Back in 1998, I was the head of a group of people trying to put an English-language magazine together in the wake of Zitty having killed the one I'd been editing, Metropolis. At one point, we decided to dummy up a cover, and our genius art-director, Tanja, whipped out a nice image, a nice logo, and...all we needed was some headlines. So, looking at the current events around town, I came up with the one above. Unlike some of the other headlines on that cover dummy, there was no article to go with it.
Life imitates imagination, or something: a couple of people have e-mailed me a Guardian article on the latest crisis in the life of this unhappy space, and, after reading it, my response was familiar: who cares?
A little history: Tacheles was an idea ahead of its time, a shopping mall. Europeans were familar with market halls, in which food-vendors gathered in a covered space to protect themselves and their wares from inclement weather, and arcades, covered single-story collections of merchants, were also not unknown: see Leipzig, for instance. But a multi-story collection of varied businesses, including fashion merchants, was a new idea, and it didn't work. Before the bombs damaged the building, it was already derelict, since its promoters had gone bankrupt. And, like most of Oranienburger Str., it stood empty during the post-war DDR era. The communists didn't quite know what to do with Oranienburger Str., due to its Jewish history, other than to use the Neue Synagogue for peace-oriented rhetorical statements.
They also didn't know what to do about various derelict buildings all around East Berlin in the days when it was becoming evident that the government was about to fall. Communists are great when it comes to drawing up plans, less so about executing them. A list of old buildings scheduled for demolition was prepared, but there was a serious shortage of workers to actually perform the demolition. Immediately after the Wall opened, a photocopy of the list was circulated among people looking to squat East Berlin, and a number of prominent squats -- Eimer on Rosenthaler Str., the Italian art-junkies on Auguststr., the complex on Castanienallee -- were the result. But Tacheles was the first, inhabited by people who styled themselves artists. Who knows, they may actually have been artists at first. But by the time I caught up with Tacheles, it was just another squat, albeit one which loudly proclaimed itself for artists.
The thing is, I actually knew a lot of artists, and they didn't take Tacheles seriously -- not past its bar, anyway. The people who lived there seemed more provocateurs with dimly-defined politics than creators of anything serious. At one point, the city tried to normalize its status, offering, according to a long Berlin tradition of dealing with squatters which went back to the Charlottenburg squatters in 1968, for a token rent in exchange for the squatters bringing it up to fire and sanitation code. A split developed in the Tacheles crowd, with some wanting to take the city's offer, and others screaming "Art should be free! Down with the pig capitalists!" Word on the street was that the latter group involved a heroin-dealing ring tied to a larger organized-crime operation, and there were, in fact, several overdoses on the premises during this time.
The provocateurs wound up in Poland, I heard, trying to build a spaceship on a beach somewhere in the north. I also heard that those who stayed had reached an accommodation with a Swedish investment group which had bought the larger parcel of land, and were paying a token rent and improving the place. But, as the Guardian article points out, that deal is due to expire.
A little perspective here: an art-historian friend in Philadelphia e-mailed me some years ago that an artist from that city, armed with some grant money, was coming to Berlin to make some art, and game me his e-mail address so he'd know someone when he got here. He was looking for studio space at the same time some businessmen I knew were looking for office space. When the artist, who'd read so much about Tacheles, insisted on going there to inquire about a studio, he reported that they were incredibly hostile to him because he was American and because he had a grant. They also quoted him a price per square meter that was just under half what the businessmen had been quoted for space in one of the less expensive skyscrapers in Potsdamer Platz. Given that the Tacheles crew was paying a euro a year to Berlin for the property, someone was doing very well.
Thus, I had to laugh at the so-called artist who told the Guardian "This is the last place where you are free to be an artist." Puh-leeze. It might be the last place in Mitte -- except it isn't. When I first came to Mitte twelve years ago, it was heaving with alternative art spaces: Die Aktionsgalerie, Berlin-Tokyo, Haus Schwarzenberg, Eimer, and others which never had a name. Of these, only Haus Schwarzenberg remains, and in very different form due to the real-estate war which they won by going legal and buying their property with funds from an angel. But, much as I hate to break the news to the guy at Tacheles, behind the locked metal gate in Haus Schwarzenberg are a couple of wings in which actual real artists who have a place in the local and international art worlds work on art. No, there's no gift-shop there. They have galleries. And much as one hates to agree with the Berlin city cultural bureaucrat who said "Tacheles used to be a very exciting place with major cultural importance, but it isn't any more," he's telling the truth. About the only real cultural value the decaying hulk has any more is that occasionally Cafe Zapata will book a good band, but, as the article points out, Cafe Zapata and Tacheles only share space; they don't talk.
One other salient detail. The Guardian's headline calls Tacheles the "last stand of Berlin's bohemians," which is not only hyperbolic, but inadvertantly points out Tacheles' failure. Not to be too pedantic about it, but bohemianism is not a permanent state. It's a stage of development some people go through which may lead to a way of life, usually in the arts. But there's usually a point when each bohemian realizes that it's time to either get serious about their life-project or put on a suit and start looking for work. Tacheles' residents are bohemians, nothing more. They're not artists, no matter how many "galleries" of welded distorted shapes and weird photographs the place has. Bohemians, as residents of Montmartre and Greenwich Village know, are easy to sell to tourists. That keeps the tourists from disturbing the artists.
So Tacheles is soon to close. Who cares? I don't. Well, I do, but only in that what will replace it will be another episode in Berlin's vain chase for the upscale tourist dollar, which is almost certainly bound to fail. Oranienburger Str. has long since lost its hip! edgy! cachet to the pub crawling EasyJetters and mass-market clothing stores. And I care because I have memories of when the area was actually culturally vital, before real-estate speculators moved in and turned Berlin-Tokyo into the Beverly-Hills-on-bad-acid of the Rosenhof. But I've packed away those memories, just like I've packed away the memories of the magazine which was going to bear that headline. As long as Berlin stays poor and cheap, there will be bohemians and artists taking advantage of that fact. And once they've made a neighborhood interesting, the real-estate sharks will move in and the artists will move on and the bohemians will have their tough choices to make again.
Showing posts with label Hip Edgy Berlin. Show all posts
Showing posts with label Hip Edgy Berlin. Show all posts
Monday, September 15, 2008
Tuesday, August 05, 2008
Meanwhile, Back In Berlin...
Owing to the PayPal debacle last time I was there, and the loss of $1500 worth of work due to one screw-up or another, it'll be some weeks before I can get back to Montpellier to continue looking for an apartment. Well, that and the fact that I've only had one offer since I've been back, and it was more than I could spend.
So that means staying in Berlin a bit longer. Not that, in glorious summer weather like we haven't seen in many a year, that's a completely horrible thing. Although, of course, Berlin remains Berlin.
For instance: Since there still isn't a decent public transportation link to where I live from the Hauptbahnhof -- Berlin's main train station is still working out its transportation kinks -- I take a cab there and back when I'm travelling. And, after a 16-hour train-ride, it's an excusable indulgence. After my first trip in June, I found myself welcomed back in typical Berlin style: I got in the cab, the guy tripped the meter, and then asked me where I was going. I told him, and he started arguing. He'd never heard of the street or the neighborhood: was I sure I was headed there? Yes, I said, I live there. Well, he'd never heard of it: could I point it out on his map? Of course I could. And I did. The meter now read €3.80 and we hadn't budged. He eventually got me there, all right, but wound up blaming it on my horrible accent. Which, not to be vain about it, was better than his, since German was clearly not his first language, either.
In contrast, the driver two weeks ago knew just where I was going, got me there via an ingenious short-cut, and, as the surroundings penetrated his brain, began to talk to me in English. After all, what other kind of foreigner lives in this 'hood? I kind of saw his point a couple of mornings later, when someone was noisily CLANK recycling bottles CLANK one at CLANK a time out in the courtyard. The prompted an angry response from someone -- perhaps the unemployed gentleman a half-floor above me in the Halbetreppe apartment who seems to spend his time inducing hangovers -- and there was a pause in the recycling noise. Finally, the recycler said "Um, can you speak English?" and, after a half second, there came the reply: "Yes. Kann you plizz do zat LAUTER?"
Of course, there's another stereotype for residents of this neighborhood, and it came to mind when we got plastered with small handbills with some photographs on them. What had happened was that, last September, a woman had met a man reading a history of the Holy Roman Empire while riding on the U-Bahn. They had chatted, and she had had a failure of nerve, because she was so attracted to him. Now, almost a year later, she'd decided to find him and had printed up these flyers and pasted them onto building fronts. There was a picture of the book he was reading, what looked like a police sketch of him, straight on and in profile (that's what attracted me to the flyer: I thought it was a police sketch and we were in the middle of a crime wave), a picture of her, and a picture of someone I guess is a movie star as "Doppelgänger." And, of course, her phone number. I almost sent her an SMS asking her if she'd considered the possiblity that the guy was batting for the other team, but figured the idiom would be beyond her.
Yes, ladies, and although I'm never spotted pushing a €10,000 baby buggy down the streets, I'm not one of them. But they're there, in my building, along with the Americans (and I suspect the two groups overlap, too). And to tell the truth, the guys who have been playing the same three ABBA songs day and night at ear-challenging volume ever since I came back would be bad enough even if they didn't get about 3/4 of the way through each one and then start it over again, which is at least as annoying as breaking bottles one by one. Maybe they'll stop when Mama Mia leaves the local movie theater. Naaah...
So it's back to the usual: reading breathless accounts of hip! edgy! Berlin in the media, most disappointingly Gary Shteyngart's breathless account of the city as observed from his cushy post at the American Academy earlier this year. Jeez, for someone who nailed trendy expats so neatly in his great first novel, The Russian Debutante's Handbook
, ol' Gary sure drank the kool-aid on this one. At least it's not as bad as the more recent tour of Berlin music history the Guardian printed, filled with enough typos that you'd think the information was gleaned from a bad telephone connection.
Still, over dinner the other evening, someone posed a nice, barbed question: what if the current state of affairs is as good as it's ever going to get here? Excellent point: there are a lot of reasons to believe that things are going to get worse for most Berliners as the economic decline neatly pegged in a recent column in the Wall Street Journal progresses. The fact that the expats on what this same person has termed "the two-year Spring Break" here haven't been touched by this speaks only to their isolation from the native population and the fact that the problems haven't reached far enough into their daily lives. But it's not inconceivable that they will, especially as real estate values escalate in their neighborhoods and they're forced into daily propinquity with large masses of the hard-core unemployed with whom, as our bottle-breaker found out to his great embarrassment, they're unprepared to deal. As the arts subsidies decrease even further, and as the cheapness of living in Berlin gets to be outweighed by the increasing gloom of a city circling the drain, those who are here for fun are going to be faced with unpleasant choices if they wish to stay. Since my guess is that they'll choose to leave, and they'll have to find another Eurotopia in which to have their cheap holidays in other people's misery.
So it looks like in a week, I'll be passing my 15th year here, barring both an economic and a French real-estate miracle. Expect a post with some wry nostalgia and at least one very amusing link on that day.
So that means staying in Berlin a bit longer. Not that, in glorious summer weather like we haven't seen in many a year, that's a completely horrible thing. Although, of course, Berlin remains Berlin.
For instance: Since there still isn't a decent public transportation link to where I live from the Hauptbahnhof -- Berlin's main train station is still working out its transportation kinks -- I take a cab there and back when I'm travelling. And, after a 16-hour train-ride, it's an excusable indulgence. After my first trip in June, I found myself welcomed back in typical Berlin style: I got in the cab, the guy tripped the meter, and then asked me where I was going. I told him, and he started arguing. He'd never heard of the street or the neighborhood: was I sure I was headed there? Yes, I said, I live there. Well, he'd never heard of it: could I point it out on his map? Of course I could. And I did. The meter now read €3.80 and we hadn't budged. He eventually got me there, all right, but wound up blaming it on my horrible accent. Which, not to be vain about it, was better than his, since German was clearly not his first language, either.
In contrast, the driver two weeks ago knew just where I was going, got me there via an ingenious short-cut, and, as the surroundings penetrated his brain, began to talk to me in English. After all, what other kind of foreigner lives in this 'hood? I kind of saw his point a couple of mornings later, when someone was noisily CLANK recycling bottles CLANK one at CLANK a time out in the courtyard. The prompted an angry response from someone -- perhaps the unemployed gentleman a half-floor above me in the Halbetreppe apartment who seems to spend his time inducing hangovers -- and there was a pause in the recycling noise. Finally, the recycler said "Um, can you speak English?" and, after a half second, there came the reply: "Yes. Kann you plizz do zat LAUTER?"
Of course, there's another stereotype for residents of this neighborhood, and it came to mind when we got plastered with small handbills with some photographs on them. What had happened was that, last September, a woman had met a man reading a history of the Holy Roman Empire while riding on the U-Bahn. They had chatted, and she had had a failure of nerve, because she was so attracted to him. Now, almost a year later, she'd decided to find him and had printed up these flyers and pasted them onto building fronts. There was a picture of the book he was reading, what looked like a police sketch of him, straight on and in profile (that's what attracted me to the flyer: I thought it was a police sketch and we were in the middle of a crime wave), a picture of her, and a picture of someone I guess is a movie star as "Doppelgänger." And, of course, her phone number. I almost sent her an SMS asking her if she'd considered the possiblity that the guy was batting for the other team, but figured the idiom would be beyond her.
Yes, ladies, and although I'm never spotted pushing a €10,000 baby buggy down the streets, I'm not one of them. But they're there, in my building, along with the Americans (and I suspect the two groups overlap, too). And to tell the truth, the guys who have been playing the same three ABBA songs day and night at ear-challenging volume ever since I came back would be bad enough even if they didn't get about 3/4 of the way through each one and then start it over again, which is at least as annoying as breaking bottles one by one. Maybe they'll stop when Mama Mia leaves the local movie theater. Naaah...
So it's back to the usual: reading breathless accounts of hip! edgy! Berlin in the media, most disappointingly Gary Shteyngart's breathless account of the city as observed from his cushy post at the American Academy earlier this year. Jeez, for someone who nailed trendy expats so neatly in his great first novel, The Russian Debutante's Handbook
, ol' Gary sure drank the kool-aid on this one. At least it's not as bad as the more recent tour of Berlin music history the Guardian printed, filled with enough typos that you'd think the information was gleaned from a bad telephone connection. Still, over dinner the other evening, someone posed a nice, barbed question: what if the current state of affairs is as good as it's ever going to get here? Excellent point: there are a lot of reasons to believe that things are going to get worse for most Berliners as the economic decline neatly pegged in a recent column in the Wall Street Journal progresses. The fact that the expats on what this same person has termed "the two-year Spring Break" here haven't been touched by this speaks only to their isolation from the native population and the fact that the problems haven't reached far enough into their daily lives. But it's not inconceivable that they will, especially as real estate values escalate in their neighborhoods and they're forced into daily propinquity with large masses of the hard-core unemployed with whom, as our bottle-breaker found out to his great embarrassment, they're unprepared to deal. As the arts subsidies decrease even further, and as the cheapness of living in Berlin gets to be outweighed by the increasing gloom of a city circling the drain, those who are here for fun are going to be faced with unpleasant choices if they wish to stay. Since my guess is that they'll choose to leave, and they'll have to find another Eurotopia in which to have their cheap holidays in other people's misery.
So it looks like in a week, I'll be passing my 15th year here, barring both an economic and a French real-estate miracle. Expect a post with some wry nostalgia and at least one very amusing link on that day.
Friday, May 30, 2008
Way Ta Go, Weltstadt!
Over the weekend, I ran into a couple of old friends, and among the info I picked up was a rumor that the plug was about to be pulled on Radio Multikulti, Berlin's absolutely unique radio station. Further research turned up an article confirming this.
Now, I'm in a bad position to defend Radio Multikulti for a number of reasons. First, I never listen to it. I never listen to any radio unless I'm driving. I've got too many CDs, and too little time. But that's neither here nor there.
Another factor is that I'm always uncomfortable with German multiculturalism as it's officially expressed. I've touched on this before some years back. And, for all the good work it does giving foreign residents of Berlin a touchstone, Radio Multikulti also fuels that syndrome.
A third, personal, factor is that when I moved here, one of my employers was a Big Honcho in the local world music scene who went on to become even bigger when he joined the staff of the brand-new Radio Multikulti. This guy was a piece of work: he was the first West German I'd ever met who hated Americans. There were three of us on the job, and he stiffed us -- and just us -- our last month's salary. Just because. I asked him one day where this bizarre animus came from, and he told me "It's because you destroyed a civilization. You did absolutely nothing to stop the Vietnam War, and this meant the destruction of Vietnamese culture, a very old culture." In this particular year, when the media is making so much noise about the events of 1968, the idea that Americans, especially young Americans, one of whom I was at the time, did "absolutely nothing" about the war in Vietnam, may seem a bit odd. But he believed it, he really believed it.
So I can't say I'm the biggest booster of Radio Multikulti, but I can say that this turn of events is both sad and unsurprising. Sad because this station, in both its avowed mission and its execution, is unique in the world, as far as I know. A radio station that both attempts to help immigrants integrate into an alien society (well, exotic immigrants, anyway; we Euro/American types are on our own), while seducing the locals into acceptance by playing them "world music," pop music from foreign climes (except, again, Euro/American styles, but I don't have any complaint against that: there's enough of most of that around), is, at least on paper, a good idea. And, since it's run by human beings, and, thus, imperfect, what actually comes out of the speakers has been pretty good every time I've heard it.
More to the point, pulling the plug on yet another unique, interesting, popular cultural manifestation in Berlin not only deprives Berliners of yet another of the things which ameliorate life here, it also proves that the people who make cultural policy here are totally unconcerned with Berlin's hip! edgy! image -- which is attracting who knows how much money to this city -- and only interested in supporting the most mainstream, culturally conservative institutions. Since another villain here seems to be ARD, the central public radio-television network of Germany, I'd say this de-funding also brings up questions of just how welcome immigrants -- particularly ones outside the Euro/American ambit -- actually are, not just in Berlin, but in Germany generally. Funny how that question keeps popping up.
Anyway, I'm glad to be leaving. At the rate this city is self-destructing, I can see myself coming back to visit friends in a couple of years and realizing there's nothing to see or do here while those friends are at work and I have free time. Berlin will have committed cultural suicide and become as fascinating as Bochum. Well, almost as fascinating.
Now, I'm in a bad position to defend Radio Multikulti for a number of reasons. First, I never listen to it. I never listen to any radio unless I'm driving. I've got too many CDs, and too little time. But that's neither here nor there.
Another factor is that I'm always uncomfortable with German multiculturalism as it's officially expressed. I've touched on this before some years back. And, for all the good work it does giving foreign residents of Berlin a touchstone, Radio Multikulti also fuels that syndrome.
A third, personal, factor is that when I moved here, one of my employers was a Big Honcho in the local world music scene who went on to become even bigger when he joined the staff of the brand-new Radio Multikulti. This guy was a piece of work: he was the first West German I'd ever met who hated Americans. There were three of us on the job, and he stiffed us -- and just us -- our last month's salary. Just because. I asked him one day where this bizarre animus came from, and he told me "It's because you destroyed a civilization. You did absolutely nothing to stop the Vietnam War, and this meant the destruction of Vietnamese culture, a very old culture." In this particular year, when the media is making so much noise about the events of 1968, the idea that Americans, especially young Americans, one of whom I was at the time, did "absolutely nothing" about the war in Vietnam, may seem a bit odd. But he believed it, he really believed it.
So I can't say I'm the biggest booster of Radio Multikulti, but I can say that this turn of events is both sad and unsurprising. Sad because this station, in both its avowed mission and its execution, is unique in the world, as far as I know. A radio station that both attempts to help immigrants integrate into an alien society (well, exotic immigrants, anyway; we Euro/American types are on our own), while seducing the locals into acceptance by playing them "world music," pop music from foreign climes (except, again, Euro/American styles, but I don't have any complaint against that: there's enough of most of that around), is, at least on paper, a good idea. And, since it's run by human beings, and, thus, imperfect, what actually comes out of the speakers has been pretty good every time I've heard it.
More to the point, pulling the plug on yet another unique, interesting, popular cultural manifestation in Berlin not only deprives Berliners of yet another of the things which ameliorate life here, it also proves that the people who make cultural policy here are totally unconcerned with Berlin's hip! edgy! image -- which is attracting who knows how much money to this city -- and only interested in supporting the most mainstream, culturally conservative institutions. Since another villain here seems to be ARD, the central public radio-television network of Germany, I'd say this de-funding also brings up questions of just how welcome immigrants -- particularly ones outside the Euro/American ambit -- actually are, not just in Berlin, but in Germany generally. Funny how that question keeps popping up.
Anyway, I'm glad to be leaving. At the rate this city is self-destructing, I can see myself coming back to visit friends in a couple of years and realizing there's nothing to see or do here while those friends are at work and I have free time. Berlin will have committed cultural suicide and become as fascinating as Bochum. Well, almost as fascinating.
Thursday, May 01, 2008
It Must Be Spring
More in the nature of a collection of crumbs, but...
First, there's the matter of the arboreal genocide on my street. The aftermath has been interesting: on the stub (it's not tall enough to call it a stump) where one of the trees was someone has taken a Christmas tree outline, made of stout bronze wire, and screwed it to the former living tree. On the end of each of its "branches," this decoration has a candle-holder, and various residents have stuck candles in there and lit them. There's nothing in them as of a few minutes ago, but this may change. In the meanwhile, it's been festooned with strings of tinsel and ribbon.
A few more trees on other streets have gone, too, and apparently there are plans for even more. One, I noticed, only got severely trimmed, perhaps in deference to a very large bird's nest near its top. Species-ism, if you ask me.
The comments on that item were interesting, too, as were backchannel e-mails like the one from Gary detailing a homicidal Californian tree. I suppose that kind of thing can happen anywhere, but maybe a tree living in a place where people retain a vestigal communion with tree-spirits makes it happen far less frequently. Makes me wonder if it happens at all in Latvia. I was also sent a tree-hugging joke by Friedperson, but if you know her, you know it's not the kind of thing one can post on a family-oriented blog like this one (stop laughing). Mature adults can apply via e-mail. The easily offended need not bother.
Across the street from the former trees, a local child is attempting a social experiment: hanging from one of the building's balconies by a stout rope is a small felt basket. If you look in it, you'll discover candies and a note asking you to take one and leave another behind. This has been going on for several days now, and I'm amazed to see that there's been a steady change in the basket's contents. Yesterday, someone left a banana instead of candy, thereby teaching the kid that there are health-food nuts everywhere. My guess is that the basket gets hauled up every now and again and the really good stuff is impounded.
It's not just the sap oozing from the tree-stubs that reminds me it's spring, though. The windows can be open most of the day now, and there is actually sunshine outdoors. Plus, of course, last night was Walpurgisnacht, which then segues neatly into May Day rioting, that old Berliner tradition. The park near my house was, for some reason, closed off and police stationed to check people coming and going, and there were helicopters late into the night. Now, I know there was also a Howard Carpendale concert last night, but somehow I don't think the security was about him. Today, broken empty bottles of horrific sorts of alcohol I didn't even know existed are all over the street, and, for the first time since I've been in this neighborhood, there've been police sirens at regular intervals.
All of which makes me nostalgic, because it now looks very much like I'll be leaving here come July. Details -- many, many details, you can be sure -- will follow as things fall into place, and no, I don't have the money yet, and yet it's more likely than ever that I will when the proverbial push comes to shove. The first item on the agenda is an apartment search, which will follow closely after a week in Morocco. After that, it'll be back here to pack.
And, of course, this scares me to death. I don't know many people in Montpellier, and two of the folks I do know are leaving for the summer; I don't have a job there (other than the writing I do which can be done from anywhere), and I'll be moving somewhere that's a bit more expensive than Berlin and where I'll be paying more rent than I am here. Plus the usual unknowns on this end. If experience is anything to go by, I'll both fall in love with someone who can't move and be offered a totally fantastic job here about three days before I roll out of town.
I also won't be living in a town with loads of brilliant artists who do events involving head-lice.
Not that, at this point, I'm going to let that stop me.
First, there's the matter of the arboreal genocide on my street. The aftermath has been interesting: on the stub (it's not tall enough to call it a stump) where one of the trees was someone has taken a Christmas tree outline, made of stout bronze wire, and screwed it to the former living tree. On the end of each of its "branches," this decoration has a candle-holder, and various residents have stuck candles in there and lit them. There's nothing in them as of a few minutes ago, but this may change. In the meanwhile, it's been festooned with strings of tinsel and ribbon.
A few more trees on other streets have gone, too, and apparently there are plans for even more. One, I noticed, only got severely trimmed, perhaps in deference to a very large bird's nest near its top. Species-ism, if you ask me.
The comments on that item were interesting, too, as were backchannel e-mails like the one from Gary detailing a homicidal Californian tree. I suppose that kind of thing can happen anywhere, but maybe a tree living in a place where people retain a vestigal communion with tree-spirits makes it happen far less frequently. Makes me wonder if it happens at all in Latvia. I was also sent a tree-hugging joke by Friedperson, but if you know her, you know it's not the kind of thing one can post on a family-oriented blog like this one (stop laughing). Mature adults can apply via e-mail. The easily offended need not bother.
Across the street from the former trees, a local child is attempting a social experiment: hanging from one of the building's balconies by a stout rope is a small felt basket. If you look in it, you'll discover candies and a note asking you to take one and leave another behind. This has been going on for several days now, and I'm amazed to see that there's been a steady change in the basket's contents. Yesterday, someone left a banana instead of candy, thereby teaching the kid that there are health-food nuts everywhere. My guess is that the basket gets hauled up every now and again and the really good stuff is impounded.
It's not just the sap oozing from the tree-stubs that reminds me it's spring, though. The windows can be open most of the day now, and there is actually sunshine outdoors. Plus, of course, last night was Walpurgisnacht, which then segues neatly into May Day rioting, that old Berliner tradition. The park near my house was, for some reason, closed off and police stationed to check people coming and going, and there were helicopters late into the night. Now, I know there was also a Howard Carpendale concert last night, but somehow I don't think the security was about him. Today, broken empty bottles of horrific sorts of alcohol I didn't even know existed are all over the street, and, for the first time since I've been in this neighborhood, there've been police sirens at regular intervals.
All of which makes me nostalgic, because it now looks very much like I'll be leaving here come July. Details -- many, many details, you can be sure -- will follow as things fall into place, and no, I don't have the money yet, and yet it's more likely than ever that I will when the proverbial push comes to shove. The first item on the agenda is an apartment search, which will follow closely after a week in Morocco. After that, it'll be back here to pack.
And, of course, this scares me to death. I don't know many people in Montpellier, and two of the folks I do know are leaving for the summer; I don't have a job there (other than the writing I do which can be done from anywhere), and I'll be moving somewhere that's a bit more expensive than Berlin and where I'll be paying more rent than I am here. Plus the usual unknowns on this end. If experience is anything to go by, I'll both fall in love with someone who can't move and be offered a totally fantastic job here about three days before I roll out of town.
I also won't be living in a town with loads of brilliant artists who do events involving head-lice.
Not that, at this point, I'm going to let that stop me.
Monday, January 07, 2008
The Slum
I'm never moving again. Never. It took two weeks, two €300 sessions with the (excellent) student movers, much stress and strain, and now everything (well, almost everything; the plates and glasses are still back in the old place, which also has to be cleaned) is here.
Somewhere.
I mean, I know where the big stuff is, the bookcases and desk and so on. But the books that go in the bookcases, the stuff that goes on the desk... I know it's somewhere. Or, rather, I hope it's somewhere.
But somewhere is big. This place is a full 10 square meters bigger than the last place, which you'd think would translate into ease of storage and a more spacious living situation. No doubt some day soon it will, but until then it's just big and filled with boxes of stuff. And I'm not at all sure what's in those boxes past the occasional scribbled BOOKS or CDS. And I'm going to have to find out soon, because I've actually got a hell of a lot of work to do before I head to SXSW in mid-March.
There are some wonderful additions here. I scored two couches from a departing American journalist, one of which is faux leather and like sitting on a cloud. One thing I was definitely not sad about was finally being able to abandon the old sofa-couch which has been in my possession since 1994, when I moved to Wilmersdorf for a while and lived in a place so small I had to sleep on it after I'd finished my evening reading while sitting on it. It followed me to the rat-infested place in Wedding, then to the place I've just left, where it started falling apart, first shedding the webbing which supported the mattress, making it impossible to put up guests on it, then the cushions gradually tearing, sending a powder of aged foam rubber out of the rents. It, and the no-longer functional washing machine, were taken to a toxic waste storage site by the students. Thanks, guys.
As a Christmas present to myself, I bought a new washer, which sat unused for a week because the installers told me I needed an Abflussnase (drain-nose) for the outgoing water. Fortunately, there's a little hardware store not far from here, but the guy had never heard of an Abflussnase, and instead suggested an odd-looking plastic part that cost €2.99. It looked good, and I took it home, and although I could fit it on the hose from the washer, I couldn't figure out how you attached it to the drain on the kitchen sink. The New Year holiday subtracted a lot of valuable time from necessary purchases, but at last I took the thing to the salesman who'd sold me the machine and asked him if this was right. "Sure," he said, and went over to a display model of just the machine I'd bought. I was, it developed, trying to install the thing backwards. Never even occurred to me. How embarrassing, I said. "Ah, we can't know everything in this world," he said. Back home, it worked out just fine. Well, almost. I finally had a moment to do a load of wash yesterday and the thing leaks. I'm told there's some sort of string Germans use as a sealant, and so I'm off in search of some of that, although I'm not exactly certain how it works. But boy, it's a great washing machine.
And, also in the kitchen, say hello to a real live gas stove! Yes, folks, no more guessing how much heat is going into the pot, because you can see. No more burning the hell out of stuff because the plate on the electric stove doesn't cool off fast enough because you just turn down the heat and the effect is instantaneous. It's only got three burners, but they all work. So does the oven, although instead of registering temperatures, it's just got numbers from 1 to 5. Gotta figure that one out.
The bedroom? Spacious, and with another couch from the foreign correspondent. Kind of a weird place for it, I know, but I just couldn't turn down two comfortable couches after years of one uncomfortable one. And although there are bags of stuff all over the bedroom, I just haven't gotten around to unpacking them. There'll be a whole wall for bookshelves or whatever.
Between the kitchen and the bedroom is a very narrow little room which is one of the building's downsides. It contains a shower and a sink. The sink is so small that I can barely stand facing its mirror, and shaving involves contortion. The shower, too, isn't so big, the shower-head droops at a weird angle, and the water only lasts a couple of minutes because it's stored in an electrically-heated boiler above. Better than the 180-second shower I had to use in Wedding, but not much.
Next down the hall is the Little Room. The last guy who lived here, a single father with a son, built a loft-bed for his kid here, and that's gotta go. Ben has graciously offered to rip it out, as well as to help me get some light in the kitchen, which is painted dark red for some reason. But getting rid of the loft is now complicated by the fact that there are dozens of boxes -- heavy boxes -- of books everywhere. Another thing about the Little Room is the Tiny Room, which is through a small door at its end, and has a window, an electrical outlet, and about enough room to walk three paces. I have no idea what I'll do with this.
Then there's the long, narrow room with the toilet at one end. There's no heat in here, and no light. There is, however, a much better-situated sink, and room to put some shelves up, so I'm going to get some light installed and a mirror and make this the shaving and toothbrushing room, too. But boy, is it cold; there's a ventilator and a window at the edge of a ledge behind the toilet, and there's no closing that off. Ah, well, spring is just around the corner, right?
Finally, there's the living-room/dining-room/office, a huge room with two windows looking out on a cheerless courtyard and the brown cement this DDR-era building's make of. I had to call in a gas-heating technician to fix the heaters in the kitchen and bedroom and here, and he couldn't figure out why this one didn't work. He said he'd come back, but he hasn't. So there's no heat, although that doesn't seem to matter much. I'll get a rug and a table to eat at, and eventually figure out how the jigsaw puzzle all fits together. And, one very bizarre upside, Deutsche Telekom called to say my number had been transferred to the outlet here. It didn't work. The dancer called them on Friday to report this, and they sent a technician out on Saturday to fix it! She futzed around, plugged some stuff into the socket, and left for a few minutes. When she came back, she plugged a gizmo into the wall and pushed some buttons and...it worked! So now I'm still plowing through a week of e-mails, catching up with blogs and (oh, yes) working again. And in the evening, I sit on the cloud-like couch and read and am very, very glad I'm here.
There are reasons for this. One, the rent is much lower than at my last place. Two, I discovered when the electric company transferred my account that my monthly bill was now one-quarter of what it had been, which means that someone was piggybacking my electricity in the old place for 11 years. This pisses me off, but I doubt there's anything I can do about it at this point. Three, although this neighborhood (which will be the subject of another post later) isn't as hip! and edgy! as my last one, it does have a well-stocked Asian grocery, a regular supermarket within a short walk and another within a slightly longer walk, a shopping mall, an astonishing Korean-Japanese restaurant (which I'll soon post about over at Hungry In Berlin), a bar called The Bird, which is run by two Americans with a vision of serving completely authentic American hamburgers and steaks (succeeding almost completely), and access to a wide variety of public transportation which can get me all over town easily and quickly.
It's also unavoidable that this place is something of a slum. The hall light went out this weekend and hasn't been repaired. The plumbing makes alarming noises (the neighbors flush their toilets all night and day), and the cement walls are old and not in such great repair. The Hausmeister (what New Yorkers would call the super), the landlord's brother, doesn't appear to be overworked, shall we say. There's an overwhelming funkiness to the place, and that's not all good.
But now I've got to unpack, finish up with the old place, and settle in. And I'm never moving again. Ever. If I do, I'll do it as a Franciscan monk, with no possessions.
Oh, hell, that's not true. As soon as I've got the money, I'm going to France. I talked to the students about it and they're game. The price is less than I thought. And, since the washing machine was part of the calculations for the moving price, that's been crossed off. I may very well be able to do this in the not too distant future, like this summer, if the work keeps coming in.
And, as I speculated earlier, I do feel liberated a bit from the ghosts of the past. Time to make some new ones. It's a new year, a new place, and the same old me. That feels good. It really does.
Somewhere.
I mean, I know where the big stuff is, the bookcases and desk and so on. But the books that go in the bookcases, the stuff that goes on the desk... I know it's somewhere. Or, rather, I hope it's somewhere.
But somewhere is big. This place is a full 10 square meters bigger than the last place, which you'd think would translate into ease of storage and a more spacious living situation. No doubt some day soon it will, but until then it's just big and filled with boxes of stuff. And I'm not at all sure what's in those boxes past the occasional scribbled BOOKS or CDS. And I'm going to have to find out soon, because I've actually got a hell of a lot of work to do before I head to SXSW in mid-March.
There are some wonderful additions here. I scored two couches from a departing American journalist, one of which is faux leather and like sitting on a cloud. One thing I was definitely not sad about was finally being able to abandon the old sofa-couch which has been in my possession since 1994, when I moved to Wilmersdorf for a while and lived in a place so small I had to sleep on it after I'd finished my evening reading while sitting on it. It followed me to the rat-infested place in Wedding, then to the place I've just left, where it started falling apart, first shedding the webbing which supported the mattress, making it impossible to put up guests on it, then the cushions gradually tearing, sending a powder of aged foam rubber out of the rents. It, and the no-longer functional washing machine, were taken to a toxic waste storage site by the students. Thanks, guys.
As a Christmas present to myself, I bought a new washer, which sat unused for a week because the installers told me I needed an Abflussnase (drain-nose) for the outgoing water. Fortunately, there's a little hardware store not far from here, but the guy had never heard of an Abflussnase, and instead suggested an odd-looking plastic part that cost €2.99. It looked good, and I took it home, and although I could fit it on the hose from the washer, I couldn't figure out how you attached it to the drain on the kitchen sink. The New Year holiday subtracted a lot of valuable time from necessary purchases, but at last I took the thing to the salesman who'd sold me the machine and asked him if this was right. "Sure," he said, and went over to a display model of just the machine I'd bought. I was, it developed, trying to install the thing backwards. Never even occurred to me. How embarrassing, I said. "Ah, we can't know everything in this world," he said. Back home, it worked out just fine. Well, almost. I finally had a moment to do a load of wash yesterday and the thing leaks. I'm told there's some sort of string Germans use as a sealant, and so I'm off in search of some of that, although I'm not exactly certain how it works. But boy, it's a great washing machine.
And, also in the kitchen, say hello to a real live gas stove! Yes, folks, no more guessing how much heat is going into the pot, because you can see. No more burning the hell out of stuff because the plate on the electric stove doesn't cool off fast enough because you just turn down the heat and the effect is instantaneous. It's only got three burners, but they all work. So does the oven, although instead of registering temperatures, it's just got numbers from 1 to 5. Gotta figure that one out.
The bedroom? Spacious, and with another couch from the foreign correspondent. Kind of a weird place for it, I know, but I just couldn't turn down two comfortable couches after years of one uncomfortable one. And although there are bags of stuff all over the bedroom, I just haven't gotten around to unpacking them. There'll be a whole wall for bookshelves or whatever.
Between the kitchen and the bedroom is a very narrow little room which is one of the building's downsides. It contains a shower and a sink. The sink is so small that I can barely stand facing its mirror, and shaving involves contortion. The shower, too, isn't so big, the shower-head droops at a weird angle, and the water only lasts a couple of minutes because it's stored in an electrically-heated boiler above. Better than the 180-second shower I had to use in Wedding, but not much.
Next down the hall is the Little Room. The last guy who lived here, a single father with a son, built a loft-bed for his kid here, and that's gotta go. Ben has graciously offered to rip it out, as well as to help me get some light in the kitchen, which is painted dark red for some reason. But getting rid of the loft is now complicated by the fact that there are dozens of boxes -- heavy boxes -- of books everywhere. Another thing about the Little Room is the Tiny Room, which is through a small door at its end, and has a window, an electrical outlet, and about enough room to walk three paces. I have no idea what I'll do with this.
Then there's the long, narrow room with the toilet at one end. There's no heat in here, and no light. There is, however, a much better-situated sink, and room to put some shelves up, so I'm going to get some light installed and a mirror and make this the shaving and toothbrushing room, too. But boy, is it cold; there's a ventilator and a window at the edge of a ledge behind the toilet, and there's no closing that off. Ah, well, spring is just around the corner, right?
Finally, there's the living-room/dining-room/office, a huge room with two windows looking out on a cheerless courtyard and the brown cement this DDR-era building's make of. I had to call in a gas-heating technician to fix the heaters in the kitchen and bedroom and here, and he couldn't figure out why this one didn't work. He said he'd come back, but he hasn't. So there's no heat, although that doesn't seem to matter much. I'll get a rug and a table to eat at, and eventually figure out how the jigsaw puzzle all fits together. And, one very bizarre upside, Deutsche Telekom called to say my number had been transferred to the outlet here. It didn't work. The dancer called them on Friday to report this, and they sent a technician out on Saturday to fix it! She futzed around, plugged some stuff into the socket, and left for a few minutes. When she came back, she plugged a gizmo into the wall and pushed some buttons and...it worked! So now I'm still plowing through a week of e-mails, catching up with blogs and (oh, yes) working again. And in the evening, I sit on the cloud-like couch and read and am very, very glad I'm here.
There are reasons for this. One, the rent is much lower than at my last place. Two, I discovered when the electric company transferred my account that my monthly bill was now one-quarter of what it had been, which means that someone was piggybacking my electricity in the old place for 11 years. This pisses me off, but I doubt there's anything I can do about it at this point. Three, although this neighborhood (which will be the subject of another post later) isn't as hip! and edgy! as my last one, it does have a well-stocked Asian grocery, a regular supermarket within a short walk and another within a slightly longer walk, a shopping mall, an astonishing Korean-Japanese restaurant (which I'll soon post about over at Hungry In Berlin), a bar called The Bird, which is run by two Americans with a vision of serving completely authentic American hamburgers and steaks (succeeding almost completely), and access to a wide variety of public transportation which can get me all over town easily and quickly.
It's also unavoidable that this place is something of a slum. The hall light went out this weekend and hasn't been repaired. The plumbing makes alarming noises (the neighbors flush their toilets all night and day), and the cement walls are old and not in such great repair. The Hausmeister (what New Yorkers would call the super), the landlord's brother, doesn't appear to be overworked, shall we say. There's an overwhelming funkiness to the place, and that's not all good.
But now I've got to unpack, finish up with the old place, and settle in. And I'm never moving again. Ever. If I do, I'll do it as a Franciscan monk, with no possessions.
Oh, hell, that's not true. As soon as I've got the money, I'm going to France. I talked to the students about it and they're game. The price is less than I thought. And, since the washing machine was part of the calculations for the moving price, that's been crossed off. I may very well be able to do this in the not too distant future, like this summer, if the work keeps coming in.
And, as I speculated earlier, I do feel liberated a bit from the ghosts of the past. Time to make some new ones. It's a new year, a new place, and the same old me. That feels good. It really does.
Friday, November 02, 2007
State of Mindless
I promised, so I deliver.
I managed to go to the New York State of Mind exhibition in the Haus der Kulturen der Welt this week, and even surrendered five euros to see it. I have to say, having covered similar events for six years for the Wall Street Journal and having been to plenty of others as a civilian, it's been a long time since I've seen a show as incoherent and empty as this one. Since it closes on Sunday, I'm saving you the trouble of going.
Now, someone who grew up in New York like I did can be expected to be prejudiced when it comes to a show like this. You can bet that there will be expectations unmet. You might also expect that observations will be put forth with which a native New Yorker will disagree. And, reviewing a show like that, you have to take all of that into consideration yourself and work to block those prejudices. So that's the attitude I walked in with.
But...what was this show about? I wasn't offended, didn't disagree, because I honestly didn't understand what the hell it had to do with New York City. You see, any museum show should allow any reasonably intelligent member of the public to walk through it and understand what the curators were thinking, what they decided to show, and, perhaps, evaluate the degree to which they succeeded in presenting the material at hand. If there weren't signs telling you this show was about New York, you'd never catch on.
The first thing you see when you walk into the main room is one of Marcel Duchamp's multiples, where he packed miniature versions of his Greatest Hits into a box, which he then sold through a gallery. No explanation is given for this object's presence. It's true that Duchamp spent time in New York and made his breakthrough at the infamous Armory Show in 1913, but he's alone in representing his generation and pretty much everything else he stood for here. The other works in the room vary wildly in quality, although for the most part they're mediocre at best. Exceptions are a wall of photos by Mary Ellen Mark, whose little girls with Batman photo is one of the images being used to sell the show on its posters. There's also a video by Gordon Matta-Clark which caught my eye, but it's mounted at floor level with the sound turned way down, so I had no chance to experience it.
Other than that, this main room contains numerous photographs by a German photographer of various lectures and conferences and panel discussions he attended in New York -- hardly riveting stuff -- and a couple of charts purporting to show the march of art and the march of Carolee Schneemann, who is also represented by a bunch of stills from her performances. You'd think she was the only important New York artist around from the attention she's given here. There's also documentation of a couple of performance pieces, like the Chinese artist who lived out of doors in New York for a year, and someone else who apparently distilled and bottled his own sweat. There are some grainy videos, and one by a Berlin artist shot from his bike as he rides the wrong way in traffic in New York, New Orleans, and Berlin. Above the main exhibition area is an installation involving spilled paint and potting-soil bags with Martin Luther King's face on them.
There's also another area where there lives a large, loud installation that's very disorietning, which I guess could be argued is also a simulation of New York City at its most bustling and confusing. Next to that is a room with photographs by German photographer Josephine Meckseper (who, admittedly, lives in New York), including one of two icy blondes in a ridiculously luxurious apartment, one wearing a necklace with the letters CDU and the other wearing one with CSU. Now, that's New York! As you leave this area, there's a video installation about Rome.
Like I said, if the signs everywhere didn't tell you this was about New York, you'd never guess.
What it is, as far as I can tell, is Theory run amok. German intellectuals are big on Theory as the wellspring of all action. It never occurs to them that some creative people just create, nor does it occur to them that sometimes theorizing is a dry and sterile action. Someone got so carried away with the theory behind this exhibition that it escaped the bounds of gravity and soared into the intellectual stratosphere, away from any bonds tying it to the subject matter at hand.
Ah, well, I should complain. It appears that the New York end of this is mostly about classical music. Whether that's all they could think of, or whether it's all they were offered, I don't know. But if New York State of Mind is a preview of what the new, improved Haus der Kulturen der Welt is going to offer, it's not going to be a place I visit very often.
I managed to go to the New York State of Mind exhibition in the Haus der Kulturen der Welt this week, and even surrendered five euros to see it. I have to say, having covered similar events for six years for the Wall Street Journal and having been to plenty of others as a civilian, it's been a long time since I've seen a show as incoherent and empty as this one. Since it closes on Sunday, I'm saving you the trouble of going.
Now, someone who grew up in New York like I did can be expected to be prejudiced when it comes to a show like this. You can bet that there will be expectations unmet. You might also expect that observations will be put forth with which a native New Yorker will disagree. And, reviewing a show like that, you have to take all of that into consideration yourself and work to block those prejudices. So that's the attitude I walked in with.
But...what was this show about? I wasn't offended, didn't disagree, because I honestly didn't understand what the hell it had to do with New York City. You see, any museum show should allow any reasonably intelligent member of the public to walk through it and understand what the curators were thinking, what they decided to show, and, perhaps, evaluate the degree to which they succeeded in presenting the material at hand. If there weren't signs telling you this show was about New York, you'd never catch on.
The first thing you see when you walk into the main room is one of Marcel Duchamp's multiples, where he packed miniature versions of his Greatest Hits into a box, which he then sold through a gallery. No explanation is given for this object's presence. It's true that Duchamp spent time in New York and made his breakthrough at the infamous Armory Show in 1913, but he's alone in representing his generation and pretty much everything else he stood for here. The other works in the room vary wildly in quality, although for the most part they're mediocre at best. Exceptions are a wall of photos by Mary Ellen Mark, whose little girls with Batman photo is one of the images being used to sell the show on its posters. There's also a video by Gordon Matta-Clark which caught my eye, but it's mounted at floor level with the sound turned way down, so I had no chance to experience it.
Other than that, this main room contains numerous photographs by a German photographer of various lectures and conferences and panel discussions he attended in New York -- hardly riveting stuff -- and a couple of charts purporting to show the march of art and the march of Carolee Schneemann, who is also represented by a bunch of stills from her performances. You'd think she was the only important New York artist around from the attention she's given here. There's also documentation of a couple of performance pieces, like the Chinese artist who lived out of doors in New York for a year, and someone else who apparently distilled and bottled his own sweat. There are some grainy videos, and one by a Berlin artist shot from his bike as he rides the wrong way in traffic in New York, New Orleans, and Berlin. Above the main exhibition area is an installation involving spilled paint and potting-soil bags with Martin Luther King's face on them.
There's also another area where there lives a large, loud installation that's very disorietning, which I guess could be argued is also a simulation of New York City at its most bustling and confusing. Next to that is a room with photographs by German photographer Josephine Meckseper (who, admittedly, lives in New York), including one of two icy blondes in a ridiculously luxurious apartment, one wearing a necklace with the letters CDU and the other wearing one with CSU. Now, that's New York! As you leave this area, there's a video installation about Rome.
Like I said, if the signs everywhere didn't tell you this was about New York, you'd never guess.
What it is, as far as I can tell, is Theory run amok. German intellectuals are big on Theory as the wellspring of all action. It never occurs to them that some creative people just create, nor does it occur to them that sometimes theorizing is a dry and sterile action. Someone got so carried away with the theory behind this exhibition that it escaped the bounds of gravity and soared into the intellectual stratosphere, away from any bonds tying it to the subject matter at hand.
Ah, well, I should complain. It appears that the New York end of this is mostly about classical music. Whether that's all they could think of, or whether it's all they were offered, I don't know. But if New York State of Mind is a preview of what the new, improved Haus der Kulturen der Welt is going to offer, it's not going to be a place I visit very often.
Monday, October 29, 2007
Autumn Crumbs
Some interesting developments around here which'll have to wait until around the end of the week to be revealed (mais, hélas, pas des nouvelles de France), but a couple of things in the meanwhile.
* * *
First bit of news is that yesterday, the New York Times actually published an (almost) accurate, well-informed article about Berlin. As the author notes, he did some growing up here, so he's not just another ignoramus flying in and hitting a few hot-spots and crowing about the hip! edgy! Berlin. He's somehow moved Tacheles to Prenzlauer Berg, but I wonder how the representation of Berlin in New York is going to square with that show at the Haus der Kulturen der Welt, which I still haven't seen. I have a feeling they've done more than just move Tacheles up the hill, so to speak...
* * *
A bunch of you may have gotten invitations from me to join Shelfari, a new online community/social networking site devoted to reading. A whole bunch of you, in fact. I apparently sent out about a thousand invites to all my "friends" in my gmail address book. I'm happy to say I'm not the only one, since this poor guy got caught before I did and wrote a nicely humorous piece about it.
What's even worse is that at least 50 of these people have accepted "my" invitation, and Shelfari makes it almost impossible to figure out who they are. Very few of them are people I correspond with regularly -- or even remember. It doesn't help that I get an e-mail from Shelfari headed "Bill F has accepted your invitation," because that's how people are listed there. Bill F? The worst was Park S, which has me awake at night fearing that I've befriended the entire population of Park Slope, Brooklyn.
At any rate, if you got one of these, and if you decide to join, please read that article before you start inviting folks to join you. A very poorly designed website.
* * *
Speaking of books, though, I've added a widget to this page (it's way down there) that has the perhaps incomprehensible for some of you word Wunchzettel on it. This is my Amazon.de wish list, added just in time for my birthday on Friday and, of course, Christmas coming up. It's as much recommendations for books I haven't read as a wish-list, though. And yeah, a lot of cookbooks up there. Because, among other things, Christmas is a rather festive season in these parts, and I wind up doing a bunch of cooking for people. And, of course, myself.
* * *
Finally, speaking of food, not catering my next party (and not just because I'd want to do it myself) will be these folks. Honestly, y'all, learn the lesson of that famous American metal band Das Damen and research the foreign language you're using first.
* * *
First bit of news is that yesterday, the New York Times actually published an (almost) accurate, well-informed article about Berlin. As the author notes, he did some growing up here, so he's not just another ignoramus flying in and hitting a few hot-spots and crowing about the hip! edgy! Berlin. He's somehow moved Tacheles to Prenzlauer Berg, but I wonder how the representation of Berlin in New York is going to square with that show at the Haus der Kulturen der Welt, which I still haven't seen. I have a feeling they've done more than just move Tacheles up the hill, so to speak...
* * *
A bunch of you may have gotten invitations from me to join Shelfari, a new online community/social networking site devoted to reading. A whole bunch of you, in fact. I apparently sent out about a thousand invites to all my "friends" in my gmail address book. I'm happy to say I'm not the only one, since this poor guy got caught before I did and wrote a nicely humorous piece about it.
What's even worse is that at least 50 of these people have accepted "my" invitation, and Shelfari makes it almost impossible to figure out who they are. Very few of them are people I correspond with regularly -- or even remember. It doesn't help that I get an e-mail from Shelfari headed "Bill F has accepted your invitation," because that's how people are listed there. Bill F? The worst was Park S, which has me awake at night fearing that I've befriended the entire population of Park Slope, Brooklyn.
At any rate, if you got one of these, and if you decide to join, please read that article before you start inviting folks to join you. A very poorly designed website.
* * *
Speaking of books, though, I've added a widget to this page (it's way down there) that has the perhaps incomprehensible for some of you word Wunchzettel on it. This is my Amazon.de wish list, added just in time for my birthday on Friday and, of course, Christmas coming up. It's as much recommendations for books I haven't read as a wish-list, though. And yeah, a lot of cookbooks up there. Because, among other things, Christmas is a rather festive season in these parts, and I wind up doing a bunch of cooking for people. And, of course, myself.
* * *
Finally, speaking of food, not catering my next party (and not just because I'd want to do it myself) will be these folks. Honestly, y'all, learn the lesson of that famous American metal band Das Damen and research the foreign language you're using first.
Thursday, October 04, 2007
Excuses, Excuses
Thanks to Kean for connecting the dots on this one.
I've suspected Potsdamer Platz was in trouble for some time. An early symptom of this was when the strange "music experience" show downstairs closed precipitously. Not long after, a Sony Records person I knew from the States came over here to find out why Sony Records Germany employees didn't want to move to Berlin and work at the Sony Center. Apparently morale was horrible, but it did, it must be admitted, pick up: Sony, at the start of merger negotiations with Bertelsmann, moved to Munich.
That's right: besides the fancy branding-store there, there's no Sony in the Sony Center.
Nor, apparently, is there any Daimler-Chrysler in the Daimler-Chrysler Center these days, since this article hints pretty strongly that both the Sony Center and the Daimler-Chrysler complex are on the market. And that's mostly what there is to see at Potsdamer Platz these days.
Besides the architecture -- which I think is best seen from afar, for the obvious reason that you can't see a skyscraper when you're standing next to it -- there just isn't much at PotzPlatz. There are the cinemas, of course, which are essential to the Berlinale, and the don't-call-it-a-mall-or-we-fire-you Potsdamer Platz Arkaden, and a few luxury hotels, which are also essential to the Berlinale -- or at least the egos who attend it. But the place has been a bust when it comes to commercial space. And why not? There's commercial space everywhere here, most of it cheaper than PotzPlatz.
Let's face it: the city's in trouble. At this point, even the city is admitting it. The link to the PotzPlatz article came after Kean sent me an almost unreadable exerpt from a speech due to be delivered in Sydney by Adrienne Goehler, identified as "a former senator for arts and science in Berlin." I have no idea which party she represents, and she could be a CDU-er sniping at the SDP's leadership, but if I discern (through what may be a lousy translation) correctly, she's right in scoring the unemployment (17% overall, but, as she doesn't mention, well over 33% is some parts of town), debt (€60 billion), and what she calls an "old-boy network" and I call entrenched anti-entrepreneurialism as problems.
So woo-woo, we have a lot of artists. Frau Goehler even admits that there's a lot of art made here but no way to sell it: for that you have to leave town. I'd actually advise her to take a look at what's in some of these galleries here. She might not be so optimistic if she'd take a walk around some of the galleries I see every day, too. And yeah, I know, there are a lot of artists who rent cheapo space here so they can build their stuff and ship it out without showing it here.
Ah, well. At least she admits "As impressive as the numbers are which officially document the strengthening of Berlin's creative industries, it is equally visible to the naked eye that there isn't and won't be enough paid work in this city to counter the jobless rate. For some years now, this shortage has forced mainly jobless artists and academics into new forms of working and living that arise from a lack of money and a simultaneous surplus of ideas." Which sort of doesn't make me feel too bad that nobody I know can make a living here, myself included.
But unlike Sony, I haven't made a sale or a merger that allows me to put my apartment back on the rental market. Yet.
I've suspected Potsdamer Platz was in trouble for some time. An early symptom of this was when the strange "music experience" show downstairs closed precipitously. Not long after, a Sony Records person I knew from the States came over here to find out why Sony Records Germany employees didn't want to move to Berlin and work at the Sony Center. Apparently morale was horrible, but it did, it must be admitted, pick up: Sony, at the start of merger negotiations with Bertelsmann, moved to Munich.
That's right: besides the fancy branding-store there, there's no Sony in the Sony Center.
Nor, apparently, is there any Daimler-Chrysler in the Daimler-Chrysler Center these days, since this article hints pretty strongly that both the Sony Center and the Daimler-Chrysler complex are on the market. And that's mostly what there is to see at Potsdamer Platz these days.
Besides the architecture -- which I think is best seen from afar, for the obvious reason that you can't see a skyscraper when you're standing next to it -- there just isn't much at PotzPlatz. There are the cinemas, of course, which are essential to the Berlinale, and the don't-call-it-a-mall-or-we-fire-you Potsdamer Platz Arkaden, and a few luxury hotels, which are also essential to the Berlinale -- or at least the egos who attend it. But the place has been a bust when it comes to commercial space. And why not? There's commercial space everywhere here, most of it cheaper than PotzPlatz.
Let's face it: the city's in trouble. At this point, even the city is admitting it. The link to the PotzPlatz article came after Kean sent me an almost unreadable exerpt from a speech due to be delivered in Sydney by Adrienne Goehler, identified as "a former senator for arts and science in Berlin." I have no idea which party she represents, and she could be a CDU-er sniping at the SDP's leadership, but if I discern (through what may be a lousy translation) correctly, she's right in scoring the unemployment (17% overall, but, as she doesn't mention, well over 33% is some parts of town), debt (€60 billion), and what she calls an "old-boy network" and I call entrenched anti-entrepreneurialism as problems.
So woo-woo, we have a lot of artists. Frau Goehler even admits that there's a lot of art made here but no way to sell it: for that you have to leave town. I'd actually advise her to take a look at what's in some of these galleries here. She might not be so optimistic if she'd take a walk around some of the galleries I see every day, too. And yeah, I know, there are a lot of artists who rent cheapo space here so they can build their stuff and ship it out without showing it here.
Ah, well. At least she admits "As impressive as the numbers are which officially document the strengthening of Berlin's creative industries, it is equally visible to the naked eye that there isn't and won't be enough paid work in this city to counter the jobless rate. For some years now, this shortage has forced mainly jobless artists and academics into new forms of working and living that arise from a lack of money and a simultaneous surplus of ideas." Which sort of doesn't make me feel too bad that nobody I know can make a living here, myself included.
But unlike Sony, I haven't made a sale or a merger that allows me to put my apartment back on the rental market. Yet.
Sunday, September 16, 2007
The Berlin Avant-Garde Takes Another Hit
Once upon a time, the 18th Century Podewils'sches Palais, built for Count Podewil, whoever he was, was the headquarters of the FDJ, an arts-and-crafts center, and the place where East Berlin bands wanting permits to play passed their proficiency and ideology exams. Starting in 1990, however, the former "House of Young Talent" became just plain Podewil, an arts center specializing in media art, avant-garde music, and dance. The music program in particular, curated by a woman named Elke Moltrecht, who must know everything there is to know about the current "out" scene, brought some amazing shows to town, and it was there that the Transmediale Festival held its first few years. Podewil also had money from the city to provide grants to artists wishing to work in Berlin, and the city's cultural scene was enriched by this. (Or, in some cases, not. But that's how it is with the avant-garde).
Now, I don't follow this city's cultural politics too closely, but somewhere along the way, a split developed between the more visionary (Podewil) and more academic (Transmediale) factions, and the latter won. Moltrecht and her merry crew were exiled to Ballhaus Naunystr. in Kreuzberg and the other folk moved into the Palais as Tesla at Podewil. Not that they were exclusively dull, although I never really saw anything on their e-mail newsletter that would induce me to walk over there for a show, because one thing they managed was to produce Zeitkratzer's famous live concert of Lou Reed's Metal Machine Music, at which Reed famously showed up himself. But far more frequently, Tesla showed the tired old art-proceeds-from-theory symptoms which make so much artistic production in Germany so dull.
Last week, though, Tesla got some bad news: the city, after only two years of funding, had decided to pull the plug. As they put it in their latest newsletter (original orthography preserved): "kulturprojekte berlin gmbh, which commissions t e s l a with the cultural program in the podewils'sches palais, has decided, together with the senator for the arts, to reverse a previously confirmed extension of t e s l a' s contract until 2008. our yearly budget of 500.000 euros will be completely redirected towards use for a cultural education program, the details of which remain to be more clearly defined. we will lose our space and our financial support at the end of this year."
I'm not positive, but there might be a subtext lurking here. Besides the city's wanting to save money -- they've been slashing away at the cultural budget without really addressing the question of how many opera houses we really need here, and if there isn't something that can be done with the orchestras, both of which suck up a lot more money than Tesla ever did -- there were several incidents in the past when the Podewil group were threatened with eviction so that one or another branch of the federal bureaucracy could move into this nice building. (Nice facade, anyway: behind it stretches a lot of rather grim DDR addition).
As for Ms. Moltrecht, she's hanging on, and her Interface Festival, which started Friday, is more star-studded than anything Tesla's done recently, but if you check the posters hanging around town, she's also gathered together an impressive array of sponsors to help her produce it.
I've said it before, but it bears repeating: Berlin's reputation as a center for artistic innovation owes plenty to Podewil and Tesla. No amount of play-it-again-Wolfgang opera productions is going to change this. Without support from the city, this scene can easily pick up and go somewhere it's wanted, and Berlin will cease to be so hip! and edgy! and become the provincial backwater so many elements here want it to be. The avant-garde thrives on synergy, so having a city chock-full of art galleries but no venue for cutting-edge dance and music is an empty triumph.
One wonders if anyone in the Rathaus cares.
Now, I don't follow this city's cultural politics too closely, but somewhere along the way, a split developed between the more visionary (Podewil) and more academic (Transmediale) factions, and the latter won. Moltrecht and her merry crew were exiled to Ballhaus Naunystr. in Kreuzberg and the other folk moved into the Palais as Tesla at Podewil. Not that they were exclusively dull, although I never really saw anything on their e-mail newsletter that would induce me to walk over there for a show, because one thing they managed was to produce Zeitkratzer's famous live concert of Lou Reed's Metal Machine Music, at which Reed famously showed up himself. But far more frequently, Tesla showed the tired old art-proceeds-from-theory symptoms which make so much artistic production in Germany so dull.
Last week, though, Tesla got some bad news: the city, after only two years of funding, had decided to pull the plug. As they put it in their latest newsletter (original orthography preserved): "kulturprojekte berlin gmbh, which commissions t e s l a with the cultural program in the podewils'sches palais, has decided, together with the senator for the arts, to reverse a previously confirmed extension of t e s l a' s contract until 2008. our yearly budget of 500.000 euros will be completely redirected towards use for a cultural education program, the details of which remain to be more clearly defined. we will lose our space and our financial support at the end of this year."
I'm not positive, but there might be a subtext lurking here. Besides the city's wanting to save money -- they've been slashing away at the cultural budget without really addressing the question of how many opera houses we really need here, and if there isn't something that can be done with the orchestras, both of which suck up a lot more money than Tesla ever did -- there were several incidents in the past when the Podewil group were threatened with eviction so that one or another branch of the federal bureaucracy could move into this nice building. (Nice facade, anyway: behind it stretches a lot of rather grim DDR addition).
As for Ms. Moltrecht, she's hanging on, and her Interface Festival, which started Friday, is more star-studded than anything Tesla's done recently, but if you check the posters hanging around town, she's also gathered together an impressive array of sponsors to help her produce it.
I've said it before, but it bears repeating: Berlin's reputation as a center for artistic innovation owes plenty to Podewil and Tesla. No amount of play-it-again-Wolfgang opera productions is going to change this. Without support from the city, this scene can easily pick up and go somewhere it's wanted, and Berlin will cease to be so hip! and edgy! and become the provincial backwater so many elements here want it to be. The avant-garde thrives on synergy, so having a city chock-full of art galleries but no venue for cutting-edge dance and music is an empty triumph.
One wonders if anyone in the Rathaus cares.
Saturday, June 16, 2007
Just Another Day In Berlin
I was awakened around 8 am yesterday by a call from a friend in Prague, announcing that a friend of his, from Texas originally, would be coming to Berlin later in the day. After the call was over, I went back to sleep. I had a lot of work to do, and wanted to be fresh.
By the time I had had my coffee and was checking e-mails, the friend-of-a-friend had written me, and we went back and forth until we had a meeting set up later in the evening in Friedrichshain, where he was staying. Then it was time to get to work: totally rewriting a sample page of a brochure for a school here so it wouldn't be so stuffy and yet would appeal to the right kind of students.
This, it developed, took a couple of hours, but I figured if the school green-lighted the project I'd have made a significant score. And I'd find out: the woman in charge was leaving for vacation at the end of the day. So after I'd whipped it into shape and e-mailed it to her, I realized I'd be stupid to sit around the house waiting to hear from her, so I strapped on the trusty Nikon and went in search of the Acid Icon artist's other work.
It was just past Rosenthaler Platz, on the south side of Torstr. but proved maddeningly difficult to photograph, as you can see:
This gives a hint of the colors, especially in the face, but it obscures the majority of the piece.
This, on the other hand, gives an idea of the scale of the piece. The only proper way to photograph this would be from inside the industrial courtyard, unfortunately. Still, there are a couple of clues here. First, it's copyright by Super Blast, which explains the SB on the other icon's field. Second, the idiosyncratic spelling of "Maschine" makes it pretty certain the artist is German. And the mysterious inscription "Thanks to Play Station" doesn't, I hope, mean that Super Blast was part of that lame promotion of a few weeks back. If so, there's nothing overt in either image that indicates it.
I grabbed another couple of shots as I headed back home -- the defaced Ronald McDonald, which I added on my post about the McDonald's closing a couple of weeks ago, and a shot for bowleserised's all-things-pony blog, The Ponyhof. She and I then spent an amusing couple of hours trying to figure out how to download the goddam photos from Gmail.
Finally, since it was getting towards 5 and I knew just how fast Germans depart the office on Friday, I called the school, only to discover that I'd been in competition with some other writers and the school had gone for one who had a degree. Because naturally, making your living by writing for over 40 years doesn't mean that you know a thing about language. I wasn't even particularly surprised, since I know how much store Germans -- and, I suspect, Europeans in general -- put in such things. Hell, I'd have graduated from college if I'd understood the weird experimental educational project they'd put me in. Or not, I don't know. (It doesn't matter now: the damn place is closing).
So the next order of business was to eat some dinner and head off to the bar to meet this guy, which I did. The new tram line by my house makes it easy to get to the hip! edgy! district of Friedrichshain, where every second person is from America and nobody's much over 30. Trouble is, the new tram line, like all the tram lines in my neighborhood, are closed for the next couple of weeks for track work. Thus, I was wedged into a bus that was loaded well beyond its legal limit with drunken teenagers and ferried most of the way across town, where we were dumped to meet the part of the tramline that was running. Then I got there and there was a sign on the bar that there was a private party going on.
This turned out to be because apparently the place is officially not open for business, so I won't identify it further, but at any rate the Texan finally made his appearance and we talked for a while until the trust-fund hipster vibe got to me and I realized that I'd be repeating the same arduous journey back home, so I said good-bye and caught the tram.
Boy, did I feel smart: by the time the (mostly empty) bus pulled up at the terminus at Nordbahnhof, I could see lightning flashing in the sky, and by the time I was half-way down my block, tiny raindrops were intermittently hitting my skin. I opened a nightcap beer, sat and read with the windows open as gentle rain started to fall, and then went to bed.
Now, I don't know about you, but thunderstorms, for me, are like the best sleeping-pills ever invented. I think it's the rapid drop in air pressure that does it, and I was asleep in no time.
The beer, however, wasn't, so after lying there listening to a really bad storm pounding down, I got up to recycle it. Although all the lights were out, I could see that the entire bathroom floor was slick with water. Worse, it was copiously studded with dark lumps. Yes, folks, the sewer had backed up, the toilet had overflowed, and my bathroom was covered with the Waste of Others.
German mop technology, I'm sorry to say, isn't very good. All I have is a so-called Wischmop, a primitive thing with semi-absorbent cloth shreds which need to be wrung out every couple of seconds. Over the next 90 minutes, until after 3 am, I was angrily swabbing, pushing the, um, souvenirs, against the wall, and praying not to get cholera, typhoid, hepatitis A, or some other dread disease. When things were somewhat under control, I took a long, hot shower and collapsed back in bed, where I remained until 10:30.
Why the city of Berlin's sewers are so bad, I can't say, although you've got to admit that a city so broke that it's begging other police departments for their cast-off uniforms probably can't maintain them. This kind of thing has happened before, but it's never escaped the toilet before, and I was genuinely glad upon rising to note that there wasn't much of a smell. I spent my early afternoon swabbing the bathroom down with Mr. Clean (Mr. Proper over here) and a healthy dose of Clorox (DanKlorix), and, while it dried, went off to buy some coffee.
Some time ago, I lamented the demise of the Malongo Coffee boutique at Galleries Lafayette here, where you could buy superb whole-bean coffee cheaper than at Starbucks or Einstein or Balzac or any of the other similar "quality" coffee joints. Well, in the past few weeks, they've returned as a presence at the bakery counter there. The prices have risen so that it's no longer €4 for 250g, but more like €5, so they're on par with the others (except Starbucks, which is €6), but I can once again make my famous blend and breakfasts here at the house are far more enjoyable.
Walking home, I made sure to avoid Friedrichstr., which has apparently been entered in an international competition for auto and pedestrian inaccessibility, and instead made my way over to Museum Island. At Bebelplatz, there was a book fair going on, and if I'd stayed til 4, I could have met Rolf Hochhuth and punched the old man out for awakening an interest in Germany in the teenaged me, but instead I wanted to get home. Walking up Tucholskystr. I saw yet another horror: a Hollywood Boulevard-style star, with a Vanity Fair logo, for Damien Hirst sunk in the sidewalk outside a gallery. Yet another there-goes-the-neighborhood moment -- and Brangelina have yet to move in, as far as I know.
I was contemplating the messages the past 24 hours had brought when the doorbell rang. A young woman in a Deutsche Post uniform handed me a large, soft package of the sort I never get. It was postmarked Montpellier. In it was a huge towel, with Languedoc.com embroidered on one corner. I was puzzled until I realized I'd won it weeks ago in this contest, which I play when I'm bored in hopes of winning. (Yeah, I know the page doesn't work all that well and most of the "clue" links don't work: it's French, for heaven's sake!)
And it occurred to me: the students are leaving Montpellier right now. The apartments will be available all summer. Once again it's time to strike.
Now to raise the €12,500 I need to do it with.
By the time I had had my coffee and was checking e-mails, the friend-of-a-friend had written me, and we went back and forth until we had a meeting set up later in the evening in Friedrichshain, where he was staying. Then it was time to get to work: totally rewriting a sample page of a brochure for a school here so it wouldn't be so stuffy and yet would appeal to the right kind of students.
This, it developed, took a couple of hours, but I figured if the school green-lighted the project I'd have made a significant score. And I'd find out: the woman in charge was leaving for vacation at the end of the day. So after I'd whipped it into shape and e-mailed it to her, I realized I'd be stupid to sit around the house waiting to hear from her, so I strapped on the trusty Nikon and went in search of the Acid Icon artist's other work.
It was just past Rosenthaler Platz, on the south side of Torstr. but proved maddeningly difficult to photograph, as you can see:
This gives a hint of the colors, especially in the face, but it obscures the majority of the piece.
This, on the other hand, gives an idea of the scale of the piece. The only proper way to photograph this would be from inside the industrial courtyard, unfortunately. Still, there are a couple of clues here. First, it's copyright by Super Blast, which explains the SB on the other icon's field. Second, the idiosyncratic spelling of "Maschine" makes it pretty certain the artist is German. And the mysterious inscription "Thanks to Play Station" doesn't, I hope, mean that Super Blast was part of that lame promotion of a few weeks back. If so, there's nothing overt in either image that indicates it.
I grabbed another couple of shots as I headed back home -- the defaced Ronald McDonald, which I added on my post about the McDonald's closing a couple of weeks ago, and a shot for bowleserised's all-things-pony blog, The Ponyhof. She and I then spent an amusing couple of hours trying to figure out how to download the goddam photos from Gmail.
Finally, since it was getting towards 5 and I knew just how fast Germans depart the office on Friday, I called the school, only to discover that I'd been in competition with some other writers and the school had gone for one who had a degree. Because naturally, making your living by writing for over 40 years doesn't mean that you know a thing about language. I wasn't even particularly surprised, since I know how much store Germans -- and, I suspect, Europeans in general -- put in such things. Hell, I'd have graduated from college if I'd understood the weird experimental educational project they'd put me in. Or not, I don't know. (It doesn't matter now: the damn place is closing).
So the next order of business was to eat some dinner and head off to the bar to meet this guy, which I did. The new tram line by my house makes it easy to get to the hip! edgy! district of Friedrichshain, where every second person is from America and nobody's much over 30. Trouble is, the new tram line, like all the tram lines in my neighborhood, are closed for the next couple of weeks for track work. Thus, I was wedged into a bus that was loaded well beyond its legal limit with drunken teenagers and ferried most of the way across town, where we were dumped to meet the part of the tramline that was running. Then I got there and there was a sign on the bar that there was a private party going on.
This turned out to be because apparently the place is officially not open for business, so I won't identify it further, but at any rate the Texan finally made his appearance and we talked for a while until the trust-fund hipster vibe got to me and I realized that I'd be repeating the same arduous journey back home, so I said good-bye and caught the tram.
Boy, did I feel smart: by the time the (mostly empty) bus pulled up at the terminus at Nordbahnhof, I could see lightning flashing in the sky, and by the time I was half-way down my block, tiny raindrops were intermittently hitting my skin. I opened a nightcap beer, sat and read with the windows open as gentle rain started to fall, and then went to bed.
Now, I don't know about you, but thunderstorms, for me, are like the best sleeping-pills ever invented. I think it's the rapid drop in air pressure that does it, and I was asleep in no time.
The beer, however, wasn't, so after lying there listening to a really bad storm pounding down, I got up to recycle it. Although all the lights were out, I could see that the entire bathroom floor was slick with water. Worse, it was copiously studded with dark lumps. Yes, folks, the sewer had backed up, the toilet had overflowed, and my bathroom was covered with the Waste of Others.
German mop technology, I'm sorry to say, isn't very good. All I have is a so-called Wischmop, a primitive thing with semi-absorbent cloth shreds which need to be wrung out every couple of seconds. Over the next 90 minutes, until after 3 am, I was angrily swabbing, pushing the, um, souvenirs, against the wall, and praying not to get cholera, typhoid, hepatitis A, or some other dread disease. When things were somewhat under control, I took a long, hot shower and collapsed back in bed, where I remained until 10:30.
Why the city of Berlin's sewers are so bad, I can't say, although you've got to admit that a city so broke that it's begging other police departments for their cast-off uniforms probably can't maintain them. This kind of thing has happened before, but it's never escaped the toilet before, and I was genuinely glad upon rising to note that there wasn't much of a smell. I spent my early afternoon swabbing the bathroom down with Mr. Clean (Mr. Proper over here) and a healthy dose of Clorox (DanKlorix), and, while it dried, went off to buy some coffee.
Some time ago, I lamented the demise of the Malongo Coffee boutique at Galleries Lafayette here, where you could buy superb whole-bean coffee cheaper than at Starbucks or Einstein or Balzac or any of the other similar "quality" coffee joints. Well, in the past few weeks, they've returned as a presence at the bakery counter there. The prices have risen so that it's no longer €4 for 250g, but more like €5, so they're on par with the others (except Starbucks, which is €6), but I can once again make my famous blend and breakfasts here at the house are far more enjoyable.
Walking home, I made sure to avoid Friedrichstr., which has apparently been entered in an international competition for auto and pedestrian inaccessibility, and instead made my way over to Museum Island. At Bebelplatz, there was a book fair going on, and if I'd stayed til 4, I could have met Rolf Hochhuth and punched the old man out for awakening an interest in Germany in the teenaged me, but instead I wanted to get home. Walking up Tucholskystr. I saw yet another horror: a Hollywood Boulevard-style star, with a Vanity Fair logo, for Damien Hirst sunk in the sidewalk outside a gallery. Yet another there-goes-the-neighborhood moment -- and Brangelina have yet to move in, as far as I know.
I was contemplating the messages the past 24 hours had brought when the doorbell rang. A young woman in a Deutsche Post uniform handed me a large, soft package of the sort I never get. It was postmarked Montpellier. In it was a huge towel, with Languedoc.com embroidered on one corner. I was puzzled until I realized I'd won it weeks ago in this contest, which I play when I'm bored in hopes of winning. (Yeah, I know the page doesn't work all that well and most of the "clue" links don't work: it's French, for heaven's sake!)
And it occurred to me: the students are leaving Montpellier right now. The apartments will be available all summer. Once again it's time to strike.
Now to raise the €12,500 I need to do it with.
Sunday, April 22, 2007
The Hip 'n' Edgy Update
I'm big enough to admit when the New York Times gets it right, and it seems that a couple of weeks ago, that's just what they did with their recent article on Brunnenstr. as the new art district of Berlin. Actually, it's one of several, and the more serious one is down on Zimmerstr. by Checkpoint Charlie where the big guns have huge spaces inside some kind of old warehouse. And I'd say there's a reason that the Times used a picture of a cute beagle instead of any of the art on display, because most of what I saw on a recent walk up the street from Rosenthaler Platz to Bernauer Str. was pretty boring. I'd say that the Brunnenstr. galleries are sort of an arts lab, where talent can be developed.
And it's kind of not fair for Peter Herrmann to have moved his exquisite gallery for African antiquities, currently showing some astonishing Ife bronzes from Nigeria, onto the block. It just makes the other galleries' daubings and scrapings look sick. Definitely worth a visit, though. (Interestingly, I've been in that building before, since it once held the Amiga recording studios, the place where all the DDR's pop acts recorded for the state label. A friend was recording a DDR dissident band called Die Vision there, as the tea-ladies cringed.)
But what's really not fair on Brunnenstr. is the blatant move by Sony to co-opt Berlin street art. A few weeks ago, I mentioned in passing that I'd noticed a lot of broken windows around town recently, one of them in the old Beate Uhse shop at the start of Brunnenstr next to the collection of greasy spoons. A little research shows why this has happened. First, we started seeing brown-paper circles that said www.dont-forget-the-game. com all over the place. When you go there, the first thing you come upon is a blog, which purports to discuss street art. Fine, but click on the photo gallery link and it gets more insidious.
It's an ad. In fact, if you go down to Brunnenstr. to the old Beate Uhse place, there's a bilingual sheet of paper posted there bragging that Sony has gotten Berlin street-artists to cooperate with them in promoting the new PlayStation Portable System (PSP) device. So we have a huge number of stencilled brown-paper women caressing huge PSPs, many of which have been defaced by street-artist 6, and everywhere you look, someone's stuck a PSP-shaped sticker with their custom design on it. Other "artists" have made PSP-shaped art which is on display around the corner on Torstr. in a fake art gallery.
Now I understand the rocks through the windows. And it's depressing to walk around and have to wonder if the latest piece of street art is, in fact, some lame-ass viral marketing campaign. I wonder how they enlisted these guys. Just handed 'em a PSP? Was money involved? I have to say, I saw one of these in action when I flew to America last month, and although the game being played was that moronic car-crash one, the graphics were extremely impressive. I wouldn't mind having one (well, if there were a game that could hold my interest for more than ten minutes, anyway, which there rarely are on these systems), but would I viral-write an article about it for one? I don't think so.
So boo to the supposed "street artists" who let themselves be pimped by Sony, hooray to the ad-busting graffiti artists who are sabotaging the campaign, and, like that car whose ads were everywhere a couple of monts ago -- what was it called again? -- may this fade from view as soon as possible.
Meanwhile, a bit of street art from Brunnenstr. that I really find impressive:
And it's kind of not fair for Peter Herrmann to have moved his exquisite gallery for African antiquities, currently showing some astonishing Ife bronzes from Nigeria, onto the block. It just makes the other galleries' daubings and scrapings look sick. Definitely worth a visit, though. (Interestingly, I've been in that building before, since it once held the Amiga recording studios, the place where all the DDR's pop acts recorded for the state label. A friend was recording a DDR dissident band called Die Vision there, as the tea-ladies cringed.)
But what's really not fair on Brunnenstr. is the blatant move by Sony to co-opt Berlin street art. A few weeks ago, I mentioned in passing that I'd noticed a lot of broken windows around town recently, one of them in the old Beate Uhse shop at the start of Brunnenstr next to the collection of greasy spoons. A little research shows why this has happened. First, we started seeing brown-paper circles that said www.dont-forget-the-game. com all over the place. When you go there, the first thing you come upon is a blog, which purports to discuss street art. Fine, but click on the photo gallery link and it gets more insidious.
It's an ad. In fact, if you go down to Brunnenstr. to the old Beate Uhse place, there's a bilingual sheet of paper posted there bragging that Sony has gotten Berlin street-artists to cooperate with them in promoting the new PlayStation Portable System (PSP) device. So we have a huge number of stencilled brown-paper women caressing huge PSPs, many of which have been defaced by street-artist 6, and everywhere you look, someone's stuck a PSP-shaped sticker with their custom design on it. Other "artists" have made PSP-shaped art which is on display around the corner on Torstr. in a fake art gallery.
Now I understand the rocks through the windows. And it's depressing to walk around and have to wonder if the latest piece of street art is, in fact, some lame-ass viral marketing campaign. I wonder how they enlisted these guys. Just handed 'em a PSP? Was money involved? I have to say, I saw one of these in action when I flew to America last month, and although the game being played was that moronic car-crash one, the graphics were extremely impressive. I wouldn't mind having one (well, if there were a game that could hold my interest for more than ten minutes, anyway, which there rarely are on these systems), but would I viral-write an article about it for one? I don't think so.
So boo to the supposed "street artists" who let themselves be pimped by Sony, hooray to the ad-busting graffiti artists who are sabotaging the campaign, and, like that car whose ads were everywhere a couple of monts ago -- what was it called again? -- may this fade from view as soon as possible.
Meanwhile, a bit of street art from Brunnenstr. that I really find impressive:
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