Manofmusic Index du Forum

Manofmusic
Espace consacré à David Bowie et à la Culture sous toutes ses formes

 FAQFAQ   RechercherRechercher   MembresMembres   GroupesGroupes   S’enregistrerS’enregistrer 
 ProfilProfil   Se connecter pour vérifier ses messages privésSe connecter pour vérifier ses messages privés   ConnexionConnexion 

David Bowie exhibition reaches Berlin in May
Aller à la page: <  1, 2, 3
 
Poster un nouveau sujet   Répondre au sujet    Manofmusic Index du Forum -> David Bowie -> J'ai entendu un truc sur David Bowie
Sujet précédent :: Sujet suivant  
Auteur Message
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Lun 28 Juil - 18:52 (2014)    Sujet du message: David Bowie exhibition reaches Berlin in May Répondre en citant



David Bowie during recording at Hansa Studios, 1977
Courtesy of The David Bowie Archive
Photo © Coco Schwab



Monday, 28. July, 2014

David Bowie – Made in Berlin

David Bowie recorded some of his most popular songs during his time in Berlin from 1976 to 1978. On 29 July, the radio show “Cyberjam“ dedicates a whole hour from 1 to 2 am to the topic “David Bowie – Made in Berlin“. The broadcast will only play songs that emerged in Berlin, that were written or performed there or which have a special connection to the german capital. More impressions of Bowie’s Berlin years can be seen at the exhibition David Bowie in the form of pictures, films, songs and letters.

Here you find the mix as an online stream in advance

www.davidbowie-berlin.de


Revenir en haut
Publicité






MessagePosté le: Lun 28 Juil - 18:52 (2014)    Sujet du message: Publicité

PublicitéSupprimer les publicités ?
Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Sam 2 Aoû - 10:33 (2014)    Sujet du message: David Bowie exhibition reaches Berlin in May Répondre en citant


Friday, 1. August, 2014

DAVID BOWIE IN BERLIN: THE VIDEO

Brought to Berlin by Avantgarde the exhibition David Bowie has already fascinated over 75.000 visitors. We are proud of what we achieved together with our partners: We brought Bowie back to Berlin the city that inspired him once; we awaked memories and created new fans. How diverse the implementation of such an ambitious project was for us, can be seen in our web clip. We would like to say thank you to all who contributed to the huge success of the exhibition.

www.davidbowie-berlin.de





Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Mer 20 Aoû - 10:18 (2014)    Sujet du message: Ziggy Stardust Yourself in Berlin with Audi Répondre en citant





20 AUGUST 2014

Ziggy Stardust Yourself in Berlin with Audi

“People stared at the make-up on his face”

Avantgarde of Berlin have been in touch with details of a new addition to the news page of the David Bowie exhibition at Martin-Gropius-Bau...and here are those details.

    Be Ziggy Stardust!

    Visitors to the David Bowie exhibition at Martin-Gropius-Bau can now look like Ziggy Stardust. As an official partner of the exhibition, Audi invites visitors to a specially designed photo project. Every person attending, receives a personal photo with the famous Ziggy Stardust lightning bolt.

    Since the beginning of the exhibition Audi City Berlin at Kurfürstendamm 195, has been showing an installation of Bowie record covers on their power walls. For Wayne Griffith, head of sales Germany at Audi AG, the exhibition David Bowie is a matter close to his heart: ”David Bowie wasn’t afraid of exceeding limits and he was ahead of the times. Not least because of his attitude, he perfectly fits into our brand with the four rings.”

The news page is a great diary of events since the launch of the David Bowie exhibition and you can view it here.
If you’re not in Berlin and are feeling a little left out, you still have a chance to get the Aladdin Sane flash on your phizog by acquiring the Bowiefy app.
Our picture shows how David Bowie may have looked had he created the iconic make-up a couple of years before the Aladdin Sane album of 1973, with apologies to both David Bowie himself and Duffy!

davidbowie.com


Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Mer 20 Aoû - 13:23 (2014)    Sujet du message: David Bowie Is Everywhere Répondre en citant



Installation view, ‘David Bowie’ at Martin-Gropius-Bau (© Avantgarde, photo by Thomas Bruns)


David Bowie Is Everywhere
by Stephen Truax on August 18, 2014

BERLIN — It was impossible, having been born in the 1980s, not to memorize David Bowie’s song with Queen, “Under Pressure” (1981), as well as Bowie’s first top-five hit, at age 22, “Space Oddity” (1969) — a song that went on to actually be the first played in space. But I never had a direct relationship with Bowie’s music, the way I did with some of his contemporaries (Pink Floyd, the Rolling Stones, King Diamond). I only found “Fame” (1975) through the God Lives Underwater cover (1998), which I downloaded from Napster. For a while I’ve been “terrified to admit this publicly.”

I grew up watching Labyrinth (1986), but the original soundtrack, co-written and performed by Bowie, especially “Magic Dance,” was too self-aware, almost mocking in its performance of the fantasy story and villain. I preferred dead serious: Ridley Scott’s Legend (1985), for example. Of course, Legend, with its torrents of falling glitter, outrageous costumes, an ultra-camp performance by Tim Curry as Darkness, and an unreal soundtrack by the German electronic band Tangerine Dream, was 100% Bowie.

The David Bowie exhibition — now on view at Martin-Gropius-Bau in Berlin — exposes how total and singular was the man’s influence on art, music, fashion, and culture. I now realize he somehow inflected nearly everything else in my life. The Cure, Madonna, Nirvana, Marilyn Manson, Lady Gaga, and Vanilla Ice’s “Ice Ice Baby” (1990) — none of these would exist in the same way without Bowie.



David Bowie, album cover shoot for ‘Aladdin Sane’ (1973) (photo by Brian Duffy, © Duffy Archive & The David Bowie Archive) (click to enlarge)


Ridley Scott, again: The replicants in Blade Runner (1982) are David Bowies. Zhora (Joanna Cassidy) crashes in slow motion through multiple layers of glass display cases spewing artificial snow, while wearing a transparent plastic trench coat surrounded by blinking neon lights. Pris (Daryl Hannah) explores a late-19th-century apartment building filled with toys, curios, and futuristic domestic technology. This image from Blade Runner reminds me of the cavernous spaces I grew up exploring at Clark St & Belmont Ave in Chicago: architecture from the same time period, pink fur, glittering sequins, gold lamé, neon lighting. This entire aesthetic came out of 1970s glam rock, of which Bowie is the premier example. Pris wears a black, skin-tight bodysuit with bleached white cropped hair. She spray-paints a black line across her closed eyes. She is almost exactly David Bowie as his stage persona Ziggy Stardust — the one that Bowie says nearly drove him mad. In an exquisitely designed vitrine at Martin-Gropius-Bau, illuminated from within by a concealed neon light, a David Bowie as Ziggy Stardust mannequin lays dead, his head pillowed on some antique newspapers, beneath a painting depicting two David Bowies pointing at one another. But Ziggy also changed style and fashion forever. Kate Moss appeared on the cover of British Vogue in 2003 as David Bowie as Ziggy Stardust, and again in 2011 for Paris Vogue.

In the retrospective, one massive room approximates the feeling of being at a Bowie concert. Film footage is projected on all four walls, edge to edge, and when the projections dim, a wall of costumes is revealed. The costumes have been hidden behind a mesh sheet that received the projection, stretched taut over a grid of 2x2m boxes, stacked like the set of a game show. At times, multiple David Bowies appear on the boxes, projected over his original costumes beneath the transparent screen: David Bowie on David Bowie. An older English gentleman standing near me was literally moved to tears.

The costumes range wildly, from classic English punk (leather jackets, chains, tight jeans, big lace-up boots) to decaying 18th-century French nobility (think Dangerous Liaisons [1988] and Interview with the Vampire [1994]), to dystopic, futuristic modifications to the silhouette à la Alexander McQueen, especially oversize jumpsuits stretched in fabulous directions. Of course, Bowie must have inspired McQueen’s incomparable design. The two actually collaborated a number of times, a kind of meta-Bowie move; how many artists can, through their monumental influence on popular culture, sculpt a young mind from childhood and then collaborate with that person later on? On view here we have a 1995 Alexander McQueen tire print suit, which Bowie wore to promote his I.Outside album (1995). More broadly, every supervillain from every movie between the 1970s and now seems modeled after Bowie’s costume design. They made me feel so nostalgic, even though I had really never seen them before.



David Bowie’s striped bodysuit for the ‘Aladdin Sane’ Tour (1973), design by Kansai Yamamoto (photo by Masayoshi Sukita, © Sukita / The David Bowie Archive)


Back to Tim Curry: in The Rocky Horror Picture Show (1975), during “Sweet Transvestite,” Curry appears wearing a huge cloak, which he strips off suddenly as the bass drops, revealing a leather corset and red glittering platform heels. This is a total Bowie move — the oversize cloak, which was ceremoniously stripped off during the Aladdin Sane tour (1973) to reveal Kansai Yamamoto’s extravagant costume designs (also on view in the exhibition). I remember going to a Halloween screening of Rocky Horror in Andersonville, Chicago, with everyone screaming out hidden subtexts (“elbow sex!”) and emphatically singing along. This was perhaps merely a re-creation of a re-creation of the cult that surrounded Bowie in the ’70s in the UK.

Hedwig and the Angry Inch (2001) references Bowie even more directly. Director John Cameron Mitchell appropriated lyrics from Bowie’s “Boys Keep Swinging” (1979) to tell Hedwig’s origin story. And the concluding image, when Hedwig — now neither man nor woman — stands tall in the blue spotlight and sings the heart-wrenching “Midnight Radio,” (a scene which also recalls Rocky Horror’s concluding song, “I’m Going Home”) pulls from nothing more than Bowie. The androgynous glam star, the glitter makeup, the elevation of rock to a kind of religion — these are his legacies. Bowie co-produced the 1999 LA production of the musical.



Iggy Pop, David Bowie, Coco Schwab, East Berlin, (1977) (courtesy the David Bowie Archive)


Bowie spent time in Berlin, moving to Schöneberg — the city’s historic district that served as a safe haven for artists and the queer community throughout the 20th century — to clean up his drug addiction in 1976. He lived with Iggy Pop, collaborated with Brian Eno, and went to the café with Michel Foucault (as you do). And so the current version of the exhibition has been tailored to the city, focusing on Bowie’s time here, the German Expressionist art he vigorously sought out, how he specifically addressed the Berlin Wall, and more. Christine Heidemann, a curator at Martin-Gropius-Bau, has added innumerable local artifacts, including Bowie’s Berlin apartment keys.

Like IKEA, the museum controls your movement through the show in a linear trajectory and discourages wandering. Wall texts show up almost more frequently than photographs and artworks. Each uniquely colored room (navy, white, red, black) is given a name, starting from the premise of the show’s original title, David Bowie is: “David Bowie is waiting for a future that will never come to pass”; “David Bowie is wearing many masks”; “David Bowie is moving like a tiger on Vaseline.”



David Bowie, “Mona in Berlin” (1977), acrylic on canvas (© the David Bowie Archive) (click to enlarge)


Bowie’s expressive paintings — such as “Mona in Berlin” (1977), so stylistically tied to German Expressionism — give a peculiar twist to his output. Despite their amateurism, they show how fearlessly he moved from medium to medium, cycling through drawings, paintings, poetry, film, acting, and performance in addition to music.

The headphones for the audio tour blast his music so loudly it can be overheard by anyone nearby who neglected to rent them. This in addition to the music piped into the space, like Bowie belting out “Rock n’ Roll Suicide.” Fittingly, the exhibition is as much an aural experience as a visual one.

There’s also an unimaginable amount of film footage and photography: was there ever a moment when Bowie was not on camera? The video projections and grids of TV screens mesmerize audiences; they stand dumbfounded and transfixed. David Bowie continues to awe the public.



David Bowie, original lyrics for “Ziggy Stardust” (1972) (courtesy the David Bowie Archive, image © Victoria and Albert Museum)


But the real treasure is the stash of original pages of his modest spiral notebooks. In them, he composed lyrics and how they might be put to music, performed, and turned into video, all simultaneously. His handwritten script changes not just over the years but from page to page. The writings are often surrounded by surreal drawings: night scenes of empty cities, colored in multiple impressionistic shades with markers. The drawings are beautiful — cinematic descriptions, like a director’s notes for a film.



David Bowie, “Gasmask Sketch” (1979) (© the David Bowie Archive) (click to enlarge)


David Bowie is, organized by Victoria Broackes and Geoffrey Marsh of the Victoria & Albert Museum in London, opened in March 2013 to record-shattering numbers. Due to overwhelming demand, Martin-Gropius-Bau has extended the run of the show through August. There was a line around the entire building the day I went, on a Tuesday afternoon, five months after the show opened. In many ways the exhibition seems unlikely, perhaps even pandering to a wider audience than any of these museums might otherwise receive, but the accumulation of all Bowie’s works, entombed in multimedia displays that surrounds the viewer, is compelling. The blockbuster retrospective of Bowie the pop music icon and style symbol makes a convincing argument for Bowie the artist.

David Bowie continues at Martin-Gropius-Bau (Niederkirchnerstraße 7, Berlin) through August 24. The exhibition opens at the Museum of Contemporary Art, Chicago, on September 23. David Bowie Is, the documentary, opens in US theaters the same day.

Hyperallergic


Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Lun 25 Aoû - 09:56 (2014)    Sujet du message: David Bowie in Berlin – The end of the exhibition Répondre en citant





Monday, 25. August, 2014

David Bowie in Berlin – The end of the exhibition

Yesterday was the last day of the exhibition David Bowie at the Martin-Gropius-Bau. After three months in Berlin will the exhibition continue its tour to the Museum of Contemporary Art in Chicago. To get one of the last desired entry tickets the visitors waited patiently in front of the Martin-Gropius-Bau until the closing of the box office. Those who didn’t get the chance to visit the multimedia show can see here some of the nicest impressions of the past months.


© Avantgarde, Foto: Thomas Bruns


© Avantgarde, Foto: Thomas Bruns


© Avantgarde, Foto: Thomas Bruns


© Avantgarde, Foto: Thomas Bruns

davidbowie-berlin


Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Lun 25 Aoû - 13:52 (2014)    Sujet du message: David Bowie exhibition reaches Berlin in May Répondre en citant







Revenir en haut
lunamagic
Administrateur

En ligne

Inscrit le: 09 Mar 2011
Messages: 5 093

MessagePosté le: Mer 27 Aoû - 11:00 (2014)    Sujet du message: David Bowie exhibition in Berlin attracts 150,000 visitors Répondre en citant



Installation image: David Bowie © Avantgarde, photograph: Thomas Bruns


David Bowie exhibition in Berlin attracts 150,000 visitors

The multimedia show ran from May 20 to August 24 2014, thrilling its international audience

Berlin, 26 August 2014

Between May 20 and August 24 2014, the spectacular exhibition David Bowie at Berlin’s Martin-Gropius-Bau attracted over 150,000 visitors. The media response to the multimedia show was positive throughout and visitors’ comments were enthusiastic. The exhibition’s expanded Berlin section in particular was highly popular. The organiser of the exhibition, the international communications agency Avantgarde, is thrilled that their decision to tailor the international show for its Berlin station proved the right choice. “We are really pleased that the exhibition David Bowie appealed to a cross-generational audience. By highlighting Bowie’s creative phase in the 1970s more strongly and establishing links to the Berlin of today, we were able to offer visitors a unique exhibition experience,” explains Avantgarde project manager Sarah Zimmermann.

In order to do justice to Bowie’s close connections to the city, the organisers tailored the exhibition to Berlin and developed it curatorially. From the very beginning, there was no doubt that the exhibition belonged in Berlin – Bowie lived in the divided city from 1976 to 1978 and wrote music history with the three albums of his so-called “Berlin Trilogy”. For the three-month show at the Martin-Gropius-Bau, Avantgarde added around 60 new exhibits, some of which had never been shown in public before. These pieces both complemented the extant Berlin section and set new emphases of their own, illustrating David Bowie’s artistic development during his Berlin years. The highlights of the new exhibits include the 1978 correspondence between David Bowie and Marlene Dietrich, two works by the expressionist painter Erich Heckel, a large photo collage on Bowie’s 1970s Berlin and a live recording of Bowie’s legendary performance in front of the Reichstag in 1987.

Following its Berlin station, the international exhibition will now move on to Chicago, where it can be seen in the Museum of Contemporary Art from 23 September 2014. The show will later move to Paris, Melbourne and Groningen.

The exhibition David Bowie was curated by the Victoria and Albert Museum, London.

In Berlin, the exhibition was organised by the international communications agency Avantgarde.

The costumes, materials and objects exhibited were shown with the kind permission of the David Bowie Archive.
Special thanks go to the archive’s director, Sandy Hirshkowitz.

www.davidbowie-berlin.de


Revenir en haut
Contenu Sponsorisé






MessagePosté le: Aujourd’hui à 09:32 (2016)    Sujet du message: David Bowie exhibition reaches Berlin in May

Revenir en haut
Montrer les messages depuis:   
Poster un nouveau sujet   Répondre au sujet    Manofmusic Index du Forum -> David Bowie -> J'ai entendu un truc sur David Bowie Toutes les heures sont au format GMT + 1 Heure
Aller à la page: <  1, 2, 3
Page 3 sur 3

 
Sauter vers:  

Index | Panneau d’administration | creer un forum gratuit | Forum gratuit d’entraide | Annuaire des forums gratuits | Signaler une violation | Conditions générales d'utilisation
Powered by phpBB © 2001, 2005 phpBB Group
Traduction par : phpBB-fr.com