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Andreas Weiland

From Wikipedia, the free encyclopedia

Andreas Weiland (born October 14, 1944[1]) is a bilingual poet who writes in English and German.[2][3] His poetry has been praised by fellow poets. Jürgen Theobaldy was the first poet and editor who published him.[4]

Nicolas Born called him "a born lyrical poet".[5] Erich Fried considered his poems important.[6] Many artists and some filmmakers, (including Jean Marie-Straub,[7] Dore O., and Werner Nekes[8]) also praised his poetry. Weiland is also an art and film critic.[9]

Life and work

The early years

Weiland was born on October 14, 1944, north-western Germany.[10] He studied American literature in Bochum, Germany.[11]

In 1967 he founded the poetry magazine Touch with Steven R. Diamant. The journal is available in the Yale University Library.[12] Massimo Bacigalupo called it una rivista d'avanguardia ("a journal of the avant-garde").[13] Since 1966, Weiland has translated poetry from Italian,[14] modern Greek[15] and Portuguese[16] into English and German. He also translated and published the works of a number of "Angry Young Men", including Pete Brown, Libby Houston, Adrian Mitchell and Frances Horovitz.[17] Weiland participated in a poetry reading with the British Beat poet Michael Horovitz in Bochum in the late 1960s.[18]

In the 1970s, he wrote a poetic text inspired by the video film Herman Dances Alone.[citation needed] In 1975, his poem inspired by Straub-Huillet's film "Moses und Aron" was published in the journal Cahiers du Cinéma. This poem was translated from German to French by Jean-Marie Straub, and appeared in the Cahiers in both languages, accompanied by the commentary "Il comble à peu tous mes espoirs quant au film" ("It encompasses nearly all my hopes with regard to the film").[19]

Years in Taiwan

During the second half of the 1970s, Weiland worked for several years as a lecturer in the German and English departments of a university in Taiwan.[20] In Taiwan, he founded a journal called Street (Jie Tou, 街頭).[21] During this period, there were many street protests against the Kuomintang (KMT) dictatorship. When Weiland published the work of two writers who had previously been imprisoned by the KMT, the government closed down the journal.[22]

According to Weiland's "List of Publications," he also published articles in Chinese magazines, including Yinxiang and Artist Magazine.[23] Two articles published in Artist Magazine were later republished in a small book, Day for Night in Taipei, Notes of A Cinéaste.[24] An article by him originally published in Yinxiang about a film by the Indonesian film director Wim Umboh was republished in Art in Society.[25] The journal mentions that Weiland interviewed Wim Umboh in Taipei when Umboh's film Plastic Flowers, which was scheduled to be screened during the Taipei International Film Festival of 1978, was outlawed by the KMT regime. Weiland attended a private screening of the forbidden film. Weiland wrote and published articles about art and cinema in Taiwan; his "List of Publications" also mentions a number of articles he wrote in those years about performances of the Cloud Gate Dance Theater.

The 1980s and '90s

Starting in the early 1980s, Weiland worked as a planning historian at the Department of Planning Theory of Aachen Technical University.[26] As a planning historian, Weiland published a number of articles.[27] An interdisciplinary article that crossed the boundary between urbanistics and discourse theory appeared in Jürgen Link's journal kultuRRevolution.[28] This journal also published a number of his poems.[29]

He continued to write poetry and to correspond with poets, among them Jürgen Theobaldy,[30] Erich Fried[31] and perhaps also John Wieners, with whom he was already in touch in 1973[32][33] and Cid Corman until Corman died).[34]

When Weiland read his poetry, it was often in the context of art exhibitions, for example at the Villa Ichon cultural center in Bremen in 1986 in conjunction with Wilfried ("Willi") Seeba's exhibition.[35] In Aachen, he read his poems in the Karmán Auditory during an event organized for him by Peter Klein of the renowned Buchhandlung Backhaus that also invited such poets as Volker Braun.[36] And he read his poems in this university town[which?] when he was invited to do so during the exhibitions of artists such as Lui Rummler[37] and Peter Lacroix.

Weiland also participated in the art projects and exhibitions of the Canadian painter and printmaker Angelo Evelyn during the 1980s. In addition to reading his poems during single exhibitions of Evelyn, he wrote the text for Evelyn's catalogue "Burning Cloud and Other Themes" when the artist had a big exhibition in the RhoK (Flemish art academy) in Brussels in 1987.[38]

In 1987, Weiland participated in the feminist art project "Unter einem Himmel" ("Under one and the same sky") at the gallery of Schloss Borbeck,[39] Essen, that was organized and curated by Doris Schoettler-Boll in 1986–1988. Here, he introduced the female Korean artist Eu-nim Ro to the public and read his poetry. Two years later, he participated in the project "Wo bleibst Du, Revolution?" ("Where are you waiting, Revolution?") at the Museum of Modern Art, Bochum, Germany.[40]

With Fang Weigui, Weiland translated 155 poems that were written by the ancient Chinese poet Bai Juyi.[41] The book, which was published in Göttingen in 1999, was positively reviewed by Karl-Heinz Pohl (sinologue, Trier University) and by Wolfgang Kubin (poet and sinologue, Bonn and Beijing).[42]

2000 onwards

Weiland read his poems frequently during diverse events organized by Doris Schoettler-Boll in the Atelierhaus (art house) in Essen Steele. He presented poems of his new poetry book "Die Tage, das Zeitalter" (The Days, the Age...) during the "Long Night of Poets" event on September 21, 2001, which also featured the poets Angelika Janz, Christina Schlegel, D.E. Sattler, Ina Kurz, Matthias Schamp and Urs Jaeggi.[43]

When Hans van der Grinten, a friend of Joseph Beuys, invited Angelo Evelyn to do a big single exhibition in the museum of his hometown, Kranenburg, Weiland was invited to read his poetry. The new poems read during the event were inspired by works of Evelyn. They appeared in print in 2003.[44]

Weiland also read recently written poetry in the context of a series of events curated by the artist Li Portenlänger.[45] In one case, the result was a small poetry book with an original lithographic art work by Portenlänger.[46]

Weiland participated in collective art and literature projects such as the project "Erfahren/Erinnern" (Figurenfeld Project, Eichstätt, Germany), together with Li Portenlänger, Luc Piron, and Angelo Evelyn,[47] and in the big "Demer" project of Luc Piron that was exhibited in Diest, Belgium, in 2014.[48]

Weiland's cooperation with Piron resulted in a number of artist books with Piron's art works and Weiland's poems.[49] Weiland wrote also commentaries on the paintings of modern Arab artists like Maurice Haddad from Iraq[50] and, while using a pseudonym, about the Egyptian painter Saad el Girgawi. In 2009, Weiland participated in a conference about the Contemporary Arab Contribution to World Culture at the UNESCO in Paris that was organized by the president of the IAIS. He gave talks on two Arab architects, Rasem Badran and Hassan Fathy.[51]

In recent years[when?], Weiland has started two multilingual online magazines. One of these is called Street Voice. For the sixth issue of this poetry journal, he has translated poetry from the Mongolian language.[52]

He has been published since 1966 in a number of literary journals and his poems have also been translated into other languages.[53] His poetry books can be found in the German National Library (Deutsche Nationalbibliothek) and the National Library of the Netherlands (Koninklijke Bibliotheek, Den Haag).[citation needed]

Selected publications

  • Gedichte aus einem dunklen Land, Rotterdam (Symposium Verlag) 1998
  • Die Tage, das Zeitalter, Rotterdam [etc.] (Jietou Press) 1999, 2da edición 2001
  • At Mad Mick's Place, Rotterdam (Symposium Press) 2000
  • Das verwandte Land, Rotterdam (Symposium Press) 2000
  • Midwestern vistas & other poems, Rotterdam (Symposium Press) 2001
  • The Kranenburg Poems, Rotterdam (Symposium Press) 2003, 2da edición 2004
  • Strange meeting you / Seltsame Begegnung, Rotterdam (Symposium Press) 2003
  • Die Rosenberg-Barradini-Torres-Gedichte, Paris (Jietou) 2005
  • The Blackness of Black: Poems in Memory of Nan Hoover
  • An einem Tag voller Licht. Dortmund (Edition Offenes Feld) 2023

References

  1. ^ The date is given in: Jürgen Theobaldy (ed.), Und ich bewege mich doch. Gedichte vor und nach 1968. München: Verlag C.H. Beck, 1977, second edition 1978, p.230. ISBN 3-406-06757-3, an anthology that includes poems by Andreas Weiland .
  2. ^ The filmmaker, poet and scholar Massimo Bacigalupo wrote about Weiland: "Ha diretto negli anni '60-'70 una revista d'avanguardia, 'Touch', pubblicato diverse collezioni di liriche, e una nuova traduzione tedesca del poeta cinese Bai Juyi...", see Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429. The literary and film journal mentioned was mainly in English. It is available in the Bodleian Library, Oxford University.
  3. ^ See also his poetry books listed below.
  4. ^ Theobaldy presented him, together with such poets as Lawrence Ferlinghetti, Charles Bukowski, Nicolas Guillén, Hugo Dittberner, and Ernesto Cardenal, in the poetry journal Benzin (i.e. « Gasoline »), issue no. 4, May 1973; and later in an anthology the title of which – « Und ich bewege mich doch » (« And yet, I move ») – echoes a famous statement attributed to Giordano Bruno: it may have been chosen in order to suggests that the poems selected by Theobaldy breath the rebellious spirit of resistance of the year 1968. - The journal Benzin is listed by the German National Library ([1]).
  5. ^ "Nicolas Born nannte ihn... « einen geborenen Lyriker »." Source: Weigui Fang, "Nachwort", in: W. Fang (ed.), Den Kranich fragen. 155 Gedichte von Bai Juyi. Göttingen: Cuivillier Verlag, 1999, p. 346. ISBN 3-89712-732-6.
  6. ^ "Erich Fried zählte seine Gedichte zu den wichtigsten...Arbeiten der letzten Jahre in deutscher Sprache..."(Erich Fried considered his (Weiland's) poems as being among the most important works written in German in recent years), Prof. Fang (distinguished professor, Beijing Normal University) points out. See Weigui Fang, "Nachwort", in: Fang, Den Kranich fragen. p. 346.
  7. ^ See Straub's reactions – in 1975 and 1982 – to poems by Weiland ; they are documented further below.
  8. ^ After being invited by Nekes to see his new film « Ulisses » in 1982, Weiland wrote a long poème en prose (nearly 50 printed pages) that echoed the film . It was published as "Uliisses. Protokoll eines Sehens", in: Walter Schobert (hrsg.), Uliisses: ein Film von Werner Nekes. Mit Textbeiträgen von Bazon Brock, Frieda Grafe, Werner Nekes, Eva M. J. Schmid, Walter Schobert, Andreas Weiland und einem Gespräch zwischen Werner Nekes, Peter Kremski und Detlef Wulke. Köln (Verlag der Buchhandlung Walther König) n.d. (1987), pp. 152-198. - The editor of the book was the director of the German Film Museum at the time.
  9. ^ He has also been described as a townplanning historian, a film critic, art critic, and writer ("Planungstheoretiker, Kunst- und Filmkritiker, Schriftsteller"), see: Doris Schöttler Boll, Dekonstruktionen: oder vom Widersprechen in Bildern. Köln: Rheinland-Verlag, 1987, p. 58. ISBN 3-7927-0991-0.
  10. ^ See the information provided about the poet by Pavel Branko in the Slovakian literary journal Romboid: "Narodil sa roku 1944 v Herforde v rodine aktívnych socialistov...". Pavel Branko, introduction to Weiland's poems, in: Romboid': literaturá, teória, kritika; literárnokritický mesacnik [literary monthly], Bratislava: Slovenský spisovatel̕, Vol. XLIII, No. 8, 2008, S. 67. ISSN 0231-6714. The journal is held by the British Library, University College London, Oxford University, and Glasgow University; it is also listed in the catalogue of the Austrian Landes-libraries (Österreichische Landesbibliotheken), see:[2] Archived 2016-12-20 at the Wayback Machine and it is also listed in the UniCat (Union Catalogue of Belgian Libraries), see: [3][permanent dead link]
  11. ^ Massimo Bacigalupo wrote that Weiland graduated from Bochum University: "Andreas Weiland si é laureato a Bochum con una tesi di narrativa postmoderna americana"; see Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429.
  12. ^ "SOLO: Search Oxford Libraries Online - Touch Diamant Weiland". solo.bodleian.ox.ac.uk. Retrieved 2020-06-18.
  13. ^ See Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429.
  14. ^ See for instance the poem Esercizio di respirazione, that was written by the filmmaker and poet Guido Lombardi and that was published in Italian and English in the literary journal Touch # 3/4, spring 1969; the journal is available in the Bodleian Library, Oxford University.
  15. ^ See his translations of poems by Embirikos, Seferis, and others that were published in the 1960s in diverse issues of the journal hellenika, Zeitschrift für deutsch-griechische kulturelle und wirtschaftliche Zusammenarbeit, edited by Isidora Rosenthal-Karaminea.
  16. ^ See the poems by Dante Milano and Carlos Drummond de Andrade, in Touch # 1 /1967.
  17. ^ Prof. Fang mentions Weiland's " Übersetzungen von Adrian Mitchell, Pete Brown, Francis Horovitz (...)"; see Weigui Fang (ed.), Den Kranich fragen, p. 346.
  18. ^ The short biographical note in his poetry book, The Kranenburg Poems (2003) says that "Weiland … had his first poetry reading with Mike Horovitz in the '60s." (Andreas Weiland, The Kranenburg Poems, Rotterdam: Symposium Press 2003, p. 83).
  19. ^ See: Cahiers du Cinéma, n. 258-259 (juillet-août 1975), p. 24. See [4]; [5]-
  20. ^ SeeJürgen Theobaldy (ed.), Und ich bewege mich doch. Gedichte vor und nach 1968. München: Verlag C.H. Beck, 2nd edn 1978, p. 230; and see also Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova: Tilgher, 2001, p. 429: "ha insegnato a Taiwan...".
  21. ^ The price per copy was 25 N.T. (New Taiwan dollars). Twenty N.T. were worth one German Mark at the time. See the cover and back cover of the journal, reproduced in the journal Art in Society, issue 15: [6]. This journal republished an article or articles originally published in 街頭 / Street.
  22. ^ The journal Art in Society, issue 15, includes this note: "In the summer of 1977, the bilingual (English-Chinese) journal Street / Jietou, edited by the Culture Study Group at Tamkang College in Tamshui under the direction of Wei Lan-de (=AW) published an article by the director, playwright and scholar Mei-shu HUANG on HUANG's staging of Yao Yi-wei's play "A Suitcase" ( 一口箱子 , Yikou xiangzi), accompanied by a review of the performance written by André Jadis. Because the journal was suppressed by the Guomindang regime subsequent to the publication of the issue focused on Yao Yi-wei, P'ai Ch'iu, Yang Kwei and others, and because hardly any libraries can be assumed to possess copies, both articles are now made accessible again in Art in Society, issue 15." Source: N.N., "A Suitcase (一口箱子 ) - A Play by the Taiwan-based Chinese Playwright Yao Yi-wei ( 姚一葦) ", in Art in Society, issue 15, [7]. Wei Lan-de was apparently the Chinese name of Andreas Weiland who signs some articles in Street Voice / Voces de la Calle simply with AW or aw. It is possible that André Jadis is also a pseudonym of Weiland. After all, the antiquated German word "weiland" (English: once (upon a time), Latin: olim) can be translated as "jadis" in French.
  23. ^ See his article about the Taiwanese film I'm A Seagull [我是一沙鷗 Wǒ shì yī shā'ōu, starring 林青霞 Lín Qīngxiá (Brigitte Lin), 秦祥林 Qín Xiánglín (Chin Hsiang-lin or Charlie Chin), 劉尚謙 Liu Shangqian, , 劉夢燕 Liu Mengyan, etc. ; Taiwan 1976. Color. Duration: 1:32:55 ], in: Artist Magazine /藝術家 Yishu Jia (Taipei), No. 19, December 1976, and his article about the Taiwanese film "Mother Is Thirty", in the same journal.
  24. ^ See: [8]. Also: RWTH Aachen University, OPAC catalogue [9]
  25. ^ See: Art in Society, issue 6 ([10]).
  26. ^ See the PT Lehrstuhl für Planungstheorie website of RWTH Aachen University: [11] Archived 2016-12-20 at the Wayback Machine that mentions him nowadays as a former member of the academic staff; see also an Atelierhaus Essen webpage that says: "lehrte und/oder forschte...an...der RWTH Aachen und der FH Aachen..."(i.e., taught and/or worked as a researcher at the RWTH and the FH Aachen." The RWTH is the Technical University in Aachen and the FH is the university of applied sciences.
  27. ^ For instance, "The Beginning of Modern Town Planning", in: Planning History Bulletin, Vol. 5, No. 3, 1983. And: "The 1987 Bad Homburg Symposium – Urban Renewal Before World War I", in: Planning History Bulletin, Vol. 9, No. 1, 1987. His publications in German include "Demmler's 'Grosser rationeller Plan' von 1863 für die Stadt Schwerin," in: Gerhard Fehl and Juan Rodriguez-Lores (eds.), Stadterweiterungen 1800 – 1875: von den Anfängen des modernen Städtebaues in Deutschland ; (Ergebnisse eines ersten Kolloquiums zur Planungsgeschichte ... Werner-Reimers-Stiftung in Bad Homburg vom 7.-10.12.1981) Kolloquium zur Planungsgeschichte. Hamburg: Christians, 1983, pp. 285–301; "Die Frankfurter Zonenbauordnung von 1891, eine 'fortschrittliche' Bauordnung? Versuch einer Entmystifizierung", in: Juan Rodriguez-Lores (ed.), Städtebaureform, 1865 - 1900. Bauordnungen, Zonenplanung und Enteignung. Hamburg: Christians, 1985; "Die Arbeiterwohnungsfrage in der Sozialdemokratie und den Arbeitervereinigungen bis zur Jahrhundertwende," in: Juan Rodriguez-Lores (ed.), Die Kleinwohnungsfrage: zu den Ursprüngen des sozialen Wohnungsbaus in Europa; Ergebnisse des 3. Kolloquiums zur Planungsgeschichte, das ... in Bad Homburg vom 20. - 23. 3. 1985 stattfand..., Hamburg: Christians, 1988; "Brüssel, Place des Martyrs: ein weiträumiges bürgerliches Wohnviertel des 18. Jahrhunderts," in: Tilman Harlander (ed.), Stadtwohnen: Geschichte, Städtebau, Perspektiven, Ludwigsburg: DVA / Random House, 2007, pp. 58–63. ISBN 978-3-421-03560-8. He also published a number of book reviews in the journal Planning Perspectives (ISSN 0266-5433).
  28. ^ See Andreas Weiland, "Rückeroberung der Peripherie durch das Zentrum: Ökonomische Tendenzen, diskursive Praktiken", in: Polaritäten im Fluß, Sonderheft der Zeitschrift kultuRRevolution; edited by Jürgen Link et al. (Bochum), No. 30, 1994.
  29. ^ See his List of publications.
  30. ^ see the correspondence between Jürgen Theobaldy and Andreas Weiland that is archived in Switzerland: [12]; the dates given online are: (correspondence with:) Weiland, Andreas, (location of Weiland:) Bochum; Aachen; (period of correspondence:) 1974-01-20/200712; 4 boxes; and see: [13].
  31. ^ Erich Fried had written to Weiland in 1981; "For a long time, I have not seen poems that I considered to be so good and important", referring to Weiland's poems. In German: "Ich habe schon seit langer Zeit nicht mehr Gedichte gesehen (unveroeffentlichte oder neuerdings veroeffentlichte), die ich fuer so gut und so wichtig halte. Ich meine wichtig, weil sie unsere nicht nur literarische Landschaft bereichern. Dichten ist nicht so sehr eine literarische wie eine menschliche Betaetigung." Mentioned in Weiland's homepage. See the poet's short biographical note, in: [14].
  32. ^ see John Wiener's letter to Weiland, in Street Voice, #2
  33. ^ See: [15] and [16]; in this letter, John Wieners told Weiland, "I adore your own poems"...
  34. ^ See Andreas Weiland, "Remembering Cid Corman", in: Street Voice, 3. Included is a photo of Corman with the handwriting of, probably, his wife Shizumi Corman that says, "This picture (is the) last (one taken of) Cid / 2003 December 10th."
  35. ^ See: [17][permanent dead link].
  36. ^ Those who attended (like I did), will remember that the hall was packed by an amazing number of poetry lovers, and that the response was very positive, even though two Aachen-based poets made critical remarks.
  37. ^ Note on Lui Rummler art-in-society.de
  38. ^ See the catalogue Angelo Evelyn: Burning Cloud and other themes, n.p. (Bruxelles), May 1987. Text: Andreas Weiland. Traduction française: Laurent Fillion; Nederlandse vertaling: Lex Grobben. – Catalogue produced with the assistance of the Canadian Embassy, Brussels.
  39. ^ See Joan Chen, "Remembering Doris Schöttler-Boll", in Art in Society, 15; included in this page is the flyer printed for "Unter einem Himmel"; the image opens very slowly.
  40. ^ See Andreas Weiland, "Im Treibhaus" (dedicated to Beuys), in: Wo bleibst du, Revolution? Freiheit, Gleichheit, Brüderlichkeit heute, Museum Bochum, 1989, p. 121. ISBN 3-8093-0141-8.
  41. ^ Weigui Fang (eds), Den Kranich fragen. 155 Gedichte von Bai Juyi. Aus dem Chinesischen übersetzt von Weigui Fang und Andreas Weiland. Göttingen: Cuivillier Verlag 1999. ISBN 3-89712-732-6.
  42. ^ Wolfgang Kubin, "Weigui Fang (ed.), Den Kranich fragen. 155 Gedichte von Bai Juyi. Aus dem Chinesischen übersetzt von Weigui Fang und Andreas Weiland" (book review), published in the journal Orientierungen, no. 1/2007, pp. 129–130. ISSN 0936-4099; also online: [18]; [19].
  43. ^ See: [20], and [21]. Other events may be mentioned as well, thus: "Die Poesie, die Kunst: Querverbindungen, Echos, Affinitäten: Andreas Weiland liest Gedichte zu Werken bildender Kunst", Atelierhaus Essen-Steele, September 26, 2004, [22], and "Mehrhändig spielen’: Vom Engagement für Kunst und Kultur in einer kleinen bayerischen Universitätsstadt. Vortrag von Li Portenlänger, Eichstätt. Mit einer Lesung von Andreas Weiland", in: "Personen-Projekte-Perspektiven," curated by Doris Schöttler-Boll, Atelierhaus Essen, June 22, 2012, [23].[or html?]
  44. ^ See: Andreas Weiland, The Kranenburg Poems with 28 reproductions of art works by Evelyn. Aachen and Rotterdam: Symposium Press, 2nd edition 2004, ISBN 3-937035-10-9. The book was reviewed positively in the South German daily newspaper Donaukurier. See klf, "Dichtung, die dem Maler auf die Spur kommt" Archived 2016-12-20 at the Wayback Machine, Donaukurier, July 30, 2004.
  45. ^ See for example "An einem ganz besonderen Ort", an article in the daily newspaper Donaukurier, June 29, 2010, [24]. And [25]
  46. ^ This artist book, with an original lithographic art work by Li Portenlänger, was entitled höhle haus pfad / himmel berg fluß wald; it was printed in 2010 by Siegfried Höllriegl [26] in Meran. The long title had been predetermined by Portenlänger's Eichstätt art project that was situated in many locations of the public space of this town. The book contains seven poems with, in part, a Peruvian theme (the sendero or "path"), and in part, a Mexican sujet. Volker Braun commented that he "like(d) the subject matter, Oaxaca, and the man" who chose to write about it ("mir gefällt das Thema, und der Mann"). The writer Michael Kleinherne, author of a collection of short stories, called the poems mythical during a public debate in Eichstätt. The book was presented to the public in Eichstätt. The South German dailyDonaukurier reported that an audience listened to Weiland's poems during a poetry reading that took place in the Southern tower of the Eichstätt Cathedral. See: "An einem ganz besonderen Ort," in: Donaukurier, June 29, 2016.
  47. ^ See Donaukurier, November 4, 2005[permanent dead link], and November 16, 2005[permanent dead link]; the Figurenfeld Project resulted in a large exhibition in the Catholic University of Eichstätt, poetry readings, an artist book of the four participants, and a film by the Gent-based filmmaker Karin Mels that shows Weiland reading his long poem written on the occasion of the project and published in the artist book. A third article on the Figurenfeld Project appeared in the Donaukurier on January 12, 2006. The artist book was not only presented to the public in Eichstätt but also archived by the lithography collection of the university. See the report in the Donaukurier: mkh, "Handfeste Kooperation zwischen Stadt und Uni," in: Donaukurier, May 3, 2006. All of these articles are also accessible online, but payment is necessary.
  48. ^ See Hedwig Neesen, "Ode aan de Demer in 200 foto's", in the Belgian newspaper Het Nieuwsblad, February 23, 2014, and "Fototentoonstelling toont Demer tijdens alle seizonen", Het laatste nieuws, February 25, 2014.
  49. ^ See the poet's "List of publications"
  50. ^ See Art in Society, No. 1, ISSN 1618-2154.
  51. ^ See the conference program.
  52. ^ See Hadaa Sendoo, "Fifteen Poems", in: Voces de la calle 6.
  53. ^ See for example the Italian journal Quaderni del Dipartimento del LLSM (Genova), n.11, p. 420; see also the anthology 爱情的故事Aiqing de gushi: 300 deutsche Liebesgedichte (Love Stories: 300 German love poems), Beijing, 1996, pp. 38, 125, 135, 402, etc., ISBN 7-5063-1041-4; and see also the issue of the Slovakian journal Romboid that featured the poets HAUGOVÁ / JURÁNOVÁ / KAPITÁNOVÁ / KOPCSAY / RÚFUS / RUZICKOVÁ / VALÉRY / WEILAND. (Romboid (Bratislava), Vol. XLIII, No. 8, 2008, S. 67-71. – ISSN 0231-6714.)

External links

  • Street Voice / Voix dans les rues / Strassenstimmen / Voces de la calle, ISSN 1618-2146. – Multilingual literary journal; editor: Andreas Weiland. Published by Stonybrook Editions / Steinbeck Verlag. index
  • Andreas Weiland, “Some Thoughts about ‘World Literature’ and the Literature Truly Needed,” in: Comparative Literature & World Literature (Beijing), Vol. 2, No. 1 (2017), pp. 1–50. URL [27] – Accessed Sept. 30, 2019, 10:15 h.
  • Andreas Weiland, List of publications (except urbanistic publications) Andreas Weiland, Veroeffentlichungen / List of Publications ( Auswahl )
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