The term “favorite” isn’t quite correct; it’s more of a reference to a sad occasion: After fleeing the invasion of Crimea in 2014, Ukrainian artist Maria Kulikovska performed in front of the Hermitage in St. Petersburg, which featured her refugee number as a title: “254”. She lay there, like the murdered troops, covered in the Ukrainian flag, but with an emphasis on “like,” for there was a twitch beneath the yellow-blue fabric. She was detained at the time. Kulikovska is currently in Berlin, where she is performing the same act many times a day on the stairs in front of the Neue Nationalgalerie until Wednesday. She then breastfeeds her baby, who is only a few months old. His father has not returned to the United States. And everyone understands what that entails. Richter, Peter
Synthesizer the size of a calculator
The design is critical. Reduction in its own right. In terms of aesthetics, there’s a strong DIY bent. The circuit board is bare, as are the control buttons. The American loves to say, “Stripped to the bone.” Which may be a euphemism for making the parts look like a calculator fought an acid barrel in this case. And he was defeated.
Because there is nothing to brush over, the user should expect to be mocked. However, the user must accept the reality that he will be unconcerned. Anyone who utilizes it – and in this case, he or she will see that the Pocket Operators (at least a few of the versions) are expectedly limited, but also incredibly powerful pocket synthesizers, drum machines, and even samplers, as the name implies. Musical instruments that are real, useful, and affordable. There will be no toy. This isn’t a joke.
Teenage Engineering is the firm that created it, as well as the similarly underappreciated synthesizer OP-1, which is currently in the studios of many producers of all genres. In addition, there’s the MoMa. The design, yet again.
This converts to a function, as it does with the Pocket Operators. There are now nine models (plus a few special editions, which are already being marketed at collector’s premium pricing) that the layperson can use as a punch card: When you press play, the sound you choose will be played where you punched it (i.e. pressed the button) on the sixteen sequencer slots. The sound or tempo is altered by the wheels. There are additional effects with a few key combinations. The user interface fries the beginner’s brain during the first five minutes. After that, you can go ahead and perform it blindfolded.
For usage by professionals: Yes, the PO-33, i.e. the sampler, performs admirably. It’s a bit low-tech. With a sample time of only 40 seconds. But it’s fantastic. The PO-12 is still a bit outdated when compared to the excellent Tonic drum synthesizer. Because it can only play the white keys without a trick, the PO-14 bass synth is not recommended. Otherwise, it’s the ideal present for the musician who has everything. Biazza, Jakob
The prancing brawls of Michelle Yeoh
A physical fight is nothing more than a punch-and-kick dance. Michelle Yeoh, a Malaysian actress, is proof of this. When her ballet dreams were dashed in the early 1980s due to a back injury, Jackie Chan, a fight film pro, found her punching ability for the screen. From “James Bond 007 – Tomorrow Never Dies” through Ang Lee’s masterwork “Tiger & Dragon,” Yeoh has been thrashing, pounding, and sabering his way through film history. She may currently be seen in Daniel Kwan and Daniel Scheinert’s “Everything Everywhere All at Once” as the able-bodied laundry proprietor at the age of 59. As a result, her career comes to a close. Because she not only slaps her way across numerous universes as light as a feather in this wild meta-superhero comedy, but she also invests her character with an emotional depth that makes even the most ridiculous plot elements seem plausible. Timo Posselt is a German footballer.
Theater a der Ruhr has been around for 40 years.
Someone who imagines a humble hut beneath a court gardener’s residence is terribly mistaken. In any case, the building in Düsseldorf’s Hofgarten is a magnificent, pink-painted structure with sweeping wings (late baroque master horticulturists evidently had large families). It houses the theatrical museum, which was reawakened from a long hibernation by Sascha Förster, the museum’s young director. It’s not without irony that the Theater a der Ruhr, founded in 1981 and situated in Mülheim, is commemorating its 40th anniversary (postponed by a year owing to the pandemic) here, of all locations, directly across from the Schauspielhaus: The theater in Düsseldorf was for Roberto. Ciulli was, in the end, more of a springboard for a politically justified “flight into the open” – toward more flexible, diversified, and decentralized institutions.
The now 88-year-old theater creator is the subject of a tribute, an exhibition created by long-time costume and stage designer Elisabeth Strauß with the title “You Have to Remember Tomorrow,” drawn from the poet Garcia Lorca. As a result, the course is centered on aesthetic linkages rather than chronological limitations. Photographs of performances in a variety of styles help to bring the history of the theater to life in an impressionistic fashion. The walls are covered in video snippets. Models of the dynamic stage designer Gralf-Edzard Habben, who is also no longer living, are displayed in a small chamber with figures of the costume designer Klaus Arzberger, who died young. The highlight is a walk-in transparent cube developed by the Italian artist collective “Anagoor,” which plays short production sequences across its walls: For a few minutes, you can immerse yourself in the Mülheim theater cosmos simply by entering the room.
Ciulli’s cosmopolitanism, in other words, the many guest performances from all over the world – with a focus on Turkey and the Middle East – is one of the reasons for the Theater a der Ruhr’s popularity. This was frequently highlighted in the eulogies that were heard in the courtyard area on opening night. Krumbholz, Martin
In the motel by myself
The 25-year-old is roaming through Paris after returning from a round-the-world journey when she comes across a little door that leads to the Gare d’Orsay railway station. It is scheduled to be converted into a museum, and the hotel attached to it has been vacant for some time when Sophie Calle, of all persons, moves there surreptitiously in 1978. Room 501 has been the beginning point of her practically archaeological explorations for the past two years. She collects account books and unscrews the red-enamelled room numbers in between dead kittens and damaged steps. Sophie Calle, presently one of France’s most important painters, has shown her discoveries at the Gare d’Orsay Museum under the title “Sophie Calle. Orsay’s Ghosts” (the exhibition runs until June 12). Because this art is as personal as it is literary, the catalog that goes with it is more than just documentation: it’s a highly readable piece. Lorch, Catherine