Anselm Kiefer (1945)

[LCR]

After school, Kiefer went to university, where he studied law, literature and linguistics. But then he decided that would be an artist. He studied at the Academy Freeburg, Karlsruhe, and Düsseldorf (1970-72 gg., In the workshop Boyce).
His reputation in artistic circles dates back to 1969 when he made them put up photographs, which he gave the Nazi salute in the major cities of Europe - its aim was to remind people the horrors of Nazism, which, in his opinion, not dead: "When I was in University, taught us the right brilliant professor committed by the Nazis in his convictions. The school subject of Nazism have paid only 2 weeks, at home as the story has never been touched.
Already in 1970-ies. Kifkr became one of the kupno German artists of the postwar period.
Since 1983 he lives and works in the south of France, in Barzhake.

The main theme of his paintings, which he uses mixed media (sand, earth, ash, saliva, chalk, hair, all kinds of waste) are the destruction caused by World War II and the catastrophe it has caused, inter alia, the Holocaust. The choice of materials is also in accordance with its uchvstvom color: "The longer you look at my work, the better you can see their color. Initially, my work appear gray, but looking at them, you see that the materials I work with, bring them in color. In some works, the artist contrasts the image of the disaster symbol of art, human ingenuity - for example, in "Icarus, the sands of Brandenburg" - written butter wing ...
Two years ago, Kiefer became the first artist invited to the Paris Grand Palais for the annual exhibition Monumenta, the past with great success.

[LCR]

Anselm Kiefer was born in Donaushingen March 8, 1945, 5 months before Germany's surrender on 9 August of that year. So he had not witnessed the Second World War, but he was born among the ruins, but grew up - in a climate of slow recovery in Germany, reconstruction, on the one hand, the material and on the other - the psychological and moral. During the Nuremberg process (November 1945 - October 1946.), Which tried Nazi war criminals Kiefer certainly learned to walk. How in this context Kiefer organizes its memory, the memory of the tragedy, the direct witness of which he was not, but the consequences of which are seen every day, this "memory without memory?

To understand creativity Kiefer need to answer two fundamental questions: "What to remember?" And "how to remember?". These questions define the problematic relationship Kiefer to his country's history. Indeed, in order to identify the most important and reflect it in their art, Kiefer was absolutely necessary to build a holistic vision of the past of their country, mythology, fundamental to the Germanic culture, the responsibility of Germany in the Holocaust ... The artist took it very seriously. For example, when Kiefer wrote lost somewhere on the horizon, the rails of the railway, he invites the viewer to compare these tracks with the trains of death ", millions of Jews were taken away into oblivion. Vanishing point perspective in painting is the horizon of memory: the rails are doomed grandeur of universal character.

[LCR]

To achieve this, Kiefer had to structure its system memory. He created a kind of memory tool, which helps him not only to remember something in particular, how to determine how to cause the memories that can help in this - some images, some background ... Kiefer's work - it does not work with memory, it is Work on memory. Memory is the very fabric of the picture, it is - the substance of the picture and also the key to its understanding. It is in this perspective Kiefer includes in its work of poetic texts Fields villagers and Ingeborg Bachmann. You could even say that he lends them their memories, their testimony that he uses as raw material for their testimony, remote in time.

[LCR]

The work of the memory is further complicated by the fact that Kiefer has to "create" their memory - in order to recreate the events in which he did not attend, but that it formed: it assigns the objects, texts, images - the only ones available to him memories - and include them in some kind of staging, showing the elements gradually amounting his personal memories of Nazism and his own Germanic "genealogy". Created this personal memory, Kiefer can "remember", despite the fact that he does not and can not be "memories". Creativity Kiefer rejects Adorno's famous formula: "to write poetry after Auschwitz - barbarism. Indeed Kiefer in his work shows the barbarity: he analyzes the history of Germany, constantly referring to the tradition, part of which he is himself.

[fross]

And Kiefer you like it? To me he seems awfully dark, not even depressing. If not mistaken, Koshlyakov critics compared it with Kiefer, why?

[LCR]

Сообщение от fross

A Kiefer you like it? To me he seems awfully dark, not even depressing. If not mistaken, Koshlyakov critics compared it with Kiefer, why?

In general, yes, love. Gloom in the art I was not deterred. Another thing - to me it seems a little monotonous. W just amended the posted pictures: I am impressed by the importance and scope of his work.
Koshlyakov (which I also like), of course, lighter and artistry. The main thing is it different from Kiefer in my opinion is that Koshlyakov, I think, pushes in his work more on the arts (the Venetians, much else).

[Кирилл Сызранский]

Сообщение от LCR

Creative Kiefer rejects Adorno's famous formula: "to write poetry after Auschwitz - barbarism.

"How can I compose music after Auschwitz?" - Asks Adorno, and
person familiar with Russian history may repeat the same question, replacing
It called the camp - repeat it, perhaps with even more right, because
number of people perished in Stalin's camps, far exceeds the number of
perished in German. "And how after Auschwitz you can eat lunch?" - Noticed this
such as the American poet Mark Strand. The generation to which I belong, in
Anyway was able to compose the music.
This generation - the generation born just when the crematoria of Auschwitz
running at full capacity, when Stalin was in the zenith godlike,
absolute, nature itself seemed to be the authorized authorities, was in the world,
seems to continue that theoretically should have been interrupted in
These crematoria and in unmarked mass graves of Stalin's archipelago.
I. Brodsky, Nobel lecture.

[Тютчев]

Indeed dismal painting. There are snakes, earth, fire, man, cold empty space, but there is no God.

[Тютчев]

Сообщение от Cyril Syzransky

number of people perished in Stalin's camps, far exceeds the number of
perished in German.

is - not true!


 
GULAG (historical and sociological perspective)

Viktor Zemskov

Published in the journal Sociological Research "in 1991, № № 6, 7.

The purpose of this article - to show the true statistics of the prisoners of the Gulag, many of which had already been included in the articles, AN Dugin, VF Nekrasov, as well as in our publication in the weekly "Arguments and Facts" [1].

Despite the availability of these publications, which is relevant to truth and documented the number of prisoners of the Gulag, the Soviet and foreign public en masse is still under the influence of far-fetched and not true to the historical truth of statistical calculations, as contained in the works of foreign authors (R. Conquest , S. Cohen and others), and in the publications of a number of Soviet researchers (R. Medvedev, VA Chalikova, etc.). And in all of these authors, the discrepancy with the true statistics never goes in the direction of belittling, and exclusively in the direction of repeated exaggeration. It seems that they compete among themselves to impress readers digits, so to speak, poastronomichney.

Here, for instance, writes S. Cohen (with reference to the book, Robert Conquest "Great Terror," published in 1968 in the USA): "... By the end of 1939 the number of inmates in prisons and concentration camps, some had grown to 9 million people (compared to 30 thousand in 1928 and 5 million in 1933-1935) "[2]. In fact, in January 1940 in the camps of the Gulag contained 1 334 408 prisoners in the colonies of the Gulag - 315 584 and in prisons - 190 266. Results in the camps, colonies and prisons were then 1 850 258 prisoners (see Table 1, 2), ie given Robert Conquest and S. Cohen statistics are exaggerated almost five times.

R. Conquest, and S. Cohen echoed Soviet scholar V. Chalikova, who wrote: "Based on various data, calculations show that in 1937-1950 years in the camps, occupied a huge space, there were 8.12 million people [3]. VA Chalikova is the largest number - 12 million prisoners of the Gulag (apparently, the concept of "camp" and it includes the colony) on any particular date, but in reality for the period 1934-1953 gg. maximum number of prisoners in the gulag that came on January 1, 1950, amounted to 2 561 351 people (see Table 1). Consequently, VA Chalikova, followed by Robert Conquest and S. Cohen, is about five times exaggerates the true number of prisoners of the Gulag.

His contribution to the entanglement of the question of statistics and made prisoners of the Gulag, NS Khrushchev, who, apparently, to submit their own role pomasshtabnee liberator of the victims of Stalinist repression, wrote in his memoirs: "... When Stalin died in the camps were up to 10 million people "[4]. In reality, January 1, 1953 in the gulag contained 2 468 524 prisoners: 1 727 970 - in the camps and 740 554 - in the colonies (see Table. 1). In TSGAOR USSR contains copies of memoranda leadership of the USSR Ministry of Internal Affairs addressed to NS Hrusheva specifying the exact number of prisoners, including at the time of death IV Stalin. Therefore NS Khrushchev was well informed about the true size of Gulag prisoners and exaggerated her four times intentionally.

Continuation of the article:
http://scepsis.ru/library/id_937.html

[таша]

Сообщение от fross

To me he seems awfully dark, not even oppressive.

Сообщение от Tjutchev

Really depressing painting. There are snakes, earth, fire, man, cold empty space, but there is no God.

Painting a bit gloomy and oppressive, but it is not hopeless, when there is no God. God is present, he simply ... "behind the scenes. In these paintings are not darkness, but rather a shadow. And without a shadow of light does not see. I have a whole picture seem interesting.