The problem is no longer getting people to express themselves, but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don't stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.
We are like sculptors, constantly carving out of others the image we long for, need, love or desire, often against reality, against their benefit, and always, in the end, a disappointment, because it does not fit them.
Man hat wenig von diesem Stück behalten, außer dass es etwas Essentielles ist, von dem man sprechen muss und das hier ausgesprochen wird, ein für alle Mal, besser als je zuvor, so hart und klar, dass man zittert und sprachlos ist, und mit einem Verband ums verwundete Herz aus dem Stück kommt. Tränengebadet.
— Hervé Guibert über "Café Müller"
Whoever gives nothing has nothing. The greatest misfortune is not to be unloved, but not to love.
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My point is, there are a lot of people in the world. No one ever sees everything the same way you do; it just doesn't happen. So when you find one person who gets a couple of things, especially if they're important ones […] you might as well hold on to them. You know?
Best education for kids ...
Kazimir Malevich | Black Square | 1915
Suprematism is a way of thinking about space, about four dimensions, not three, not two-dimensional art but four-dimensional as some kind of connection between time and space. That's why we are talking about theatre, because in modern theatre this is a very topical problem. Malevich was at the beginning of this process.
— Kirill Svetlyakov
Human beings are not interested in reality. They can't be; it's the human essence. They have wishes. These wishes are strictly opposed to any ugly form of reality. They prefer to lie than to become divorced from their wishes.
Gary Oldman
Léon, The Professional, dir. by Luc Besson in 1994
You're a Mozart fan. I love him too. I love Mozart! He was Austrian you know? But for this kind of work, he's a little bit light. So I tend to go for the heavier guys. Check out Brahms. He's good too.
— Norman Stansfield
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There is an invisible world out there, and we are living in it.
Black Pleat Military Coat by Burberry
Some people underestimate how erotic it is to be understood.
Otto Piene | Zonen | 1957/1983/1987
Du sollst Achtung haben vor der Wildheit, dem Eigensinn, der Genauigkeit deiner Empfindungen.
SANAA | Zollverein School | 2006
Kazuyo Sejima and Ryue Nishizawa visit the construction site ...
To feel the soul without explaining it, without vocabulary, and to represent this sensation.
Yves Klein
Empty room reserved for the "sensibilité picturale immatérielle",
Haus Lange, during the "Monochrome und Feuer" exhibit, 1961
Gordon Matta-Clark setzte sich Asbest, Säuren und Industrieabfällen aus. Er kämpfte sich ja mit Motorsägen durch Fassaden, Decken und Böden von Gebäuden aus den 20er- bis 50er-Jahren. Seine Witwe bestreitet allerdings, dass sein Tod 1978, mit 35 Jahren, etwas damit zu tun hat.
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Isabelle Adjani | Sam Neill
Possession; dir. by Andrzej Żuławski in 1981
To please the majority is the requirement of the Planet Cinema. As far as I'm concerned, I don't make a concession to viewers, these victims of life, who think that a film is made only for their enjoyment, and who know nothing about their own existence.
Hoffnung ist nur ein Mangel an Information.
With my eyes turned to the past, I walk backwards into the future.
Inwiefern kann Choreographie heute als eine verbreitete gesellschaftliche Praxis gesehen werden? Durch die mediale Repräsentation von "Persönlichkeit" und "Leben" in sozialen Netzwerken [...], aber auch durch das zunehmende Choreographieren von sozialen, architektonischen und politischen Räumen, werden alltägliche Bewegungen und Handlungen zunehmend zum bewussten performativen Akt.
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Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful. Here the aesthetic coincides with the ethical.
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Damals hat man auf Moral noch etwas gehalten. Heute lebt man davon.
— Martin von Mühlenbeck
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In knapper, kantiger Sprache beherrscht Schneider seine Figur, und die Figur beherrscht den Film. Martin von Mühlenbeck, von einer undurchsichtigen Bosheit durchdrungen, lässt die Puppen tanzen, er ist das Herz der Handlung und, obwohl nur Nebendarsteller, der Mittelpunkt des Films.
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He's simply passing time without actually living his life. In other words, he's not really even alive.
— Narrator in Ikiru;
dir. by Akira Kurosawa, 1952
People who believe they'll be happy if they go and live somewhere else, learn it doesn't work that way. Wherever you go, you take yourself with you.
Olimpia Carlisi
Le milieu du monde, directed by Alain Tanner in 1974
And sometimes I have kept my feelings to myself, because I could find no language to describe them in.
Udo Kier | Helge Schneider
Mutters Maske, inszeniert von Christoph Schlingensief in 1987/88
The spaces of memory are wonderfully elastic; like cinema […] they can dilate and take in vast panoramas, or compress the focus to a close-up, a beloved room or a window, when time itself seems to slow down and stand still.
