people-from-hanover

"I describe Olaf Scholz as kind of the epitome of the abused spouse. Stands there and is abused not only by his master, Joe Biden, but also by this hack that he has as foreign minister. Her name is Baerbock. She is the the most vociferous of all the people saying that we are...at war with Russia.... Will the German people acquiesce in their industry, and then their bodies being frozen out this winter? Or will they rise up and say: “Look, Mr Scholz, you don’t know what the hell you’re doing, and neither does Baerbock. Get out of here!”, and replace that government?"

"About Putin: He can decide that he changes his course by 360 degrees tomorrow. The whole world would be happy again. Stop the bombing. It’s in his hand.."

""We are fighting a war against Russia", German Foreign Minister Annalena Baerbock, Council of Europe (Europarat)"

"Europe and our country (Germany) stands in solidarity with you (Moldova), we will take refugees from you (that came from Ukraine)."

"Western civilisation, with its own spirituality, has permeated all corners of the earth. My thesis is that this is the spirituality of money."

"When we started, there were KRAFTWERK and TANGERINE DREAM, and both bands also became very very strong internationally but in a different area, in a different field. They were doing, like, experimental kind of music, and KRAFTWERK were amazing, while we played just traditional rock."

"The philosophy of friendship has definitely paid off, because after all the highs and lows we’re still sticking together and we haven’t lost the passion for what we’re doing. In the Seventies, there were few changes, then we had this line-up with Herman [Rarebell] and Francis [Buchholz] for almost twenty years."

"We did the ‘unplugged’ project, “Acoustica“, in Portugal. There was always something new and exciting. In-between all these records and projects we’re still touring all over the world: last year, with this latest album, “Unbreakable”, we went back to Japan and played in Scandinavia again; before we come to Tel Aviv, we play in Paris, at “Olympia”; we go back to Russia, we play Kazan, the only show this year with an orchestra; so there’s a lot of things. And that, I think, keeps us going, and the fact that after all these years we have a chance to come and play in Israel is very very exciting and emotional, and it also feels like a new chapter."

"We’re from Germany but we grew up with English and American music which was such a strong inspiration for the young band. Very early on, in the Seventies, we went to England and France, to Japan and America, we toured and then became an international band. I think our music was never German, it’s always had this Anglo-American influence – we never tried to be a German band! We are Germans, yes, but not in our music. When we grew up, there was schlager music, this pop music kind of thing."

"Thus, the United States in 1917 went to war against Germany in sincere indignation because the newspapers had told them that Prussian "militarism" was rioting in devilish atrocities as it attempted to conquer the world. Of course, these transparent lies were published in the daily rags because the ruling lords of Mammon knew that American intervention in Europe would fatten their coffers. Thus, whereas the Americans thought that they were fighting for such high-minded slogans as “liberty" and "justice," they were actually fighting to stuff the money bags of the big bankers. These "free citizens" are, in fact, mere marionettes; their freedom is imaginary, and a brief glance at American work-methods and leisure-time entertainments is enough to prove conclusively that l’homme machine is not merely imminent: it is already the American reality."

"The profundity of truth varies with the seeing power of the spirit which seeks it."

"The great masses, who have never been, in the history of mankind, more subject to hypnotic suggestion than they are right now, have become the puppets of the “public opinion” that is engineered by the newspapers in the service, it need hardly be emphasized, of the reigning powers of finance. What is printed in the morning editions of the big city newspapers is the opinion of nine out of ten readers by nightfall. The United States of America, whose more rapid “progress” enables us to predict the future on a daily basis, has pulled far ahead of the pack when it comes to standardizing thought, work, entertainment, etc."

"I have never endorsed the claim that the Nazi big-wigs belonged to a superior race. However, I must also add that I have consistently refused to accept the claim of another such race as the chosen people. The arrogance is identical in both cases, but with this important distinction: after waging war against mankind for more than three thousand years, Judaism has finally achieved total victory over all nations of the earth."

"Christianity is the war against sleep and dream."

"Many first possess wealth, and are then possessed by it."

"A man who cannot climb a tree will boast of never having fallen out of one."

"Beauty is but the cloak of happiness. Where joy tarries, there also is beauty."

"Everything purposeful is meaningless, and everything meaningful is purposeless."

"In der Quantenphysik dagegen bedeutet jede Beobachtung einen Eingriff in das Beobachtete; eine Zustandsveränderung am Beobachteten ist auf Grund der quantenphysikalischen Naturgesetze mit dem Beobachtungsprozess zwangslaüfig verknüpft. Also nicht ein sowieso, unabhängig von diesem Experiment vorhandener Tatbestand wird wahrgenommen, sondern wir selber rufen die Tatbestände hervor (oder: nötigen sie in bestimmter Richtung zu einer Klärung), die dann zur Wahrnehmung gelangen."

"Non, j'aurai des maîtresses."

"There are kings enough in England. I am nothing there. I am old and want rest and should only go to be plagued and teased there about that Damned House of Commons."

"Who is this Pope that I hear so much about? I cannot discover what is his merit. Why will not my subjects write in prose?"

"If he is mad, so much the better; and if he is mad, I hope to God he’ll bite some of my generals."

"I hate painting, and poetry too! Neither the one nor the other ever did any good."

"He was generally reckoned illnatured, which indeed he was not. He had rather an unfeeling, than a bad heart; but I never observed any settled Malevolence in him, though his sudden passions, which were frequent, made him say things, which in cooller moments he would not have executed. His heart always seemed to me to be in a state of perfect Neutrality, between hardness and tenderness."

"He had a very small degree of acquired knowledge; he sometimes read History, and as he had a very good memory, was exceedingly correct in facts, and dates. He spoke French and Italian well, and English very properly, but with something of a foreign accent: He had a contempt for the belles lettres which he called trifling. He troubled himself little about Religion... Upon the whole he was rather a weak than a bad Man or King. His Government was mild as to Prerogative, but burthensome as to taxes, which he raised when, and what degree he pleased, by corrupting the honesty, and not by invading the privileges of Parliaments."

"He had the haughtiness of Henry the Eighth, without his spirit; the avarice of Henry the Seventh, without his exactions; the indignities of Charles the First, without his bigotry for his prerogative; the vexations of King William, with as little skill in the management of parties; and the gross gallantry of his father, without his goodnature or his honesty:– he might, perhaps, have been honest, if he had never hated his father, or had ever loved his son."

"Every thing in his composition was little, and he had all the weaknesses of a little mind, without any of the virtues or even the vices of a great one. He loved to act a King, but mistook the part, and the Regal dignity shrunk into the Electoral pride... Avarice, the meanest of all passions was his ruling one, and I never knew him deviate into any one generous action. His first natural movements were always on the side of Justice and truth, but they were often warped by Ministerial influence, or the secret twitches of Avarice."

"No amount of money given in charity, nothing but the abandonment of this hateful trade, can atone for this great sin against God, Israel and Humanity."

"The object of education is not merely to enable our children to gain their daily bread and to acquire pleasant means of recreation, but that they should know God and serve Him with earnestness and devotion."

"Among Jews, there is an absence of drunkenness, always a fruitful source of domestic strife and misconduct."

"I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.. ..wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art."

"In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N.Y. I would like to go to Germany for restoring the Merzbau.. .Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio.. .Or would you prefer that you own with me half and half?.."

"Since the loss of the Merzbau [his former studio in Hannover, which was a big sculpture (5 x 4 x 4,5 meters) I did a lot of small sculptures.."

"I have two principle aims, two life works. The second is my sonata [Schwitters' 'UrSonata' - a long sound poem of 35 minutes]"

"When I was born 20.6.[18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists.. .I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.. ..and at all I have much fun about Art."

"My name is Schwitters, Kurt Schwitters.. .I'm a painter and I nail my pictures.. .I'd like to be accepted into the Dada Club"

"Dada rejects emphatically and as a matter of principle works like the famous 'Anna Blume' [poem, published in 1919] of Kurt Schwitters"

"Whatever became of Kurt Schwitters' novel Franz Müllers Drahtfrühling (Franz Müller's Wire Spring), several chapters of which we composed together? Is it buried under the bomb ruins of his house on Waldhausenstrasse in Hannover? For hours, Schwitters and I [Hans Arp] sat together and spun dialogue, in rhapsody. He took these writings and channeled them into his novel.. .We sat together again, writing Franz Müllers Drahtfrühling:"

"Then we went down to his work room, in the horrible beautiful Merz grotto [Merz-Haus / MerzBau, built by Schwitters in Hannover as his studio], where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers.. .How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued [collages] together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'’ll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard."

"It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order."

"One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street, like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by w:Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience."

"One needs a medium. The best is, one is his own medium. But don't be serious because seriousness belongs to a passed time. This medium, called you yourself will tell you to take absolutely the wrong material. That is very good, because only the wrong material used in the wrong way, will give the right picture, when you look at it from the right angle. Or the wrong angle. That leads us to the new ism: Anglism. The first art starting from England [the country of Schwitters' forced stay, when he wrote this quote], except the former shapes of art."

"Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork.. ..they will receive my new work as they always have when something new presents itself: with indignation and screams of scorn."

"Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.. ..the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials."

"Merz stands for the freedom of all fetters.. .Merz also means tolerance towards any artistically motivated limitation. Every artist must be allowed to mould a picture out of nothing but blotting paper, for example, provided he is capable of moulding a picture."

"In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters.. .. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art."

"The medium is as unimportant as I myself. Essential is only the forming.. .I take any material whatsoever if the picture demands it. When I adjust materials of different kinds to one another, I have taken a step in advance of mere oil painting, for in addition to playing off color against color, line against line, form against form etc., I play off material against material, wood against sack clothes."

"We, the founders of Dada-movement try to give time its own reflection in the mirror."

"Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie."