Hestesport og dyresport

Did you know America had a racehorse breed 60 years before the English Thoroughbred existed and 100 years before the Thoroughbred got here?Or that this breed could race in both sprint and stamina contests at the pace and the gallop? Or that it excelled as a saddle horse, hunt horse as well as at racing?Or that this early breed is the athletic base of all America's best light horse breeds?The reason you don't know of it is that its history and record was intentionally hidden from us.This book is a compilation and commentary on the history of America's first light horse breed, and the movement launched to eliminate it from the competitions it excelled at, and to replace it and its memory with another breed. The historical evidence is presented in time blocks and provides the contemporary accounts of this horse in each era in chronological order so that the reader may trace it and its descendant breeds through time to the present day.

Maria Braune's (b. Berlin, 1988; lives and works in Munich and Bamberg) work revolves around a material she developed; named Migma, it consists of eight different renewable natural resources. She heats it, then casts and molds it in a process that continues for weeks. The resulting sculptures and installations sprawl throughout the space like sensuous organisms. Associations of growth and symbiosis emerge, but discontinuities and disintegration come into view as well. Braune's creative process is part of an ecosystem and thoroughly anchored in the now. Her material is a vitally alive substance to which she responds in an immediate engagement, connecting it to mythological and narrative significations and setting it in relation to her own world.Maria Braune studied woodcarving at the Fachhochschule für Bildhauerei in Berchtesgaden, Germany, in 2009-2011, then fine arts with Hermann Pitz at the Academy of Fine Arts Munich, where she graduated in 2017.

What is it that makes a place distinctive? A kind of stubbornness perhaps? How can this quality be accessed through text and artistic research?These questions are explored by Tobias Becker, Elisabeth Brun, Stefanie Bürkle, Knut Ebeling, Alex Gross, Carla Hinrichs, David Karl, Lars Ostenfeld, Ulrike Ottinger, Lola Randl, Emily Strange, Zsuzsanna Toth, Katrin Wegemann, Lawson Wood and Dong Zhou, who bring their varied disciplines to bear on the matter.

Die Publikation dokumentiert Skulpturen und Zeichnungen des Bildhauers Stefan Dornbusch innerhalb des Zeitraumes von 2018-2023. Der Künstler erstellt mit erworbenen oder gefundenen Objekten, Gegenständen und Fotos sowie eigenen Schnappschüssen ein stetig wachsendes Archiv zu unterschiedlichsten Formen und Räumen. Die Dinge dieser umfangreichen Sammlung dienen als Referenzobjekte - Formanlässe - für die bildnerische Arbeit. Dabei lassen sich die Arbeiten thematisch in zwei Werkgruppen teilen: In der ersten Gruppe findet eine intensive Auseinandersetzung mit Architektur, mit Darstellungsformen von geometrischen Grundkörpern und Architekturperspektive statt. Innerhalb der zweiten Werkgruppe beschäftigt sich der Bildhauer mit Schleifen- und Wolkenformen, also mit ephemeren, gestaltlosen Formen, die als Gegenpol zu den formal strengen vorgenannten Architekturkörpern stehen. Die in dieser Publikation abgebildeten Zeichnungen zeigen Vorüberlegungen und Skizzen zu den Skulpturen sowie autonome Grafiken, die parallel zu den bildhauerischen Arbeiten entstanden sind. Der Text des Kunsthistorikers Gerald Schröder setzt Dornbuschs Arbeiten in den kunstgeschichtlichen Kontext und verortet sie im zeitgenössischen Diskurs.