#nini hess

[las-microfisuras]

Dorothea Wieck como la diva del cine Julia Bresproswannaja en "Comedia de rejuvenecimiento" de Tolstoi, 1929, Schauspielhaus Frankfurt am Main, fotografiada por Nini y Carry Hess.

 (Foto: Nini & Carry Hess, Theaterwissenschaftliche Sammlung, Universidad de Colonia)

[federer7]

German actress Fritta Brod in the play ‘The Chalk Circle’ by Klabund (pseudonym of Alfred Henschke). Staatstheater, 1930

Photo: Nini & Carry Hess

[sanssupremacy]

He's just being silly.

Artfight! How I hate/love it. Anyways, here's a friendly fire i did against @6nimus9

Choco at the beginning didn't like saph, or rather, saw him like a toy (cuz hesse cares too much of his bro), so causing trouble is always fun for him.

Saph belongs to nini, choco belongs to me :3

Don't repost my art ◇ Reblogs help more!

[carnivalls]

8 and 16 from the character questions\

hi thanks! since a character wasn't specified i followed my heart and did it for my horrible state-enforced codependent duo (juve & hess <3)

8. How loose is their use of the phrase 'I love you?'

juve will say i love you when she knows the moment calls for it, whether it's due to the social script of saying it (her parents are going abroad again, her nini has gotten her something she wanted, her girlfriend (?) is waiting for an answer) or due to knowing that saying it will unlock more interesting and relevant responses down the line, almost like an investment (hess must be unknowingly starved for that kind of attention, so what will happen if juve gives it to her?). juve will say i love you quite readily, and juve will think she knows what it means to say it. juve does not.

hess would probably prefer to be flayed alive than to say i love you. it indicates a level of vulnerability and acknowledgment that she can't quite bear atm because well. to love hess tiamaret is to see and know hess tiamaret. and frankly hess has absolutely no idea who that girl is either so.

16. What kinds of people do they have arguments with in their head?

haha ha! don't know about what kinds of people specifically, but present day juve has been using an. 'argument' with hess in her mind to keep herself going for about seven years now. she's chosen an entire career path based on the likelihood that it will lead her to hess and she will get to have it in person as well.

(although to be fair, 'argument' is not really the right word here so much as 'imposed reconciliation'– juve and hess last left off on an argument in person that left juve physically scarred, and she's sort of decided to herself, based on her own interpretation of hess, that hess will want to apologize to her for it. so sure. cue seven years of hunting down hess. for hess' own sake, not her own, of course. juve has no personal investment in this. she's not projecting or deliriously disconnected from her own feelings in the matter. juve is essentially a martyr.)

but yes all this to say. juve doesn't exactly have arguments with people in her mind as she does highly precise scenarios to inform her interactions with them. and for the most part she will go ride or die to see them through

meanwhile hess generally picks fights with just about everyone in her mind– she enters social interactions already assuming that they think the worst of her, and working from there to confirm it (oh the stability in being hated <3). hess is funny though because this means that it's not actually an argument– she wants them to win, she wants to prove them right and be someone to be hated, because by doing so she can define herself as well. she needs them to hate her so she can hate them and also kind of herself and rest easy in the certainty of her identity.

having said this, present day hess also spends more time than she'd like imagining juve's reactions to her actions and non-judging her. and yes it drives her mental & inspires her to keep getting worse so.

[ayjada]

Nini & Carry Hess: Helene Mayer, 1928

[gacougnol]

Nini & Carry Hess

Irene Weill (Dancer)

1920's

[henk-heijmans]

'Die Dame' 1924: the Russian dancer Rumnev - by Nini (1884  - 1943?) and Carry Hess (1889 - 1957), German

[moon-9473]

Russian dancer by Nini and Carry Hess

[prettyinnoise]

KRITIK: Eckhardt Köhn + Susanne Wartenberg - Die Fotografinnen Nini und Carry Hess

KRITIK: Eckhardt Köhn + Susanne Wartenberg – Die Fotografinnen Nini und Carry Hess

Eckhardt Köhn und Susanne Wartenberg sind die Herausgeber:innen des letzten Jahres im Hirmer Verlag erschienenen Buch Die Fotografinnen Nini und Carry Hess. Auf ungefähr 250 Seiten im Din A4 Format wird das Leben und die Werke der beiden Frankfurter Fotografinnen dargelegt und somit zwei herausragende Künstlerinnen porträtiert. Nini und Carry Hess, zwei Schwestern, geboren Ende des 19.…

[sophi-aubrey]

Ph. Nini et Carry Hess, Nu féminin, 1925

[lescuriositesdelafoire]

Nini et Carry Hess. Les mains de Niddy Impekoven

[vecchiorovere-blog]

Mädchen aus Hessen,

Nini & Carry Hess, 1925

[peopleofthebarre]

Dancer Tatjana Barbakoff photographed in 1926. Nini and Cary Hess.

Tatjana Barbakoff was a Jewish-Chinese-Latvian dancer of the 20th century, particularly known for her work in the Ausdruckstanz/Expressive Dance movement, her time as a student of Diaghilev ballerina Catherine Devilliers, and her presence in the theaters of Weimar Germany.

Born Cilly Edelberg in Libau (Liepaja) Latvia on August 15, 1899, Barbakoff was the daughter of a mother of Chinese descent and a Russian-Jewish father, who saw to it that she was educated in ballet and Chinese classical dance. As a teenager, she moved to glittering Weimar Berlin, where she became a fixture in the literary cabarets and private theaters of the city. In theaters such as the famous Schall und Rauch, she honed a particular form of Ausdruckstanz, the politically inflected expressionist dance movement style, inspired by classical ballet and Chinese dance, as well as Russian folk traditions. She became noted within avant garde circles and toured her own solo shows across Germany, connecting with visual artists such as Otto Pankok and Gert Heinrich Wollheim as colleague and muse. 

She resumed ballet training with Diaghilev dancer Catherine Devilliers by 1927, around the time she began to dance with the private theater San Materno, run by the Jewish dancer Charlotte Bara. It is during this period that Barbakoff’s fame reached its peak, and her image was distributed in more popular venues than German artistic society -- she found many spots in the highly popular photo-albums distributed by cigarette manufacturers of the time. 

Her success was not to last, and in 1933 she was forced to flee Germany in response to the rising tide of Nazism. Initially, she found great success in Paris, but she was captured as a result of the Vichy capitulation to the Nazis in 1940, detained, escaped and went into hiding, and was arrested again in Nice in 1944. The Nazis murdered her at Auschwitz in February of that year. She was 45.

Curator Guenter Goebbels of the Verborgene, or Hidden, Museum in Berlin, which “deals exclusively and programmatically with the public presentation and scholarly evaluation of the life's work of female artists who – for whatever reason – have been all but forgotten,” is largely to credit for the preservation of this pioneering dancer’s legacy. Over the course of 20 years, Goebbels tracked down images, sculptures, and texts about Barbakoff, culminating in a 2005 exhibition. Furthermore, her colleague Julia Tardy-Marcus established the Tatjana Barbakoff Dance Award in 1986, and noted German choreographer and dancer Oxana Chi was inspired by her to create the filmed dance piece/documentary/autoethnography Dancing Through Gardens. 

Read more: JWA biography, NPR review of the Verborgene Museum exhibit, about Dancing Through Gardens (and an interview on its creation), Albert Einstein’s print of Barbakoff by Jewish artist Max Pollack

[federer7]

Mary Wigman in Tanz der Sehnsucht aus dem Zyklus Die sieben Tänze des Lebens 1922. Via skd

Photo: Nini et Carry Hess

[pikasus-artenews]

The Photographers Nini and Carry Hess La raffinata capacità di ritrattiste rese famoso lo studio delle sorelle Nini e Carry Hess a Francoforte.La mostra cerca di rendere giustizia alle due fotografe ingiustamente quasi dimenticate.