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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, 28. Dezember 2014

independent.ie | Billie Whitelaw [1932-2014] | Read | Happy Days (Act I), Billie Whitelaw, directed by Samuel Beckett (1979) | Video


Berlin, 22. Dezember 2014

Franco Donatoni - Françoise Variationen - Maria Grazia Bellocchio | Video


Berlin, 17. Dezember 2014

Roulette TV | Anthony Braxton | Tri-Centric Presents Trillium | Video | Anthony Braxton and the Tri-Centric Foundation | Anthony Braxton on the Origin of Tri-Centric | Video


Berlin, 16. Dezember 2014

faz.net | Zurück zur Feudalkunst | Sind das die Medici von heute? | Lesen


Berlin, 12. Dezember 2014

Blu Mural [Foto] auf der Cuvry-Brache in Kreuzberg übermalt | blogrebellen.de | Lesen | twitter.com | Results for #cuvrybrache

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

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


Berlin, 8. Dezember 2014

nytimes.com | Galapagos Art Space, one of the original Williamsburg experimental art spaces, will pack up shop and head to Detroit | Read

Detroit by Air | Photographs by Alex S. MacLean


Berlin, 7. Dezember 2014

The Spectator | David Hockney interview: ‘The avant-garde have lost their authority’ | Read

Boston Review | Zero Hour. The First Days of New Berlin | By Paul Hockenos | Read


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.

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New York Times | Fred Ho (1957-2014), Composer and Musician, Dies at 56 | Read

Olafur Eliasson | 'Artists should have confidence in the fact that making a drawing is changing the world.' | Video


Berlin, 28. November 2014

ZEIT Magazin | Gesellschaftskritik | Mehr Bilder für den WDR! | Von David Hugendick | Lesen

Nothing Here Now but the Recordings [William S. Burroughs]: A conversation with Genesis Breyer P-Orridge | Video


Berlin, 26. November 2014

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


Berlin, 25. November 2014

The Quietus | Cult Of Memory: Simon Critchley Interviewed | Read


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, 16. November 2014

Dripped | By ChezEddy/Léo Verrier | Video


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, 14. November 2014

Alexander Grothendieck [1928-2014] · Mathematiker und Jahrhundertgenie | Alexandre Grothendieck, ou la mort d’un génie qui voulait se faire oublier | liberation.fr | Read


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, 10. November 2014

deutschlandradiokultur.de | "Humanistisches Geschwafel" auf Kosten der Flüchtlinge | Der Ästhetikprofesser Bazon Brock übt scharfe Kritik an Aktion des ZPS | Hören


Berlin, 7. November 2014

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


Berlin, 28. Oktober 2014

NYC up | Foto | © 2014 Ralph Lichtensteiger · All Rights Reserved.

COSMOS | ras.org.uk | visible Milky Way [219 million stars] | Read


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

NEW YORK | wnyc.org | Pearl Paint, a mecca for artists for generations, may not be part of the downtown landscape for much longer. | Read

MUMBAI | thebaffler.com | Slumming It. The gospel of wealth comes for Dharavi. | By DANIEL BROOK | Read

LONDON | subrosa.net | Brion Gysin · Live in London (1982)

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[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. Oktober 2014

BOOK | 24/7: Late Capitalism and the Ends of Sleep | By Jonathan Crary | Read


Berlin, 2. Oktober 2014

thebaffler.com | 'Payment on an Unpaid Basis' | By CHARLES DAVIS | Read

NEW YORK | Astor Place redesign | Video | by Simon J. Heath


Berlin, 25. September 2014

NEW YORK | WNYC News | Artists Want a Cut From Auction Mega-Sales | Listen


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 | Video


Berlin, 17. August 2014

Thomas Bernhard, Alte Meister. Komödie (1985)


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

SILICON AGE | nybooks.com | The Children of Silicon Valley | By Robert Pogue Harrison | Read | 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, 21. Juli 2014

INEQUALITY / SEGREGATION | wnyc.org | 'Poor Door' | Separate entrance for low- and moderate-income tenants at a new rental development on NYC's west side. | Listen/Read | The Brian Lehrer Show | How Many 'Poor Doors' Will NYC Build? | Listen


Berlin, 20. Juli 2014

FRACKING | theecologist.org | EFU Film Fracking Hell – the environmental costs of the new US gas drilling boom | Watch


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, 13. Juli 2014

Detroit, Michigan | voiceofdetroit.net | As Water Crisis in Detroit Escalates, Groups Pressure United Nations to Take Action, Restore Water Service to Thousands of Residents and Ensure the Human Right to Water | Read/Watch


Berlin, 11. Juli 2014

hyperallergic.com | Conceptual Artist On Kawara Dead at 81 | Read | artnet.com | On Kawara, Giant of Conceptual Art, Dead at 81 | Read


Berlin, 5. Juli 2014

Gerald Raunig | Art and Revolution | Transversal Activism in the Long Twentieth Century | MIT Press

mayflybooks.org | Critique of Creativity: Precarity, Subjectivity and Resistance in the 'Creative Industries' | Gerald Raunig, Gene Ray, Ulf Wuggenig (Editors) | Art and Contemporary Critical Practice: Reinventing Institutional Critique | Gerald Raunig and Gene Ray (editors)


Berlin, 2. Juli 2014

e-flux.com | The Next Documenta Should Be Curated by an Artist | 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, 19. Juni 2014

NEW YORK | npr.org | Legendary Pianist Horace Silver Dies At 85 | Listen | Excerpt: 'Let's Get to the Nitty Gritty' | Read


Berlin, 16. Juni 2014

NEW YORK | David Byrne Says Wealth Inequality Has Crushed Creativity in New York City in New Editorial. | pitchfork.com | 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, 8. Juni 2014

NEW YORK | The Viking of 6th Avenue | Holly Elson | The inspirational true story of Moondog, the legendary musician and New York icon whose life was an unexpected, outrageous adventure.


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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Saskia Sassen | Die 'Global City' ist ein brutaler Ort | Thema 15, June 21, 2012 | PDF | hup.harvard.edu | Expulsions. Brutality and Complexity in the Global Economy | By Saskia Sassen | Book | Saskia Sassen | City & Social Change | Video

Foto (NYC) | 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, 3. April 2014

Zum Tod von Urs Widmer (1938-2014) | nzz.ch | Lesen | diogenes.de | Lesen


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) | poetryfoundation.org | E. E. Cummings: Essential American Poets | Archival recordings of poet E. E. Cummings, with an introduction to his life and work. Recorded at the YMHA Poetry Center New York, NY in 1959. | Listen

wnyc.org | The Life and Legacy of Poet E. E. Cummings | Listen | E. E. Cummings (1894-1962) was a novelist, painter, and playwright.

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


Berlin, 1. April 2014

WNYC | New Tech City | A Labor Revolution or a Return to Serfdom: Could You Thrive in the Gig Economy? | Listen

nymag.com | In the New Economy, Everyone Is an Indentured TaskRabbit | By Kevin Roose | Read

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allover-magazin.com | Macht und Anerkennung | The Global Contemporary und der postkoloniale Ausstellungsdiskurs | Von Marenka Krasomil | Lesen

Ad Reinhardt postcard to Samuel J. Wagstaff, 1964 July 23 | Link

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 | The next revolution in art


Berlin, 31. März 2014

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

Die Befreiung des Künstlers von sich selbst | Every Dogma has its Day | Ad Reinhardt (1913-1967) | By Michael Corris | University of Chicago Press

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

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New York City | WNYC News | Gentrification In Central Harlem | Listen

'Gentrifizierung ist der Austausch einer statusniedrigen Bevölkerungsgruppe durch eine statushöhere Bevölkerungsgruppe in einem Wohngebiet.' — Friedrichs, J.; Kecskes, R. (Hrsg.): Gentrification – Theorie und Forschungsergebnisse. Opladen 1996


Berlin, 30. März 2014

WNED Interviews | Randall Kraemer re: Mark Rothko | Listen | newyorker.com | ESCAPE ARTIST | Mark Rothko onstage. BY JOHN LAHR | Read

wnyc.org | The Leonard Lopate Show | John Coltrane and the Evolution of Jazz | Listen


Berlin, 27. März 2014

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


Berlin, 26. März 2014

vivianmaier.com | Documentary | Finding Vivian Maier | Finding Vivian Maier is the critically acclaimed documentary about a mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and, discovered decades later, is now among the 20th century’s greatest photographers. | See also findingvivianmaier.com and interactive.wttw.com | Vivian Maier (Special) | Video | Vivian Maier | Self-Portrait; October 18, 1953, New York, NY

theatlantic.com | Maier took photos as a hobby for most of her life, but her talent was discovered just before she died—and today, it's the romantic story consumers project onto her art that fuels her acclaim. By NOAH BERLATSKY | Read

faz.net | Das Museum ist das neue Casino für Kultursponsoren | Die Firma Eon lässt Elegant Lady No. 5 (1951) von Jackson Pollock versteigern | Lesen | Christie's press release PDF

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

Louisiana Channel | Lawrence Weiner: The means to answer questions | Video

The fissured labor market: declining wages, eroding benefits, inadequate health and safety conditions, and ever-widening income inequality. | Harvard University Press Blog | Vignettes from the Modern Workplace | The Fissured Workplace | By David Weil | Video


Berlin, 25. März 2014

thegreenespace.org | The Kronos Quartet celebrates its 40th anniversary | The Kronos Quartet, Live in The Greene Space, 44 Charlton Street, New York, NY | Stream | or via WQXR, Q2 Music


Berlin, 24. März 2014

Whitney Museum of American Art | Whitney BIENNIAL 2014 | MAR 7–MAY 25, 2014 | nzz.ch | 77. Whitney-Biennale in New York | Archive der Gegenwart | Lesen


Berlin, 20. März 2014

In Berlin eingetroffen, Danke! | Poems You See Before You Die | Blog | gonzoverlag.wordpress.com

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] | Documentary on the life, music and legacy of Rahsaan Roland Kirk | Video

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The Many Lives of William Klein (2012) | Video [58:53] | William Klein | Life is Good & Good For You in New York | visual

Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work. — William Klein


Berlin, 15. März 2014

Soundcheck | WNYC Radio | Ralph Ellison: Learning About A Man From His Records | Listen | A Man and his Records | The National Jazz Museum in Harlem celebrates the centennial of writer Ralph Ellison and is honored to showcase his record collection.

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David Joselit, After Art | Princeton University Press | David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. | blog.frieze-magazin.de | ART 2.0: David Joselit’s “After Art” (2012) | David Joselit | Yale University, Department of the History of Art

In the beginning was black | Michel Pastoureau, Black: The History of a Color | Princeton University Press | Table of Contents

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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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Alan Sondheim | the long long run | Video | © 2014 Alan Sondheim

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]

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How Did John Zorn Write 300 Songs in 90 Days? | Read


Berlin, 5. März 2014

wnyc.org | New Sounds | Episode #723 | Robert Ashley, In Memoriam | Listen | wnyc.org | Evening Music | Ear to Ear: Robert Ashley | Saturday, December 20, 2008 | Listen

Robert Ashley (1930-2014) | Perfect Lives | An opera for television | Video

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 | artsjournal.com | Kyle Gann | Read | npr.org | Robert Ashley, Opera's Misunderstood Innovator, Dies At 83 | Read | hyperallergic.com | Experimental Musician Robert Ashley Dead at 83 | Read

...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

Robert Ashley | Lectures to be Sung | Video | Scenes from two of his operas 'Concrete' and 'Atalanta (Acts of God)' | Private Parts (1978) | The Park | Video

Four American Composers: Robert Ashley (1983) | Directed by Peter Greenaway | Video | via ubu | FADER TV | Interview with Robert Ashley | Video [03:33]

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Brooklyn/New York | freewilliamsburg.com | Ward Shelley and Alex Schweder | Living in a hamster wheel in Williamsburg | Williamsburg’s Pierogi Gallery | Video | urbandictionary.com | hamster wheel

Jeremy Denk | blog | Ligeti’s Infinities | Read/Listen


Berlin, 3. März 2014

Lecture | Wesley Cecil Ph.D. | Ludwig Wittgenstein · His Life and Philosophy | Listen [01:01:25]


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) | annamatheja.de


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 | Hell Mouth

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


Berlin, 27. Februar 2014

New York | carnegiehall.org | Vienna · City of Dreams (February 21—March 16) | 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

carnegiehall.org | Carnegie Hall Live | Vienna Philharmonic Orchestra | Mozart's Symphony No. 28, Johannes Maria Staud's On Comparative Meteorology, and Bruckner's Symphony No. 6 | Listen

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[...] In a society that no longer wants to have anything to do with its past, art finds itself trapped between the Scylla of the museum and the Charybdis of commodification. And since our museums of contemporary art are so often temples of the absurd, both of these things go hand in hand. Duchamp was probably the first person to become aware of the dead end in which art had become interred. Just what did Duchamp invent with his 'ready-made'? He took some ordinary object, a urinal, for example, and by introducing it into a museum he compelled the museum to show it as a work of art. Naturally—after a brief period of surprise and shock—nothing can be attributed to its presence there: not the work because it is an ordinary object, just any industrially-produced object, and not the artistic work because it involved absolutely no 'poiesis', no production—and much less the artist, except as a philosopher or a critic or as Duchamp liked to say, as 'one who breathes', a mere living being. In any case it is certainly true that he did not claim to have produced a work of art, but to have cleared the way for art, which was stuck between the museum and commodification. As you know, what happened instead is that a class, one that is still active, of clever speculators transformed 'ready-made' into a work of art. And so-called contemporary art does nothing but repeat Duchamp’s gesture by filling the museums, which are nothing but organs of the market devoted to accelerating the circulation of merchandise which, like money, have attained a state of liquidity and which they want to continue to value as if they were works of art, with non-works and non-performances. This is the contradiction of contemporary art: it abolishes the work of art and then puts a price tag on the result. — Giorgio Agamben | 'God didn't die, he was transformed into money' - An interview with Giorgio Agamben - Peppe Savà | via libcom.org


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, 20. Februar 2014

Liverpool Biennial | Touched Talks: Simon Critchley | Art, Theory and Philosophy | Video | see also artandresearch.org.uk | The Infinite Demand of Art | Read


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

RWM Son[i]a: James Pritchett talks about the work of John Cage, David Tudor and and Morton Feldman and the difficulty of writing about their music. | Listen

R. Buckminster Fuller Archive | The Fuller World. Design Scientist. (NET Series F-155, no. 1) | Ann Arbor, Michigan: National Educational Television (1963) | Video


Berlin, 18. Februar 2014

A Song for the Sea Pig with The Kronos Quartet | Video

The New School for Social Research | Simon Critchley 'Infinitely Demanding: Politics of Resistance, Ethics of Commitment' | NSSR Philosophy Department Blog | Video


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

opinionator.blogs.nytimes.com | Happy Like God | By Simon Critchley | Read


Berlin, 15. Februar 2014

'Somebody Blew Up America' | Amiri Baraka (1934-2014) with Rob Brown (Saxophone), recorded live on February 21, 2009 at The Sanctuary for Independent Media in Troy NY. | Video | Poetry is music, and nothing but music. Words with musical emphasis. — Amiri Baraka

Sun Ra Interview (Helsinki, 1971) | Video


Berlin, 14. Februar 2014

prospectmagazine.co.uk | Wittgenstein’s forgotten lesson | By Ray Monk | Read

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

Lee Smolin | Time Reborn: From the Crisis in Physics to the Future of the Universe. | A New Theory of Time | Video | nybooks.com | Review by James Gleick | Read

pirsa.org | Time Reborn | Speaker(s): Lee Smolin | (Flash Presentation, MP3, PDF) | 13040103

Lee Smolin's website | Perimeter Institute for Theoretical Physics (Canada) | 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 | Andrei Linde | stanford.edu | Publications

Cycles in the Multiverse | Matthew C. Johnson and Jean-Luc Lehners | arXiv:1112.3360

Dark Energy: A Short Review | Michael J. Mortonson, David H. Weinberg, Martin White | arXiv:1401.0046

Hugh Everett (1930-1982) | The many-worlds theory | Hugh Everett III Manuscripts | ucispace.lib.uci.edu


Berlin, 11. Februar 2014

blog.lareviewofbooks.org | Simon Critchley | An evening, sometime in the near future… | 26 Kadashevskaya nab. 115035 Moscow | Read


Berlin, 10. Februar 2014

Wien | nachtkritik.de | Wiener Burgtheaterkongress | 'Von welchem Theater träumen wir?' | Outsourcing Solutions | Rede des Billeteurs | Text | Video

[Es ist dringend an der Zeit, dass sich das Burgtheater der ungerechten, hierarchischen und unsolidarischen Arbeitsbedingungen am eigenen Hause stellt. Es reicht nicht aus, sich mit pompösen Charityveranstaltungen wie dem 'Lifeball' in der Öffentlichkeit ein gutes Image zu verschaffen. Es ist dringend an der Zeit, dass sich das Burgtheater wieder um alle Menschen kümmert, die zur Realisierung des Gesamtkunstwerks Theaters beitragen!] — Rede des Billeteurs, Christian Diaz

burg4s.tumblr.com | Aus der Zeitschrift 'Theater der Zeit' eine Zusammenfassung des Bisherigen | Lesen | nachtkritik.de | Der Nicht-mehr-Billeteur | Lesen

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believermag.com | Philosophy begins in disappointment | Interview (Jill Stauffer) with philosopher Simon Critchley | Read

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 | Read

nybooks.com | The Hall of Horowitz | By Tim Page | Read | Excursions, Op. 20, by Samuel Barber, recorded 1945 | Listen

The List | Ten things you might not know about . . . Philip Glass | Read


Berlin, 8. Februar 2014

Godfrey Reggio's 'Visitors' | Music by Philip Glass | 8-minute, behind-the-scenes look | Video | Official Trailer | Video | blogs.indiewire.com | TIFF Review: 'Visitors' From Godfrey Reggio, The Director Of 'Koyaanisqatsi' | Read

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nybooks.com | Why Bach Moves Us | By George B. Stauffer | Read | telegraph.co.uk | Music in the Castle of Heaven by John Eliot Gardiner, review | Read


Berlin, 7. Februar 2014

Mingus Speaks | By John F Goodman, University Of California Press | uc-press-podcast | mingusspeaks.com | soundcheck.wnyc.org | 'Mingus Speaks' For Himself In New Book | Listen

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, 5. Februar 2014

A conversation with John Cage | KRAB Feb 25, 1966 | Listen [65:54] | via krab.fm


Berlin, 3. Februar 2014

Listen : John Cage | in love with another sound | Video

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


Berlin, 1. Februar 2014

dnainfo.com | City Halts Work on Hotel Chelsea Renovation After Old Owner Yanks Permit | Read


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-online.com


Berlin, 29. Januar 2014

newyorker.com | HIDDEN CITY | New York has more homeless than it has in decades. What should the next mayor do? | Read | By IAN FRAZIER | For baseball games, Yankee Stadium seats 50,287. If all the homeless people who now live in New York City used the stadium for a gathering, several thousand of them would have to stand. More people in the city lack homes than at any time since . . . It’s hard to say exactly. The Coalition for the Homeless, a leading advocate for homeless people in the city and the state, says that these numbers have not been seen in New York since the Great Depression. (...)

nytimes.com | The Opinion Pages | Capitalism vs. Democracy | Thomas B. Edsall | On Thomas Piketty’s new book, 'Capital in the Twenty-First Century' | Read | Capital in the Twenty-First Century | By Thomas Piketty | Harvard University Press


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

Scott Johnson | How It Happens (says I. F. Stone) (1991-3) | Kronos Quartet, Short Stories | Listen

ifstone.org | Best of I. F. Stone | Read | Day at Night: I. F. Stone, independent investigative journalist and editor of I. F. Stone's Weekly | Video


Berlin, 22. Januar 2014

An interview done by Chuck Smith & Sono Kuwayama with painter Agnes Martin at her studio in Taos in Nov. 1997. | Video

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

mitpress.mit.edu | Your Everyday Art World | By Lane Relyea | Book

Chicago Art Magazine | Lane Relyea on Distribution Systems | Read


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.

interviewmagazine.com | Robert Morris | Read


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, 15. Januar 2014

archive.org | Other Minds Audio Archive | Inverness Music Festival: A Centennial Tribute to Charles Ives (July 6, 1974) | Listen

npr.org | At 60, 'Challenges Are Opportunities' For John Zorn | Listen


Berlin, 12. Januar 2014

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

wikipedia.org : Khene

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newyorker.com | Amiri Baraka's life-changing Jazz writing | Read

Thought is more important than art. To revere art and have no understanding of the process that forces it into existence, is finally not even to understand what art is. — Amiri Baraka, Home: Social Essays

washingtonpost.com | Amiri Baraka [LeRoi Jones], influential African American writer and firebrand, dies at 79 | By Matt Schud | Read | Rothko Chapel | Amiri Baraka: Living Legend | Video


Berlin, 11. Januar 2014

faz.net | Chris Dercon [Tate Modern] | Kunst soll verbinden, nicht gekauft werden | Lesen

Wir sind alle Teil dieser Krise. Heute, in einer Welt von Hochfrequenzhandel und in einer Welt, in der so viele Menschen so viel Geld haben, dass es eigentlich nichts mehr bedeutet, sind die Händler zu Marken geworden. Jeder hat seinen privaten Kunstberater. Und weil die sich nicht auskennen und weil sich die Sammler auch nicht auskennen, entsteht als Kompensation von Nichtwissen immer mehr dumme Kunst. Voilà, das ist meine Theorie. — Chris Dercon


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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