Saturday Soundtrack – The Best in Film Music 1990 The Russia House (Jerry Goldsmith) Total Recall (Jerry Goldsmith) Dances with Wolves (John Barry) Home Alone (John Williams)

Maximilian Peter on the best in film music in 1990:

Kevin Costner´s epic western movie Dances with Wolves is one of the most intriguing cinematic works of all time. The film adaptation of Michael Blake´s book of the same name won not only the Academy Award for Best Picture and Best Director, but also for Best Adapted Screenplay, Best Cinematography, Best Sound, Best Film Editing and, of course, Best Original Score. Costner  received the Silver Bear for an outstanding single achievement at the 41st Berlin International Film Festival, too. The music was composed by British composer John Barry. His soundtrack has a lot of beautiful tunes, which underline the director´s visuals in a perfect musical way. The use of the music and its presence within the film showed the art of great film music in full glory. Barry´s compositions belong to the most heartbreaking of his career. His score was a winner and became one of his most famous and beloved works – a tender-hearted musical masterpiece! 
The year 1990 was such a strong year for film music, that you can´t say that Barry´s work was really the very best. It was the best in its genre, but there were a lot of other composers, which wrote stunning scores in different genres. John Williams created his absolutely amusing score for Chris Columbus´ Home Alone and received another Oscar nomination. The tune ´´Somewhere in my Memory´´ became the film´s signature and was also nominated for Best Song. Williams shared the Best Song category-nomination with Leslie Bricusse, who wrote the lyrics. 
Maurice Jarre´s mixture of synthetic musical material and symphonic themes for Ghost could satisfy, too, although the use of Alex North´s ´´Unchained Melody´´ in the middle (as song) and at the end of the film (as instrumental cue) received musically even more attention than Jarre´s original compositional ideas for Jerry Zucker´s romantic fantasy movie. Dave Grusin´s music for Sydney Pollack´s drama film Havana was also one of the year´s best soundtracks. For Disney´s first animated sequel The Rescuers Down Under, Bruce Broughton wrote an adventurous, and at times percussive exciting score, which contains an exquisite main theme for the two mice Bernard and Bianca (the rescuers!) and a lot of other memorable motifs, themes and action-oriented underscoring. Stunning!

But 1990 was also one of the very best years in the long career of maestro Jerry Goldsmith. The musician composed three extraordinary scores, which were all part of movies that premiered in the year: Gremlins II: The New Batch was the sequel to Joe Dante´s box-office hit from 1984 and contains an equally powerful and fascinating score than the first Gremlins movie. But there were two further projects, which became true masterpieces of the composer. For Fred Schepisi´s film of British author John Le Carre´s book The Russia House, Goldsmith wrote one of his freshest scores of the era: a particular jazzy soundtrack, which integrates outstanding performances of legendary saxophonist Branford Marsalis and pianist Michael Lang. The mixture of Russian music and Jazz was also used to complement the nationalities of the characters, played by Sean Connery and Michelle Pfeiffer. The Russia House is one of the film music treasures, one of the milestones in Jerry Goldsmith´s long career. You can say the same about his third score of the year: His soundtrack for Total Recall – another musical jewel. Gremlins II: The New Batch is fun, an adventurous comedy. The Russia House is a spy drama, which focuses on the relationship between two characters. Total Recall is the ultimate action movie, which stars Arnold Schwarzenegger. What Goldsmith wrote for director Paul Verhoeven´s movie is truely the best action score of the 90s. The composition influenced every action score since and is energetic and thunderous as it gets. It shows Goldsmith´s mastery as a composer for action films and also the versatility of this particular composer. Within a year, three different films with three totally different Goldsmith-scores came out and every project appeared as an outstanding achievement of musical perfection. For The Russia House, the composer wrote in an intimate way, full of passion and memorable themes. For Gremlins II, he created fun from the first minute till the last; and for Total Recall, Goldsmith created his most complex action score, full of breathtaking action cues and thunderous motifs and themes. What a Jerry Goldsmith-year! What a year for film music!

The Branford Marsalis Quartet! American artist Branford Marsalis, the musician, who played the saxophone parts in Jerry Goldsmith´s score The Russia House will attend the Stadthalle (town hall) in Heidelberg and perform his only concert in Germany this year, on 5th November 2014.  

Alibis - Sigmar Polke 1963 - 2010

Untitled (Quetta, Pakistan) 1974-1978 Glenstone Foundation (Potomac, USA)  © The Estate of Sigmar Polke / DACS, London / VG Bild-Kunst, Bonn

Polke as Astronaut (Polke als Astronaut) 1968 Private Collection © The Estate of Sigmar Polke / DACS, London / VG Bild-Kunst, Bonn

© 2013 Estate of Sigmar Polke / ARS, New York / VG Bild-Kunst, Bonn

"Alibis" brings together the oeuvre of one of the most insatiably experimental artists of the twentieth century, Sigmar Polke. For the first time, the retrospective displays the unusually broad range of media he worked with during his five-decade career – not only painting, drawing, photography, film and sculpture, but also notebooks, slide projections and photocopies. He worked in off-the-wall materials ranging from meteor dust to gold, bubble wrap, snail juice, potatoes, soot and even uranium, all the while resisting easy categorisation.  Polke’s relentlessly inventive works range in size from the intimacy of a notebook to monumental paintings. He took a wildly different approach to art-making, from his responses to consumer society in the 1960s to his interest in travel, drugs and communal living in the 1970s and his increasingly experimental practice after 1980. 
Beneath Polke’s irreverent wit, promiscuous intelligence, and chance operations lay a deep scepticism of all authority. It would be impossible to understand this attitude, and the creativity that grew out of it, without considering Polke’s biography and its setting. In 1945, near the end of World War II, his family fled Silesia (in present-day Poland) for what would soon be Soviet-occupied East Germany, and then escaped again, this time to West Germany, in 1953.
Polke grew up at a time when many Germans deflected blame for the atrocities of the Nazi period with the alibi, ‘I didn’t see anything’. In various works in the exhibition, Polke opposes many Germans of his generation’s tendency to ignore the Nazi past, as if picking off the scab to reopen the wound.

Michael Sailstorfer Head & Body - Museum Kurhaus Kleve

We have been reporting on Michael Sailstorfer quite a bit and yet there is another great exhibition that has just opened at Museum Kurhaus Kleve in Germany. "Head and Body" encompasses the oeuvre of the young Berlin based, internationally acclaimed sculptor and captivates all senses. Creaking, splashing, the ear-shattering sounds of catalysts and motors welcome the visitor and let them enter a parkour through Saisltorfer`s eclectic oeuvre. It is the first time to see that amount of his large scale sculptures in one place. The space of the museum gives each sculpture the room to breath - literally as is the case for T72 (sand), 2008, an inflatable tank dummy that constantly blows up and then deflates again in a rhythmic manner - and to function both, as an autonomous work of art and as a installative composition: Cast of the surface of the dark side of the moon, 2005 is complemented by two large scale Trophies, 2014 .The two faces cut out of former steel tanks remind of aliens from outer space whereby an almost cosmic atmosphere is created. Similarly, If I should die in a car crash it was meant to be a sculpture, 2011 - a car that can possibly crash into the wall - romantically drives towards a moon made out of juicy, yellow melons. Over the cause of the exhibition the Vollmond/Fullmoon (2009) diminishes - the fruits will rotten, fall down on the ground and its malodorousness take over the space. The passage and transience of time is one of the recurring topics in Saisltorfers work. This goes hand in hand with the deterioration of objects and everyday materials: Ragdoll Boss, 2010, a wooden jumping-jack figure that repeatedly turns around and around whereby the wood frets until it dissolves completely; Reibungsverlust am Arbeitsplatz/ Friction loss at work, 2014, a large scale watermill, propelling a tire, touching the floor through the natural power of the water to the extent that in the end nothing is left but a pile of attire rubber or Freedom fries am Arbeitsplatz, 2013 where the top of the iconic monument of the statue of liberty drills into the museum walls until the top of the sculpture breaks through, exemplify this notion of decay underlined by an ongoing, perpetual almost vicious repetition. With an intuitive sense of humor, Sailstorfer often uses everyday objects, alienates them and at the same time grants them a new task. At the same time, he pushes the classical understanding of sculpture and challenges the viewer each time to absorb his art not only visually but immerse completely and even participate physically: Puhlheim gräbt 2009/2010 
The exhibition runs until 25 January 2015. 
all images (c) Henning Krause, Köln

Saturday Soundtrack – The Best in Film Music 1989 The Little Mermaid (Alan Menken) Glory (James Horner)

Maximilian Peter on the best in film music in 1989:

The year 1989 was an important year for the Walt Disney Animation Studios. The movie The Little Mermaid was released and became a big hit. After the success of Who Framed Roger Rabbit? in 1988, The Little Mermaid started the so-called Disney Renaissance, a particular era of animated films of the studio, and earned $211 million in total lifetime gross wordwide. Musical theatre and film composer Alan Menken is best known for a lot of scores for Disney-films produced within that era, which started with Little Mermaid in 1989 and ended with Tarzan (Music by Mark Mancina and Songs by Phil Collins) in 1999. Ron Clements´ and John Musker´s motion picture about Princess Ariel, Sebastian, Prince Eric and Ursula is a masterpiece of the genre and inspired Alan Menken to write an oustanding score and a handful of memorable songs, including ´´Kiss the Girl´´ and ´´Part of Your World´´. The film earned three Academy Award nominations and won two of them, of course, for Menken´s song ´´Under the Sea´´ and his score.  
Even though Alan Menken´s music was recognized in the award season with a lot of awards, there were further scores of artistic and musical excellence. John Williams wrote two Oscar-nominated soundtracks: For Born on the Fourth of July, he created a gorgeous war elegy of outstanding dramatic value. Emotional themes and dissonant textures underscore Oliver Stone´s film adaptation of the autobiography of the same name by Vietnam War veteran Ron Kovic. His score for Steven Spielberg´s Indiana Jones and the Last Crusade completed the first Indiana Jones-trilogy in an adventurous musical way. Both scores are great soundtracks of the year.

James Horner´s score for Field of Dreams was nominated for an Academy Award in 1989, too, although, his music for Glory was even more striking because of its dramatic and melodic musical strength. It was a surprise that Horner´s sounds for Edward Zwick´s drama war film didn´t got recognition at the Oscars. Indeed, Horner´s score includes similar musical structures and styles of other composers – for example Sergei Prokofiev (1891-1953) and John Williams –, but his work is very moving and richly satisfying. Some critics even called it ´´the pinnacle of his career´´. An emotional work in every way. Great!
By Maximilian Peter

Helen Marten - Parrot Problems at Fridericianum

installation view Fridericianum - © Foto: Roman März
installation view Fridericianum - © Foto: Annik Wetter
installation view Fridericianum - © Foto: Roman März

These Ducks and Part offering (medium mezze broth), both 2014 - © Foto: Roman März

These Ducks, 2014 - © Foto: Roman März

These Ducks, 2014 (Detail) - © Foto: Roman März

Parrot Problems, 2014 - © Foto: Annik Wetter

Parrot Problems is the first institutional solo exhibition of the young British sculptor Helen Marten in Germany. Indechs had the honor to visit the opening, which presents a mix of existing and newly created works. Curator and Director of the oldest public art intuition in the world, Susanne Pfeffer, stated: "Ich habe ganz neu sehen gelernt - I have learnt to take a completely fresh look" in regards to the exhibition. 28 works are capturing the title of the exhibition well - the problem of parroting and its misinterpretation; exactly this phenomenon, how does a clear definition change at a constant emulation and repetition. What happens when one changes the context of every day objects, notions, symbols, gestures etc..? Which differences appear? Exactly this gulf between materiality, form and meaning establishes Helen Martens works, which she designs, makes and builds herself. Susanne Pfeffer describes the objects and images of Helen Marten: "overall it is a reflection of the world that surrounds us, she takes things apart and reconnects them in a new, never seen way."

Parrot Problems is on view along two other exhibition - "die Unberechenbarkeit komplexer und offener Systeme" by James Benning & Lutz Dammbeck and "Aftershock Poetry" by Farhad Fozouni till 02. November 2014 at Fridericianum in Kassel.

WE KNOW - Elizabeth Price at Julia Stoschek Collection, Düsseldorf

ELIZABETH PRICE AT THE HOUSE OF MR. X, 2007HD Video, 20 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International

ELIZABETH PRICE AT THE HOUSE OF MR. X, 2007HD Video, 20 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International

ELIZABETH PRICE SUNLIGHT, 2013HD Video, 10 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International.

ELIZABETH PRICE SUNLIGHT, 2013HD Video, 10 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International.
ELIZABETH PRICE THE WOOLWORTHS CHOIR OF 1979, 2012HD Video, 20 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International

ELIZABETH PRICE THE WOOLWORTHS CHOIR OF 1979, 2012HD Video, 20 Min./min, Farbe/color, Ton/sound, Filmstill/film still. Courtesy of the artist and MOT International

ELIZABETH PRICE THE TENT, 2012HD Video, 12 Min./min, Farbe/color,Ton/sound, Filmstill/film still.Courtesy of the artist and MOT International

ELIZABETH PRICETHE TENT, 2012HD Video, 12 Min./min, Farbe/color, Ton/sound, Filmstill/film still.Courtesy of the artist and MOT International

Spending some time in the Rhine area in Germany always entails seeing great exhibitions. One not to miss at the moment is the current show at Julia Stoschek collection. On view are four video works and a wall installation by 2012 Turner Prize winner Elisabeth Price. The exhibition has been organized in a close collaboration between the artist and the collector, showing works from the Julia Stoschek collection and one piece on loan from the artist.  The exhibition presents a holistic composition allowing the viewer to dive into the works and almost become and integral part of the installation. The Sceneography corresponds to the videos in that it unfolds in a special rhythmic sequence that includes the interiors and spatial elements of the installation.  
Since 2006, Elizabeth Price has mainly worked with digital moving images. The key focus of her conceptual, institution-critical works has been to examine the significance of cultural artifacts, collections and archives. Each work initially arises from an idea on a place and its history. In an analytical approach to the location, Price then explores the broadest variety of different sources of material and devises dramas to occur in that location, which feature no direct human action. Instead historical artifacts, archival images and documents are used to enact social occurrences and play out collective fears and desires. Images, texts and sounds are composed in episodes that we migrate to through sections variously reminiscent of pedagogic lectures, cinematic melodrama or commercial advertising. In this process-based practice, categorizations and referential systems shed their original meaning, develop a life of their own, and expand in time and space through the rearrangement by narration in video.
The exhibition offers the first in-depth overview of the artist in Germany and will be on view until 1 February 2015. The show is accompanied by a comprehensive line-up consisting of STUDIO 54, a film-program compiled by the artists, a mulit-part concert series entitle "The architecture of sound" and a lecture by the artist.

Katharina Grosse "Inside the Speaker" at Kunstpalast Düsseldorf

Katharina Grosse, 2014, Foto: Veit Mette, © Katharina Grosse/VG Bild-Kunst, Bonn, 2014
Katharina Grosse, Inside the Speaker, 2014, acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf, Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, Inside the Speaker, 2014,  acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, Inside the Speaker, 2014, acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf, Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, o. T. , 2008,, Acryl auf Leinwand, 390 x 796 cm, Courtesy Johann König, Berlin / © Katharina Grosse und VG Bild-Kunst Bonn, 2014, Foto: Olaf Bergmann
In her artistic work the Berlin-based artist Katharina Grosse (*1961) has been exploring the scope of non-representational painting. Since the mid-1980s her art has transcended the canvas to include colourful installations, as well as painting within interior spaces, on facades or in house-lined streets. 

For MuseumKunstpalast, Düsseldorf  the artist transforms one of the exhibition spaces into a rocky landscape that is trenched in vivid colours.On almost 800m2, the artist created an walk-in installation of rocks, soil, masses of fabric that is covered in colourful  compositions of spray paint  that allows the viewer to enter a psychedelic realm, that infatuates all senses. The second exhibition space focuses on large-scale paintings. Reaching up to 36m2 the paintings are as much of a colourexpansion as the installation next door, capturing the entire room and internalizing their surrounding. „Inside the speaker“ creates an experience that transcends all expectations of a contemporary painting exhibition. The artist invites the viewer into her world of vivid colours and composition that expand far beyond the picture frame. The all-encompassing installation does not leave much room for a distanced observation. Rather it asks for the viewers attention, exploration and orientation that seems to be lost at first instance.  The exhibition and Katharina Grosse`s work in general opens up room for the much debated discourse around the position of contemporary painting on a truly sensual level that one cannot elude.
The exhibition runs until 1 February 2015.

The Manifest Destiny Billboard Project - John Baldessari: Love and Work

The Manifest Destiny Billboard Project is a series of artist-produced billboards and activations that will unfold along Interstate 10 Freeway from Florida to California. Presented by LAND (Los Angeles Nomadic Division) it started in Fall 2013 and runs through spring 2015. Using approximately 100 billboards total, 10 artists will create “chapters” along I-10, each a unique interpretive link to the exhibition thematic. As stated on the official website, the billboards will move through and punctuate the landscape by tracing territorial expansion from east to west, along one of the country’s busiest freeways, concluding in Los Angeles. The billboards will be activated through various events, programs, and social media outlets for dialogue and interaction with local communities. The project was conceived by artist Zoe Crosher and is co-curated by the artist and LAND’s Director and Curator, Shamim M. Momin. Using the concept of Manifest Destiny – America’s territorial expansion across North America – the artists will explore this problematic and layered history. Crosher writes, “The intention is to give a physicalized reminder of this extraordinarily influential (and often times destructive) 19th century belief which unabashedly dictated the expansion west, that still dictates our movement west, and to gently place/implicate/remind the people unknowingly participating in that landscape along the way.” Momin adds, “By physically moving through and mapping the very landscape that has been so fantasized, dreamed about, and capitalized upon in a breadth of positive and negative ways, the artists have the opportunity to address their work to the idea in a variety of ways – opaque or direct, tangential or political, macro and micro.” 
Starting today until October, John Baldessari`s chapter of The Manifest Destiny Billboard Project, entitled Love and Work, will be on view. The artist employs the traditional advertising trope of repetition, as all 10 of the billboards display the same image, scattered throughout the San Antonio, TX area. Using this tactic, the image will engrain in the minds of commuters, drawing connections between the disparate locations of the billboards.
Baldessari’s diptych image conveys the ultimate dichotomy of Manifest Destiny and the American Dream, further clarified in the series title: Love and Work. A large gear mechanism dominates the right half of the composition, depicted in grainy black and white and somewhat blurred, as if in motion. This heavy machinery alludes to the industrialism that was the foundation of American capitalist development, and the physical labor underlying the (often-unattainable) goals of the historical American Dream.  The gear similarly implies being a part of a larger machine – that we are each a cog in the wheel, so to speak.  The artist juxtaposes the gear with an image of pure, domestic relaxation: a male figure reclines, arms akimbo, on a hammock.  The vibrant yellow and purple hues superimposed like a light filter over this underlying black-and-white image suggest a bygone era, and highlight the ultimate goals of our labors: happiness and love.  The reclining figure and gear maintain the same angled position, drawing a visual parallel between man and machine, leisure and industriousness – the precarious balancing act that is both America’s ambition and the source of many of its most salient problems.

Detroit Design Festival 2014

Detroit Design Festival 2014 from Detroit Design Festival on Vimeo.

What probably first comes to mind when thinking of Detroit is the city`s glorious past days of car culture that has over the years lead an urban decay. However at the same time, Detroit is home to leading design-driven industries, world-class educational facilities and the country’s highest concentration of industrial and commercial designers. Hence, Detroit is among North America’s foremost centers of design which once again lays the ground for the Detroit Design FestivalEntering its fourth year, the Detroit Design Festival, sponsored by the Detroit Creative Corridor Center (DC3), spotlights every corner of the city’s creative industry through a series of shows, lectures, panel discussions, retail events, and open houses. With more than 30 Design Happenings, 500 designers, 25,000 attendees, the DDF is celebrates Detroit’s role as a global center of design and creativity. Concentrated in Detroit’s Creative Corridor and various neighborhoods throughout the city, events and installations will showcase Detroit’s cutting-edge design with the rest of the world. The festival, which began two days ago on September 23, includes work by up-and-coming talents from the College of Creative Studies (the fest’s partner institution), as well as industry stalwarts like watchmaker Shinola. This year, the focus will be on the intersection of art and design, culminating in a collaboration with DLECTRICITY, Detroit’s annual Nuit Blanche celebration, a two-night event during which artist installations light up the city’s historic architecture. 
For more info on all designers and happenings click here

Follow Us