Friday, April 29, 2022

On the Path of the Revolutionaries


Last Saturday, April 23, Red Baron followed the path Baden revolutionaries took from Horben, located in the Black Forest, on their way to Freiburg on April 23, 1848. 

Well, not in total; my Gehwerkzeuge (legs) no longer fit for long distances.

Sitting on a bench, waiting for the walkers to arrive,
and looking at the field of the 1848 skirmish
I actually waited for the hikers at the historical site where precisely 174 years ago, a vanguard of Freischärlers (revolutionary irregulars) was stopped by government troops in its march to Freiburg, resulting in a skirmish near Günterstal.

An information board gives a brief outline of the events on Easter Sunday, 1848
 
Using the material from my website, "Freiburgs Geschichte in Zitaten," I initiated the article "Gefecht bei Günterstal" in the German Wikipedia on December 18, 2012. Today still, 67% of the text is original.

On May 16, 2021, a bot, the MalnadachBot, performed the translation of the German article into English, upgrading the "skirmish" into a "battle. Judge whether the encounter between government troops and a few rushing ahead revolutionaries should be called a battle.

 

Red Baron also took part in the inauguration ceremony of the memorial for the fallen Freischärler at the Jägerbrunnen (Hunter's Well) at the site of the 1848 skirmish on Easter Monday (April 21) of 2003. My photo of the memorial stone I took on that date garnishes both the German and the English Wikipedia articles.

Ten years later, the memorial stone is slightly mossy
and keep the face of the bard in your memory.
Here is a photo that I took on the 165th anniversary of the 1848 skirmish in 2013.


Back to the 2022 commemoration walk from Horben to Günterstal.

Eventually, the walkers from Horben arrived and stood around a bit lost.

Nine years later. Do you recognize the three participants of 2013?
At the end of the short commemoration at the monument to the fallen revolutionaries, the assembled people sang, accompanied by the bard of 2013, "Thoughts are Free," a familiar song that originated shortly before 1800 in southern Germany.

Its basic philosophy is already known from ancient times. In the German-speaking world, Walther von der Vogelweide wrote around 1200: Joch sint iedoch gedanke frî (Yet thoughts are free). 

The poet Freidank summarized the core motif of the later song text more clearly in verse around 1229:

diu bant mac nieman vinden,
diu mîne gedanke binden.
man vâhet wîp unde man,
gedanke niemen gevâhen kan
No one can find the ribbon
that binds my thoughts.
One catches a woman and a man,
thoughts no one can catch.

About 200 years later, Martin Luther wrote in his book: Von weltlicher Oberigkeit, wie man ihr Gehorsam schuldig sei: Thoughts are duty-free!

In his play The Tempest of 1622, Shakespeare has the magician Stephano say in the second scene of the third act: Thought is free.

This view continues into the late years of absolutism. Influenced by the intellectual and social reform movements in Western and Central Europe, Friedrich Schiller had the Marquis of Posa demand of the absolutist King Philip of Spain in his play Don Carlos in 1787, even before the French Revolution: Sire, give freedom of thought!

Since the days of the Carlsbad Decrees and the Age of Metternich, "Die Gedanken sind frei" became a popular protest song against political repression and censorship, especially among the banned Burschenschaften (student fraternities). At the Hambach Fest in 1832, the text is sung against the Carlsbad Resolutions* and the ensuing "persecution of demagogues."
*§ 1: Writings that appear in the form of daily sheets or in booklets ...  may not be promoted for printing in any German federal state without the prior knowledge and approval of the state authorities.

In the aftermath of the failed 1848 German Revolution, the song was banned.

Die Gedanken sind frei.

Die Gedanken sind frei,
wer kann sie erraten,
sie fliehen vorbei
wie nächtliche Schatten.
Kein Mensch kann sie wissen,
kein Jäger erschießen,
es bleibet dabei:
die Gedanken sind frei.

Ich denke, was ich will,
und was mich beglücket,
doch alles in der Still,
und wie es sich schicket.
Mein Wunsch und Begehren
kann niemand verwehren,
es bleibet dabei:
die Gedanken sind frei.

Und sperrt man mich ein
in finstere Kerker,
das alles sind rein
vergebliche Werke.
Denn meine Gedanken
zerreißen die Schranken
und Mauern entzwei:
die Gedanken sind frei.

Drum will ich auf immer
den Sorgen entsagen
und will mich auch nimmer
mit Grillen mehr plagen.
Man kann ja im Herzen
stets lachen und scherzen
und denken dabei:
Die Gedanken sind frei!
Thoughts are free.

Thoughts are free,
who can guess them,
they flee-past
like nighttime shadows.
No one can know them,
no hunter can kill them
It remains:
The thoughts are free!

I think what I want
and what makes me happy,
but always inwardly,
and as it suits.
My wish, my desire
no one can deny,
It remains:
The thoughts are free!

And if someone locks me
in the gloomy prison,
All that is absolutely
wasted work.
Because my thoughts
pull the barriers into pieces
and walls in two:
The thoughts are free!

I want to renounce
forever the worries
and want to never again
plague me with whims
One can in the heart
always laugh and joke
and think:
The thoughts are free!

After that, the gathering dispersed. Lonely, Red Baron walked the rest of the way from the memorial stone to the Sternwaldeck-Pavillon.
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Tuesday, April 19, 2022

Neo-Nationalism or Blut und Boden


Looking for an illustration for this blog, I discovered the following Internet page:

Click for enlargement (©Holocaust Museum in Washington D.C.)
Following the racial and national monstrosities of the Nazis, leading to the most murderous war in history, Red Baron thought that nations had overcome this phase of human aberrations. Not at all. This time I am not referring to the Ukrainian war but to a reorientation of countries to nationalism. 

White Supremacy not only shall make America great again, but Victor Orban's recent runaway election victory in Hungary and France Marine Le Pen's current election campaign to destroy European integration share all the aversion to immigrants and a mythical exaggeration of the connection between the native soil and its inhabitants. 

Foreigners and their influence shall remain outside as long as financial goodies are not touched. International cooperation and European integration are shackles from which one must free oneself so that the own nation can achieve true greatness.

Argumentation is governed by feelings instead of reason. Neo-nationalism has no anchoring in reality, for it offers no viable answers to global challenges like hunger, flight and displacement, climate change, pandemics, inflation, and debt crises. It does not recognize all the interdependencies and problems that do not stop at the border. 

Nationalism is fueling conflicts instead. The talk of allegedly regaining national sovereignty in a networked world is just a story to help its mongers to convert the state into a self-service store.

Neo-nationalism is attractive for it stokes the emotions of an exaggerated patriotism that eventually leads to racism. In Germany's past, the Nazis strengthened the we-feeling that many citizens still long for. 

In many modern societies, these atavistic sentiments are revived and accompanied by whispers of final battles in which one's own people will either triumph or perish. Even the tale of a global Jewish conspiracy by citing the Elders of Zion raises its head again.

Neo-nationalism is dangerous. Can the liberal West stand up against it?
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Friday, April 15, 2022

Art Encounter


Last Monday, Red Baron was invited to the vernissage of the art exhibition Kunstbegegnungen. This event showing works of art from Freiburg‘s sister cities had been planned as a highlight on the occasion of the 900th city anniversary in 2020. Corona spoiled it all but better late than not at all.


The Ukrainian singing group Kupalinka opened and framed the exhibition.


In his welcoming speech, Freiburg's Lord Mayor Martin Horn said, “Having friends all over the world is good for you and broadens your perspective. In times of crisis, however, it can also mean concrete help, as the current aid deliveries from Freiburg to our Ukrainian sister city Lviv prove.”

“Moreover, sister cities also enrich your cultural horizons, as the exhibition vividly shows. Freiburg now has a dozen sister cities, and indeed all twelve are represented in this multi-faceted exhibition with their own artistic contributions ….”

“I am grateful and proud of our lively partnerships with these twelve extraordinary cities - with them, we have found true friends worldwide! Thank you to all who have made this interesting exhibition possible!”


Here is my private choice of art objects that are presently on display at the Meckelhalle.
N.B.: The texts below in italics are copied from the booklet accompanying the exhibition.


Besançon

Thomas Perrin, Résines (2018) 
Thomas Perrin‘s sculptures grow on the floor of museums and art spaces. As a kind of fetish, they mix gender symbolism and unite the masculine and the feminine in forms that recall both the mother’s breasts and childish toys.



Granada

Sebastian Barria, Arcano Ecléctico (2019)
“Imaginary, dreamlike rules are strongly present in my work, as are cosmic and mysterious environments.” To me, the drawing looks like a remake of M. C. Escher.

Liliana Ramírez, Liberdad de expresión (Freedom of Expression, 2019)
A successful variant of the old theme with a brush instead of a pencil.



Guildford

Marilyn McNie, Autumn in Guildford (2019)
The artist mentions three happy years of living and working in Germany, “There are a few things more beautiful than autumn there, but this painting celebrates the beauty of autumn in Guildford.”

Nick Pyne, Caryatids (2019)
“I like to bring together disparate elements to create new and interesting objects or images. Working with mundane and everyday materials often has surprising results.”



Innsbruck

Katharina Cibulka, We certainly don’t do it for the money (2012)
Katharina Cibulka pursues in her works a consistent political agenda, focusing on aspects such as feminism, social justice, communality, and questions about aesthetic processes and the role of art itself … The tremulously flickering neon in handwritten type is programmatic, gently cynical, and at the same time admonishing.



Isfahan

Minoo Iranpour, Borderless (2020)
“The concepts of love and hate coexist, but I have chosen love and intimacy in this work. The video clips are about the immediate, momentary feelings of people … when the phrase ‘I love you’ is heard from different people of different ages and from different communities.”

Masked right to the video installation stands the director of Freiburg's municipal savings bank (Stadtsparkasse), the latter being the main sponsor of the art exhibition.      



Lviv

Tetyana Hamryshchak, Lobster (2019)
“In watercolor, there are no coincidences, no retouching; every spot of color requires a certain plan and a lot of experience. It is this mixture between flowing, almost unrestrained colors and the artist’s clear plan that makes this technique unique in painting for me.”



Madison

Ben Fleischmann, Pink Spring (2019)
Ben Fleischmann, Spring Flamingo (2019)
“I feel good when I paint. Big brushes on the big canvas work best. Sometimes I also like to put tape or tissue paper on the canvas before I paint. I like to do art with the radio on. I paint in time to the music. Painting is great. Sometimes I’m surprised by how my paintings turn out, but I always like them.”

Romano Johnson, Black Panther Car (2019)
“When I was a young kid in Chicago, I would draw ‘cause I love it and I was good at it. It’s what I like to do. I like to draw cars, car parts, faces, hair, clothes, and when I draw and paint, I’m always working for better ideas blending colors, adding glitter, coming up with patterns ….”



Matsuyama

Watanabe Shūji, Ikkaku Sennin (2019)
The mask Ikkaku Sennin (The One-Horned Hermit/Immortal) is a mythological creature born of a deer that loses its supernatural powers when it succumbs to the charms of a woman.



Suwon

Young-Teak Kwon, Otter at Odae Stream (2018)
In his painting, Kwon describes how the otter, which had disappeared because of ecological pollution, returned back to the Odea stream after the environment became cleaner. The clouds in the shape of an otter and a bird are flying over the Odea stream and mountain, illustrating the message of a new hope that respects the law of nature.

Pilyun Ahn, Law of conservation of mass (2019)
The work illustrates the universal principle that everything created passes away … This particular way of looking at the artwork itself tells us the story of existence, absence, and the cycle of life. To me, as a physicist, the artist gives me a chance to look into a black hole that apparently is colored, after all.



Tel Aviv-Yafo

Guy Yechiely, Tel Aviv coastline - A View from Old Yafo (2020)
Tel Aviv's coastline is beautiful, vibrant, and lively all day long and especially during its wonderful sunsets when the city skyscrapers are emphasized by its amazing colors.



Wiwili

Julio Barahona, Disfrutando del verano caliente (Enjoying the Hot Summer, 2018)
Julio Barahona, Recuerso del huracan lota (Memories of Hurricane Lota, 2018)
Julio Barahona captures moments of everyday life and documents festivals and celebrations in his city. The nature surrounding Wiwili and the people who live there interest the photographer. In 2018, Hurricane Lota caused great destruction in Wiwili and its environment. 
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Tuesday, April 12, 2022

Wohin?

"Where to? - to Golgatha" is an aria for basso e Coro in Johann Sebastian Bach's Johannes-Passion BW 245. The bass sings the text…

Eilt, ihr angefochtnen Seelen,
Geht aus euren Marterhöhlen,
Eilt - Wohin ? - nach Golgatha!
Nehmet an des Glaubens Flügel,
Flieht - Wohin? - zum Kreuzeshügel,
Eure Wohlfahrt blüht allda!
Hurry, you tormented souls,
leave your dens of torment,
Hurry – Where to? – to Golgotha!
Take the wings of faith,
Fly – Where to? – to the hill of the cross,
there your salvation flourishes!

… while the chorus interjects and repeats its pressing question, "Where to?"; Bach's stroke of genius.


On Palm Sunday, Red Baron listened to Saint John Passion BWV 245 at the Lutheran Church of Christ three blocks from his department.

While Bach's Saint Matthew Passion BW 244, with its musical highlights, demands a good amount of sitting ability, the Saint John Passion is shorter. Many people regard the final choruses of the two Passions as the highlights. Indeed, the forceful "Ruhet wohl "(Rest in peace) of BW 245 is haunting, particularly when listened to in a live performance.


Indeed, the best performance on your Hi-Fi equipment never replaces a life presentation's transparency when you sit "within" the music. As the Badische Zeitung wrote, "Proximity changes the perspective. In Freiburg's spatially manageable Christuskirche, Bach's St. John Passion, thus the more dramatic of the oratorio passions of the Leipzig Thomaskantor, became an intimate spiritual theater. "

The "late "Gospel of John dates to the end of the first century and is independent in presentation and theology compared with the other three earlier synoptic gospels. The Christian faith of the congregation is now clear and consolidated and clearly distinguishes itself from Judaism, "The Word became flesh and made his dwelling among us (John 1,14)."

Bach transports that message in his composition. The encounter with Pilate in John 18 becomes a pivotal point:

33 Pilate returned to the palace, summoned Jesus, and asked him, "Are you the king of the Jews?"

34 "Is that your own idea," Jesus asked, "or did others talk to you about me?"

35 "Am I a Jew?" Pilate replied. "Your own people and chief priests handed you over to me. What is it you have done?"

36 Jesus said, "My kingdom is not of this world. If it were, my servants would fight to prevent my arrest by the Jewish leaders. But now my kingdom is from another place."

37 "You are a king, then!" said Pilate. Jesus answered, "You say that I am a king. In fact, the reason I was born and came into the world is to testify to the truth. Everyone on the side of truth listens to me."

38 "What is truth?" retorted Pilate. With this, he went out again to the Jews gathered there and said, "I find no basis for a charge against him.

The themes raised by John in this discussion scene - the kingship of God versus worldly power and Jesus as truth, play a decisive role in the Christian faith.

In Matthew's gospel, Jesus dies with a cry, having been tortured and suffering. In John, the sentence "It is finished" makes Jesus the master of the situation. He knows about the "great plan." John portrays a strong Jesus who seems to be in control.

The rather austere St. John Passion appeals to its theology. One critique once wrote, "St. Matthew Passion leads the way of mystics, St. John Passion the way of metaphysics:" 

In the beginning was the Word, and the Word was with God, and the Word was God (John 1,1).
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Saturday, April 9, 2022

Georgia On My Mind

In the framework of the activities of the Freiburg-Madison-Gesellschaft, our vice president gave an engaged and committed introduction to the exciting and long life of Georgia O'Keefe as a woman and artist at our Stammtisch on April 6. 


The next day, the talk was followed by a visit to an exhibition of Georgia's works at the Fondation Beyerle (Foundation) at Riehen near Basel.

If you missed the introduction to Georgia O'Keefe, you either look up Wikipedia, or you may read what the Foundation wrote:

O'Keefe was born in 1887 in Wisconsin and grew up in modest circumstances, with several siblings, on her parents' dairy farm. Her creative abilities were already recognized during her schooldays, and she studied art. Her first significant works date from 1915, when she was teaching art in South Carolina and at the University of Virginia, and from the subsequent Birgit in Canyon, Texas, where she lived from 1916 to 1918 after being hired to teach at West Texas state normal college.

With the last long sentence, you probably noted that it is a translation of the German text shown at the entrance to the exhibition. It continues:

The first exhibition of the Fondation Beyeler's current anniversary year is dedicated to Georgia O'Keeffe, one of the great painters of the 20th century and an icon of modern American art. This major retrospective comprising works from six decades offers a rare opportunity in Europe to encounter the art of Georgia O'Keeffe, which is found in a few collections outside the US, and its full richness and variety.

The exhibition of the Fondation Beyeler highlights O'Keeffe's particular way of looking at her surroundings and translating what she saw into entirely new and hitherto unseen images, at times almost abstract, at times close to nature. "One rarely takes the time to really see a flower. I have painted it big enough so that others would see what I see."

Alfred Stieglitz, Georgia O'Keeffe around 1921
From New Mexico in the fall of 1926, Georgia wrote in a letter to a friend, "It's a wonderful morning - the leaves are turning – crickets singing – most summer people gone home – there is no sun but it's warm and fine – We have been having perfect days of perfect quiet sunshine - working lots – and I feel like singing (…) I wish you could see the place here – there is something so perfect about the mountains and the lake and the trees -"

These quotes from 1926 can serve as a guideline for the examination of O'Keefe's art and life. The artist's unique gaze, combined with an approach to nature that was sensitive, respectful, and imbued with wonder, made here the 20th century's most significant and fascinating painter of landscape and nature.

For Red Baron, it is a mystery why Georgia is not so well known in Europe. On this side of the Atlantic, connoisseurs will immediately recognize an Edward Munch painting, Franz Marc is a cult, and even Max Liebermann is a sure guess. O'Keeffe, on the other hand, is challenging to identify. In fact, she always refused to be categorized by her painting style. She did it her way.

Below are some of her pictures at the Beyerle retrospective, which proves how difficult it is to identify an O'Keeffe except perhaps for her unique and most impressive flowers. Georgia uses colors and forms and sometimes presents extreme details in her paintings.

Blue II, 1916
Blue Line, 1919
O'Keeffe stated, "When people read erotic symbols into my paintings, they're really talking about their own affairs." Sorry, I don't agree, for that is not my affair.
 
White Birch, 1925
Honi soit qui mal y pense.
East River from the Shelton Hotel, 1928
Taos Pueblo, 1929-1935
Ranchos Church No. 1, 1929
Jimson Weed, White Flower No. 1, 1932
It Was a Man and a Pot, 1942
Pelvis with the Distance, 1943
Black Door with Red, 1954
My Last Door, 1952-1954
Colors lost. Georgia's last black door is surrounded by gray surfaces. At the age of 67, did she have a presentiment of her death? Well, she continued to paint in colors and became 99. Georgis O'Keeffe died on March 6, 1986.
 
Misty - A Memory, 1957
Road to the Ranch, 1964
Untitled (City Lights), 1970ies
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Friday, April 1, 2022

April Fools?

Today the new Bundesinfektionsschutzgesetz (Federal Infection Protection Law) becomes effective. It bears the liberal handwriting of the Free Democrats, the smallest of the three parties of the traffic light coalition that form the Federal Government.

In case of a pandemic, the law leaves the decisions for hygiene measures to the states. They are now authorized to define Corona hot spots where restrictions of "freedom" for the mündigen Bürger (mature or responsible citizen) will hold.

The federal infection law also ends the federal Maskenpflicht (compulsory mask), particularly in shops and department stores. FFP2 masks remain obligatory in public transport and medical and old-age facilities. In other places, the law leaves wearing a protective mask as the individual citizen's responsibility. The government stated that overloading the healthcare system, i.e., intensive care units, is no longer feared, so restrictions on fundamental rights are rolled back.

Will the removal of the mask requirement drive up the curve again? (©ZDF)
Has the April fool ridden the legislators regarding the currently high infection figures? No wonder Baden-Württemberg's Green governor, Winfried Kretschmann, implored his country people to voluntarily continue wearing masks indoors, "In doing so, we protect our health and show solidarity in the community." Will it help? In fact, a recent poll showed that nearly 70% of the German population considered the return of the Corona measures premature.

On the other hand, compulsory masks generated strange situations in the past. When you entered a restaurant, you had to wear a mask until seated. You were allowed to take it off, enjoy your meal, and spend an arbitrary time with other people sitting at the table. During that time, your vis-a-vis might be a potential spreader contaminating your breathing air with the Coronavirus. Crazy.

At Kieser's premises, FFP2 masks were obligatory. However, you were allowed to take your mask off while doing an exercise. This is precisely the moment where your output of aerosols is the highest. Crazy.

Compulsory masks were also required on the open-air Freiburg Minster Market, where indeed people sometimes move around densely packed. However, distances are generally kept when queuing up in front of the stands. Red Baron always found the rule of wearing masks in well-ventilated open-air spaces with people on the move exaggerated.

Where do I go from here? Remember, according to the new law, hygiene measures are now your personal responsibility (Weren't they always?).

Although my limited experience with friends who tested positive for Covid-19 indicates that young, fully vaccinated persons catching Corona have a more "virulent" course of disease than older people* I will not ease my personal protection as described earlier.
*Is this due to the life-long training of the immune system?

One thing is sure: Red Baron will never suffer from Long Covid.
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