{"id":3490,"date":"2022-10-15T08:45:09","date_gmt":"2022-10-15T08:45:09","guid":{"rendered":"http:\/\/www.berlin-weekly.com\/?p=3490"},"modified":"2022-10-15T08:49:58","modified_gmt":"2022-10-15T08:49:58","slug":"window-155","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=3490","title":{"rendered":"Window 155"},"content":{"rendered":"\n
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„be myself… but with You\u201d von Mariana Vassileva<\/a>, 2022<\/strong>
Material: Barbed wire, cast frame of a grand piano, neon writing<\/p>\n\n\n\n

The installation „be myself…but with You“ by the Bulgarian artist Mariana Vassileva, who lives in Berlin, is a metaphor for the question of the extent to which we can endure the differences and contrasts, the disharmonies and frictions in a relationship in which we want to remain free and completely ourselves on the one hand and at the same time long for harmonic togetherness. This metaphor can refer to individual love relationships as well as to social togetherness.<\/p>\n\n\n\n

The installation consists of the gold-coloured cast frame of a concert grand piano on which about 230 steel strings are stretched tightly to play all the timbres and the various hard major and soft minor chords. The vibration of the strings is normally transmitted to the soundboard and, on its upper and lower sides, to the surrounding air. But the soundboard and the body are missing to make the sound.  The inner life of the piano is turned outwards, vulnerable and silent. Between the many strings we see sporadic golden barbed wire stretched.<\/p>\n\n\n\n

Underneath the cast frame, a neon sign glows with the words „be myself…but with You“, which express our longing for freedom and authenticity and at the same time for togetherness and symbiosis.<\/p>\n\n\n\n

deutsch<\/p>\n\n\n\n

Die Installation \u201dbe myself \u2026 but with You\u201d der in Berlin lebenden bulgarischen K\u00fcnstlerin Mariana Vassileva ist eine Metapher auf die Frage, inwieweit wir die Unterschiede und  Gegens\u00e4tze, die Disharmonien und Reibungen in einer Beziehung aushalten, in der wir einerseits frei und ganz bei uns selbst bleiben wollen und uns gleichzeitig nach harmomischer Zweisamkeit sehnen. Diese Metapher kann sich sowohl auf individuelle Liebesbeziehungen als auch auf das gesellschaftliche Miteinander beziehen. <\/p>\n\n\n\n

Die Installation besteht aus dem goldfarbenen Gussrahmen eines Konzertfl\u00fcgels auf den etwa 230 Stahlsaiten straff gespannt sind, um alle Klangfarben und die verschiedenen harten Dur – und weichen Moll-Akkorde zu spielen. Die Schwingung der Saiten \u00fcbertr\u00e4gt sich normalerweise auf den Resonanzboden und an dessen Ober- und Unterseite auf die umgebende Luft. Doch der Resonanzboden und auch der Korpus fehlen, um den Klang ert\u00f6nen zu lassen.  Das Innenleben  des Pianos ist nach aussen gekehrt, verletzlich und stumm. Zwischen den vielen Saiten sehen wir vereinzelt goldenen Stacheldraht gespannt.<\/p>\n\n\n\n

Unter dem Gussrahmen leuchtet ein Neonschriftzug mit den Worten \u201dbe myself…but with You\u201d, welche unsere Sehnsucht nach Freiheit und Authentizit\u00e4t und gleichzeitig auch nach Zweisamkeit und Symbiose ausdr\u00fccken.<\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"

„be myself… but with You\u201d von Mariana Vassileva, 2022Material: Barbed wire, cast frame of a grand piano, neon writing The installation „be myself…but with You“ by the Bulgarian artist Mariana Vassileva, who lives in Berlin, is a metaphor for the question of the extent to which we can endure the differences and contrasts, the disharmonies … <\/p>\n

\u201eWindow 155\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-3490","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3490","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3490"}],"version-history":[{"count":3,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3490\/revisions"}],"predecessor-version":[{"id":3504,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3490\/revisions\/3504"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3490"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3490"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3490"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}