out sourcing creativity and playing with food!
Berlin is known for being different,
not like the rest of Germany, the infamous ‘black sheep’ so to speak. It is a creative haven for those who are looking for somewhere cheap to live and be arty, express themselves, be socially responsible or an anarchist, with all the connotations and variations associated with all of these. From the pre war (second) satirical Cabaret performances , the yearly first of May clashes in Kreuzberg, to the illegal clubs along the Spree in the late nineties, wall or no wall Berlin oozes individuality from every architectural pore and FKK park (FKK Freie Koerper Kulture/ Naturism – it was the one thing the Russians could not stop the East Germans from doing – getting their kit off down the local park!).
During my time there I met, partied and lived with some of the most amazing people from all over the world. Many of whom remain dear friends to this day. So, it was with delight I agreed to proofread some English translations for an Italian friend. The stuff turned out to be about an East German photographer, Sven, who is nearly as famous as the club, a temple to electronic music, upon whose door he ‘bounces’. Now, during my heady party days ‘mit meine Ozzies’ (teenagers raised in East Berlin) we made it a point to gain entry to parties, clubs or homes by means other than the front door. So try as I might, I could not recall ever standing ‘schlange’ to get in anywhere – no wait, there was the line at the Pfefferberg for a Kruder and Dorfmeister gig, it was minus 20 and we were being given shots of Jaegermeister by the bouncers. Anyway, even perusing google images of the BERGHAIN, I can’t recall seeing Sven, though I know I’ve been in the club many times (via rubble and a broken window). In order to remedy this and ask his favourite recipe (he is a vegan!) I shall be popping over to Torino to check out the exhibition. Here is an excerpt of the blurb….
‘Sven Marquardt was born in 1962 in the district of Pankow, in the east side of the city. He grew up, so to speak, in the shadow of the wall that was built just one year before his birth, and that until 1989 tried to prevent the escape of GDR citizens to the West, becoming one of the most hated symbols of the Cold War in the history of Europe. The presence of the wall and the artist’s private vicissitudes gradually transformed him into a rebel. His photographs, taken with an analog camera and strictly in black and white, develop over the span of three decades and deal with crucial issues, about which Western art has wondered for centuries, namely the contraposition of Eros and Thanatos (Todestrieb), the life drive and the death drive, opposing and complementing each other in human lives and in their eternal dualism between the principles of Love and Hate, Life and Death, Light and Darkness. This personal vision, in many respects melancholic, offers the viewers an opportunity to filter their look through the camera lens and see the world in a different light, by observing Darkness and investigating their emotions without being afraid. Darkness is not intended by Sven Marquardt as a denial of light, but as its absence, therefore not with a negative connotation, but as an unspoken potential, still not reached by the light.’
All this art has me thinking about the electronic music I danced to and how my synth lover first got interested in synthesisers having heard Kraftwerk. On this note a short video about progress in technology and future inventions. Makes for interesting discussion material, so consider ‘is it possible to out source creativity to a computer? Take 15 minutes to ponder…..
Instead of a recipe this month, I have decided to play the veg instead – enjoy!