Jewellery & Garment: Berlin vom 08.07.2022 bis 15.01.2023

Jewellery & Garment: Berlin vom 08.07.2022 bis 15.01.2023

„Jewellery & Garment“ ist ein Zusammenspiel der beiden Schwesterdisziplinen Schmuck und Mode. Positionen zeitgenössischen Autorenschmucks werden gemeinsam mit Vintage-Avantgarde-Mode aus privaten Sammlungen gezeigt. Seit den 60er Jahren hat sich eine internationale Szene von Schmuckmacher/innen gebildet, die die künstlerische Idee ins Zentrum ihrer Arbeit rücken. Jewellery: Helen Britton: Brosche…

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karl fritsch rings in schmuck der moderne: 1960-1998 modern jewellery - fritz falk + cornelie holzach (1999)

St. Maximillian Kolbe the ‘Martyr of Auschwitz’, Polish priest who was known by the Nazis at Auschwitz as Prisoner 16670, voluntarily took the place of a stranger who was condemned to forced starvation.

Artwork by Pennsylvania sacred artist, Neilson Carlin.

THE STORY OF MAXIMILIAN KOLBE (AND WHY IT MATTERS NOW, MORE THAN EVER)

By 1938, Father Kolbe was presciently convinced that the Nazis were going to seize Poland. As the Nazis approached in 1939, Father Kolbe sent away almost all the friars, but Father Kolbe chose to stay behind with three dozen friars, and Niepokalanow was essentially converted to a hospital for wounded Polish soldiers.

The Nazis rolled their tanks into Poland on Sept. 1 and the town of Niepokalanow was bombed on Sept. 7. Yet Father Kolbe remained in place. Not only that, but with the Nazis figuratively, if not almost literally, breathing down his neck, he continued to publish materials critical of the Nazis.

The Nazis had seen enough of his writings that illustrated the evils and lies of Nazism, and on February 17, 1941, Father Kolbe was picked up and arrested. On May 28, he was sent to his final earthly destination: Auschwitz.

In July, the Nazis discovered that a man had escaped. The Nazis had a procedure for punishing the remaining prisoners after an escape: ten men would be starved to death. A German officer named Karl Fritsch gleefully chose the ten men who were standing in ranks. When one of these men, Franciszek Gajowniczek, pleaded, “My wife and children,” Father Maximilian Kolbe broke ranks and made a plea of his own: “I am a Catholic priest. I want to die for that man; I am old; he has a wife and children.”

Father Kolbe’s wish was granted, and he was led away to die naked in a dark cellar.

St. Maximillian is the patron saint of families, prisoners, journalists, political prisoners, drug addicts and the pro-life movement. St. John Paul II declared him to be “the patron saint of our difficult century.”

With men on one side, and women and children on the other, the selection process of who will live and who will be sent to the gas chambers begins. In the background can be seen the main gate of the Auschwitz II–Birkenau camp. May 27, 1944.

They call him the Martyr of Auschwitz, but we shouldn't forget that there were thousands & thousands of martyrs at Auschwitz...

Opera on YouTube, Part 2

Le Nozze di Figaro (The Marriage of Figaro)

Glyndebourne Festival Opera, 1973 (Knut Skram, Ileana Cotrubas, Kiri Te Kanawa, Benjamin Luxon; conducted by John Pritchard; English subtitles)

Jean-Pierre Ponnelle studio film, 1976 (Hermann Prey, Mirella Freni, Kiri Te Kanawa, Dietrich Fischer-Dieskau; conducted by Karl Böhm; English subtitles) – Acts I and II, Acts III and IV

Tokyo National Theatre, 1980 (Hermann Prey, Lucia Popp, Gundula Janowitz, Bernd Weikl; conducted by Karl Böhm; Japanese subtitles)

Théâtre du Châtelet, 1993 (Bryn Terfel, Alison Hagley, Hillevi Martinpelto, Rodney Gilfry; conducted by John Eliot Gardiner; Italian subtitles)

Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt; conducted by Bernard Haitink; English subtitles)

Zürich Opera House, 1996 (Carlos Chaussón, Isabel Rey, Eva Mei, Rodney Gilfry; conducted by Nikolaus Harnoncourt; English subtitles)

Berlin State Opera, 2005 (Lauri Vasar, Anna Prohaska, Dorothea Röschmann, Ildebrando d'Arcangelo; conducted by Gustavo Dudamel; French subtitles)

Salzburg Festival, 2006 (Ildebrando d'Arcangelo, Anna Netrebko, Dorothea Röschmann, Bo Skovhus; conducted by Nikolas Harnoncourt; English subtitles) – Acts I and II, Acts III and IV

Teatro all Scala, 2006 (Ildebrando d'Arcangelo, Diana Damrau, Marcella Orasatti Talamanca, Pietro Spagnoli; conducted by Gérard Korsten; English and Italian subtitles)

Salzburg Festival, 2015 (Adam Plachetka, Martina Janková, Anett Fritsch, Luca Pisaroni; conducted by Dan Ettinger; no subtitles)

Tosca

Carmine Gallone studio film, 1956 (Franca Duval dubbed by Maria Caniglia, Franco Corelli, Afro Poli dubbed by Giangiacomo Guelfi; conducted by Oliviero de Fabritiis; no subtitles)

Gianfranco de Bosio film, 1976 (Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; conducted by Bruno Bartoletti; English subtitles)

Metropolitan Opera, 1978 (Shirley Verrett, Luciano Pavarotti, Cornell MacNeil; conducted by James Conlon; no subtitles)

Arena di Verona, 1984 (Eva Marton, Jaume Aragall, Ingvar Wixell; conducted by Daniel Oren; no subtitles)

Teatro Real de Madrid, 2004 (Daniela Dessí, Fabio Armiliato, Ruggero Raimondi; conducted by Maurizio Benini; English subtitles)

Royal Opera House, Covent Garden, 2011 (Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel; conducted by Antonio Pappano; English subtitles)

Finnish National Opera, 2018 (Ausrinė Stundytė, Andrea Carè, Tuomas Pursio; conducted by Patrick Fournillier; English subtitles)

Teatro alla Scala 2019 (Anna Netrebko, Francesco Meli, Luca Salsi; conducted by Riccardo Chailly; Hungarian subtitles)

Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato; English subtitles)

Ópera de las Palmas, 2024 (Erika Grimaldi, Piotr Beczala, George Gagnidze; conducted by Ramón Tebar; no subtitles)

Don Giovanni

Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Lisa della Casa; conducted by Wilhelm Furtwängler; English subtitles)

Giacomo Vaccari studio film, 1960 (Mario Petri, Sesto Bruscantini, Teresa Stich-Randall, Leyla Gencer; conducted by Francesco Molinari-Pradelli; no subtitles)

Salzburg Festival, 1987 (Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady; conducted by Herbert von Karajan; no subtitles)

Teatro alla Scala, 1987 (Thomas Allen, Claudio Desderi, Edita Gruberova, Ann Murray; conducted by Riccardo Muti; English subtitles)

Peter Sellars studio film, 1990 (Eugene Perry, Herbert Perry, Dominique Labelle, Lorraine Hunt Lieberson; conducted by Craig Smith; English subtitles)

Teatro Comunale di Ferrara, 1997 (Simon Keenlyside, Bryn Terfel, Carmela Remigio, Anna Caterina Antonacci; conducted by Claudio Abbado; no subtitles) – Act I, Act II

Zürich Opera, 2000 (Rodney Gilfry, László Polgár, Isabel Rey, Cecilia Bartoli; conducted by Nikolaus Harnoncourt; English subtitles)

Festival Aix-en-Provence, 2002 (Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch; conducted by Daniel Harding; no subtitles)

Teatro Real de Madrid, 2006 (Carlos Álvarez, Lorenzo Regazzo, Maria Bayo, Sonia Ganassi; conducted by Victor Pablo Pérez; English subtitles)

Festival Aix-en-Provence, 2017 (Philippe Sly, Nahuel de Pierro, Eleonora Burratto, Isabel Leonard; conducted by Jérémie Rohrer; English subtitles)

Madama Butterfly

Mario Lanfranchi studio film, 1956 (Anna Moffo, Renato Cioni; conducted by Oliviero de Fabritiis; no subtitles)

Jean-Pierre Ponnelle studio film, 1974 (Mirella Freni, Plácido Domingo; conducted by Herbert von Karajan; English subtitles)

New York City Opera, 1982 (Judith Haddon, Jerry Hadley; conducted by Christopher Keene; English subtitles)

Frédéric Mitterand film, 1995 (Ying Huang, Richard Troxell; conducted by James Conlon; English subtitles)

Arena di Verona, 2004 (Fiorenza Cedolins, Marcello Giordani; conducted by Daniel Oren; Spanish subtitles)

Sferisterio Opera Festival, 2009 (Raffaela Angeletti, Massimiliano Pisapia; conducted by Daniele Callegari; no subtitles)

Vienna State Opera, 2017 (Maria José Siri, Murat Karahan; conducted by Jonathan Darlington; no subtitles)

Wichita Grand Opera, 2017 (Yunnie Park, Kirk Dougherty; conducted by Martin Mazik; English subtitles)

Teatro San Carlo, 2019 (Evgenia Muraveva, Saimir Pirgu; conducted by Gabriele Ferro; no subtitles)

Rennes Opera House, 2022 (Karah Son, Angelo Villari; conducted by Rudolf Piehlmayer; French subtitles)

Karl fritsch rings

Ernst Fritsch

1892 - Berlin - 1965

The widow.

Watercolor on thick vellum. (19)28.

Karl and Faber

Karl Fritsch ring

Gerda Maurus in Woman in the Moon (Fritz Lang, 1929)

Cast: Willy Fritsch, Gerda Maurus, Klaus Pohl, Fritz Rasp, Gustl Gstettenbaur, Gustav von Wangenheim, Tilla Durieux, Margarete Kupfer, Alexa von Porembsky, Gerhard Dammann. Screenplay: Thea von Harbou. Cinematography: Curt Courant, Oskar Fischinger, Konstantin Irmen-Tschet, Otto Kanturek. Art direction: Emil Hasler, Otto Hunte, Karl Vollbrecht. 

Classic space-travel science fiction, Woman in the Moon was hugely influential on movies up until the time when human beings actually began to travel into space. You can find its traces in everything from the Flash Gordon and Buck Rogers serials to Destination Moon (Irving Pichel, 1950) and Forbidden Planet (Fred M. Wilcox, 1956), and even into the space age in TV series like Lost in Space (1965-68) and the first Star Trek series (1965-69). None of this should be surprising: Willy Ley, a German rocket scientist who was a technical adviser on Fritz Lang's film, came to the United States in 1935 and became an ardent popularizer of space travel and consultant to many science fiction writers and film directors. Actual space travel made some of Woman in the Moon obsolete: the notion that the moon has a breathable atmosphere and a temperate climate, for example. But Lang and his wife, Thea von Harbou, also consulted with another rocket scientist, Hermann Oberth, while writing the screenplay, and got a few things exactly and presciently right, like multistage rocketry, the need for zero-gravity restraints, and the firing of retro-rockets to slow the descent of the ship to the moon's surface. But perhaps their most influential contribution is the suspenseful (and often hokey) melodrama of the plot. They invented the familiar clichés: the discredited scientist whose theories turn out to be right; corporate villainy and greed at odds with the idealism of the scientists; the romantic triangle heightened by the isolation of the spaceship; the unexpected but useful stowaway; the need to sacrifice a member of the crew to return to safety. Fortunately, Lang never lets things bog down in the nascent clichés, and he has a capable cast to work with. Willy Fritsch is Wolf Helius, an idealistic rocketeer who has planned the space flight with the help of the discredited professor, Georg Manfeldt (Klaus Pohl). Gustav von Wangenheim and Gerda Maurus are Helius's assistants, Hans Windegger and Friede Velten, who have just gotten engaged, to the dismay of Helius, who is in love with Friede. Fritz Rasp is the evil mastermind Walter Turner, who threatens to destroy the rocket unless Helius allows him to come along on the voyage to advance the interests of the greedy corporate types who want to get their hands on the gold deposits that Manfeldt has theorized are plentiful on the moon. (With his hair slicked back across one side of his forehead, Rasp has a surprising resemblance to Adolf Hitler in this movie.) And the stowaway is Gustav (Gustl Gstettenbaur), a boy obsessed with space travel who brings his collection of sci-fi pulp magazines along with him. Even today, Woman in the Moon is good, larky fun.

A writer for Slate submitted the draft of a story in 2016 about Donald Trump and Russia to members of Fusion GPS, the research firm hired by the Hillary Clinton campaign to investigate her Republican rival, asking them for edits, according to a publicly filed exhibit in the U.S. case against Democratic attorney Michael Sussmann.

Franklin Foer sent the story, labeled "Manchuriancandidate.foer" in an attachment, to Fusion's Peter Fritsch and Jake Berkowitz, according to one of the emails that was inadvertently publicly filed by Special Counsel John Durham as an exhibit to a motion this week. The exhibit containing some of the Fusion GPS emails to reporters was unredacted for a time before being sealed again by Tuesday, according to the Washington Examiner.

According to an email on June 28, 2016, Foer wrote, "I handed in a draft of the piece--here's a copy. It's not all edited, so forgive all the rawness. I have no idea what my editor will say. But can you guys scan it for omissions and errors? And obviously keep it to yourselves. (Also promise me that you won't use it as a prod to the competition, whoever they are now.) Thank you for all your help."

Shortly after, Fritsch replied, "your editor should say it's great…jake and i will read more closely and make some suggestions." 

ABC'S JONATHAN KARL: THE MEDIA ‘UNFORTUNATELY’ PLAYED RIGHT INTO CLAIMS IT WAS THE ‘OPPOSITION PARTY’ TO TRUMP

It's not clear which story Foer submitted, although the next one published on Slate after he sent the message was a July 4, 2016 piece headlined "Putin’s Puppet," with the subheading, "If the Russian president could design a candidate to undermine American interests—and advance his own—he’d look a lot like Donald Trump." A separate Foer piece published July 27 was headlined, "Donald Trump Isn’t a Manchurian Candidate," arguing Trump and Russian President Vladimir Putin were using one another.

The law firm Perkins Coie had hired Fusion GPS on behalf of Clinton attorney Marc Elias. That eventually led to the commissioning of the infamous Christopher Steele dossier containing salacious, uncorroborated accusations of collusion between Trump and Russia. Sussmann was indicted last year by Durham for allegedly hiding his Clinton campaign affiliation from the FBI while pushing for an investigation into Trump's ties to Russia.

The Durham probe has exposed sources and funders of Steele's dossier revealed to be partisan Democrats, and members of the Democratic-backed Fusion GPS urging reporters to publish the collusion rumors. A separate indictment last year by Durham of Steele sub-source Igor Danchenko, a Russian analyst at the Brookings Institution, for allegedly lying to the FBI revealed one of his sources of information on Trump and Russia was longtime Democratic spin doctor Charles Dolan. 

Foer didn't reply to a request for comment, nor did Julia Turner, who was editor-in-chief of Slate at that point before later joining the Los Angeles Times.

DURHAM SAYS CIA FOUND DATA ALLEGING TRUMP-RUSSIA CONNECTION NOT ‘TECHNICALLY PLAUSIBLE,’ WAS ‘USER CREATED’

"What I want to make very clear is the very basic journalistic best practice and principle of not sharing drafts of stories with the people and institutions we cover is a standard we ascribe to," Slate spokesperson Katie Rayford, who wasn't with the outlet in 2016, told Fox News Digital.

Foer came under bipartisan criticism from journalists after the email came to light, with Noah Shachtman and Mollie Hemingway, respectively the editors of Rolling Stone and The Federalist, offering their opinions on Twitter.

"That is ... not at all how this is supposed to work, particularly on sensitive stories. Just plain wrong," Shachtman wrote.

"Grave, grave journalistic no-no," Hemingway tweeted. "But for a propagandist participating in a hoax, probably standard operating procedure. And it's not the only time he's been caught doing it with Fusion on a Russia collusion hoax story."

Hemingway appeared to be referring to when Foer, a former editor of The New Republic, sent Fusion a portion of a separate story before publication in 2016. 

Last year, he admitted to the Washington Post he was the unnamed journalist, in a federal grand jury indictment of Sussmann, who submitted part of a piece to Fusion GPS the day before it was published on Oct. 31, 2016. The article was published a week before the election, about unproven allegations that a Kremlin-linked bank was in secret communication with a Trump Organization server, headlined, "Was a Trump Server Communicating With Russia?"

The June 2016 email, highlighted in The Reactionary Substack from Techno Fog, is part of a legal filing on Monday from Durham, who has been investigating the roots of the sprawling Russia investigation. Responding to efforts by Hillary for America [HFA] and Fusion GPS to withhold some communications under the claim of attorney-client privilege, he argued that Fusion GPS's blatant sharing of raw, uncorroborated material with reporters around the media belied the idea put forward by Elias that Fusion GPS was acting as a confidential legal adviser. Durham cited having "hundreds" of emails between Fusion GPS and journalists to prove his point.

"…these parties are advancing a highly novel, and seemingly broad, theory of attorney-client privilege, namely, that Fusion GPS’s political opposition research – which triggered a sizeable [sic] outflow of unverified derogatory information into the media, the government, and the public – was, in reality, confidential expert work intended to support legal advice regarding libel and defamation," the filing stated.

NEW YORK TIMES PODCAST: STEELE DOSSIER ‘PROFOUNDLY FLAWED,' SHOULD NEVER HAVE HAD IMPACT IT DID

"As an initial matter, if Fusion GPS’s work product was, in fact, intended primarily to support ‘legal advice’ about how to avoid liability for 'defamation, libel, and similar laws,' one would expect contemporaneous emails and documents to reflect that Fusion GPS and/or its clients exercised some degree of caution and care before publicizing unverified or potentially inflammatory materials," it went on. "Moreover, if rendering such advice was truly the intended purpose of Fusion GPS’s retention, one would also expect the investigative firm to seek permission and/or guidance from HFA or its counsel before sharing such derogatory materials with the media or otherwise placing them into the public domain."

The Democratic National Committee and Clinton campaign agreed last month to pay the Federal Election Commission fines over complaints they violated federal law in improperly describing expenditures to Perkins Coie. As part of the agreements, the DNC agreed to pay a civil penalty of $105,000, and the Clinton campaign agreed to pay $8,000.

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karl fritsch

Karl Fritsch - Ringlein, Ringlein Du musst wandern: Lausanne bis 30.03.2024

Meine Damen und Herren! kommen Sie herein, kommen Sie herein, bewundern Sie die unglaublichen Kunststücke unserer Künstler: tanzende Perlen, versteinerte Steine, Ringe, die Pirouetten und Saltos schlagen, gerade Stücke und andere quadratische Kurven. Sie sehen den Hochzeitsflug der Brillanten in der Mitte des Karussells, smaragdgrüne Glühwürmchen, die in ihrer Choreografie hüpfen,…

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karl fritsch + gavin hipkins in multiple exposures: jewelry + photography - ursula ilse-neuman (2014)

Karl Fritsch, 2017 oxidized sterling silver

‘Go to Bed’

Karl Fritsch, 2016, white gold, sapphire, ruby

Karl Fritsch, Ring #488, 2019, silver, chrysoprase, picture-quartz, cubic zirconia