Gottfried Benn / Jörg Hermle - Immer was schreit (Toujours quelque chose crie) - 2003

Immer was schreit
(Toujours quelque chose crie)

Poems by Gottfried Benn
Etchings by Jörg Hermle

The texts of this bilingual edition, partly original, of fifteen poems by Gottfried Benn, in Pierre Garnier’s translation, were composed and hand-printed in Trieste and Franklin types by Michael Caine, with the collaboration of Pierre-Marie Jamart, on the presses of the Atelier de la Cerisaie in Paris.
The etchings by Jörg Hermle were printed by the Atelier René Tazé in Paris.
The cases were produced by Morina Ratsaphoumy.

Sixty-two copies were printed, numbered and signed by the artist:
. 45 copies, numbered 1 to 45, on Arches 250 g molded paper, containing 8 original etchings;
. 10 copies, numbered I to X, on mould-made Richard de Bas 250 g paper, containing a sequence of engravings enriched by 4 original etchings;
. 7 offprint copies, numbered A to G, for collaborators and for legal deposit.

120 pages, 38.5 x 28.5 cm

magnificent copy

A work presented by Alain-Michel Planchon for the Dissonances editions in 2003.

Warning!

No shipments to the United States possible under the current postal conditions

In-person pickup possible in Paris

Gottfried Benn, born May 2, 1886 in Mansfeld and died July 7, 1956 in Berlin, is a German writer. He is regarded as a figure of expressionism and as one of the greatest German-language writers of his generation, on the same level as Thomas Mann, Robert Musil, Ernst Jünger or Bertolt Brecht.

Jörg Hermle

Born in Berlin in 1936.
In the eye of the cyclone. Hitler reigns; Benn, retired in his study, tends. Cabinetmaking, Decorative Arts, Fine Arts. Painter, lithographer, engraver, sculptor. He settled in Paris in 1961, married a Frenchwoman, herself a painter. Of expressionist sensibility, often unsettling, sometimes cocksure, with a biting, ambiguous humor, Jörg Hermle disturbs the gaze despite the evident pictorial allure.
Angels or demons, monsters circulate between his canvases, strange and familiar, amid bewildered, anonymous men. Humanity?
Even more than infernal machinery or teratological delusions, yet irresistible, it is scenes of family happiness, idyllic meals in the countryside, pools and sunny beaches that generate a diffuse terror: something is going to implode. Probably in the afterimage, the one that is missing.
Jörg Hermle paints just before the catastrophe.