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Berlin, 29. Dezember 2014

Feather/Vogelfeder [Berlin] | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

The Quarterly Review of Biology | Richard O. Prum, Alan H. Brush: The Evolutionary Origin and Diservication of Feathers | PDF [396 KB]

 

Berlin, 12. Dezember 2014

sand bit long still | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

PDF · sand bit long still · download [60 KB]

 

Berlin, 3. Dezember 2014

N 5th, Brooklyn | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 1. Dezember 2014

Die Welt und der ganze Kosmos liegen in den Buchstaben | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 26. November 2014

Underground, London | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 24. November 2014

Shadow [Potsdamer Straße, Berlin] | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 21. November 2014

Take these everyday blasphemies and make them sacred again.

Stairs/Treppe [Berlin] | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 15. November 2014

it is what it is [Writings] | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

PDF · it is what it is · download [52 KB]

 

Berlin, 13. November 2014

Pfauenauge [peacock's eye] | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 12. November 2014

Andrea Bellini: What deeply characterized your generation and, in particular, the Arte Povera group?
Jannis Kounellis: Not having any dogmatic paranoia, not starting from a manifesto, the acceptance of contradictions. You know: having a dogma signifies the necessity for a defense. We didn’t need a defense because the premises were immediately realized. — Flash Art 253 | March – April 07

 

Berlin, 7. November 2014

Alexander Calder | Têtes et Queue [1965] | vergrössern | Neue Nationalgalerie Potsdamer Straße © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 27. Oktober 2014

Allen Ginsberg : What about control?
William Burroughs: Now all politicians assume a necessity of control, the more efficient the control the better. All political organizations tend to function like a machine, to eliminate the unpredictable factor of AFFECT-emotion. Any machine tends to absorb, eliminate, Affect. [...] — INTERVIEW, Journal For the Protection of All People (1961)

 

Berlin, 13. Oktober 2014

[03] geologically © 2013 Ralph Lichtensteiger · All Rights Reserved.

DRAWINGS — Bilderzyklus [2013] — 32 x 28 cm (12.6 x 11 inches) — Gouache (black and gray paint), Inkpen, Inkjet Prints, Papier, Stoff und Karton (Collage/Montage) auf Papier | Galerie öffnen

 

Berlin, 8. September 2014

Kein alter Begriff stimmt noch, jeder Begriff muss metamorphosiert sein... — Joseph Beuys

[00'27''] · mp3

Die Leute haben doch alles in der Hand! — Joseph Beuys

 

Berlin, 25. Juli 2014

If you’re a talented person and you’re not successful there is probably something inside you that is stopping you from being successful, and sadly, it might be your talent. — Marc Maron

 

Berlin, 23. Juli 2014

In truth Silicon Valley does not change the world as much as it changes my way of being in it, or better, of not being in it. It changes the way I think, the way I emote, and the way I interact with others. It corrodes the worldly core of my humanity, leaving me increasingly worldless. — Robert Pogue Harrison

 

Berlin, 22. Juli 2014

I—VIII · Signed and numbered editions | re—mastered & re—issued 2014
one | two | three | four | five | six | seven | eight

You can order my re—mastered & re—issued physical Compact Discs via email. Price per CD: 8 Euro plus shipping.

 

Berlin, 15. Juli 2014

'Great art is connected with courage and truthfulness' | Iris Murdoch (*July 15 1919 in Dublin; †February 8 1999 in Oxford)

Jeffrey Meyers: You once wrote, 'A great artist is, in respect of his work, a good man and in the true sense a free man.' I wonder if you could interpret that?

Iris Murdoch: The important phrase is 'in respect to his work,' because obviously great artists can lead less than perfect lives. Take Dante for instance. Or Shakespeare. We know very little about Shakespeare's life. You could name almost anybody who has written a great or good novel and see that their lives are imperfect. You can be unselfish and truthful in your art, and a monster at home. To write a good book you have to have certain qualities. Great art is connected with courage and truthfulness. There is a conception of truth, a lack of illusion, an ability to overcome selfish obsessions, which goes with good art, and the artist has got to have that particular sort of moral stamina. Good art, whatever its style, has qualities of hardness, firmness, realism, clarity, detachment, justice, truth. It is the work of a free, unfettered, uncorrupted imagination. Whereas bad art is the soft, messy self-indulgent work of an enslaved fantasy. Pornography is at one end of that scale, great art at the other end. — theparisreview.org | The Art of Fiction No. 117 (Iris Murdoch interviewed by Jeffrey Meyers)

 

Berlin, 2. Juli 2014

Curators seemingly want to be artists. Architects want to be artists. I don’t know if this is an unhealthy trend or not. What disturbs me is a growing tendency for artists to be used as art materials, like paint, canvas, etc. I am uneasy about being used as an ingredient for an exhibition recipe, i.e., to illustrate a curator’s thesis. — John Baldessari

 

Berlin, 25. Juni 2014

Michel Foucault | *15. Oktober 1926 in Poitiers; † 25. Juni 1984 in Paris | Mir fällt auf, daß Kunst in unserer Gesellschaft zu etwas geworden ist, das nur Gegenstände, nicht aber Individuen oder das Leben betrifft. Daß Kunst etwas Gesondertes ist, das von Experten, nämlich Künstlern gemacht wird. Aber könnte nicht das Leben eines jeden ein Kunstwerk werden? Warum sollte die Lampe oder das Haus ein Kunstwerk sein, nicht aber unser Leben? [...] — Michel Foucault (1987): Zur Genealogie der Ethik: Ein Überblick über laufende Forschungsarbeiten. Übers. von Claus Rath und Ulrich Raulff. In: Dreyfus, Hubert L.; Rabinow, Paul: Michel Foucault. Jenseits von Strukturalismus und Hermeneutik. Frankfurt a. M.: Athenäum, S. 273

 

Berlin, 21. Juni 2014

Serie TWENTYTWENTY — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand | Galerie öffnen

 

Berlin, 16. Juni 2014

Can New York change its trajectory a little bit, become more inclusive and financially egalitarian? Is that possible? I think it is. It's still the most stimulating and exciting place in the world to live and work, but it's in danger of walking away from its greatest strengths. — David Byrne

 

Berlin, 6. Juni 2014

Gruppenausstellung | [ g ] galerie at home | Katarzyna Zorn | Berlin | 30. März bis 30. Juni 2014 | Weitere Informationen auf Anfrage | Arbeiten von Annette von der Bey (Malerei), Timm Kregel (Skulpturen, Frottage-Holzschnitte), Ralph Lichtensteiger (Malerei, Collagen), Steffen Mühle (Fotografie), Kerstin Seltmann (Malerei, Zeichnungen)

 

Berlin, 30. Mai 2014

Let the mice in [Brion Gysin] — I’m for yes. No excludes. I’m for inclusion. [Robert Rauschenberg]

Ich hasse Ideen. Und wenn ich trotzdem mal eine habe, gehe ich spazieren, um sie zu vergessen. — Robert Rauschenberg (Interview, 2006)

 

Berlin, 12. Mai 2014

Monteverdi/Berlin Serie: Foto-Montagen, Zeichnungen, Gouache, Inkpen und Papier (Montage) auf Leinwand.

Monteverdi/Berlin Montage I © 2014 Ralph Lichtensteiger · All Rights Reserved. | Galerie öffnen

 

Berlin, 3. Mai 2014

art should not be comfortable | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 1. Mai 2014

Gasometer, Berlin Schöneberg | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 22. April 2014

Gruppenausstellung | [ g ] galerie at home | Katarzyna Zorn | Berlin | 30. März bis 30. Juni 2014 | Weitere Informationen auf Anfrage | Arbeiten von Annette von der Bey (Malerei), Timm Kregel (Skulpturen, Frottage-Holzschnitte), Ralph Lichtensteiger (Malerei, Collagen), Steffen Mühle (Fotografie), Kerstin Seltmann (Malerei, Zeichnungen)

 

Berlin, 19. April 2014

[...] das Unglück des Künstlers will, dass er nicht mittelmässig sein kann. Er kann nicht in der Qualität sinken, sonnst ist er unglaubwürdig. Es gibt kein Handwerk in der Kunst, denn entweder ist die Arbeit gut, oder sie existiert nicht. — Jannis Kounellis, 1985

 

Berlin, 17. April 2014

Car, London | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 12. April 2014

Leonardo da Vinci zur Konzept Kunst:

Grösstes Übel ist es, wenn der Gedanke das Werk überragt. — Leonardo da Vinci, Philosophische Tagebücher, S. 87

 

Berlin, 7. April 2014

words are like tools in a tool-box · download [64 KB] © 2014 Ralph Lichtensteiger · All Rights Reserved. Typeface: Goudy Old Style Italic

 

Berlin, 4. April 2014

Wir haben uns eine Welt zurecht gemacht, in der wir leben können — mit der Annahme von Körpern, Linien, Flächen, Ursachen und Wirkungen, Bewegung und Ruhe, Gestalt und Inhalt: ohne diese Glaubensartikel hielte es jetzt Keiner aus zu leben! Aber damit sind sie noch nichts Bewiesenes. Das Leben ist kein Argument; unter den Bedingungen des Lebens könnte der Irrthum sein. — Friedrich Nietzsche, Die fröhliche Wissenschaft. Drittes Buch, Das Leben kein Argument.

Street smart, Berlin | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

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All art is a kind of confession more or less oblique, all artists, if they survive are forced, at last to tell the whole story. — James Baldwin

 

Berlin, 2. April 2014

Milk/Shadow | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

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[Zeigen] · Was Malerei ist, kann man nur zeigen. — RLi, Gedanken, 2013/2014

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E. E. Cummings ist der Dichter (1894-1962)

73 Poems (Harcourt, Brace & World, 1962) | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 1. April 2014

The next revolution in art will be the same, old, one revolution. Every revolution in art turns over art from art-as-also-something-else into art-as-only-itself. — Ad Reinhardt, From a talk given by Ad Reinhardt in 1963

 

Berlin, 31. März 2014

— Ausbrechen — Es geht nicht darum, etwas zu erreichen, es geht darum, aus dem Bestehenden auszubrechen. — Marguerite Duras

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I’m quite simply making the last paintings that anyone can make. — Ad Reinhardt

 

Berlin, 27. März 2014

Gouache, inkpen on paper, mounted on canvas, Bilderzyklus: Montage-Paintings [2013/2014]

 

Berlin, 26. März 2014

The artist must go beyond logic and risk madness. — Lawrence Weiner

 

Berlin, 20. März 2014

In Berlin eingetroffen, Danke! | Poems You See Before You Die

Poems You See Before You Die. By George Koehler and Ray Rubeque | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 19. März 2014

Mark Tobey, City Paintings. Catalogue of exhibition, Washington, National Gallery of Art, 1984. | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 18. März 2014

Since everything lies open to view there is nothing to explain · Music for claves (Klangstäbe) and female voice · download [88 KB]

Since everything lies open to view there is nothing to explain (Claves part) | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 17. März 2014

Since everything lies open to view there is nothing to explain · Music for claves (Klangstäbe) and female voice · download [88 KB]

For Rahsaan Roland Kirk · download [68 KB]

 

Berlin, 15. März 2014

Das Bekannte überhaupt ist darum, weil es bekannt ist, nicht erkannt. — G.W.F. Hegel, Phänomenologie des Geistes

 

Berlin, 12. März 2014

Uglybeautycage Fragment D (Klavier II) | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

Uglybeautycage · Dialogue with John Cage [2002-2005] · Zusammenarbeit mit George Henry Koehler · open the project page

 

Berlin, 11. März 2014

I hate wise men because they are lazy, cowardly, and prudent. To the philosophers' equanimity, which makes them indifferent to both pleasure and pain, I prefer devouring passions. The sage knows neither the tragedy of passion, nor the fear of death, nor risk and enthusiasm, nor barbaric, grotesque, or sublime heroism. He talks in proverbs and gives advice. He does not live, feel, desire, wait for anything. He levels down all the incongruities of life and then suffers the consequences. So much more complex is the man who suffers from limitless anxiety. The wise man's life is empty and sterile, for it is free from contradiction and despair. An existence full of irreconcilable contradictions is so much richer and creative. The wise man's resignation springs from inner void, not inner fire. I would rather die of fire than of void. — Emile M. Cioran, On the Heights of Despair, The Paucity of Wisdom (Translated by Ilinca Zarifopol-Johnston)

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2x32 Words (partition) · download [52 KB] | © 2014 Ralph Lichtensteiger

 

Berlin, 10. März 2014

Paint ten thousand paintings and walk ten thousand miles or in art it is difficult to say something which is just as good as saying nothing at all. | Artist Statement [II] · download [56 KB]

 

Berlin, 5. März 2014

The characters I’m interested in are marginal, because everybody is marginal compared to the stereotypes. I am interested in their profoundly good qualities, and I’m not interested at all in evil. The characters in my work are as bizarre and unreal as the characters in William Faulkner. They just happen to be ordinary people who are spiritually divine. — Robert Ashley, The Wire, 2003

 

Berlin, 4. März 2014

Composer Robert Ashley has died aged 83.

...if you’re going to start out by creating a musical situation in which a story is told and in which you can show off all the dramatic aspects of making music – which I think is what opera is all about – you might as well use Bob Dylan as your model rather than Verdi. — Robert Ashley, Perfect Lives: An Opera. pg. 184

 

Berlin, 1. März 2014

Artsale zwei im Wedding | Anna Matheja / Sojafisch | Samstag, 01. 03. 2014 von 16.00 bis 22.00 Uhr und Sonntag, 02. 03. 2014 von 13.00 bis 18.00 Uhr | In der Amsterdamer Straße 12 in 13347 Berlin, Wedding (U-Bhf Seestraße, U6, Tram 13 & 50)

 

Berlin, 28. Februar 2014

Wenn die Malerei eben immer noch geschaffen werden muß, so treten die noch zu schaffenden Werke des neuen Malers zu den bereits fertiggestellten hinzu: Sie machen sie nicht überflüssig, sie enthalten sie nicht ausdrücklich, sie rivalisieren mit ihnen. Die gegenwärtige Malerei verleugnet in einer allzu absichtsvollen Weise die Vergangenheit, um sich wirklich von ihr lösen zu können: Sie kann sie nur vergessen, indem sie aus ihr Gewinn schöpft. Indem sie alles, was vor ihr war, als einen gescheiterten Versuch darstellt, läßt sie eine künftige Malerei ahnen, die sie ihrerseits für einen gescheiterten Versuch ausgeben wird – das ist der Preis für ihre Neuartigkeit. Die gesamte Malerei tritt so als ein mißlungenes Unternehmen auf, etwas zu sagen, was immer noch zu sagen bleibt. — Maurice Merleau-Ponty, Das indirekte Sprechen und die Stimmen des Schweigens, Zeichen/Signes (1961), S 109-110

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I think contemporary music has come out of a long, dark night of the soul, (...) I think the watershed was when minimalism arrived. People realized you could have music that was new and felt contemporary but also was pleasurable. — John Adams, Not Mahler's Problem

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Ear | Provence, 2004 | vergrössern | © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 27. Februar 2014

In der Kunst bedeutet das Niveau nichts, die Persönlichkeit alles. Im äußeren Leben ist es umgekehrt. Der Berliner möchte die Kunst mit Niveau, der Wiener den Verkehr mit Persönlichkeit durchhalten. — Karl Kraus, 1912

 

Berlin, 24. Februar 2014

Das Kunstwerk zwingt uns - sozusagen - zu der richtigen Perspektive, ohne die Kunst aber ist der Gegenstand ein Stück Natur, wie jedes andre, und daß wir es durch die Begeisterung erheben können, das berechtigt niemand es uns vorzusetzen [...]. Nun scheint mir aber, gibt es außer der Arbeit des Künstlers noch eine andere, die Welt sub specie aeterni einzufangen. Es ist - glaube ich - der Weg des Gedankens, der gleichsam über die Welt hinfliege und sie so läßt, wie sie ist - sie von oben vom Fluge betrachtend. — Ludwig Wittgenstein, Vermischte Bemerkungen, Werkausgabe Bd. 8, Frankfurt/M 1984, S. 456

 

Berlin, 21. Februar 2014

Lecture on art [without words, one] | not involving or using words or speech | for one performer and environment sound recordings [overdubs, DAT]

[00'00'' — 22'43''] | © 2014 Ralph Lichtensteiger · All Rights Reserved.

Lecture on art | vergrössern © 2014 Ralph Lichtensteiger · All Rights Reserved.

Lecture on art [without words, one] · download [52 KB] · Inspired by Rahsaan Roland Kirk, Simon Critchley, Sun Ra, Lee Smolin, Andrei Linde, Ludwig Wittgenstein, Ad Reinhardt, Nagarjuna, Edmond Jabès, George Kubler, Donald Kuspit, Michel Butor and Brion Gysin.

 

Berlin, 19. Februar 2014

Left to itself art would have to be something very simple - it would be sufficient for it to be beautiful. But when it's useful it should spill out of just being beautiful and move over to other aspects of life so that when we're not with the art it has nevertheless influenced our actions or our responses. — John Cage

 

Berlin, 17. Februar 2014

Happiness is not quantitative or measurable and it is not the object of any science, old or new. It cannot be gleaned from empirical surveys or programmed into individuals through a combination of behavioral therapy and anti-depressants. If it consists in anything, then I think that happiness is this feeling of existence, this sentiment of momentary self-sufficiency that is bound up with the experience of time. — Simon Critchley

 

Berlin, 14. Februar 2014

dark message | Project page | vergrössern | © 2010-2011 Ralph Lichtensteiger · All Rights Reserved.

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I used to believe in the essential unreality of time. Indeed, I went into physics because as an adolescent I yearned to exchange the time-bound, human world, which I saw as ugly and inhospitable, for a world of pure, timeless truth…. I no longer believe that time is unreal. In fact I have swung to the opposite view: Not only is time real, but nothing we know or experience gets closer to the heart of nature than the reality of time. — Lee Smolin

 

Berlin, 13. Februar 2014

art is not just about the 'work' | vergrössern | © 2014 Ralph Lichtensteiger · All Rights Reserved.

art is not just about the 'work' · download [48 KB] · Typeface: ITC American Typewriter Bold

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Hubble's diagram | Image | Inflationary Multiverse

 

Berlin, 10. Februar 2014

Philosophy is keeping one’s mind in hell, in the violence and cruelty of the present, and not despairing, but going on, making, creating, affirming. [...] I think that the activity of thinking is and always has been, and is now increasingly, a response to political horror. We live in dark times. The people who govern us are out of touch and act in accordance with agendas that I find increasingly dispiriting. So I’m deeply pessimistic about the present situation. — Simon Critchley

 

Berlin, 9. Februar 2014

One hundred years after Burroughs was born and 17 years after his death, the idea of a Master Narrative or Ultimate Truth remains just as ludicrous, but the control society he warned of is more real than ever. The techniques he embraced and promoted — non-linearity, machine composition, fragmentary production, creative recycling — have become not only accepted but standardized, themselves folded into the ugly, looping bray he warned against. — lareviewofbooks.org | Welcome to Interzone: On William S. Burroughs' Centennial | By Sand Avidar-Walzer

 

Berlin, 7. Februar 2014

Well, Bud (Powell), Fats (Navarro) and Bird—they’re like saints to me. They gave everything. I think they really thought they were telling the people…the message, the spirit to live. — Mingus

In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time. — Mingus

 

Berlin, 3. Februar 2014

Part of John Cage's greatness and importance lie in the fact that he eschewed 'greatness' and 'importance.'

 

Berlin, 31. Januar 2014

Many years ago Meyer Schapiro argued that there was a radical difference between art's spiritual value and its commercial value. He warned against the nihilistic effect of collapsing their difference. I will argue that today, in the public mind, and perhaps in the unconscious of many artists, there is no difference. The commercial value of art has usurped its spiritual value, indeed, seems to determine it. Art's esthetic, cognitive, emotional and moral value — its value for the dialectical varieties of critical consciousness — has been subsumed by the value of money. Art has never been independent of money, but now it has become a dependency of money. — Donald Kuspit, Art Values or Market Values?

 

Berlin, 30. Januar 2014

We don't have art movements any more. We have market movements. — Walter Robinson

Allan Kaprow: Well, you know, a lot of work nowadays tends to be illustrative of theory already written, and some of it tends to be quite consciously didactic, as if the determination is to teach somebody something. And letting that go for the moment, as far as its value is concerned, it’s exactly the opposite of what I seem to find most useful, and that is to leave things open and not determine anything except the very clear form. The form is always very simple and clear. What is experienced is uncertain and unforeseeable, which is why I do it, and its point is never clear to me, even after I’ve done it. So that’s a very, very different way of looking at the nature of our responsibility in the world. — jca

 

Berlin, 28. Januar 2014

Der Ursprung des Daseins ist die Bewegung. Folglich kann es darin keine Bewegungslosigkeit geben, denn wäre das Dasein bewegungslos, so würde es zu seinem Ursprung zurückkehren, und der ist das Nichts. Deshalb nimmt das Reisen nie ein Ende, nicht in der höheren und auch nicht in der niederen Welt. — Ibn Arabi, Kitab Al-Isfar (Das Buch der Entschleierung der Auswirkung des Reisens)

 

Berlin, 27. Januar 2014

Every government is run by liars and nothing they say should be believed. — I. F. Stone

 

Berlin, 22. Januar 2014

How rarely I meet a man who can be free, even in thought! We live according to rule. Some men are bedridden; all, world-ridden. I take my neighbor, an intellectual man, out into the woods and invite him to take a new and absolute view of things, to empty clean out of his thoughts all institutions of men and start again; but he can't do it, he sticks to his traditions and his crochets. He thinks that governments, colleges, newspapers, etc. are from everlasting to everlasting. — Henry David Thoreau, Journal, May 12, 1857

 

Berlin, 21. Januar 2014

Black paint | vergrössern | © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 18. Januar 2014

as an artist I constantly measure the clouds | [A Conversation with Jan Fabre] | vergrössern | © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 17. Januar 2014

(...) forget the politiciAns / they aRe / on The / mOon when they saw we were / no longer Voting / thEy left (...) — John Cage, 'Overpopulation and Art', 180-85

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Der Künstler wählt seine Stoffe aus: das ist seine Art zu loben. — Friedrich Nietzsche, Die fröhliche Wissenschaft. Drittes Buch, Lob in der Wahl.

 

Berlin, 16. Januar 2014

Anarchy / really does have The future / people are talkIng / abOut / it is creative coNduct / As opposed to / subordiNate / conDuct it is positive / individuAlism to follow a way of thinking / that pRoposes you can assume / for your own acTs / respOnsibility / Visibly / rEsponsible / fiRst to yourself and / then to society — John Cage, 'Overpopulation and Art' 37

 

Berlin, 12. Januar 2014

Khene [Komposition] [00:03:20] | Instrument: Khene (mouth organ of Lao origin) © 2014 Ralph Lichtensteiger · All Rights Reserved.

 

Berlin, 9. Januar 2014

I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things. — Emma Goldman

 

Berlin, 1. Januar 2014 · Happy 2014 to everyone!

Dal mio Permesso amato à voi ne vegno,
Incliti Eroi, sangue gentil de’ Regi,
Di cui narra la Fama eccelsi pregi,
Nè giunge al ver, perch’è tropp’ alto il segno.

[From my beloved Permessus I come to you,
Glorious Heroes, noble bloodline of Rulers,
Of whom Fame relates high praise
Without quite attaining the truth, as it is too high a mark.]

— L'Orfeo (1615), Alessandro Striggio/Claudio Monteverdi

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Photography | Prints

All photographs are available as Giclée prints/high-quality inkjet prints, signed by the artist and presented un-matted. Please send a note to receive detailed information about other available printing techniques. | lichtconlon [ at ] googlemail [ dot ] com

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