37 Greenpoint Avenue
CTL Press, Hamburg, Germany
Ohne Wonken/Without Clouds
The Song of the Akyn
is a collaboration of Clemens-Tobias Lange with the great Kyrghiz writer Chinghiz Aitmatow and the German photographer Jutta Schwöbel. This is the first written edition of the Russian (original) text, as well as the first written translations into Kyrgiz and German language. The book is dedicated to the origin of man’s close relationship with the horse and their cohabitation, that began in the landscapes of Central Asia. The work is based on Jutta Schwöbel's photographic study of the comparison of the physiognomy of horses with the landscapes of Kyrgizhistan. Schwöbels photographs of horsebacks become landscapes of Kyrghizstan as they metaphorically suggest that the horse is both the actual terrain upon which we ride as well as the creator of the landscape in its stride. The Akyn is a man travelling around on horseback, telling news and passing on traditional customs and myths to the nomad inhabitants. The use of the Uigur alphabet, which visually combines the meeting point of Far Eastern and Western cultures emphasizes the link to myths and an archaic world and their influences on our current lives.
Photographs by Jutta Schwöbel
The book is also currently on exhibit (recently extended by popular demand) till January 2005, at the Kansas City Art Institute, MO
The Song of the Rider
It is an age-old story.
When the stars had been fixed for ever in their positions in the Universe, when on Earth the mountains had been set for ever in their positions and the seas had been sited for ever in their positions, when Man still roamed everywhere on foot, with a staff and with a burden on his back, when at each step he trod he weighed up where to put his feet, when he ran on foot from predators, when wind and rain drove him, mouse-like, into caves, Man was told: ‘From now on, you will be given the horse – a gift of nature and heaven, and you will gain new strength, and it shall become so that Man will be unable to do without the horse, and the horse without Man, and it will be so for all ages and for all times…’
And this is why every aspect of Man’s life since then has involved the horse.
And it is why a man should know that the horse understands when it is being fitted with iron bits, when its hooves are being equipped with iron shoes and thoroughly hammered with nails (this to protect its legs), and it is why the horse bears it and believes that in a man’s hands he will be able to go anywhere, over every type of terrain. And it is why he will go with the lightness of the wind wherever a man commands him...
The horse understands when a man is riding to the ceremony at which his bride is to be presented to him, and the horse gallops in a way that makes everyone at that moment admire the groom and his horse, and makes everyone exclaim ‘Ah, what a fine fellow –his horse suits him and he his horse!’ And when the groom has sat his bride in front of him on his horse and the horse is carrying them to their wedding –to the festival of their common destiny– and many are at that moment galloping along with the newly married couple, the bride will exclaim: ‘Oh my love! How powerful your horse is, just like you yourself! Ride on, ride on; don’t stop, no matter what the time of day or night!’
The horse understands when you are going to a funeral, and he steps quietly, head bowed, and hears your weeping.
The horse understands when you are raring for battle against your enemies, and there is nothing on the battlefield to scare the horse and make him shy at the point of the lance or the blade of the saber; and, furthermore, he is as loyal to a man in his defeats as he is in victory…
And, furthermore, he gives his blood and remains saddled until his last breath; and, furthermore, he neighs and whinnies to let everywhere around know of success…
And on an ordinary day the horse is diligent and dogged –he draws the plough, breaking up the ground, he pulls the wheeled load…
But at the races the riders praise in songs the best horse in the competition and compare his strength, power and beauty with the magic of God. And the horse understands that the riders are singing about him, that the music is being performed in his honor, and his eyes shine, and he nods his head, and he thanks fate.
Translation by Alistair Gainey
La Scuola Siciliana
by Clement-Tobias Lange and CTL Presse
Volume Two, Italian critics’ edition by Prof. d’A.S. Avalle (Accademia della Crusca) and Roberto Antonelli (Univerità di Roma "La Sapienza") with a translation into German by Tobias Eisermann and Christoph Hoch, 64 pages. Typeface, ctl-Cochin. Paper, Alcàntara, Sicily.
The images are printed from acrylic paints, concrete, plaster, linoleum, wood with acrylic paints and cliché’s (for the type in the images). Thomas Zwang bound all 95 copies.
Troubadour songs from 13th century Sicily in two volumes; the poets:
Edition: 25 deluxe copies in Obsidian glass panels, manufactured by Seguso, Murano, Venice and: 70 (+ 9 artists proof) copies regular edition in flexible copper, fire-oxygenated by CTL
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