The generic masculine will no longer exist in the Duden dictionary. So bakers and doctors are clearly men now. Are we really making the world a better place when everyone is no longer meant?
We jump to the US in 1898 and talk about the only successful coup in US history. In Wilmington, North Carolina, two days after elections marked by an aggressive White Supremacy campaign, an attack on the black population resulted in the death of at least 60 black people.
In the wake of the riots, the elected government was forcibly removed. That had no consequences for the putschists. The governor of North Carolina did not intervene and the US President William McKinley, who was informed in advance of the plans, just watched. The events in Wilmington not only set an example for other southern states, but also established a structural racism that led to racial segregation and denied the black population the right to vote.
Corona forces students into the unbearable loneliness of homeschooling. Why aren’t the wide halls of the museums actually opened for real face-to-face teaching?
Catrin Lorch and Paul Munzinger
Jessica Rosenthal doesn’t actually want to complain about summer, it’s over, “spilled milk”. It doesn’t help. If you ask her why now, in winter, pupils are only left with miserable distance lessons, they almost automatically end up in the time after the first lockdown. “The fact that the summer was not used to develop concepts for a second lockdown leaves me completely at a loss,” says the 28-year-old. There are actually two people speaking here. The opposition politician Jessica Rosenthal, she lives in the black and yellow ruled North Rhine-Westphalia and has been chairwoman of the Jusos, the SPD’s offspring, since January 8th. And secondly, the teacher Jessica Rosenthal, who occupies a 50 percent position at a Bonn comprehensive school, speaks.
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And then we ended up with Harald Schmidt again. So Caro Daur wrote an SMS to Fred Kogel, I wrote one to Helge Malchow. If you want to reach Schmidt, you better not try it directly, because that always leads to nowhere. That was a week ago. Caro and I pondered the perfect present for Tommi Schmitt – Tommi, this for the readers of the paper edition, is the author, columnist and presenter of the podcast “Mixed Hack”. It’s Tommi’s birthday on January 26th and we love him. Tommi, in turn, loves Harald Schmidt. A present from Schmidt to Schmitt. Kogel didn’t answer at first. Malchow does. That was good, because Schmidt was happy to tell you that the foundation of his education consisted of a canon of around 30 books that the publisher Malchow had once prescribed for him.
Scott Maclachlan was banned from his label. The man admitted to behaving inappropriately on several occasions towards his female colleagues.
In a joint investigation with local media outlets, the New Zealand wave of #MeToo publicly revealed Scott Maclachlan’s actions. The one who launched the career of the singer Lorde admitted having behaved inappropriately towards several of her colleagues for several years. As reported by the news site Stuff , his employer, Warner Music terminated his contract on the spot.
The man had been hired as vice-president of the Australian branch of the major, before being demoted five months later following an investigation stemming from a complaint of sexual harassment. “We investigated what we thought was an isolated incident in 2018, with the help of an outside expert, and went further than they advised with disciplinary action. Now that we have learned of these additional incidents, we have terminated Scott Maclachlan’s employment contract with immediate effect.», Indicated the spokesperson of the firm.
Among his recent victims, one of his colleagues testified in the New Zealand media. She tells : “He insinuated that he wanted more (than their professional relationship, editor’s note), he made comments about my body, he asked me if I wanted to kiss him. Most of the time I just told her to shut up».
For his part, Scott Maclachlan acknowledged the facts, stating that it was “stupid, insensitive and ignorant comments“. He also referred to a “Dark period” of his life and announced that he was now following a “Intensive psychotherapy” in order to “Live a simpler and less selfish existence”. «I accept the harmful effects of my past behavior, he added. And I try every day to repair the damage and prevent it from happening again.»
The sculptor Gereon Krebber, born in 1973, is known for his often somewhat disturbing sculptural interventions. He lives and works in Cologne and has a professorship at the Düsseldorf Art Academy. He grew up in Bottrop. At the Corona Vaccination Center there, he is currently showing a spontaneously compiled retrospective of work from the past 20 years under the title “Covid / B1-Remix”. Those who are vaccinated automatically benefit from this exhibition. Otherwise nobody is allowed in.
SZ: How did it come about that you equipped a vaccination center with art?
Gereon Krebber: Actually, I was supposed to be showing new work in the recently opened extension of the Bottrop cultural center. But that had to be postponed three times due to Corona. Then it turned out that the former indoor golf center should be converted into a vaccination center. The owner is a friend of my parents. He called me and said: “You have so many things standing around there anyway, don’t you want to show something in the vaccination center?”
Is that the right environment for your works?
I always say: conditions are opportunities. Besides, I prefer to go into the gaps with my art anyway. There is a putting green in the middle, 350 square meters, lavishly modeled with artificial turf. That had to be covered and nobody was allowed to put it on so that nobody breaks their ankle because there are golf holes under the tarpaulin. But you can put something on it. I have selected works from the past 20 years. A disparate, heterogeneous mixture. A lying pink doll, mobiles made of mirror glass, a matt white glazed sphere. You can’t touch anything, so you don’t know whether an object is heavy or light?
Some artists are special when it comes to creating the right space for their work.
My work is always invasive, misplaced and precarious, that’s how I work. The vaccination center, for example, would be completely unusable for artists who want to hang something on the walls. But that suited me better. I liked the tarpaulin as a base, so I made a floor collage out of it with adhesive tape. And of course I had to make sure that all work was flame retardant, it had to have fire protection class B1. That is why the exhibition is also called “Covid / B1-Remix”. But otherwise it would have been far too academic for me to do my own, site-specific installation – in the sense of: “This is about the virus!” No, it’s about something else.
What is it about?
I am primarily concerned with the physicality of the sculptures. The viewer can perhaps recognize something in what he sees that is happening to him. There is an analogy. Because during the vaccination process you are strongly advised of your own body and its vulnerability. It is not a visual anesthetic like hospital art often is. But of course there is an aesthetic difference between the occasion, the vaccination, and the work you see there. I see it as an opportunity to show autonomous, physical sculpture in a wide range.
How many opportunities do people now have to experience your art?
In any case, it’s not like a museum, where the public goes specifically to see art. On the contrary, you are in a completely art-free framework. This vaccination route is organized almost militarily. There is security that checks whether you are allowed in at all. When you walk in, they have a fever, then they sit around a table like a schoolchild and tell about the risks, then put them in a box, and then get vaccinated. Then there is a half-hour waiting period, during which you are under observation if you react in any way directly to the vaccination. You cannot move freely, you can only look at these immobile objects from your chair.
Is the forced lingering an advantage or a disadvantage for the reception of art?
I think it’s great because experience has shown that visitors spend a maximum of two minutes per work of art, even with video installations.
Where do you get vaccinated yourself?
You can choose where you want to be vaccinated. When it’s my turn, I’ll definitely go to Bottrop. You can’t just walk in there, and I would like to see it all in operation.
The celebration of the Enderrock Awards gala at the Girona Auditorium, initially scheduled for March 11, will finally be held on April 8. As a result of the postponement, caused by the evolution of the pandemic, the organization has extended the periods of the popular vote. So the first round, opened on January 12 and was due to end yesterday Sunday, will last two more weeks, until February 7, to choose the ten nominees for each of the categories of the awards.
As for the Critics’ Enderrock Awards, made public a few days ago, they have recognized the latest albums by musicians Pau Vallvé, Sidonie, Els Amics de les Arts, Joan Garriga, Núria Graham and Flashy Ice Cream.
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Designer Fabrice Meddour and screenwriter Damien Marie are back with volume 2 of their comic strip “After Hell”. A comic strip that mixes voodoo and bayou, initiatory journey and fantastic tale, after the Civil War.
Imagine all the characters from “Wizard of Oz” and “Alice in Wonderland” transposed into a North Carolina bayou, physically and psychologically damaged by the horror of the American Civil War. Add to it a western atmosphere, a few more or less leaning towards great American films, flaming crosses like those of the sinister Ku Klux Klan, and to top it all, a few spirits and other zombies who would participate in a great voodoo ceremony. You will then obtain a strange story that takes two comic books, born of a singular alchemy between history, tale and the fantastic. “Alice’s garden” and “Le Bayou d’Oz”, the two volumes of the diptych “After Hell”, by Damien Marie and Fabrice Meddour, are available in Bamboo editions, in the Grand Angle collection.
Reportage: Marjorie Bertin was interested in museums that have been very present on social networks since the pandemic. Some are reaching out to teenagers through TikTok, the favorite Chinese app for 15-25 year olds. Closed today, museums use TikTok to showcase their collections.