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8 von 10 Kunden fanden die folgende Rezension hilfreich:
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am Kreuz hängt eine unbekleidete junge Frau ..., 18. Juli 2005
Die Weihnachts-Szene im Stall zu Bethlehem hat eine optische Parallelverschiebung in unsere Gegenwart erhalten: Jesus wird in einer KFZ-Reparaturwerkstatt zur Welt gebracht, beleuchtet vom Scheinwerferpaar eines Kleintransporters. Statt eines Esels sieht eine Katze zu, Mutter Maria sitzt leicht bekleidet nicht auf Stroh sondern auf einem Zementsack, anstelle von Hirten sind Mechaniker herbeigeeilt, die mit Gaensebluemchen um Oel-Lachen herumturnen: Die beruehmte franzoesische Fotografin Bettina Rheims hat mit Serge Bramly einen eindruecklichen, nicht leicht zu vergessenden Angriff auf unsere bildlichen Vorstellungstraditionen gestartet. In dem bibliophilen Meisterwerk "I.N.R.I." sehen wir die nackttanzende Salome mit dem blutigen Haupt des Johannes auf dem Tablett oder die Heilung der Epileptiker, Gelaehmten und Besessenen (wie Schwarz-Weiss-Dokumente aus maroden Heilanstalten) - anders als wir sie bei der schulischen Erstbegegnung uns je haetten visualisieren koennen (und duerfen). Eine Korrektur unserer Phantasieleistungen ist sicherlich sehr spannend - bis hin zur Auseinandersetzung mit dem frappierenden Titelbild: am Kreuz haengt eine unbekleidete junge Frau. Dieses Cover hat in Frankreich fuer Aerger gesorgt, aber man sollte diese kunstvolle Agitation nicht hysterisch ueberbewerten: im Innern des Bandes findet man eine schoepferische, fast wuetende Anstrengung mit dem Ziel, das neue Testament fuer unsere Gegenwart zu illustrieren: den Weg in eine neue Art von Ikonographie beschreitend ...
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2 von 3 Kunden fanden die folgende Rezension hilfreich:
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with a sort of esprit ..., 27. Juli 2005
Like Renaissance artists who transposed the Jesus-story to Florence, the famous French Photographer Bettina Rheims (* December 18, 1952, Neuilly-sur-Seine, Paris, descendant of Amschel Moses Rothschild) and Serge Bramly (* January 31, 1949, Tunisia, now french philosopher and scientist of art history) tried to ignore the visual traditions, largely that of the Renaissance, willing to create a new modern iconography by turning the subject to photography. A little bit irritating, because the project is fluctuating between serious art and stylistic kitsch, influenced by quotations of art-history and, on the other hand, influenced by modern advertising camerawork. Illustrating the 'Xmas-scene in the stable to Bethlehem they try an optical translation into our present: Jesus is born in the location of an automobile repair workshop illuminated by the pair of headlights of a small transporter van. Instead of a donkey a cat watches the birth, mother Maria sits easily dressed not on straw but on a cement bag, in place of shepherds some garage-mechanics hurried in, who present daisy-flowers to Mary, taking care not to stamp into the puddles of oil on the floor. Of course it is an impressive, strange attack on our figurative conception traditions, which can be forgotten not easily. We see the naked-dancing Salome with the bloody head of the Johannes on the tray; we see Mary Magdalene with legs spread, breasts exposed and stiletto heels; we see locations in the Hospital Cochin, others on the isle Mallorca - and after all (or at first?) we are shocked by Jesus hanging on the cross as a naked young woman, clad only in a loincloth - seen on the book cover; but if you are looking inside, you will notice, that the woman is crucified on the left cross of three, the middle-cross is empty, on the right side you will notice a man. But please consider: Jesus' crucifixion is a symbol for every human being, women inclusive. Nevertheless it provoked just enough outrage in Europe. However I think this project shows an acceptable way of searching for a new kind of modern iconography. Between all infuriated sacrilege-sensitive souls of the political correctness-wing you can find some amusing stories of art-reception: The models, actors and musicians, posing for the great last evening diner-scene - they a few weeks later established a music group with the name "12 Apostles". Bettina Rheims and Serge Bramly linked gravity and irony, majesty and triviality - maybe this is the sort of esprit, which can only prosper in France ...
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1 von 1 Kunden fanden die folgende Rezension hilfreich:
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Making christianity vogue..., 28. Oktober 1999
That's right, this is Christ's life and gospels portrayed as if it were for a special millenial edition of Vogue. Quick summary: lots of dramatic stills of beautiful, androgenous, young adults playing the roles of Christ, Mary, the Apostles, Judas, etc. in contemporary settings like a garage (aka, the manger) or a ghetto in the USA. Even if you are staunchly anti-christian, the images have their own evocative appeal. Re-envisioning the monopoly of renaissance icongraphy into contemporary media and form is an interesting premise (which the book jacket alludes to) but the images smack too much of hipsterism and model-pretty allure to stand as a serious enough retelling of an old story. It does, however, reinvigorate and loosen the stodgy fixity that bibil ical references often have for many folks. (I realize these last two sentences may sound a bit at odds with each other but the book does bring up contradictory feelings). The book may bring up questions of blashpemy but I think the textual support helps substantiate the photographs which otherwise would appear as mere stylizations passing for something more meaningful. There's quite a bit of frontal nudity which may offend many Christians and prudes but as the Book of Ecclesiastes says, and I only paraphrase, "For what does a person who has never experienced temptation really know?".
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