Buy Ecstasy online in Murren

__________________________

📍 Verified store!

📍 Guarantees! Quality! Reviews!

__________________________

▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼

▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲

Buy Ecstasy online in Murren

New Zealand. Which is the most beautiful place on earth? Normally when we travel, I want to get from A to B as quickly as possible, but in this case, I am SO glad Caitlin insisted on the train. Caitlin found a train from Salzburg to Zurich that was about 5 hours, but the scenery was supposed to be unbelievable. Plus, we were able to buy groceries in Austria and take them with us drinks mostly , which saved us a few bucks. But yeah, the train was amazing. The Wi-Fi was perfect on the train, which is dumb except I had a bunch of work to do and knew the train would be the longest uninterrupted time I would have on the entire trip to work, so that was a big deal to me. From there, we found our train to Zurich and that was that, we were off to country 29 or 30 or whatever it was. Lest I understate this: Oh my x. The scenery. The landscapes. The greenery! Plus, I had a bunch of cold drinks in my backpack and we ate amazingly good cheese and bread and I got so much work done. It was just a really perfect journey, and the train was clean and quiet and just rad. Do it. My only complaint you know me, I have to complain about something all the time was the fact that we still had to go to the airport to get our car. New Zealand is expensive. Iceland is expensive. Switzerland is expensive. So just know that going in. So yeah, Switzerland is expensive. Very expensive. Zurich seemed OK more on that later but we just wanted to get to the good stuff so I was flooring it towards our place in Lucerne. Alas, we made it, it was only about 50 minutes from the Zurich airport to the aptly named Hotel Fox … aptly named because I was there, duh. Hotel Fox was actually pretty sweet. The Wi-Fi was good and the location was good and we even got a Lucerne Pass which was supposed to get us discounts that we never found. Still, it being Switzerland, I feel like we got a decent deal. All I knew about Lucerne was absolutely nothing. But, oh man, Lucerne! As usual, Caitlin had some idea of what was going on and had told me about a lake and a bridge and a lion carving. Sounded good to me, although I was just happy to be alive. If you want a picturesque moment in Switzerland, at least to start with, walking up to Lake Lucerne is about as cool as it gets. You can see mountains and beautiful water and cool shops and their famous old bridge and a bunch of boats on Lake Lucerne. It was really alive and bustling which made it fun to be surrounded by so many interesting people. We just stood there and looked at the lake and the swans and the ducks and suddenly I was much more excited for Switzerland than I had been. I like art. Other times, I just like it because it looks or sounds cool. Mournful stone? Count me in! And seriously, whether or not I had read that quote from Twain, I would have loved this monument. Crazy stuff! Lucerne is a very walkable city, so it was nice to just walk from one place to the next. I read that some were original and some were reproductions, because it apparently almost burned down in the 90s. It was a cool thing to see, and worth doing since we were so close, but not life changing or anything. But you want to know what was life changing? I like chocolate. We all like chocolate. Like, all are great, nothing better than the next. I was so, so wrong. The only thing we wanted to do that night was get authentic and freshly made chocolates, no matter the cost. We looked in a bunch of different shops and finally decided on Bachmann. Best decision of my wasted life! Have you ever heard of analysis paralysis? So Bachmann was not an easy place for her in that she and I wanted to eat all the chocolates and never leave and definitely not just choose a few. Like, SO worth it. I would go back to Lucerne just for those. That being done, I figured my purpose in life was fulfilled but Caitlin disagreed so I lived another day. We headed back to the hotel to prepare for the big day ahead. More on that later. My short-term memory is worse than a goldfish but for some reason I remember insane amounts of mundane life experiences. He told me his favorite place on the planet was Interlaken, or somewhere nearby, and I made a mental note that I would go. Now, here I was…going! The drive from Lucerne to Interlaken is about 2 hours. It was foggy and slightly rainy, but there were hardly any cars on the road which was nice. As we pulled into the town of Interlaken it was amazing to see the lake and the little town built around it. Plus, with the fog and slightly rough lake it just looked cool. We ended up driving into Lauterbrunnen, having no real plan surprised? I was giddy and we started walking around this cool little town. From pretty much the second we walked out of the parking garage we could see insane mountains and peaks and waterfalls and green as far as the eye could see. And lots of cool cows wearing bells, of course. Luckily, the first thing we saw besides the grocery store in which I bought way too much cheese, chocolate, and Coke Zero was a tourist office, which was one of many, and asked what the shuv we should do to maximize our time. The first thing she told us to do was explore the cool and large waterfall right next to us, Staubbach Falls. The fact that a paved path goes right up to any waterfall is cool enough, but one like Staubbach is pretty rad to get to go up and behind and under. It was a pretty easy walk, a bit steep for a second but nothing too big. Because of the mist from the falls and the foggy day, the steps were a bit slick, and as you start to go into the mountainside it gets a bit sketchy with slippery stairs, slippery handrails, and low hanging rocks that came very close to knocking my skull off. The falls are super beautiful and it seems like every waterfall in Switzerland has multiple levels so it looks like 3 or 4 falls. Funny enough though, the path behind the falls is a bit anticlimactic. It just kinda ends at a rock wall, no scenic viewpoint or anything. Say no more, I was there. Alas, we were also told they only took cash, so we had to run OK, slowly slog back to the main street to look for an open bank. Lauterbrunnen has some cool buses that connect all these great sites, but they are cash only. So yeah, we walked. Luckily, we had Swiss cheese for real this time and chocolate to keep us going. Seriously, they take Francs or Dollars. Very strange, and I was frustrated we got got on the exchange, but alas. Once you get to the top, you get to just wing it. Once again, the mist makes the walkways inside the cave and the handrails insanely slippery, but we somehow survived. As in, the Arcade Fire song. Google Maps was extremely helpful thanks T-Mobile! Once again, the bus would have been nice if we had cash. We purchased tickets to Murren, which were 22 Francs each, and got stoked to see the real Alps. Caitlin had read I think from Rick Steeves that Gimmelwald was phenomenal. So we got off the tram at the Gimmelwald stop and…my goodness. What did we do there? What did we see there? Everything and nothing. What did we experience there? We could see several that had multiple levels. We barely saw anyone at all, and there were infinitely more animals goats, sheep, cows, a couple farm cats and dogs than people, and pretty much the only sound we heard was the tinkling of cowbells. So amazing. I really would have loved to stay there for a day or two. It was perfect. Absolutely phenomenal. The whole area is just ridiculous and seems more like a fantasy world than real life. It seems like a movie set, maybe because movies base their landscapes on Switzerland? But yeah, it ruled, and we were so bummed when we left. We caught the train back to Lauderbrunnen another 22 Francs total , walked around town one last time, bought expensive cheese that was actually made in Lauderbrunnen, and sadly headed back to the car. It was one of the most scenic places and days of my entire life and this entire post has been futile in trying to describe it. But at every tram station, there are a million cameras showing the different peaks and the day we were there, it was ALL cloud cover. Luckily for us, as we walked around Gimmelwald and Lauderbrunnen, the clouds periodically cleared so we could see some of the amazing huge peaks, but the trail cams showed nothing but clouds so we passed. The last meaningful thing we did in Switzerland no thanks to you, Zurich was stop at Lake Brienz on the way home. It was bloody amazing. The town on the edge of the lake is cool and there was some cool looking fog and it was just gorgeous. The drive back to Hotel Fox was pretty uneventful but beautiful nonetheless, and made better by all the cheese and chocolate we ate. Just like that, it was time for bed and our last stop of the trip was coming up:. I was wrong. So sue us. Alas, whatever. Parking in Zurich sucks. But it was probably the hardest city for us to find actual parking, and when we did, it was crazy expensive like everything else in Switzerland. We milled around the grocery store, bought some amazing sugar-free 7up lemon something, and bought some good croissant hot dog crossover stuff. If you already paid and are done shopping you need to leave. Well, parking in Zurich sucks, and I literally read 5 blogs that told me 5 different things. There, was that so hard? Surprisingly, none of the people I frantically stopped out and about had any idea about parking…must be a touristy thing. I also went to the post office, which I had read was a place you could get a parking pass. This is false. End of story. We thought Zurich was beautiful. The river is pretty. The clock at St. It was clear and clean and nice weather. If we could do it again, we would have spent another day in the Interlaken region and ended in Zurich that night, just long enough to sleep and fly out the next day. I hope we missed amazing things and that Zurich is the best city ever. Please, someone, tell me what we missed! You should go. Everything went perfectly. Everything ruled. The trip ruled. Everything still rules. Hit us on Facebook or Instagram or drop us a line and tell us how we missed the best thing in Salzburg and we suck at traveling and life! Please Sign In to leave a comment. Get Started. Utterly delightful little place!! We loved our visit there many years ago.

Pink and Purple Barrels

Buy Ecstasy online in Murren

They make the cultural life of Basel a unique and lively mix and, therefore, deserve our attention. The printed issues was published during art fair week June 10—16, and curated newsletters come out during art fair week and Kunsttage Basel August 30—September 1, for those who want to engage with the scene described above. Where is the dividing line between design and art? You just need to look at the visitors of Art Basel week to know that the two belong together. It almost feels like a fashion week. Her nonconformism stems from her childhood in the vibrant but conservative metropolis of Jakarta, where she learned to break free of putative labels:. She has now gone one step further for Kunsttage Basel and designed her own artwork—sort of. The rainbow flags adorning the plaza in the kHaus contain fragments of watercolors by her four-year-old daughter, Wilhelmina. So I was really nervous at the beginning when I asked if I could use her pictures. The rainbow flags are no coincidence. This is an uncompromising feature of her work, a motif that runs through the designs themselves and the choice of models for her eponymous label, which she established in Apart from producing her own works, curating what others have created is also a recurrent element of her everyday life. They construct empathetic pinball machines, transform Basel city fountains into hot tubs, spontaneously open up a campsite on the theater square, and invite gallery visitors to sort screws according to their length and the type of head they have. Camping Sunny Side was enacted in August Suddenly, this empty concrete space was full of energy and life. People peered sleepily from their caravans. Passersby cooled their feet in the Tinguely Fountain and stopped to play games of dice, laughing loudly as they did so. And then suddenly there were people there who wanted to stay, and they were there voluntarily. What tensions can be created there? How art is consumed is very clearly controlled—you walk through the space from item to item and look at each in turn. For many people, walking into or onto an artwork in a gallery would be the height of embarrassment. The collective has a very flexible approach to names—you might get an email response from Reto Resi, or campsite reservations from Anne-Rose Dangereuse, artistic director. If you do, think twice. There the collective will develop an installation that involves sorting out screws that were once used by various art institutions and would normally be recycled. Gallery visitors are invited to stay a while and sort screws. Their reward for this will be to take their screws home. So, if you would like a break from all the visual impressions of conventional exhibitions, or if you urgently need a few screws for a DIY project, then you can have fun sorting screws at Petersgraben. Pam, aka DJ Qpaem, is shaking up the Basel club scene. What motivates this twenty-five-year-old student of business administration to spend her evenings as a DJ in packed nightclubs and bring her audiences there to states of ecstasy? Pam was born and grew up in Basel, and her first contact with music dates back to her early childhood. On weekends, her father would play his Bob Marley CDs first thing in the morning. The sound of reggae filled the whole house and got everyone going. And in the evenings, her father and his brother would DJ in clubs. Highlife songs from Ghana, where some of her family live, were also a big influence in her childhood. A further milestone came when Pam wished for DJ equipment. That was three years ago, and Pam is still gaining experience for her performances in clubs. And just six weeks after she first began to practice, she got her first request to perform—from a fellow DJ in Zurich. Pam is now in her last semester and has some time to dedicate to furthering her career as a DJ. Right now, music is the most important thing in her life. The difference between her new nightlife and the subjects she studied at university is pretty stark, she reflects. But perhaps she will be able to later apply what she has learned as a student in the club music business, if, that is, she one day goes all in as a DJ and begins to work internationally. Recently, she has received booking requests not only from Basel clubs like the Viertel Klub, but also throughout Switzerland. For Pam, DJing for a live audience involves some stage fright. Then she comes alive and can let her extrovert side out. She likes to share her passion with the people on the dance floor. This very special connection and the euphoria of these moments are what motivate her to perform in public. Pam would definitely like to DJ in Ghana one day, the country where her parents and grandparents grew up. In recent years, the music business has really been booming in Africa. They are her role models. Form, color, and composition are the three basic elements Laura Mietrup uses to construct her geometric installations. During Kunsttage Basel Basel Art Days , Mietrup will be showing new wall objects as part of her solo show at the see you next tuesday gallery. The artist has lived in the Basel region for almost twenty years. Currently, she is a resident artist in the Atelierhaus Klingental, where she has a subsidized studio at the head of the south wing of the former barracks building. The daughter of a cabinetmaker, Mietrup grew up in Rheinfelden surrounded by tools, wood cuttings, and sawdust. Later, she did an apprenticeship as a frame gilder. It is therefore perhaps not too surprising that her art is intimately connected with craftsmanship, visible in both her finely polished bodies and precisely worked details and in her tech-oriented and retro-futuristic subjects. The level of precision is impressive. The objects, wall paintings, and drawings are vaguely reminiscent of everyday objects, which Mietrup skillfully abstracts and nests in one another, allowing them to merge into an ambiguous whole. The abstract bodies show the familiar and the unknown at the same time, without appearing generic. The artist wants her audience to interpret her works in their own individual way. They do indeed fire the imagination: a hanging orange drop resembles a bell clapper; white squares arranged in a grid evoke the oppressive atmosphere of an anonymous wet room; a rectangular volume with a colorful cylinder mimics an emergency button, challenging the viewer to press it. Mietrup puts the effect in a nutshell:. Her art happens in a wide variety of media, from hand drawing, wall painting, and sculpture to collaborative sound installations. Like an architect, she orchestrates the intriguing balance between clarity and ambiguity, employing a precise formal language. The basis is provided by drawing combined with an archive of countless photographs and components. In addition, Mietrup also makes many models and prototypes before realizing her works in their final form. Right from the start, she always has in mind the spaces in which her installations will be shown. Ultimately, they are geometrical symphonies that harmonize ambiguity and clarity. The musical analogy is no accident either. The artist has a number of musician friends with whom she often exchanges ideas, and she has a soft spot for the free music scene, especially jazz. Her art thus displays surprising similarities with experimental music. Just as improvisation is a central element in jazz, Mietrup develops her virtuoso constellations intuitively, starting out with very simple components. Mietrup is continually fine-tuning the instrumentation in her orchestral compositions. Just recently, she challenged her previously static formal universe by introducing organic bodies, approaching their soft curves with a series of gouache paintings. For the exhibition, she has translated the curved forms into sculpture and is also showing a series of wall compositions. All of which has one wondering what kind of fantasies Mietrup will inspire in us this time. We observe people adopting stances, positions, points of views, attitudes. And when they fail to express a point of view or take up a position, we suspect cowardice—or at least a lazy reluctance to acknowledge their own privilege. Has peace gone out of fashion, Isabel Prinzing? Prinzing is thirty-four. Each year she organizes the Basel Peace Forum, which is attended by five hundred guests from all over the world. What was that again? The Basel Peace Forum has existed since It is the annual conference of Swisspeace, a foundation at the interface between peace research and peacebuilding in practice. The organization is independent, but associated with the University of Basel. It receives some public money from both the federal government and Canton Basel-Stadt. The typical peacebuilder is an experienced person with an academic background and some connection to diplomacy or politics. Today, the Peace Forum is attended by artists as well as architects, urban planners, and sportspeople. Their perspectives on conflict are different and therefore valuable—n particular, because they focus on the details. Where are destroyed roads being rebuilt? Neither the Basel Peace Forum nor Swisspeace has branches or offices in conflict zones. Instead, they forge partnerships in selected contexts. How can peace be put back on the radar? At a social microcosm level, you can change things by not breaking off contact as soon as a conflict arises. That would be good. Andy Warhol once said that he never read, he just looked at pictures. His words have been used for the name of what is probably the most popular alternative art and design book platform during the Basel Art Fair week. We talked to the founders of I Never Read, Art Book Fair Basel about their ambivalent love of printed works and their significance in the digital age. No longer known to just a few insiders, it has become a firm highlight on the agenda of the Art Basel week. Despite the fact that their portfolio now includes artists and publishing houses from all over the world, they are not uncritical toward the hype surrounding Art Fair week. This approach is also seen in their design decisions;this year they have opted to reduce their ecological footprint by not producing any printed matter of their own. For a fair that celebrates publications, this is a very radical step. All communication is entirely digital, and invitations are recorded as songs and then sent via WhatsApp. For their team, the format around the actual platform is a never-ending experiment with potential changes and their practicalities:. The physical book remains essential, and it will survive. Art books, in particular, need a different approach to production, sales, and use—they are less ephemeral than magazines, have their own clientele, and are published in smaller editions. And there is a countermovement emerging alongside the increased numbers of podcasts and e-books. Whenever I am in Paris I go there, more for the inspiration it gives me than to buy anything. The book is a highly democratic medium and accessible for large numbers of people. When visitors then meet the people behind the books, an additional, very personal moment of sharing ensues, and that is what we love to facilitate. Their current tip: Sommer in Odessa by Irina Kilimnik. Our consumer society gives Tobias Kaspar a lot of material for his conceptual take on art. Born and raised in Kleinbasel, Kaspar presents sections of historical fabrics as oversized photo prints and canvases printed with screenshots from the online stores of well-known luxury brands with floral patterns. The artist deconstructs the mechanisms of global markets and highlights social stereotypes by placing them in a new context and showing his works in stringently enacted exhibition formats. His work is characterized by its tenderness, elegance, and precision and is often set around fabrics and textiles. The artist closely scrutinizes the fashion industry, showing how it engenders the desire for its ostensibly valuable products. Like a hacker, he accesses these systems of consumerism, appropriates their instruments, and adapts them to his own artistic production. Kaspar utilizes the production methods of the luxury goods industry or even these goods themselves , imitates the corporate identities of exclusive fashion companies, and plays with copies and repetition. His projects can be understood as systemic compositions that he orchestrates like an art director. He has made an authorial brand of his own name, and in his exhibitions he deploys all-over prints of his own logo, adds this to discarded items of clothing as part of a swap-meet project, and also produces his own jeans collection. In his most recent work, the artist goes a step further by bringing to market one year of his own living costs in daily units, using a cryptocurrency. This money originates in the project Rented Life , which Kaspar used to cover some of his own living costs during the pandemic. These were exhibited in at MAMCO in Geneva, and the Migros Museum of Contemporary Art thereafter acquired the contracts for its own collection and supported the further development of the project. Day now gives Kaspar his own system that can serve as a building block for elaborating his future artistic compositions. One of the first steps is the minting of an edition of physical coins—one for each day of the current leap year. Day is launched at Art Basel:. Although this show is very close to the fair premises, there will be no works on display or for sale. Instead, the typical range of flowers will be available, but the bouquets will be presented for a limited period in packing paper designed by Kaspar. When asked if a few of his Day coins might be traded under the counter, the artist smiles and remains silent. It all started on a hillside in Ticino. Not far off, though. Just a few kilometers away and more than a century later, the artist couple Jeronim Horvat and Maya Hottarek—Basel residents by choice—fell in love with a dilapidated farmhouse in the tranquil village of Russo, and realized their own idea of a contemporary art residence in the shape of the community project Studio LaBola. Horvat and Hottarek are still its core team together with the architect Yangzom Wujohktsang. In , the first summer season, more than a dozen participants from a variety of disciplines and age groups accepted an invitation to come to this formerly barren place. For Hottarek, Studio LaBola is much more than a restoration project in terms of its underlying idea. Ticino as a magnet for people from the world of art and literature is hardly a new phenomenon. For a long time, its valleys served as a refuge for dissenters railing against the authorities. There was also an anarchist movement, and you can still feel that spirit here today. This contributes to the wild energy of the place. Even though Basel is our base, and we travel a lot for our work, this place has come to feel like home. But before they got to that point, there were a number of obstacles to be overcome. There had been plans to turn it into a museum. But the hillside on which the house stands is very steep, life in the mountain valley is tough, and projects initiated in the past were abandoned. Another sticking point was the financing. The association founded for the project has not yet received any grants for maintenance or for the artist-in-residence program and is financing the restoration itself. Given all these challenges, what motivates them to keep going? I like Basel and I love city life. By contrast, the mountain valley and its rivers afford me the necessary distance to be receptive to new stimuli and to see things more clearly. They have to work with naturally biodegradable materials and what the place offers naturally, recycling things and sharing their knowledge with the participants. Last year, in addition to hiking trips and visiting the rivers, a series of workshops were held on how artists could supply their material requirements from what was available locally, and an expert showed them how to make drystone walls for building. Despite their mountain valley project, the artist duo continues to be active in the Basel art scene with their own work and original initiatives. Alongside their own exhibitions, their next project will be a group exhibition at their main domicile and offspace Fondazione Housy. They are staging this side project together with their fellow residents in Kleinbasel. The exhibition will take place in cooperation with other galleries and artists in the art fair week from June 12 to 16, Things are different today. It was when I really realized what team spirit means. Today, Gidion brings her experience from fifteen years of top-level soccer to FC Basel. Young players benefit from this—women who are just twenty years old, as Gidion was back then. Her normally open and cheerful tone turns serious and quiet when she speaks about racism, discrimination, attitudes to queerness, and all the internal pressure she has felt. These are issues she discusses during long bus trips with her fellow players, as well as with her own family. I go to gatherings and all people talk about is soccer. Nonetheless, she has to start thinking about what will come after her career in sports—she has a degree in wholesale and international trade. Matters off the pitch are now becoming more important in her life. In her free time, she likes to photograph people with her camera and spend time outdoors, and she is also finally getting to know the city of Basel. For a young person without much money, the country next door was too expensive. But her view of the city has now changed. Today, she compares Basel with a meadow full of flowers. She enjoys the Rhine, and she is able to switch off at the Birs river and in the surrounding woods. She is interested in architecture and art, which in the past was certainly not the case. Gidion comes across as very relaxed and open-minded—this is also how she is at the photo shoot, for which she selected the Museum Tinguely as the venue. We come to talk about what soccer, art, and carnival have in common. Three things that make Basel special, that people rave about and identify with—culture! The artist Jean Tinguely, to whom the museum with its view of the Rhine is dedicated, was a builder of bridges between art and carnival, and in his twenty years as an active member of the Kuttlebutzer carnival clique he designed a number of legendary floats and all the regalia that went with them. The game at Old Trafford in Manchester took place on the Wednesday of carnival week, and a number of fans stood at the gate wearing their carnival costumes. During our conversation in the museum, it becomes clear why she chose this venue. Alexia Thomas originally hails from Oberdorf in the Waldenburgertal. At the young age of twenty-three, she is already a music producer, singer, and rapper, as well as a producing coach at Helvetiarockt and the HitProducer studio. Thomas started playing the piano at the age of nine, inspired by a friend. As she progressed, she received support and encouragement from her siblings and her godfather, who are also music lovers. But Thomas remained unfazed. Determined to tread her own path, she did not succumb to the temptation to do things a certain way just to please other people. Part of that is her willingness to be vulnerable and take risks—notably at the launch for her EP Vulnerable , at the end of which she spontaneously began rapping in German. While it was totally unexpected, everyone got down. When Thomas begins talking about her second project, dudette, her mood changes. The infectious gaiety with which she describes her work is now combined with a touch of mischievousness, wild gesticulation, and an even bigger smile. Could this be a summer hit?! She will also perform some of the new songs for the first time at Gurtenfestival on Friday, July Who knows, maybe dudette will make a spontaneous stage appearance as well. What does one do when making no progress and the text remains obdurate? After graduating in applied theater directing and cultural studies, she came to miss discussions with others about her reading. The first participants were all friends with each other, and all of them had an interest in feminist issues, despite having different backgrounds in terms of their education, perspectives, and ages. They quickly decided that they should meet again. Katharina Brandl was there from the outset, and she took the format beyond the circle of friends and opened it up to others. Feminist discourse concerns everyone, not just us. Places talk to the senses more powerfully than a drink. Reading should be a collective, physical, and experimental experience. And anyway, we have no need to do justice to all the different aspects of a text—we want to break it open and explore its nitty-gritty together. We create a social sculpture just in the act of reading together. In certain situations, it becomes evident that this ritual form of reading can also be explosive, and that the literature and theories discussed do not appeal to everyone. Sometimes, for example, self-proclaimed masculinists and people with very different political views have engaged in hate speech, uttered threats, and left other disconcerting messages in the build up to a reading. For Schulte, who today leads the platform together with performance artist Tyra Wigg and dancer and choreographer Alessandro Schiattarella, this has never been a reason to give up:. Something that she and her colleagues Schiattarella and Wigg would agree on. When the collective assembles to talk about a text, these ideas and perspectives multiply. That creates new energies and realities. After almost ten years, today is a good time to take stock and look back at the favorite moments in the thirty-one past editions. She brought along lots of tools, and it was exciting to see how experimentation and reading were combined. The space displaced the written text, and we talked playfully about consent and pain. We tried out pinch pegs and pierced our skin with acupuncture needles. As the project falls through the cracks a bit and cannot be definitively assigned to a category like theater or music, there is no ready source of funding. The responsible funding institutions turn out to be particularly inflexible here. They do sometimes support special initiatives, but usually only as one-offs and not long term. But, whatever happens, the idea will definitely live on and come back one way or another. The room is bright and smells of paint, with pigments and brushes strewn over the surfaces, and a wooden bench standing in the middle of the space. These are what Siegrist is working on currently, inspired by a piece of woodland, a mecca for all kinds of plants, insects, and birds, located ten kilometers outside of Basel in Germany, where she often visits with her family. A luminous spring day unfolds in front of the studio window with its view of a treetop, a view which seemingly extends on to the canvases themselves. A native of Basel, Siegrist can be found occupying different roles in various places around the city. Her artistic practice is rooted in painting. But she is also a curator, an archivist, an educator, and head of the painting studio at the Institute Art Gender Nature at the Basel Academy of Art and Design. In recent years, she has been working with textiles such as old parachutes. She uses them to make spatial interventions in places like the Fondation Beyeler and the Kunsthalle Basel. Their forms resonate with the existing architecture and fuse an organic softness with the functional, technical element dictated by the material. They give the impression of giant, supple bodies. And the ultra-light material has another advantage: in true Basel fashion, it can be packed into a bag and transported by bicycle. Together with the Institute Art Gender Nature and Basel Tourism, Siegrist is working on another interesting new format: organizing artist studio tours. Amid still-wet paint, models piled up on windowsills, and page markers spilling out of books used for research, visitors can pose questions directly to the artists and gain a unique insight into their working environments and methods. Through the creation of new points of contact between artists and art viewers, the Basel art landscape is decentralized and more broadly accessible. The guided tours take place at monthly intervals in different locations. Part of the concept is that the names of the artists are not revealed beforehand. The community aspect is particularly important for her. The relationality and mutual responsibility that it alludes to continuously inform her thinking and practice, as she works to establish new connections and create in-between spaces of exchange. A young woman is sitting onstage, pulling up her rhinestone thigh-high boots. A look into the audience says it all: yes, this is going to take a while, and you can watch me. Born in in Cologne, Nairi Hadodo is an actress, director, and playwright. She is a member of the Basler Compagnie at Theater Basel. For a woman with an immigrant background to go to acting school also meant that there would be many roles in film and television that she would never get. Kim had its premiere in March this year. The play is a study based on the most famous influencer in the world—Kim Kardashian. Kardashian, who, like Hadodo, has Armenian roots, has million followers on Instagram. Time magazine counts her among the one hundred most influential people in the world. Her selfies have made her a billionaire. Kardashian is famous for being famous and thus a pop culture phenomenon who has engendered a whole generation of self-marketers. There have to be more things that concern young women in the theater. From feminist self-negotiation and Kardashian-style attention grabbing to disenchanted masculinity and nonconformism? She is daring, and expects us to be courageous as well. On a balmy Saturday evening in April, music is booming along Clarastrasse. There is a long line at the entrance to house number People are gazing in anticipation at the open windows two floors up, where they can glimpse the outlines of a large number of partygoers. There are piles of shoes, bags, and coats in the stairwell. The Kollektiv Avalon has made its temporary home on the second floor, and here Ada Fischer, Lea Gessler, Naomi Gregoris, Hester Koper, Sandra Lichtenstern, and Anina Schwander host events that combine mindful bodywork, the enjoyment of music, wild dancing, and a passion for hosting. Lichtenstern explains. The collective shapes this space with their own subtle assertiveness, freely following their creativity. Their joint action provides opportunities for them to come up with new methods of perception, and a venue to try them out. The only thing that is fixed is the weekly date when Kollektiv Avalon meets to exchange ideas. Whoever has the time comes along to talk through past events, new ideas, or issues that are on their mind. Alongside these shared activities, two of them are entrepreneurs; the others are a gallery director, a curator, a psychotherapist, and a journalist. Nonetheless, or perhaps very much because of this, they nurture their own productive culture of discussion among themselves and inspire each other with their different views, experiences, and abilities. This evening in April, around people are crowded into the four rooms plus a smaller fifth one of the flat. It feels like a party in a shared apartment: homely, bustling, and a little improvised. At the same time, it all feels very well planned. Kollektiv Avalon uses predominantly bright colors, and the rooms are welcoming and cozy. The floors are fitted with a pleasant, fluffy, cream-colored carpet, and the whole apartment is bathed in a warm, woozy light. The dancers are packed together—all with their shoes off. The atmosphere is open and energetic, but not in any way that is rough or overwhelming. During Art Basel, the Avalon apartment will be quiet for a while. The collective will use it as a place to retire, and the partying is outsourced. There will be art and music on this Saturday evening, and of course there will also be a fluffy carpet to dance on—that much Kollektiv Avalon already reveals. Initiated and published by the Verein Bebbi Zine, the magazine, which is available in print and digital formats, benefits from the kind support of Basel Tourism, Christoph Merian Stiftung, and Abteilung Kultur Basel-Stadt. Enjoy reading and immersing yourself! That was the only way I could feel free and actually breathe. Where can we challenge people? DJ and Business Administrator. Pam is quite a shy person, but when she is behind her deck, she is in her element. Peace Researcher. Peace is complex. And above all, peace work is constantly changing. The fact that all of this is so playful keeps us interested and motivated to keep going even after thirteen years. Soccer Player. Music Producer, Singer, Rapper. Queer- Feminist Reading Circle. Every book can be incendiary if it falls on fruitful ground. Actress, Playwright. I had to have the courage to do these things because that meant standing up for myself. Curators of Softness. Contributors and authors. Bebbizine Newsletter Jetzt anmelden und auf dem Laufenden bleiben. We do this to improve the browsing experience and to display personalised advertising. If you consent to these technologies, we may process data such as browsing behaviour or unique IDs on this website. If you do not give or withdraw your consent, certain features may be affected. Functional Functional Always active Technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a particular service explicitly requested by the subscriber or user or for the sole purpose of carrying out the transmission of a communication over an electronic communications network. The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user. The technical storage or access, which is solely for statistical purposes. The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you. Technical storage or access is necessary to create user profiles, to send advertising or to track the user on a website or across multiple websites for similar marketing purposes. Accept Decline View settings Save settings View settings. Manage consent.

Buy Ecstasy online in Murren