Willkommen | Welcome

Meine Website ist in Deutsch und Englisch geschrieben. Der englische Text steht immer unten. Ich hoffe, dass alles zu verstehen ist. Viel Spaß beim Lesen und Schauen!

My website is in English and German. The English text is always below. I hope that everything can be understood. Have fun reading and looking!

Technischer Hinweis: Auf einem Apple iPad funktioniert diese Seite nur im Browser Chrome wirklich gut. Auf allen anderen Geräten ist es egal, welcher Browser benutzt wird.

Technical note: On an Apple iPad, this page only works really well in the Chrome browser. On all other devices it doesn’t matter which browser is used.

Bücher / Books

ULF MIEHE – Facetten eines Autors

Im Jahr 2019 habe ich zwei erfolgreiche Veranstaltungen zum Werk des Schriftstellers und Filmemachers Ulf Miehe im Literaturhaus Berlin initiiert und durchgeführt. Dazu gab es eine Ausstellungen von 18 Fotografien nach dem Roman Ich hab noch einen Toten in Berlin (mehr dazu im Archiv).
2020 wanderte die Ausstellung weiter ins Wegemuseum von Wusterhausen|Dosse, dem Geburtsort von Ulf Miehe. Zusammen mit dem Museum habe ich die Ausstellung um eine Biografie in Bruchstücken erweitert, großzügig unterstützt von Angelika Miehe. Es entstand ein Text-Grafik-Bildband mit 82 Seiten im Format 21 x 21 cm. Für die Umsetzung des Materials in Ausstellungswürfel (30 x 30 cm) für das Wegemuseum war ebenfalls ich verantwortlich.

Texte und Zitate von: Martin Compart, Karl Wolfgang Flender, Peter Henning, K. H. Kramberg, H. T. Kløver, Ulf Miehe, Fatima Igramhan-Parsons, Hans Günther Pflaum, Klaus Richter, Wilhelm Roth, Asta Scheib, Lutz Steinbrück, Vagelis Tsakiridis, Rainer Weiss, Thomas Wörtche
Grafiken und Fotografien von: Roswitha Hecke, Anne Heseler (Heseler & Heseler), H. T. Kløver, Ulf Miehe, Vagelis Tsakiridis, Joachim von Vietinghoff u. a.

Unter dem Titel Drehorte – Fotografien nach einem Kriminalroman habe ich einen Katalog zur Fotoausstellung veröffentlicht. Erhältlich im Buchhandel, z.B. bei Thalia, ISBN/EAN 9783751948654.
ULF MIEHE – Facetten eines Autors ist ebenfalls erhältlich und zu bestellen unter der ISBN/EAN 9783751936316 – Link zu Thalia.

English:

ULF MIEHE – Facets of an Author

In 2019, I initiated and hosted two successful events on the work of writer and filmmaker Ulf Miehe at the Literaturhaus Berlin. This included an exhibition of 18 photographs based on the novel Ich hab noch einen Toten in Berlin (I have a dead one in Berlin).
In 2020, the exhibition moved on to the Wegemuseum in Wusterhausen|Dosse, Ulf Miehe’s birthplace. Together with the museum, I expanded the exhibition to include a „biography in fragments“, generously supported by Angelika Miehe. The result was a text-graphic-photo book with 82 pages in the format 21 x 21 cm. I was also responsible for the conversion of the material into exhibition cubes (30 x 30 cm) for the Wegemuseum.

Texts and quotes: Martin Compart, Karl Wolfgang Flender, Peter Henning, K. H. Kramberg, H. T. Kløver, Ulf Miehe, Fatima Igramhan-Parsons, Hans Günther Pflaum, Klaus Richter, Wilhelm Roth, Asta Scheib, Lutz Steinbrück, Vagelis Tsakiridis, Rainer Weiss, Thomas Wörtche
Illustrations und photographs by: Roswitha Hecke, Anne Heseler (Heseler & Heseler), H. T. Kløver, Ulf Miehe, Vagelis Tsakiridis, Joachim von Vietinghoff, et al.

Aktuelles | What’s new

Am Mittwoch, den 27.1.2021 um 19:00 Uhr habe ich für das Li-Be digital die Veranstaltung Haus Gropius: Fiktional moderiert. Hier geht es zum kostenlosen Videostream auf dem YouTube-Kanal des Literaturhauses Berlin.

Programmtext Li-Be:
Mit Kristof Magnusson und Jan Tichy.

Es moderiert Horst KløverHaus Gropius: Fiktional ist eine einzigartige Zusammenarbeit zwischen der Stiftung Bauhaus Dessau und dem Literaturhaus Berlin, die Künstlerinnen und Autorinnen in Tandem-Residenzen zusammenbringt. Nach Inge Mahn und Sujata Bhatt besteht das zweite Duo aus dem Fotografen und Videokünstler Jan Tichy und dem Berliner Autoren Kristof Magnusson. Schon in den 1920er Jahren lebten und arbeiteten Künstlerinnen der internationalen Avantgarde im Ensemble der Meisterhäuser: Haus an Haus, Tür an Tür. Seit 2016 sind zeitgenössische Künstlerinnen dorthin zurückgekehrt; seit 2020 erweitern Schriftstellerinnen die Residenz. Je ein Tandem aus Künstlerin und Autor*in ist eingeladen, sich über ihre künstlerische Arbeit auszutauschen. Darüber und über ihre Residenzzeit sprechen Kristof Magnusson und Jan Tichy mit dem Autoren und Fotografen Horst Kløver.
In englischer und deutscher Sprache, eine Veranstaltung in Kooperation mit der Stiftung Bauhaus Dessau.

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On Wednesday, Jan. 27, 2021 at 7:00 p.m., I moderated the event Haus Gropius: Fictional for Li-Be digital (House of Literature Berlin, digital channel).

With Kristof Magnusson and Jan Tichy. Moderated by Horst Kløver

Haus Gropius: Fictional is a unique collaboration between the Bauhaus Dessau Foundation and the Literaturhaus Berlin that brings artists and authors together in tandem residencies. After Inge Mahn and Sujata Bhatt, the second duo consists of photographer and video artist Jan Tichy and Berlin-based author Kristof Magnusson. Already in the 1920s, artists of the international avant-garde lived and worked in the ensemble of the Masters‘ Houses: house to house, door to door. Since 2016, contemporary artists have returned there; since 2020, writers have expanded the residency. A tandem of artist and author is invited to exchange ideas about their artistic work. Kristof Magnusson and Jan Tichy talk about this and their residency with the author and photographer Horst Kløver.

In English and German, an event in cooperation with the Bauhaus Dessau Foundation.

Zur Einleitung des Gesprächs habe ich versucht, eine gut formulierte, jedoch nicht leicht zu verstehende, Textpassage über die Dessauer Meisterhäuser in Einfache Sprache umzusetzen. Der ganze Text steht hier in Deutsch und Englisch.

To introduce the conversation, I have tried to convert a well-formulated, but not easy to understand, text passage about the Dessau Master Houses into Plain Language. The whole text is available here in German and English.

The New York Times

Ich habe mehrere Beiträge für das Magazin LENS der New York Times auf Englisch geschrieben und seit 2009 veröffentlicht. Zwei davon sind online, hier ein Link zum Artikel über Oleg Videnin mit zwanzig Leserkommentaren. Der Artikel über Adam Panczuks Photographie ist hier zu finden.

I have written several articles for the New York Times magazine LENS in English and published them since 2009. Two of them are online, here is a link to the article about Oleg Videnin with twenty reader comments. The article about Adam Panczuk’s photography you can find here.

Unblinking, yet distant – Oleg Videnin looks straight into the eyes of his fellow Russians.

He centers his classic black-and-white documentary portraits around these fixed stars of a seemingly unknown cosmos. There is a distant glow of 18th-century Russia in some of the dark pupils. The way an elegant young lady wears a little glass heart on a thin chain over a lace band collar (Slide 15), she could be a character imagined by Tolstoy, Pushkin or Dostoyevsky for one of their heart-rending novels and novellas.
But Mr. Videnin’s pictures tell short stories of today’s Russia. Some are strikingly forthright, others full of cautious allusions. The old-worldly, bourgeois-at-heart among the young and the old are the focus of his carefully composed squares. He touches the topic of growing up in the countryside; children and teenagers in tune with their surroundings. There are documents of friendships that can last forever, or of summer flirtations. Mr. Videnin took some of his emotionally strongest pictures at turning points like puberty, graduation balls (Slide 14), discharge from the army (Slide 3) and the separation of friends. Some of the old men in his pictures have seen so many changes around them that they seem to have given up caring. Many are highly decorated ex-servicemen of the Soviet army. Some kids that Mr. Videnin portrayed are obviously better off; others seem to be downright poor but they dress up for the caring photographer (Slide 6).
Russia is finding a little peace of mind following decades of social upheaval. There are radicals in society, and Mr. Videnin includes them in his photographic survey. But in general, his pictures speak of a relative calm and — in his subjects’ eyes — of a newly gained strength. Oleg Videnin was born in 1963. He graduated from the Bryansk Institute of Technology an an engineer of forestry, then worked as a journalist, a radio producer and a local television host. He became a successful television executive in the late 1980s. He started to take pictures in elementary school with a camera his parents gave him, developing and printing himself. But he never received formal training. In the days of perestroika, Mr. Videnin took commercial portraits of soldiers for a short time, then forgot about photography. It was an on-and-off affair over many years until 1998, when it turned into a passion. Today, he shoots primarily in his native town of Bryansk or the surrounding countryside, where he lives and works. He works with a Rolleiflex and makes 16-by-16-inch black-and-white prints in his home darkroom. Mr. Videnin is affiliated with Agency.Photographer.Ru, a partner of Magnum Photos. His hand-printed photographs will go on display Oct. 15 at the Sputnik Gallery, 547 West 27th Street, in New York. The title of the exhibition, and of his first book to be released at end of August in Russia, is “The Journey Home.”


Adam Panczuk and the Karczebs – Defying all odds, acting oddly.

Karczeby, a mixture of Polish and Belarussian, is a dialect still spoken in the east of Poland. Karczeb is a vernacular word for people strongly attached to the land they cultivate. A Karczeb is also called a stump with roots still stuck in the earth after the tree has been cut down — allegorical for the problems the various aggressive authorities have had with these people, trying to eradicate or dislocate them. They still stand tall on their land. And when a Karczeb farmer’s life comes to an end, he is buried in his soil, later on tilled by his children or grandchildren.
The Polish photographer Adam Panczuk, born in 1978, has memorialized these people in a series of black-and-white pictures in classic square format. It features Karczebs acting strangely at first glance: Ignacy, who breeds racehorses, has dug himself into the ground and holds up a small tree. (Slide 1.) Zofia is wearing a mesh of undergrowth, showing her connection to the land. (Slide 2.) Mirek hides his face behind the axe he used on a chicken only moments before his picture was taken. (Slide 3.) Zygmunt sports a fish necklace and water-plant wig standing in a pond. (Slide 4.) Ryszard hugs a heavy stone. (Slide 5.) Rafal, a graduate of the Faculty of Law at Warsaw University, plays a wild pig. (Slide 6.) Maria lives with her husband, three geese and five hens — simple as that. (Slide 7.)
The “Bearded Men,” dressed in sheepskin and woolen high hats, are eager to chase away the bad spirits of the past year in the first three days of January. (Slide 8.) This tradition has some similarities to the Lion Dance performed as one of the rituals of the Chinese New Year. The Bearded Men indulge in chasing the unmarried young women of the villages, threatening to keep them until next year. There is allegedly some matchmaking involved. Small children are mostly scared by the perfectly disguised men — acting as a deterrence in tune with some parents’ educational intentions. Mr. Panczuk still remembers fearful moments when the Bearded Men came down the street where he grew up, kicking up a fuss. Hubert hides in a big handmade storage basket. (Slide 9.) Marcin is the local lady killer. (Slide 10.) And Maria passed her land to her children. (Slide 11.)
Mr. Panczuk graduated from the Academy of Fine Arts in Poznan. He works for numerous magazines and papers in Poland, represented by the agency Vis à Vis. He won a Poland Grand Press Photo Award and a Sony World Photo Award in 2009 for his Karscebs pictures. In his large east Poland project, Mr. Panczuk is trying to document the changes in the villages he visits frequently. He already succeeded in changing the image of this remote area of Europe from backward to fantastically spirited and worthy of protection.

Horst Kloever is an author, curator and photographer, based in Berlin.

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Kontakt | Contact

Hier im Impressum (link) steht eine Email-Adresse und eine Telefonnummer, über die ich zu erreichen bin.

Here in the imprint (link) is an email address and a phone number where I can be reached.