Shooting finds its climax andcompletion on the Stommeln village green. In the remake of the novel, Haus zur Trapp, built in 1785 and in reality now a café and hotel, serves as the inn Don Quixote believes is a castle. The fair maidens standing at the door are actually “two young women, girls of the district,” who scornfully tie his hand to the bolt of a door while his horse, Rosinante, takes to her hooves: in Stommeln, the actor is left dangling from the inn?s sign. This stunt passes smoothly into the next: on the village green in front of the Trapp, Don Quixote is thrown from his horse at full gallop- and the mystery surrounding the movie´s title is solved. “Losing horses” are horses that lose their riders, that liberate themselves from them.
Theo Matejko’s dynamic and sensationalist style, which had a lasting influence on press graphic culture from the early 1920s onwards, was significantly influenced by cinematic views. The fact that he was commissioned by the UFA in 1924 to sketch the shooting of Murnau’s silent movie The Last Laugh (1924) underlines this connection. In this groundbreaking […]
Frédéric Ehlers is an infinite number of authors who use the pen to explore the expanse of the sheet of paper and who cross the three-dimensional space with their rhythmically movements in an analogous manner. The selection of drawings is counteracted here by film stills of his Movement Research. “You are very interested in arts” […]
Die große Sonderausstellung „Ausstellen des Ausstellens“ in der Kunsthalle Baden-Baden widmet sich der Geschichte der Kunstpräsentation bis heute. Ihren Ausgangspunkt nimmt sie bei den Vorläufern der modernen Museen, den Kunst- oder Wunderkammern der Barockzeit. Sie endet bei aktuellen kuratorischen Situationen, die auch im Stadtraum zu erleben sind. Die Konzeption knüpft an die institutionskritischen Vorstöße der […]