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mrbutchdyke · 3 years

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here's my gottlieb family tree complete with four generations of headcanons!! (image description and headcanons below the cut)

[ID: A family tree consisting of nineteen white boxes outlined in black, arranged in four rows. Each box contains one name. Row one reads: Angelika Strassl, Wolfgang Strassl. They are connnected by marriage. Row two reads: Lars Gottlieb, Ingrid Gottlieb, Paul Strassl, Otto Strassl. Ingrid and Otto are the children of Angelika and Wolfgang, while Lars is connected to Ingrid Gottlieb through marriage. Paul is connected to Otto through marriage. Lars and Ingrid have four children: Dietrich Gottlieb, Hermann Gottlieb, Karla Gottlieb, Bastien Gottlieb. Dietrich is married to Hana Gottlieb, Hermann is married to Newton Geiszler, Karla is married to Vanessa Gottlieb, and Bastien is married to Hannah Gottlieb. Row three: Hana and Dietrich have three children, Ara, Mila, and Klaus. Hermann and Karla have no children. Hannah Gottlieb and Bastien Gottlieb have two sons, Oskar and Henry. END ID]

So, headcanon time: Hermann's "unnamed mother" is Ingrid Strassl, younger sister of Otto and daughter of Angelika and Wolfgang. They were very caring and warm parents so Ingrid and Otto are very caring and warm people! Ingrid is literally the best mother ever and most of the kids' redeeming qualities come from her. (I headcanon that she and Hermann were in a car accident together when he was ten, which resulted in Hermann's leg injury and Ingrid's death.)

Otto is gay and married his husband Paul shortly after Bastien was born (within whatever legal parameters apply; I don't care to research it). Lars, lovely as ever, refused to let the kids see their uncles after that, so the Gottlieb kids don't have a very close relationship with them, and Bastien doesn't remember them at all. After Karla comes out, she chooses to leave Lars's house and live with them until she starts attending university.

Obviously Hermann/Newt and Karla/Vanessa but also. Hana/Dietrich and Hannah/Bastien. I named their wives Hana and Hannah bc I thought it would Simply Be Funny. Bastien makes jokes about how they've got the two Hannahs now and Dietrich very testily corrects his pronunciation every single time. Hana and Dietrich met while they were in university but didn't get together until they met again at a conference on gender and sexuality in healthcare (Dietrich is a pediatric surgeon and Hana is a psychiatrist).

I haven't exactly thought about Hannah and Bastien so I don't have much to say about them except Bastien got all of Lars's personality because he wasn't exposed to Ingrid's as much.

Their kids! At the end of the Kaiju war, Ara and Mila are eleven, Klaus is nine, Oskar is six, and Henry is four. They all love Newt even though Bastien and Lars can't fucking stand him

As for Lars's side of the family, I feel like he's an only child with lots of aunts and uncles he has to impress and a dozen cousins he doesn't speak to. Large family, not necessarily close.

Anyway I know all of this because I was at one point planning a Gottlieb Family Reunion Fic

#i have so many thoughts head full!!!! about the gottliebs!!!!!#pacific rim #hermann gottlieb #karla gottlieb #newt geiszler #newmann #gottlieb family headcanons #ej posts #ok to rb #PLEASE talk to me about this

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scarecrowbox · 4 years

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Joke Chair designed by Walter Gerth for Strassle

#Walter Gerth #perse #fashion #style #photography #film photography #art #artist #design #designer #chair

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mega-valiant · 4 years

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German scharfschütze (sniper) at Kandalaksha Front. He is wearing his ski as a bipod for his Kar 98k Mauser rifle. He is also wearing a white smock for winter camouflage. This picture was taken by Kriegsberichter Strassl. In July 1941, during World War II, the town was the primary target of an unsuccessful German-Finnish offensive which attempted to cut the strategic Murman Railway.

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tanteeefdesign · 7 years

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King Chair by Andre VanDenBeuck for Strässle - Switzerland, 1960's. www.tanteeefdesign.com #strassle #strässle #swissdesign #switzerland #swissfurniture #kingchair #andrevandenbeuck #midcenturyloungechair #loungechair #swivelchair #vintagechair #vintagefauteuil #midcenturymodern #midcenturydesign #midcenturyinterior #interiordesign #interiordesigners #interiordesigner #vintagefurniture #midcenturyfurniture

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whorela · 5 years

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Strassles Lampshades,etc. @ ETSY

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iwontdancenetwork · 6 years

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“Get Home” by R.O ft. Konoba | Choreography by Dylan Mayoral

ft. dancers: 1st group: Enej Jurečič, Julian Strassl, Žiga Jurečič | 2nd group: Viki Čerček, Monja Lorenčič, Ana Vičič | 3rd group: Aljoša Moderndorfer, Jan Paveo, Jan Marolt, Matic Zadravec, Miha Furlan

#r.o #konoba #home #dylan mayoral #dance #dancing #videos

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abtc · 2 years

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Who Is Clint Boone's Wife Laura Strassle York? Do They Have Children?

Who Is Clint Boone’s Wife Laura Strassle York? Do They Have Children?

Laura Strassle York was best known as the wife of the famous meteorologist for News On 6 in Tulsa, Oklahoma, Clint Boone. It’s unknown whether the couple ever married, but York is currently in a relationship with someone else. Clint Boone was raised in Bartlesville, Oklahoma. During his young years, Boone showed signs which suggested that he wanted to be a meteorologist in future. Clint Boone.…

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nedsecondline · 3 years

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SARS-CoV-2 Postvaccination Infections Among Staff Members of a Tertiary Care University Hospital – Vienna, January-July 2021; an Exploratory Study on 8 500 Employees with Better Outcome of Vector than m-RNA Vaccine by Sophie Brunner, Tibor Spath, Gabriela Kornek, Bernhard Parschalk, Maximilian Schnetzinger, Robert Strassl, Rebeka Savic, Andrea Foit, Helene Resch, Florian Thalhammer :: SSRN

Interpretation: mRNA and vector vaccines against COVID-19 are both highly effective in protecting against a broad genomic spectrum of SARS-CoV-2 infections, at least with respect to severe illness. In the present investigation VAXZEVRIA was more effective than COMIRNATY with respect to prevent breakthrough infections after full immunization, however, it seems important, that all recommended…

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realtoranil · 2 years

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2017 Most desirable CELEBRATION luxury The Carolina 1,146 sq ft condo with ultra-fresh look 2 bed 2 full bath with two huge closets..

$376000 · 2017 built luxury condominiums 2 bed 2 bath 736 Strassle Way #736 South Plainfield, NJ, 07080-3999 – Nextdoor https://nextdoor.com/for_sale_and_free/b14a06a5-9489-4d71-bc6f-1afea7ef9fb8?init_source=other_share

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chuckeyxd-blog · 6 years

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Free Way Funding Boosts the Alteration of This Legislation of AR for Receptive containers in Texas.

A fifth of Jack or some cool beer within his arms may induce a motorist to a beverage.At case the legislator doesn't alter regulations of the region to forbid the Arkansas Department of Transportation is going to undoubtedly likely probably soon be scrapped, using the equivalent appetite approximately inch billion against the standard bank, however now they apply it in the manner. "Now we may put it to use to get whatever we would like," spokesman Grayson explained. http://angiespy.tumblr.com

In the past twelve months, Arkansas was one of those just a couple of states by which travelers might possess an open container. Law-makers ordered for this to be prohibited from your statute using one categorical exclusion: whenever the bottle obtained in solid components, such as a glovebox.

However, lawmakers have ascertained the law have never proceeded far. Last but not least they need to generate the code of available containers in their state using the federal regulation, therefore the subject of?? The street could utilize that $ 1 2 million as they want it."You are unable to maintain alcohol at your fingertips with this auto motorist," explained, that sponsors the monthly invoice onto your house webpage.

"Fundamentally, you usually do not violate whenever you abandon the ghosts onto the own way property," clarified Strassle. The projected modification may fix several facets of these regulations adopted from the National Highway Traffic Safety Administration which did Not Satisfy the regulatory and legal prerequisites: Outline what liquor is.

Create an exclusion to Get a container inside one game, however at a Safe location, for example, B. a Glove-box Produce an offense on Account of this Better Part of the Automobiles situated in a road or individuals only from the procedure or at the playground No changes from the department will probably disperse 2.5 percentage of this method of efficacy, and also the federal road-surface transport fund system obstructs the street financing way of bettering necessary protection every 12 months, which is where in fact the 1 2 countless comes outside. "It undoubtedly usually suggests any particular these top businesses requirements a success someplace," explained Strassle.

The trail section includes charge $ 3 4 million annually for protection attempts, for example as for instance, for example, broader strips, rumble strips combined side shoulders that are longer. At case the legislature doesn't change regulations before October 1, then the advancements will undoubtedly probably soon be amortized using $1 ) million longer. "That is a quite high priced expense in security and training since the other states put it to use to construct lanes and make Over-Lapping software, etc.." explained agent Pitsch.

That is the reason Pitsch doesn't anticipate much controversy out of his team I was able to rely on our votes and visit who encouraged," he said," I have to find somebody who has been. "The earlier we clear up it, the more rapidly we could cause roads."That is just what you be prepared you'll observe that the stretch of this street, as it is now time for you to note discussing demonstrably it had been than 16,000 km from Arkansas Avenue and also that there is perhaps not enough dollars to afford it."I figure anybody that has focused is likely to see the seriousness with this situation is present," Strassle explained. "it's well-known people are bad for the finances open container law texas dps of roadways as well as the main city that they've radically constrained the finger over the capacity to concentrate, so which makes it that the 12th application of the world's biggest highway"

Sträßle feared it could not be possible to allow lawmakers to resolve the issue successfully. The department would commit $ 1.2 million to the private street improvements of 478 million apps.The arrangement said Monday which it's very likely to shortly turned into among many essential conditions that lawmakers only utilize throughout secure session also plans to forecast that once as they've accomplished the meeting.

https://www.change.org/p/open-container-tx-law-open-container-law-texas-cdl

https://sites.google.com/site/opencontainertexaslawsite/

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catwalkcats · 6 years

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Strassle Joe Colombo Knoll jaren 60 1968 Strassle 1k

#mp

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ivandimarcofotografo · 4 years

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Two feet underground: London's legs on the tube – in pictures

A lifelong fan of London, German photographer Wolfgang Strassl captures tube passengers for his latest photo book, Underground Portraits (Kerber Verlag). Strassl believes that “what we see in faces is largely our own projection”, so shoots each person’s overall appearance, without their heads. The images invite viewers to scrutinise the “conscious and unconscious messages” conveyed by clothes and body language, while showing the diversity of people coexisting on the tube. “London is probably the world’s most cosmopolitan city,” says Strassl, “and the underground its most democratic social space.”

Continue reading... https://www.theguardian.com/artanddesign/gallery/2020/jan/25/two-feet-underground-londons-legs-on-the-tube-in-pictures

#Photography | The Guardian #photography

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porcileorg · 5 years

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On the ‘Various Others’ initiative in Munich (2019-09-12 – 2019-10-13)

Author: Magda Wisniowska - Munich, September, 2019.

It was Munich Open Art last weekend, opening on Friday. Various Others, a much newer initiative ran alongside.

Various Others is, very simply, about collaboration and exchange. Each space - whether institution, gallery or off-space - belonging to the initiative partners with one from outside, in order to bring new art back to Munich.

For someone like myself, this is interesting. I feel that, in the spirit of Spinoza, anything increasing our power to act, is by large a good thing. And this collaboration certainly does: galleries become more active through working with new partners, the audience becomes more active by having more art to view, the artists are more active by having new exhibition opportunities in a different city. The efforts of everyone involved should be applauded and encouraged, so that this initiative may long continue.

Content however is a different matter. Obviously no one expects nowadays the kind of complete enlightenment - the ultimate knowledge of a true God - Spinoza would wish for, but too often the conceptual aims behind the work are left unexamined. This has less to do with the art exhibited during the course of Open Art and Various Others, but more with the type of reviews this kind of event attracts. These focus almost entirely on the idea behind Various Others, that is, on how its exchange program functions, why such a program has come to being and how it might be beneficial to those involved. The few that do review the actual shows (Frieze selects five highlights) keep to a bare paragraph each.

Of course, it is not easy to review an event that comprises of, at the very least, fourteen openings on its first night, spread across a modestly sized city, with everything closing at 9 pm. On my walk on Friday I manage to see nine things, which is more than many: the performance by Gregor Hildebrand at the Ludwig Beck department store, the exhibitions at Jahn und Jahn, at Sperling, at Rudiger Schöttle and Knust und Kunz, at Jo van de Loo, at Barbara Gross, at Loggia and at Nir Altman. So what follows will be necessarily a flawed personal account.

Gregor Hildebrand @ Ludwig Beck [click here] At the first point of call, the Ludwig Beck department store, I did not see much of the performance, the store layout allowing a full view only to a privileged few. Those standing between the rows of hip-hop CDs could see more of the (admittedly very photogenic) band members on stage than what was going on with the painting in the corner. As far as I could see, Hildebrand was making one of his magnetic tape type paintings before a live audience. Which seemed to me both very brave and very obtuse, this being perhaps the point, to reveal to the buying public how simple his production process is, a magician who indeed only uses a couple of mirrors to perform his tricks. I could overhear behind me, I never thought it would be so quick and easy.”

‘Computer and Paper' @ Jahn und Jahn, with Galerie Conradi, Hamburg, and Kraupa-Tuskany Zeidler, Berlin [click here and here] Onwards south to 'Computer and Paper' at Jahn und Jahn, which despite its somewhat threadbare title is a potentially intriguing group exhibition of six artists. It is part of the Various Others initiative but need not be, the premise of the show strong enough to be expanded and shown in a different institutional context.

Taking an art historical approach, it gathers a small number of works - many, but not all, on paper - to explore the relation between the physical and the digital, as it stands in our post-internet world. At least two sets of paper works, Laura Owen’s small intimate collages and Albert Oehlen’s more formal abstractions, are from the 90s, both artists being some of the first to question their painterly practice in relation to developments in new digital technologies. The work recaptures that moment in time when photoshop was still rare and exotic, a wondrous tool just ready to be discovered. But it does not, indeed it cannot, anticipate the developments that followed: broadband, the rise of social media, smartphones, apps. This task is left to younger and equally prominent artists like Avery Singer. In the large airbrushed paintings she presents at Kraupa-Tuskany Zeidler in Berlin, she considers the impact of new technologies and social media on her own artistic subjectivity. Here at Jahn und Jahn we are offered only small glimpse into her practice with two small early works on paper. A more considered investigation requiring a deeper engagement, comes from Hamburg artist, Thomas Baldischwyler, who presents one installation piece and two collages behind glass. One work uses the Victor Burgin poster, “What does possession mean to you?” together with its double message “7% of our population own 84% of our wealth;” another is inscribed with the graffiti-like slogans “We still control computers, when will computers control us?” and “Rehearsal war and peace. They calculate stock market prices and write poems.” The installation includes the short narrative of how the artist covered his laptop camera with a sticker, and is accompanied by a wooden panel made to look like an enlarged sheet of stickers, complete with its plastic hang tag. There are clearly other references at work, and you want to know how these might connect in some overall critique of capitalism through digital culture, but the work remains - despite repeated viewing - steadfastly opaque. More accessible, but also simpler in aim, are the utopian/dystopian drawings of Soyon Jung, a mix of etching and Letraset type transfer depicting future ruins of corporate and political headquarters. Equally direct in his critique is Felix Thiele, who showed with Jung as part of the exhibition 'Death Hoax' at Hamburg’s Westwerk. He presents three shiny iPhones replicas with crudely painted apps, a desirable consumer object made useless, but equally desirable as art.

Augustus Serapinas and Malte Zenses @ Sperling, hosting Emalin, London [click here and here] Up the road at Sperling is the two-person show of Augustas Serapinas, who shows with Emalin, London, and Malte Zenses from Berlin. Serapinas is an exciting young artist, who deals with displacement in a very literal and unambiguous way. For this exhibition he transported an entire derelict greenhouse from Vilnus back to Munich, and reinstalled it in the Sperling gallery. There is a socio-political element to the work, its attempt to confront the growing gentrification of Vilnus, as well as the need to preserve an ongoing process of destruction, also visible in Serapinas’s smaller framed works, in which plants are preserved in glass at the moment of their turning into ash. In this, his Munich exhibition recalls his earlier one 'February 13th,' where he famously managed to transport several still-frozen snowmen, more or less intact, from Vilnus to Emalin’s London space. In this case too, the work was about the saving of snowmen from destruction, again acting out a kind of preservation by removal. However, the London show seemed more vivid, more visceral in its impact. It makes sense that the press release referred to Julia Kristeva’s definition of installation as something on the verge of the sacred, where it asks us “not to contemplate images but to communicate with beings.” Something is missing from the Munich installation that would allow us to make such a claim of communication with being and I am not sure if it is the lack of smell (surely the greenhouse should smell of weeds and wood rot?), the very uniform indoor lighting or the lack of isolation (the other exhibited work is very close by). In comparison, Zense’s paintings are more difficult to pin down, though their abstract language is also clearly a consequence of a similar process of transposition from one context to another. They trade in displacement, both in a linguistic and Freundian sense of the term, their marks harbouring only an arbitrary relation to what they might stand for as a sign, unconscious desires put to use in the symbol. They also allude to the process of destruction. The work consists of many layers, each erasing and obscuring a previous one, their final state again preserved in glass. Taken together, the combination of the two practices works on a conceptual level. It is pleasing to consider how one idea, such as that of destruction, shifts from one context and medium, to another, very different one.

Rüdiger Schöttle [link], Jo van de Loo [link], Barbara Gross [link] More centrally, Galerie Rüdiger Schöttle cooperated with ShanghART to show the abstract paintings of Chinese artist, Ding Yi with their signature 'x' and '+' crosses. Jo van de Loo presented the work by one of its gallery artists, Lorenz Strassl together with Monika Michalko from Produzentengalerie in Berlin. Both artists share a certain surrealist, dreamlike sensibility. At Barbara Gross, there were woodcuts and etchings by Andrea Büttner, shown concurrently with the artist’s London gallery, Hollybush Gardens.

'Dark Latern' @ Knust x Kunz hosting Attercliffe™, Sheffield, UK [click here and here] Beautifully selected by Paul Morrison is group exhibition 'Dark Latern' at Knust x Kunz. Among the crowd, one could find the minimalist geometry of Jan van de Ploeg; a black and white graphic drawing by Riette Wanders; a long-exposed, bleak photograph by Dan Holdsworth; slick works by artists with a Goldsmiths connection, such as Glenn Brown, Gerald Hemsworth or Glasgow based Michael Stubbs; Koen Delaere’s texture heavy black canvas; Saul Fletcher’s intriguing little photograph of a row of sticks leaning against a roughly plastered wall; a playful abstraction of Caroline McCarthy; or baroque image of a candle flame by Ralf Brög. All of the work is small and simply hung at eye level, demonstrating that an exhibition could be interesting without any grand curatorial gestures. Tim Etchells slogan, placed centrally in the space, could be the title for the show, and very good title it is: “objects in nightmare arrangements.”

Tramaine de Senna and Nicholás Lamas @ Loggia hosting MÉLANGE, Köln, and Sabot, Cluj-Napoca [click here and here] Another intriguing show could be found close by at Loggia, one of the few off-spaces in Munich that is also part of the Various Others initiative. This too is a deceptively simple two-person exhibition, featuring the work of young sculptors Tramaine de Senna and Nicholás Lamas, in collaboration with Mélange from Cologne and Sabot, Cluj. On first glance the show is almost conventional in its arrangement, a tightly grouped collection of art objects on plinths, even if the plinths are not of the square, white variety. The design qualities of Senna’s work lends the exhibition an arty feel, so that it looks a little like an abandoned surrealist installation, but in combination with Lama’s objects and their mix of the natural and artificial, the overall impression is of a modernist cabinet of curiosities - if such a cabinet was run by a dyslexic alien with a moderate interest in art and a well-established shoe fetish. Objects lose their everyday meanings in the unusual combination produced by Lamas: what looks like fossilised coral, bursts out of a neon blue sneaker, carefully placed on a gently modulating, bent car radiator grill. Cutting across familiar systemic structures in a strongly dialectical way, nature seems to imitate the unnatural, human items, planetary processes. Senna’s work is more artful in comparison, in that it references other art, design and fashion, with a high heeled shoe at the end of an epoxy clay pedestal or bright leopard print across shaped cardboard hanging on the wall. Hers is the more familiar strategy of recovering unfamiliar meanings from very familiar everyday.

Eva Grubinger, Timo Seber and Johannes Tassilo Walter @ Nir Altman hosting Galerie Tobias Naehring, Leipzig [click here and here] The last event of the night is Nir Altman’s, another group exhibition where gallery artist, Johannes Tassilo Walter, is partnered with two artists from Leipzig’s Tobias Naering, Eva Grubinger and Timo Seber. Walter presents a new series of paintings, while Naering and Grubinger show older work: Seber, his Slave to the Biorhythm from the Not Fair, Warsaw, 2017 and Grubinger, one piece from her 2018 exhibition 'Steam,' Untitled (Petropawlowsk, Stepan Petrischenko). The combination of artists is clearly a challenging one, as the connections between them are not immediately apparent. Walter’s paintings are very formalist and process based, demanding careful scrutiny and deep engagement. Made with many layers, one has to pay attention to how the different gestures react and overlap each other and then reappear on different grounds. Grubinger’s sculptural work uses formalist devices, but has a much more pronounced conceptual, if not to say political aim. Untitled (Petropawlowsk, Stepan Petrischenko) is one work from a series of four, which imbues its seemingly modernist structures with industrial references to present little-known facts of nautical cultural history, a series of mutinies that resulted in the destruction of a dominant power, in a celebration of individual dissent. Known for his investigations into communication mechanisms of video game culture, Seber presents a set of mirrors suspended from ceiling by thick leather straps, our reflection obscured by prints of germinating seeds and block-like red marks. If there is a reference to mass culture, it is an obscure one, this work seemingly focussing on the cultural, social and biological construction of the viewer’s self image. Together, the artists not only share a certain formalist sensibility - certainly some of the pairings of red, blue and yellow are very aesthetically pleasing - but also an interest in the processes of construction, whether this is related to the cultural artefact (Walter), political engagement (Grubinger) or identity (Seber).

The night ends abruptly, with everyone rushing to the Various Others dinner. I head home too, past the cemetery.

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