-Oliver Lange. Infos unter: 040-41 46 99 57 (Christiane Frohne)

Die Teilnahme ist kostenlos.

Hab da noch etwas vergessen:

Anfrage Identität Zündkerzen Dieter

I`ll b back!

PS: Für Interessierte, die sich ein Praktikum in Berlin in einer Künsteleragentur antuen möchten:

http://www.berufsstart.stepstone.de/praktikum-jobs.cfm?channel=CID_1&click=yes&id=737704&nCtId=20081116&CID=JAJob

Yo, Master Pete,

das Interview werde ich mir gleich genüsslich daheim durchlesen.

Was sagt Dein Terminplan die Tage - sollten uns bei Kaffee und Kuchen.
Habe einen unsagbar INTERESSANTEN und GUT DOTIERTEN, RUHM & EHRE (wenn man gewinnt) versprechenden WETTBEWERB aufgerissen.

Wäre schön, wenn ich Dich / Euch dafür interessieren zu können, oder besser noch: im Team zu haben.

Eilt zwar, aber kein Problem für Kreative Köpfe, ya know?!?

Habe leider die Visite verschludert.

Kreatives Chaos ist auch hier die gern genommene Ausrede.

Chill` at will,

GRecht

Thank you yet again for being the only person in the world to appreciate my art/insanity! (my Mother and Wife jumped off the bandwagon a while ago!!!)

Peter--thanks very much for adding my paintings to your favorites.
Best,
Marla

Listen,

As far as I`m concerned, we got the following weeks some exibitions / Performances in the hood.

Interested???

Let me know!

Yours,

GRecht

I`m still a little confused....

That`s the way it goes for nonadult people like me!!!

And- that`s the reason I commented at first your comments on my `activities` on my picture wall.

`Cause I still am able to speak Kraut - as we know both - take this ZENMASTER (as long as possible for me, you can get any question answered the language your askin`, Pete):

Die GPS Koordinaten stützen Deine These als vertretbares Indiz.

- Aber erwarte bitte nicht von mir, daß ich - während ich meine Passion auslebe (das Fotografieren, aber nicht speziell jenes der Schlumper) - nach dem Bundespersonalausweis schreie, besonders nicht auf eine Distanz von 50 Metern.

- Was sollen die Passanten denn von mir denken??!

Gruss,

GRecht

Hi Peter and thank you for adding some of my pictures to your favorites :-)

You should check out www.yatzer.com and www.onculture.eu

I think you will like them!! Let me know what you think.

Thanks Peter - what a nice site!

Hi Peter,

Thanks for adding some of my works to your favorites and for the great comments. I appreciate it !

Gerald

sunday morning, french toast and toasted pecans..... but as i was saying the other night..... it was good debate concerning that blog on dadaism today, and especially the relevance the of "ready made" and the notions the loss of heart in art. for us this cusp is a very interesting and fully charged place to be working, but in all honestly to come to writing a fully immersed position on art, art making and the world of veiwership, well that really deserves more than a short hand, point form, electronic dialogue between to super enthusiasts, but in reality..... that is all i have l offer up at this stage of the morning....... but as imply from your earlier rebuttal, the sincerity of humor is soooo often over looked as legitimate, valid place for art making, now im not trying to push the potency of irony, nor surgical precision of sarcasm, i am just referring to humor in general. and generally speaking if a work is not connected with serious connotations is often not taken seriously.... and perhaps it is my own sheltered naivety that allows me at times to bask and revel in the not so serious nature of natural life, the beauty of the moments in between. and perhaps my early introduction and fascination with the likes of monte python,..... has persuaded me to "always look on the bright side of life",ahahha.... but seriously though in my opinion humor is often sadly discredited in art. but in saying so, like anything, art making and the reflections of life are not one sided but rather multi dimensional, so humor is one side of a pervertible coin.

in regards, more specifically, to the concept and use of the "ready made" in contemporary art...... i agree that the duchampian notion of the ready made, at its time, in its original context had a certain potency seldomaly found in currant practices, however i believe this is for a multitude of reasons. one of them being, the "well thats been done". and we all know that sort of president can easily rob "new material" of it's punch line. ( and now agin im going to try not to fall in to a dissusions of the pertance of ducahmp to his time, and ours, due soley to the lack of comitment , time, engery and my intersts in the beatiing of dead horses or over stateing the obvious......) but.... i guess those concerns are lost on those who strugle in sreach of the "origanal". and i say fuck that shit. im mean what a fucknig waste of time that is, i mean ins't the devotion to "originality" and the search for wholey new artistic ideas, idioms, methods and motives, one of the most unoriginal postions one can take on as an artist..... aren't the "concerte assertaions" an of indiviual to "complete and udder origalinliy" both in the same breath woderfully, uniquley, enriching, inpspiring as well as completely costricting, misdirected, naive and just a little redundant?.....

so hang on where was i going here?,.... oh yes.... the use of ready mades now that i am no longer worired if they are a valid original or unquie..... back to work... ready mades are like colors...... just one type of tool,... one type of mark in the plethora of residual excreting expressions, so many of us refer to under the umbrella of "art".....and since im not chained down to anything here ....im agin free to make rogue collision of colors, materials, images, items or what ever else might find its way into the relm of my mind........ and sure like colors people have made full investigations the atoumony, there stand alone qualitues, thier own "origianlities", and here i do not attempt lay out judgemants of good a bad or ugly, however those investigations ralrey intest me to to the point of elation or anything. and i must admit i never really stoked, even when siiting in person in front, ives kline blue, but i guess he was stoked enough to keep on movin with it....... more power to him.... for me it has always been the dialogue, the internal converstaions that exists beteen aspects of a work. the conversations that all at once include and exlucde you, that are explict or rather undefined, the space betweeen what i hear and what itis i think i have heard.

and this is where i can agree with michael pointer and chalres zigmund, that often art ( lets call of sake of fun neo-dadistic) seems, at times, at least from my point of verw, to lack somthing. but im not going to try and say it is a formulatable thing which i can point out, nor am i going to put forth that artists choose to use "ready made" materials because lack of talent ( that is far to narrow of a view) or that there is some power struggle set up between the users of found goods ( which i should point out includes any one buying pre-ground pigmented paints and store bought brushes) and the purist "fine artists" who can create out of pure "original geniuosity'........... i believe that each and every one of us truley sets up context and dialogue for one an other, like some simple base binary equation.

however i do feel, (and this may just be a bit of pessimism locked deep down in my core, extending outwards far beyond just my feelings on on artists & art works, on to the world at large.....) but a lot of poeple lack a sense of "heart" in what they do, a lack of conviction, perahps futility, as if thier actions have no real consequence and make no real difference. and that in its self s saddens me a bit, but i guess not that much

i like to believe there is some kind of resonance that can be felt some kinda of truth to honesty and following that "honesty" some where along some kind of path...... and that is something i really sense from your short introduction and conversation with johcen hein. and although i am very much in a different space then he in so many way, i felt some how could really identify with something there. he suggested a personal search and relation of that search through art and the potential of residual transcendence and experience captivated or at least related to in the making of art.

all the same this is turning out more of a rant then anything else hahah go figure, bad hbbits die hard. im going back to my toasted pecans which seem to have burned......

davdi

hey peter, ahhh i am finaly having a efew moments of rest, just long enough to drop you line, i had been meaning to drop you a note for a wile now, actually i had thought to add a comment in regards to the blog on dadaism. both jorden and i were stoked to say the least to be included inn such a pertinent discussion. thank you for that. with out to much focus on pride it feels good to have our work mean something to other, especially to those who are interested in art .... ahh shit ... some late night adventurers have just arrived at my studio door....... of course as i find time ... time finds me i will continue this in short order........

davdi

Hallo Peter

I created a second YouTube account for www.hanskostervideo.com. Therefore I deleted "A Quiet Life #3' (including the link to Artdoxa) from the www.hanskoster.com-account. Due to this reorganisation your poem is lost as a comment. Feel free to attach it as a comment.
I do like it.

Hans

Dear Peter, ich bewundere seit langem Deine philosophischfundiertengagiertbewusstsehenden Kommentare und natürlich Deine Fähigkeit, das auch noch so brilliant in englamerikanish ausdrücken zu können. Riesenkompliment. Und ich registriere, dass Du mich bei ganz vielen Kommentaren sehr zum Nachdenken zwingst. Und meistens wirkt das immer anfruchtbar. Also: Sei weiter so aufmerksam & helle und vielleicht kommt ja auch bei Dir / von Dir mal was rüber: N`Gedicht oder sowas. Oder `n Zettel. Oderwasauchimmer. Bis denn. Jürgen Wockert.

thanks, greetings from sf
jt

hallo peter,

hab mich nur vertippt.
-Es heisst A1 (Farbkreis), weil halt auf din/a1, ne.
Danke für die + Comments.

Philipp

Thanks Peter:)

Hi Peter, this is a message from Brighton saying hello. A blast from the past. It's Ralf here. Love your write-up re literature and music. Hope you are well.

Thanks for the comment and interpretation :-)

Tanks!.....I mean thanks for the fav on the general (couldnt resist the joke)

Thanks for adding one of my paintings as a favorite!!

Thank you peter !
The journey - Its a collage of my old clothes, after gluing the clothes i paint with acrylic colours on the stuff.

Du bist ja Hamburger, naja so kann man Englisch üben :-)))

Peter,
Looking forward to your next blog.
MK

Hi Peter,
Thanks for looking at my work and commenting on it. I was a little taken back by the comments but upon reflections I found it nice that someone is willing to address the sinister nature of my my work. I am interested in the development of male gender and the influence of culture on that development. I also am most drawn to the narrative as a was of engaging myself in the work so all of the pieces suggest or hinge on a story. The "Djinn" is the piece that best reflects some of what I am after in the pursuit of this conceptual line. My brother sent me a joke while I was in grad school and I used it as the basis of my thesis and after finishing the program I came back to the ideas in the joke/story to create this work, here's the joke

A horse and a chicken were walking down the road when the horse stepped into a mud hole and sank up to his neck. He told the chicken to run find the farmer. The chicken ran all around the farm yard and into the barn but could not find the farmer. So the chicken run into the house, still no farmer. But up on the wall were the keys to the farmers mercedes. So the chicken grab the keys, drove the car back the the horse and pulled him out. A few weeks later the horse and chicken were out in the pasture when the chicken stepped into a mud hole and sank up to its neck. This time the chicken told the horse to go get the farmers mercedes. The horse said no and instead stood over the mud hole and lowered his penis and pulled the chicken out. The moral of the story is "If your hung like a horse you don't need a mercedes to pick up chicks"

most men are not hung like a horse. In fact most men find themselves to be inadequate need some way of "improving " their position so I use the mythical genie to offer a symbol of success and power that is just as transparent and ephemeral as the genie. The "landscape tht the figure exists in is also a contrived false world. I use synthetic grass and silk flowers as a way of demonstrating the need/desire of some men to conquer and control the feminine, developing a distopia world. My choice of resin as a material is based on the idea that I am creating contemporary idols of masculinity and idols are traditionally made of material that culture finds important and speaks to the ethics and aesthetics of the culture. We live in a plastic world of coke bottles and Disney world so what better choice for a material.
The alternate body of work I am investigating is the development of a secondary sign for the masculine. I use the pearl and a symbol for sperm. That material which is wholly male and filled with joy and fear. The piece you commented on Daddies Little Man is a piece that reflects on my resolution to the idea of the "father wound" I am from a divorced and blended family. I have the genetic structure of my father and the nurture influence of my step father. Both are part of my lineage and due acknowledgment. This piece shows the discomfort and skewed nature of my development but still produces an elegant and beautiful individual. I hope this gives you some insight into my work and I want to thank you again for you comments. They really made me think
Dan

Hi. About the camper its a Mercedes cargo van. Sold in the US with the Chrysler name that I got used then designed and built out the inside. By long chain polymers I assume you mean the off gassing plastics, etc. I was concerned about that but after the paint cured it felt like a benign environment to live in. I actually no longer own it but I lived in it for a year in New York.

Hey, thanks for the comment and favorite! David

Thank you once again Peter for checking out my work. I just checked your profile. I saw you listed Joseph Cornell as one of your favorite artists. He lived most of his life (Bayside-Queens, NY) within a mile of where I grew up. "Mr. Shadow Box" is not even listed in the towns "little history museum" (if you could call it that)......Anyway, thank you once again!

lieber peter,

ich danke dir für dein interesse an meinen arbeiten, das freut mich sehr.
umgekehrt berührt mich dein profil - "peace of mind" ist nur ein stichwort.
gern würde ich auch einmal etwas von dir sehen, seien es bildnerische oder auch poetische arbeiten. ich gebe zu, ich bin neugierig, aber sicher nicht die einzige person hier, der es so geht... : )

herzliche grüße,
sylvia

like your vita - its art like it very much - thought there were some artworks - are there some?

No, it doesn't stink. Anymore. The paint that I used in that piece was very old, very chunky, molding house paint. The initial smell almost knocked me out. But, with time, it has faded.

My dearest chief master commenter!
Let there be mutation ... J