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Tweileit teil 4 der ganze film deutsch torrent

Tweileit teil 4 der ganze film deutsch torrent

tweileit teil 4 der ganze film deutsch torrent

torrentgra.space has 27 comments: Essential English For Foreign Students Free Download Pdf --DOWNLOAD: torrentgra.space essen. For instance, we have no documental in homage to David Ward Griffith, It is billed as German director Wim Wenders' tribute to Japanese film giant. For what would prove to be his final film, Iranian director Abbas Kiarostami gave himself a challenge: to create a dialogue between his work as a filmmaker and. SHE ELVIS COSTELLO LETRA SUBTITULADA TORRENT Cons There Windows PC are on. Pros: Splashtop software is take effect some of. Largest and a server the Properties. Which specifies the code.

Cecil B. Kamikaze Hanns Zischler , who is fleeing from his own past. A husband, a wife, a stranger, a knife: Roman Polanski sets them all adrift on a weekend filled with simmering resentments and gut-churning suspense in his seminal psychological thriller, still one of the greatest feature debuts in film history.

In this poetic and atmospheric horror fable, set in a village in war-torn medieval Japan, a malevolent spirit has been ripping out the throats of itinerant samurai. Onibaba, Kuroneko Black Cat is a spectacularly eerie twilight tale. After more than a decade of sober political dramas and socially minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories.

More politically minded than the original, Lady Snowblood: Love Song of Vengeance is full of exciting plot turns and ingenious action sequences. Living in Mexico with a top-ten hit under their belts, the Leningrad Cowboys have fallen on hard times. Seemingly off-the-cuff yet poetically constructed, these films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights.

The great Soviet director Mikhail Kalatozov, known for his virtuosic, emotionally gripping films, perhaps never made a more visually astonishing one than Letter Never Sent. This epic portrait of an inexorable fall from grace, starring the astounding Kinuyo Tanaka as an imperial lady-in-waiting who gradually descends to street prostitution, was the movie that gained the director international attention, ushering in a new golden period for him.

Chaplin plays Calvero, a once beloved musical-comedy performer, now a washed-up alcoholic who lives in a small London flat. An early work of independent Latin American filmmaking, Limite was famously difficult to see for most of the twentieth century. It is a pioneering achievement that continues to captivate with its timeless visual poetry.

Liv Ullmann and Ingmar Bergman met in during the filming of Persona. Both were married, and there was a difference in age: Liv was 25, and Ingmar was But none of it mattered. This exploitation-cinema classic took the action and graphic violence of the Lone Wolf and Cub series to delirious new heights.

In this distinctly lowbrow entry in the Lone Wolf and Cub series, Itto Ogami is hired by the Owari clan to assassinate a tattooed woman who is killing her enemies and cutting off their topknots. The third Lone Wolf and Cub film follows Itto Ogami and Daigoro as they stumble upon a crime scene involving a group of lowlife swordsmen from the watari-kashi class.

The inaugural film in the Lone Wolf and Cub series immediately thrust Itto Ogami into the ranks of the all-time great samurai movie icons. Bob Hoskins, in his breakthrough film role, stars as a London racketeer fast losing control of his gangland empire; Helen Mirren shines as his classy moll. Jimmy Porter Richard Burton is a university graduate, and the husband of a woman of some means, but he has rejected middle class dreams, and operates a candy stall at the local flea market.

When Katharina Blum spends the night with an alleged terrorist, her quiet, ordered life falls into ruins. Suddenly a suspect, Katharina is subject to a vicious smear campaign by the police and a ruthless tabloid journalist, testing the limits of her dignity and her sanity. This story of the tragic romance between a young telephonist Eva Ras and a middle-aged rodent sanitation specialist Slobodan Aligrudic in Belgrade is an endlessly surprising, time-shifting exploration of love and freedom.

For his feature debut, Rainer Werner Fassbinder fashioned an acerbic, unorthodox crime drama about a love triangle involving the small-time pimp Franz Fassbinder , his prostitute girlfriend, Joanna future Fassbinder mainstay Hanna Schygulla , and his gangster friend Bruno Ulli Lommel. Antoine Doinel strikes again! In this bold, genre-defying horror-musical mashup — the playful and confident debut of Polish director Agnieszka Smoczynska — a pair of carnivorous mermaid sisters are drawn ashore in an alternate '80s Poland to explore the wonders and temptations of life on land.

This graceful study of a family at a turning point in history is a poignant evocation of changing times and fading customs, shot in rich, vivid colors. With the simplest of concepts and sparest of techniques, Robert Bresson made one of the most suspenseful jailbreak films of all time in A Man Escaped. A modest miracle of twenty-first-century neorealism, the acclaimed debut feature by Ramin Bahrani speaks quietly but profoundly to the experiences of those living on the margins of the American dream.

Back in his home country of Pakistan, Ahmad Ahmad Razvi, elements of whose own life story were woven into the script was a famous rock star. When a man chases down his stolen movie camera, the thief commits suicide by jumping off a building. But after the police take the camera as evidence, it becomes unclear if there was ever a thief in the first place.

Mixing visceral, documentary-like realism with the narrative focus of Hollywood noir and melodrama, Manila in the Claws of Light is a howl of anguish from one of the most celebrated figures in Philippine cinema. Marius and Fanny, two young shopkeepers on the harbor front of Marseille, always seemed destined to marry, but Marius cannot overcome his urge to break free and voyage on the open sea.

After her husband disappears in the last days of World War II, Maria uses her beauty and ambition to prosper in s Germany. A pair of blind masseurs, an enigmatic city woman, a lonely man and his ill-behaved nephew— The Masseurs and a Woman is made up of crisscrossing miniature studies of love and family at a remote resort in the mountains.

Before he turned to the story of Joan of Arc, the Danish cinema genius Carl Theodor Dreyer fashioned this ahead-of-its-time examination of domestic life. Kati Outinen is memorably impenetrable as Iris, whose grinding days as a cog in a factory wheel, and nights as a neglected daughter living with her parents, ultimately send her over the edge.

When a rash of strikes and political turmoil bubbles up in France, Milou Michel Piccoli finds himself unable to bury his mother. Louis Malle France , 35 mm. The fourth film from Akira Kurosawa is based on a legendary twelfth-century incident in which the lord Yoshitsune and a group of samurai retainers dressed as monks in order to pass through a dangerous enemy checkpoint. In this anguished yet mordantly funny film, Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor.

Once upon a time in postwar Italy. Paul Schrader's visually stunning, collagelike portrait of acclaimed Japanese author and playwright Yukio Mishima investigates the inner turmoil and contradictions of a man who attempted an impossible harmony between self, art, and society. Bruce Beresford United States , 35 mm. Mon oncle is a supremely amusing satire of mechanized living and consumer society that earned the director the Academy Award for best foreign-language film.

Charlie Chaplin plays shockingly against type in his most controversial film, a brilliant and bleak black comedy about money, marriage, and murder. This portrait of female volunteer workers at an optics plant during World War II, shot on location at the Nippon Kogaku factory, was created with a patriotic agenda. Ernest B. After her husband kills his boss and himself, Mother Kusters becomes drawn into the activities of the German Communist party and then a group of anarchists.

Family turmoil ensues when, after his father's death, an eldest son is revealed as a scion of a long-dead first wife. Faced with a dying mother, an absent, alcoholic father, and a baby brother in need of care, the teenage Mouchette seeks solace in nature and daily routine, a respite from her economic and pubescent turmoil. Thank You for his constant exclamation to pedestrians who kindly step out of his path—traveling from rural Izu to Tokyo.

Both shocking and deeply poignant, this is one of the finest coming-of-age films ever made. There, with the help of the warmhearted eccentrics who populate the town, the boy finds both refuge from his misfortunes and unexpected adventure. The brilliant and controversial Naked, from director Mike Leigh, stars David Thewlis as Johnny, a charming and eloquent but relentlessly vicious drifter.

As influenced by Italian neorealism as American crime fiction, this double Academy Award winner remains a benchmark for naturalism in noir. The setup is pure pulp: A former prostitute a crackerjack Constance Towers relocates to a buttoned-down suburb, determined to fit in with mainstream society. Zatoichi is back—and in color!

Hoping to leave violence behind, the blind masseur wanders to a village, where he meets an old friend fallen on hard times. Shot outside of Pittsburgh at a fraction of the cost of a Hollywood feature by a band of filmmakers determined to make their mark, George A.

George A. Five cities. Five taxicabs. Jim Jarmusch's lovingly askew view of humanity from the passenger seat makes for one of his most charming and beloved films. In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor Charlotte Rampling discovers her former torturer and lover Dirk Bogarde working as a porter at a hotel in postwar Vienna.

In Akira Kurosawa's first film after the end of World War II, future beloved Ozu regular Setsuko Hara gives an astonishing performance as Yukie, who transforms herself from genteel bourgeois daughter to independent social activist during a tumultuous decade in Japanese history. In a revelatory film debut, the dynamic, fresh-faced Sandrine Bonnaire plays Suzanne, a fifteen-year-old Parisian who embarks on a sexual rampage in an effort to separate herself from her overbearing, beloved father.

Unfortunately, his past returns in the form of old jail pal Emile to upset his carefully laid plans. It is also perhaps her unlikeliest project: a star-studded comic fantasy with an extravagant sense of style and an adoring but slightly off-kilter perspective on the magic of filmmaking. This affectionate paean to young love is also a frank examination by Akira Kurosawa of the harsh realities of postwar Japan.

During a Sunday trip into war-ravaged Tokyo, Yuzo and Masako look for work and lodging, as well as affordable entertainments to pass the time. When a neighbor returns from the skirmishes, lust, jealousy, and rage—and a horrifying fate at the hands of an ominous, ill-gotten demon mask—ensue. The first shot shows students descending a staircase in calm, orderly fashion, then the second details the same action as a chaotic rush.

This historical drama by Mario Monicelli, brimming with humor and honesty, is a beautiful and moving ode to the power of the people. This holy grail for both documentary and theater aficionados offers a tantalizingly rare glimpse behind the Broadway curtain. A soldier is waylaid at a rural spa when he accidentally cuts his foot on the titular object.

Soon enough he tracks down its lovely owner and finds himself smitten. The director's often-used leading actress Isuzu Yamada stars as Ayako, a switchboard operator trapped in a compromising, ruinous relationship with her boss to help support her wastrel father. In this cool, seductive jewel of the Japanese New Wave, a yakuza, fresh out of prison, becomes entangled with a beautiful and enigmatic gambling addict; what at first seems a redemptive relationship ends up leading him further down the criminal path.

For his final film, Jacques Tati takes his camera to the circus, where the director himself serves as master of ceremonies. Suffused with a lingering post—World War II disillusionment while also evincing the playfulness and fascination with theatrical performance and conspiracy that would become hallmarks for the director, Paris Belongs to Us marked the provocative start to a brilliant directorial career.

Where does voguing come from, and what, exactly, is throwing shade? The first of many films featuring the endearing single-dad Kihachi played wonderfully by Takeshi Sakamoto , Passing Fancy is a humorous and heartfelt study of a close, if fraught, father-son relationship. Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era.

A depiction of rural Bengali life in a style inspired by Italian neorealism, this naturalistic but poetic evocation of a number of years in the life of a family introduces us to both little Apu and, just as essentially, the women who will help shape him. Saul J. Charlie is a bricklayer who sets off to celebrate payday with his pals. But his wife is waiting with the rolling pin. Sacha Guitry plays four roles in this whirlwind of pageantry investigating the history of seven pearls, four of which end up on the crown of England and three of which go missing.

The Pearls of the Crown rockets through four centuries of European history with imaginative, winking irreverence. People on Sunday, an effervescent, sunlit silent, about a handful of city dwellers a charming cast of nonprofessionals enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin, would influence generations of film artists around the world.

But with the radical Persona, this supreme artist attained new levels of visual poetry. Reset Apply. Pennebaker, D. Romero, George A. DeMille, Cecil B. Pabst, G. Four charming comedies from Eric Rohmer. And the Pursuit of Happiness. The Films of Kinuyo Tanaka. New 4K restorations from an overlooked auteur. Abbas Kiarostami: A Retrospective. Adventures of Zatoichi. The Age of the Medici. Ali: Fear Eats the Soul. Alice in the Cities. All Monsters Attack. Director Ishiro Honda returned again for the first Godzilla movie expressly for children.

All These Women. The American Friend. The American Soldier. And Life Goes On. And the Ship Sails On. Andrei Tarkovsky: A Cinema Prayer. Androcles and the Lion. An Angel at My Table. Apart from You. The Apu Trilogy. As Tears Go By. Ashes and Diamonds. Au revoir les enfants. An Autumn Afternoon. A Tale of Autumn. Michelangelo Antonioni invented a new film grammar with this masterwork. The Bad Sleep Well. The Bakery Girl of Monceau. The Ballad of Narayama.

Bandits vs. Samurai Squadron. The Baron of Arizona. The Battle of Algiers. The Beales of Grey Gardens. Beauty and the Beast. Berlin Alexanderplatz. Beware of a Holy Whore. Beyond the Law. Bicycle Thieves. Binding Sentiments. The Bitter Tears of Petra von Kant. Black Panthers. Boudu Saved from Drowning. Branded to Kill. The Bread and Alley. Breaking the Waves. A Brief History of Time. A Brighter Summer Day. Brothers and Sisters of the Toda Family.

The Browning Version. Buena Vista Social Club. Burden of Dreams. The Burmese Harp. Burroughs: The Movie. Canoa: A Shameful Memory. Capricious Summer. Carnival of Souls. Case 1, Case 2. Chess of the Wind. The Children Are Watching Us. Children of Paradise. Chimes at Midnight. Chinese Roulette. Chronicle of a Summer. Chungking Express. Closely Watched Trains. The Cloud-Capped Star.

La collectionneuse. The Color of Pomegranates. Colossal Youth. A Colt Is My Passport. The Comfort of Strangers. La commare secca. The Complete Jean Vigo. The Complete Mr. The Cranes Are Flying. Cries and Whispers. Cruel Gun Story. Les dames du Bois de Boulogne. David Lynch: The Art Life. A Day in the Country. Days of Being Wild. The Daytrippers. Death by Hanging. Death of a Cyclist. A Dedicated Life. Destroy All Monsters. The Devil and Daniel Webster. Diamonds of the Night. Diary for My Children.

Diary for My Lovers. Diary for My Mother and Father. Diary of a Shinjuku Thief. Dillinger Is Dead. Distant Journey. Divorce Italian Style. Dont Look Back. Double Suicide. The Earrings of Madame de. Ebirah, Horror of the Deep.

The Element of Crime. Elena and Her Men. Elevator to the Gallows. Empire of Passion. The End of Summer. An Enemy of the People. The Entertainer. Equinox Flower. Every-Night Dreams. The Executioner. The Exterminating Angel. Extreme Private Eros: Love Song The Eyes of Orson Welles. Eyes Without a Face. Eyimofe This Is My Desire. The Face of Another. Fanny and Alexander: Television Version.

Fanny and Alexander: Theatrical Version. Fantastic Planet. Fellow Citizen. Fight, Zatoichi, Fight. Fighting Elegy. The Fire Within. Fires on the Plain. Fists in the Pocket. Five Dedicated to Ozu. A piece of driftwood on the seashore, carried about by the waves The Flavor of Green Tea over Rice. Floating Weeds. Flowers of Shanghai.

The Flowers of St. Flunky, Work Hard. For All Mankind. Forever a Woman. The Four Feathers. Fox and His Friends. From the Life of the Marionettes. George Washington. Germany Year Zero. Ghidorah, the Three-Headed Monster. Ghost Dog: The Way of the Samurai. Girl with Green Eyes. A young and innocent girl gets romantically involved with an older, married man. Girls of the Night. The Gleaners and I.

Gods of the Plague. Godzilla Raids Again. Godzilla vs. Goke, Body Snatcher from Hell. The Golden Coach. Le grand amour. The Great Beauty. The Great Dictator. Hands over the City. Happy Anniversary. A young woman waits and waits for her delayed husband to celebrate their wedding anniversary. Happy Together. Harlan County USA. A Hen in the Wind. The Heroic Trio. The Hidden Fortress. The Home and the World.

The Honeymoon Killers. Hotel Monterey. Hour of the Wolf. How to Get Ahead in Advertising. How to Make Use of Leisure Time. Humain, trop humain. The Human Condition. I Am Curious—Blue. I Am Curious—Yellow. I Flunked, But I Graduated, But An unemployed college graduate attempts to trick his family into thinking that he has a job. I Hate But Love. I Knew Her Well.

I Live in Fear. I Shot Jesse James. I Was Born, But. I Will Buy You. Identification of a Woman. The Idle Class. In the Mood for Love. In the Realm of the Senses. The Inheritance. An Inn in Tokyo. Innocence Unprotected. The Insect Woman. Intentions of Murder. Invasion of Astro-Monster. Ivan the Terrible, Part I. Ivan the Terrible, Part II. Jacquot de Nantes. Jane B. Japanese Girls at the Harbor. Japanese Summer: Double Suicide.

Jeanne Dielman, 23, quai du Commerce, Bruxelles. Jellyfish Eyes. Otis at Monterey. Journey to Italy. Juliet of the Spirits. The Kid Brother. A King in New York. The King of Kings. As the following statements by our European associates indicate, the making of surveys of current art has become exceedingly difficult.

To the extent to which emphasis in the evaluation of modern art has shifted from object to idea, esthetic criteria once concerned with the visual distinction of a particular work have given way to considerations related to the context within which such a work has been created, to the relationship it assumes toward its cultural and socio-political environment, and, therefore, to issues of sponsor- ship, selection, and ultimate presentation.

With artists no longer willing to make contri- butions towards ends they cannot foresee— ends that in the past have often been diametrically opposed to the very meaning and intention of their art— the orderliness of the selection process has lost its former clarity. It will therefore surprise only those without first-hand experience in such matters if we are unable to state unequivocally who chose the Amsterdam-Paris-Dusseldorf show. In a sense, one might say that it chose itself.

For the mere announcement of the proposed showing, coupled with the determination of the three localities and of the respective curators entrusted with the proposal of slates, released chain reactions in each of the changed art communities that could perhaps be channeled but not controlled. The selection blueprint gave a large measure of initiative, freedom, and responsibility to our European curator friends— to Fritz Keers, curator of the Stedelijk Museum in Amsterdam; to Blaise Gautier, directeur du Centre National d'Art Contemporain in Paris; and to Jurgen Harten, director of the Stadtische Kunsthalle in Dusseldorf— while Diane Waldman, as the Guggenheim's curator of exhibitions, coordinated the tripartite venture with the assistance of Sabine Rewald, and in so doing determined the limits of feasibility in the name of the museum she represents.

The publication of the catalogue, similarly, depended upon contributions from the three cities and upon the coordination at the Guggenheim by Carol Fuerstein. Translated from a theoretical to a real situation, functional dividing lines were drawn variously from case to case with the result that the selection itself became an ambiguous component within a search for new order.

Considerable thought and awareness of its determining role went into the question of sponsorship. Before further elaboration I wish to thank the Dutch, the French and the German governments for funding this exhibition. Initial moves in this direction were made by E. Effective approaches to the Foreign Office in Bonn leading to support on the federal, state, and city levels for a grant in aid of the exhibition were made in Germany by Professor Dr.

Werner Schmalen- bach, director of the Kunstammlung Nordrhein-Westfalen, and brought to successful fruition through the efforts of Dr. Linda Konheim, the Guggenheim's administrative assistant served as intergovernmental coordinator. Leaving aside mundane and material ambitions common to all human enterprise, the following intentions may be fairly ascribed to participants on the ideological plane: To the artist, an undiminished projec- tion of his individual vision; to the museum, a harmonization of such visions toward a valid statement of some comprehensiveness; and to the governmental sponsors, returns in cultural prestige that would parallel their political, social and civic commit- ments.

If among the protagonists, none of these aims coincided, the show could not have been envisaged. If aims overlapped entirely, the exhibition would be an indicator of a Utopian and unreal world order. In reality, aims overlap up to a point, while at the same time barring large and visible areas of tension. The containment of such dis- crepancies within at least a partially common goal, credits the participating artists, our European colleagues and my Guggenheim associates involved with this project.

They are herewith warmly thanked for their efforts and good judgments. Young talent shows from abroad have and will be held here from time to time to affirm our commitment to an experimental dimension in the art of our time, as well as our concern with creative points of origins distant from this city.

With a few unintended exceptions, artists in the Amsterdam-Paris-Dusseldorf selection are young in reputation if not in years and are not, to any significant extent, part of the New York scene. In past instances, exhibitions of this kind have sharpened intellectual issues, engendered valid argument, and attracted a segment of the art world oriented more toward creativity than toward culture.

They have also drawn fire from the general public as well as from many critics— a risk that is accepted by all participants. The choices then, are submitted and recommended in their admitted fallibility to all those for whom the wholeness of the modern art concept depends upon the inclusion of its still fluid, as yet undeterminable, momentary expression.

Dimensions are given in inches: height precedes width; in the case ol sculpture, depth is the third dimension. Schoonhoven Active Square. Schoonhoven Square Relief. Schoonhoven Square and Diagonal Relief. Schoonhoven MV4. Schoonhoven MV Schoonhoven R Schoonhoven 7 77, 9.

Schoonhoven Schoonhoven 7 77, Schoonhoven ft September Heidelberg Klaus Rinke Untitled. Cologne Dieter Rot Visit. Gerstner and D. Dusseldorf d Dieter Rot " Utile Clouds. AMSTERDAM With the assistance of The Netherlands Ministry of Cultural Affairs, Recreation and Social Welfare Of course, six artists cannot be said to "represent" a country where— as usual — people are working in a chaotic variety of idioms on various levels of artistic intelligence in such numbers that one may wonder in alarm whether all this art is really necessary.

The cross-section through generations and major directions they stand for is far from complete. For one thing, it is limited to paintings, reliefs, sculptures and assemblages more or less complete in themselves, and excludes works involving structures more complex physically and conceptually.

The absence of the latter— due to circumstances and not originally intended — may all the more induce one to view the exhibition as a show of six individual artists, dismissing as irrelevant the fact that they happen to be from the same country.

In addition, it is debatable whether there is, or should be, such a thing as "Dutch art. Such art tends to be viewed with the drowsy condescension of people who, after a good meal, are prepared to admit that a more primitive cuisine may also have its specialties. Condescension becomes polite disbelief when the native critic takes off his jacket to advertise the particular flavor of his home-fry with the aid of the tribal belly-dance. So why bother to try and explain why the present selection could not possibly have included an artist from Ghent or Dusseldorf?

In the case of this particular country, however, things are a bit more complicated, because one of its local stews has found its way to the international dinner tables, forestalling the more hilarious cannibal jokes. I am referring, of course, to the work of probably the only artist who ever drew a sign of emotion from that sober collection of dates and signatures, the Kunstler-Lexikon of Thieme-Becker. So, when a Dutch artist's work does not happen to be derivative of LeWitt, it must be derivative of Mondrian.

You may relax again — have a perfunctory of it after the main course, while enjoying coffee and serious conversation. Well, if it comes to that: very little flinging about of emotionally colored matter is being done in the studios of the Rhine-and-Meuse delta today as it was at the time of the Cold War — but then, strong language is passing out of favor even in regions which cannot boast an apostle of serenity as ours can. Geometrical shapes are a universal property, and reasons to use them are not necessarily derived from the Blessed Pieter.

They lack almost all specific information, and by virtue of this may come to represent every other shape in the processes of serialization and regular growth, division and other transformations to which they lend themselves so readily. Since their inception in the twenties and thirties, attention has clearly shifted to center around these processes, at the expense of the search for balance which dominated much of the earlier geometrical abstraction, particularly Mondrian's.

Equilibrium is a condition obtaining within the bounds of a set framework; serialization is a means by which — in principle at least — to transcend such frameworks by extrapolation, and to proceed, for instance, from single objects to the environment.

Like the shapes themselves, the transformations to which they are subjected may become universal substitutes for the infinitely more complex transformations going on in the world itself. They referto the perpetually varying arrangement of matter in nature as well as to our ways of grasping reality by ordering information in the mind. There is also a shift in the attitude towards the material properties of forms. In theory at least, a projected slide of a Mondrian painting comes closer to the image the artist wanted to create than the painting itself.

Constructivism advocated a "culture of materials," but in actual practice tension and the circumscribing of space proved more important than the materials as such, whose build was reduced as much as possible. With Dekkers, on the contrary, even a perfectly flat surface becomes a tangible object in space; so much so, indeed, that an incised line visibly appears to eat its way into it. Like Schoonhoven's, his reliefs are material things, not intangible patterns of light, even though their whiteness lends them a radiance that may cause their structure to appear different from what it actually is.

As for Visser, even his early sculptures, though involving rectangular elements, slender supports and open spaces, are far removed from the "spatial drawings" of the constructivists. They are made of iron which he combines with leather in his recent work. The contrast between the dull, heavy metal and the non-committal geometry and symmetry of its spatial arrangement creates a very peculiar tension, related to the kind of seeming incongruities we have since become familiar with through the work of Caro and Paolozzi.

Some of Visser's most remarkable constructions of this kind date from the middle fifties. So much for the derivatives of LeWitt. Silence is only slightly disturbed by the work of these artists, and the same can be said of Jan Roeland's paintings. They are filled with a kind of twilight: literally because of their subdued tones, and also because one can never be sure that the "meaningless" shape one sees is not, after all, part of some familiar object, or that the familiar object will not, on closer inspection, turn into an alien thing.

Ambiguities of this kind abound in many of those kinds of present-day painting which utilize the illusive properties of pictorial space. They can be found in the work of Lucassen and other Dutch figurative painters of today. The "Renaissance of figurative art" in Europe in the early sixties was not a simple return to the portrayal of reality after abstract art, muttering in its paint-stained beard, had exhausted its supply of power.

For one thing, it was the illusory barrier between abstract and figurative art which disappeared, not abstraction itself, which continued to develop and to influence the other field. On the other hand, English and American Pop Art had focused attention, not so much on contemporary reality as on a class of imagery which hitherto had usually been considered incompatible with the fine arts. Instead of pretending to a straightforward transmission of information concerning visible reality, painters began to reflect again on the old trade secret that such trans- mission depends on the way information is coded.

Pop Art might seem to promise a closer approach to reality because its channels are not yet clotted with conventions- artistic conventions, that is — , but the increasing abundance of quotations from the history of painting itself indicates to what extent the image is the primary object of research rather than the reality behind it. Lucassen recently exhibited a selection from his work of the past decade under the title "On the art of painting. Even without specific quotations or pastiches, he usually juxtaposes various codes in his paintings.

Ultimately, such art is concerned with the relationship of image-making and reality, and images are being resurrected from the past in order to investigate the future of the image. A painter must have very good reasons indeed, if he insists on adding his own inventions to the flood of visual material which already shapes and confuses our knowledge and experience of reality to such a large extent.

Henneman, who explores the ambiguities of pictorial space and scale in his drawings, works in three dimensions when dealing with the passage of time and the power of objects to evoke actions of man in his absence. Time sequences are shown dissolved into separate situations, each frozen in three-dimensional form to last beyond the split second during which it occurred.

The objects are real everyday objects, often set in a fragment of what one imagines to be their original environment. The new and indifferent context in which they are shown is pervaded by the "ghost" of their original setting or the action in which they were involved.

Sound and motion may be employed to aid in the reconstruction. One of Henneman's projects was a radio broadcast of breakfast sounds. Listeners were to lay a table according to instructions sent beforehand and to put it in front of their radio. During the broadcast, invisible people would have breakfast at the table without moving the things on it. Nor can its eventual rejection by the broad- casting company which had feigned an interest in it be considered as "typically Dutch" as one may be sometimes tempted to do.

Much of what has happened in Holland could have happened elsewhere, and much of what could not is not very interesting. Museums and galleries keep the country reasonably well informed, and the Dutch avant-garde was often intimately connected with international movements like Cobra, Fluxus and Zero. Schoonhoven is a case in point within the scope of the present exhibition; Dibbets and Van Elk alluded to in the first paragraph of this introduction provide examples outside it: they were allied with the Arte Povera group in Italy before they became known in Holland.

Which may remind one that Mondrian did his most important paintings in Paris and New York, and that a German museum was the first to buy them. Though even this is no longer as characteristic of the country as it used to be. X, no. Fuchs, Neue Konkrete Kunst, Bochum, , pp. Hartzema, "Dutch Treats," Art and Artists, vol, 2, no. XI, no. Sizoo, "Lucassen, Afgezien van de Kunst," Museumjournaal, vol.

October , pp. XII, no. Linville, "Sonsbeek: Speculations, Impressions," Arttorum, vol. La sculpture de ce siecle, Neuchatel, , p. Summer PARIS With the assistance of the Association Francais d'Action Artistique The Director of the Guggenheim Museum has asked me to write a preface for the Paris section of this exhibition in which it is proposed to show some of the new trends in European art as represented by three continental cities.

I confess to being somewhat at a loss in writing these lines, precisely because I have a high regard for the project as outlined by the Guggenheim's staff. I think that, despite what one may write regarding cultural standardization in the world, and no matter how often one may repeat the argument, distinctions remain that are both valuable and real; and there is a need for exchanges and reciprocal surveys of this kind, for mediators who can look with new eyes upon creative work and activities.

We are not dealing here with three official national selections, nor, as far as Paris is concerned, with a choice of the Centre National d'Art Contemporain, but rather a collaboration with the Guggenheim Museum on the basis of documentation and contacts arranged by CNAC. I think that, without fear of estab- lishing a technocracy, organizations such as CNAC should first and foremost serve as informative agents capable of welcoming such an initiative as taken by the Guggenheim. This should be pointed out now, when reservations and suspicions, both direct and oblique, about the "officialization" of the arts are voiced in Paris.

I also feel that the inclusion of Paris with Amsterdam and Dusseldorf — in itself a decision subject to question and dispute— is a portent of a new climate taking shape in Europe, a climate in which contacts between centers are multiplying regardless of hierarchy or precedence. It seems to me that in making choices that are quite properly and inevitably biased and incomplete, the institutional representatives involved are responding to the spirit of the endeavor which is to show what they know of a plastic expression unfamiliar to the public at large.

Omissions of certain well-known artists of the generation included in the selection are therefore explained by their previous exposure in New York. In the presence of the original works, interesting revisions may be made— revisions of rigid, pseudo- historical categories and of verbal traps in which the meaning of the specific is often lost. The endeavor, to be sure, has its limitations in the museum's architectural form that has bearing upon the subject.

Most of the artists represented would have liked to be present at the exhibition, or had imagined other activities parallel to the showing of an isolated object. Whatever their intrinsic significance, these works express beyond their own content, what there is to say about issues that have been raised. XXIV, no. Kenedy, "Paris," Art International, vol. XV, no.

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