Download A sense of direction : pilgrimage for the restless and the by Gideon Lewis-Kraus PDF

By Gideon Lewis-Kraus

Deals money owed of the author's pilgrimages to 3 holy websites looking for own path, describing the masses of miles trekked and the folks encountered alongside the best way. Tallinn -- Berlin -- Camino -- Berlin/Shanghai -- Shikoku -- Shanghai/San Francisco -- Uman -- Kiev/Berlin

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David bicyclelocked the front door of the gallery. The only person inside in character as herself was an arts reporter in town, a friend of a friend whom we’d introduced to David at Bar Drei. He’d invited her to appear in the piece as herself, and she was flattered. ” I said. She frowned. , the opening of David’s show, was in the courtyard outside, where we milled and drank the same free booze the fake people were real-drinking inside. Occasionally we looked in through the window to see what the fake attendees were up to.

His first really big piece—called Bauerntheater, it had been written up at great length in the “Arts & Leisure” section of the Times—closed shortly before I arrived in town. He’d rehearsed an actor in the role of a potato farmer in a previously untranslated Heiner Müller play about East German agricultural collectivization in the fifties, then put the guy in a field about an hour outside of Berlin and had him plant potatoes in full costume in the regional style of the day. He’d gotten a large grant from the German cultural ministry to do this, and it had gotten him a lot of good press.

She rolled her eyes and promised that there was more to the art scene here than naming magazines. There were, to be fair, some very fine artists. There was Omer, a gruff Israeli who made multichannel video installations; there was the pretty much just Danish guy who made a big deal about being Icelandic and had a dirigible hangar and eighty pretty assistants; there was Maxime, a French kid in his early twenties who shot the kind of harsh and tender photographs one might have seen on Nan Goldin’s Facebook page; and there was Ignacio, who’d spent ten years in an office job making private artworks out of thousandcell Excel spreadsheets.

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