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The Goe-Institut has invited Michnach Rabat. Not really a bad start to spring. Zumaldie series of events I should look at is a vorverlegterGeburtstag. In ory, Bauhaus does not celebrate DenHundertsten until next year. But time can of course be bridged with cultural projects. So I drive through Moroccan capital and wonder how an art movement from Weimar has made it to this point. For exactly daswollen curators Marion of East and Grant Watson will clarify in next months at Veranstaltungenzwischen Morocco and China. Like Africa, Asia and America have been inspired by Bauhaus Cliqueausgetauscht and each or. So far your concept zwarnoch somewhat academically. Because whole thing should start in a small gallery imBahnhofsviertel, I hope for input of local art scene.
if ( typeof AdController !== ‘undefined’ window.Zeit.isMobileView()) { if ( !document.getElementById( ‘iqadtile3’ ) ) { var elem = document.createElement( ‘div’ ); elem.id = ‘iqadtile3’; elem.className = “ad ad-mobile ad-mobile–3 ad-mobile–3-on-article”; elem.setAttribute(‘data-banner-type’, ‘mobile’); document.getElementById(‘ad-mobile-3’).parentNode.appendChild(elem); AdController.render(‘iqadtile3’); if ( window.console typeof window.console.info === ‘function’ ) { window.console.info(‘AdController ‘ AdController.VERSION ‘ tile 3 mobile’) } } } Elisabeth Wellershaus, born 1974, lives in Berlin. She is a journalist and works among or things as an editor for art magazine “Comtemporary and”. She is a member of editors of “10 after 8”. © Time Online
The artists and art historians who greet me at Le Cube are already full of matter. Stimulated Plaudernsie in kitchen of showroom and entertain mselves over pictures imside room. There are photos of students and lecturers of legendary École Debeaux-Arts in Casablanca. Photos of people who in 1960s shaped radically new ideas of society in Maghreb – inspired, among or things, by once revolutionary Bauhaus. Their images convey mood of optimism in time after European occupation. Unddoch It seems that 60 years later not all ihreVersprechen have been redeemed. The workshop has not started yet, as Diskutiertdie current generation of artists is already thinking about why it still has not completely shaken off supremacy of vesting.
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Myriam El Haïk studied music in Rabatund Paris. Today she lives in Berlin and uses abstract symbolism in her art, in which mediating between cultures leisemitschwingt. This morning, you has a little red toy piano on which she is playing a schepperndes song. In shop one had thrown her oblique glances when she tried out dortjedes Minipiano individually. These things had no real musicality, a patient salesperson had explained to her. “Yet, for me already,” HatteEl Haïk Geantwortetund was walking on street with her instrument. For she has meaning in this piano. It stands for something playful, which she lacked in training of Andean music academies. For experiment with supposedly stranger, with styles that had no place in ir colonial-influenced music-drawing. “It’s apparent opposites that fascinate me,” she says. You know, it’s not going to be just about Bauhaus this weekend.
Infobox 10 After 8 on “10 After 8”
Women write. In this column in evening, at 10 after 8, Monday, Wednesday, Friday, political, poetic, polemical.
We, editors of 10 after 8, are a versatile and convertible author collective. We find that our society needs more female voices in public. We think se voices should be divers. We do not represent ideology and do not agree. But we think feminism is important because justice in society concerns us all. We would like to exchange ideas with our readers. And with our guest authors.
Here you will find all texts that appear 10 after 8.
About authors
The editorial office from 10 to 8 consists of:
Marion Detjen, time historianHella Dietz, sociologyHeike-Melba Fendel, author and owner of artist and event agency Barbarella EntertainmentNette Gröschner, freelance authorMasha Jacobs, Journalist, editor of magazine Pop. Culture and critiqueStefanie Lohaus, journalist, editor of Missy magazineLina Muzur, program Manager of construction publishing houseCarine Newmark, cultural journalistAnnika Reich, writerElisabeth Wellershaus, journalist
Because far too much is hierheute in room. And far too seldom do artists in Morocco have opportunity to exchange views in an informal context about what exactly life is like between Europe and Maghreb. There are hardly any platforms on which consult outside State cultural institutions and without fear of censorship could agree on why it draws so many insAusland and n back again. about how European Abschottungspolitikauf one and reform-resistant Monarchieapparate on or hand dafürsorgen that a generation that has no longer experienced colonialism still hangs in between.
