- published: 31 Oct 2011
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Edward Kienholz (October 23, 1927 – June 10, 1994) was an American installation artist and assemblage sculptor whose work was highly critical of aspects of modern life. From 1972 onwards, he assembled much of his artwork in close collaboration with his artistic partner and fifth wife,Nancy Reddin Kienholz. Throughout much of their career, the work of the Kienholzes was more appreciated in Europe than in their native United States, though American museums have featured their art more prominently since the 1990s.
Art critic Brian Sewell called Edward Kienholz "the least known, most neglected and forgotten American artist of Jack Kerouac's Beat Generation of the 1950s, a contemporary of the writers Allen Ginsberg, William Burroughs and Norman Mailer, his visual imagery at least as grim, gritty, sordid and depressing as their literary vocabulary".
Edward Ralph Kienholz was born in Fairfield, Washington, in the dry eastern part of the state. He grew up on a wheat farm, learning carpentry, drafting and mechanical skills. His father was strict, and his mother was a religious fundamentalist. but the rebellious son longed to escape this constricted environment. He studied art at Eastern Washington College of Education and, briefly, at Whitworth College in Spokane, but did not receive any formal degree. After a series of odd jobs, working as an orderly in a psychiatric hospital, manager of a dance band, used car salesman, caterer, decorator and vacuum cleaner salesman, Kienholz settled in Los Angeles, where he became involved with the avant-garde art scene of the day.
Fondazione Prada, co-chaired by Miuccia Prada and Patrizio Bertelli since 1995, is an institution dedicated to contemporary art and culture. From 1993 to 2010, the Fondazione has organised 24 solo shows at its exhibition spaces in Milan, conceived as dialogues with internationally acclaimed contemporary artists such as Anish Kapoor (1995), Louise Bourgeois (1997), Sam Taylor-Wood (1998), Walter De Maria (1999), Enrico Castellani (2001), Steve McQueen (2005), Tom Sachs (2006), Nathalie Djurberg (2008) and John Baldessari (2010).
In the past 20 years, it has also promoted a rich cultural programme, such as film festivals (Tribeca Film Festival at Fondazione Prada”, 2004; “Italian Kings of the Bs. Secret History of Italian Cinema, 1949–1976”, 2004; “Secret History of Asian Cinema”, 2005; “Secret History of Russian Cinema”, 2007), multi-disciplinary and philosophy talks and architecture and design projects (“Herzog & de Meuron, OMA/AMO Rem Koolhaas. Projects for Prada. Works in Progress”, 2001; “Unveiling the Prada Foundation”, 2008; “Rotor: Ex Limbo”, 2011. In 2011, the Fondazione Prada opened a new exhibition space in Venice, the Ca’ Corner della Regina, a historic palazzo on the Grand Canal, which has hosted several collective exhibitions: “Fondazione Prada_Ca’ Corner”, 2011; “The Small Utopia. Ars multiplicata”, 2012, “When Attitudes Become Form: Bern 1969/Venice 2013”, 2013 and "Art or Sound", 2014.
Los Angeles (i/lɒs ˈændʒəlᵻs/ loss AN-jə-ləs or loss AN-jə-liss) (Spanish for "The Angels"), officially the City of Los Angeles and often known by its initials L.A., is the second-largest city in the United States after New York City, the most populous city in the state of California, and the county seat of Los Angeles County.
Situated in Southern California, Los Angeles is known for its mediterranean climate, ethnic diversity, sprawling metropolis, and as a major center of the American entertainment industry. Los Angeles lies in a large coastal basin surrounded on three sides by mountains reaching up to and over 10,000 feet (3,000 m).
Historically home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California. The city was officially founded on September 4, 1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence. In 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, thereby becoming part of the United States. Los Angeles was incorporated as a municipality on April 4, 1850, five months before California achieved statehood. The city experienced rapid growth with the discovery of oil.
A war memorial is a building, monument, statue or other edifice to celebrate a war or victory, or (predominating in modern times) to commemorate those who died or were injured in a war.
For most of human history war memorials were erected to commemorate great victories. In Napoleon's day, the dead were shoveled into mass, unmarked graves. The Arc de Triomphe in Paris and Nelson's Column in London contain no names of those killed.
However, by the end of the nineteenth century, it was common for regiments in the British Army to erect monuments to their comrades who had died in small Imperial Wars and these memorials would list their names. The Franco-Prussian War of 1870–71 was the first war in Europe in which rank-and-file soldiers were commemorated in war memorials. Every soldier was granted a permanent resting-place as part of the terms of the Treaty of Frankfurt (1871). By the early twentieth century some towns and cities in the United Kingdom raised the funds to commemorate the men from their communities who had fought and died in the Second Anglo-Boer War.
Nancy Reddin Kienholz (born December 9, 1943) is an American mixed media artist based in Hope, Idaho. She works in installation art, assemblage, photography, and lenticular printing. She is most famous for her collaborations with her husband and creative partner Edward Kienholz.
Reddin was born in Los Angeles, California in 1943. Her father, Thomas Reddin, was born in 1916 in New York City and worked in Los Angeles as a police officer; he would eventually serve as chief of the Los Angeles Police Department from 1967 to 1969. Her mother, real estate broker Betty Parsons Reddin, was born in 1921 in Denver, Colorado. Nancy was the youngest of three children, born after older brothers Thomas T. Reddin (1938 – 1985) and Michael Gray Reddin (b. 1942).
Reddin was first married at age 19. She had one child from this marriage, Christine, in 1964, but the marriage ended after two years. Reddin received no formal training in art, and worked several odd jobs in Los Angeles before beginning her collaborations with Ed Kienholz in 1972.
Rebellious, provocative, and ever polarizing, Kienholz's oeuvre has always caused quite a stir since its beginnings in the mid-1950s, first the works of Ed Kienholz alone, then later, from 1972 on, the collaborative projects with his wife, Nancy Reddin Kienholz. This is scarcely astonishing, since religion, war, death, and the more inscrutable sides of society and its social conflicts have always been at the center of their works. Dealing with such subjects as the sexual exploitation of women in prostitution, the role of the media, and the effects of ethnic conflicts,they pinpoint fractures of Western societies which have hardly been remedied to this day and thus lend the oeuvre its unmitigated topicality. But this contemporaneity is not due solely to the themes dealt with; today we vi...
The exhibition Kienholz: Five Car Stud at Fondazione Prada in Milan, Italy, brings together a selection of artworks realized by Edward Kienholz and Nancy Reddin Kienholz, including the work that gives the show its title. In this video, we have a look at the exhibition, and curator Germano Celant provides us with an introduction to the show. The video also includes an interview with Nancy Reddin Kienholz, who talks about how she and Edward worked together, and the actuality of their work. This video is an excerpt, the complete video is available at http://vernissage.tv The installation Five Car Stud is a life-sized reproduction of a scene of racial violence. The work has earned a lot of attention and controversy and is considered one of the artist’s most significant works. Edward Kienholz ...
Copyright Kienholz, courtesy of L.A. Louver, Venice, CA
Edward Kienholz (1927 - 1994) The Portable War Memorial / Das tragbare Kriegesdenkmal 1968 Environment from various materials, tape, Coca Cola automat / Environment aus diversen Materialien, Tonband, Coca-Cola Automat Museum Ludwig Köln / Cologne
In this video, curator Dana Miller discusses the Whitney Museum's care and handling of Peetie, the live bird included in Edward Kienholz' installation "The Wait" (1964-65), on view in the exhibition "Singular Visions."
"Kienholz On Exhibit", directed by June Steel, consists of audience reactions to a Edward Kienholz's 1966 exhibit at the Los Angeles County Museum of Art (LACMA), featuring well-known works such as "The Birthday", "Roxy's" and the controversial "Back Seat Dodge". Set against a cool soundtrack that saunters from "I'm Through With Love" to "Tell It Like It Is". For more on Edward Kienholz, check out http://www.lalouver.com/html/kienholz_bio.html
Edward Kienholz Five Car Stud Fondazione Prada Milano
Weitere Informationen auf: http://www.schirn-magazin.de/kienholz/ Rebellisch, provokant und polarisierend hat das Kienholz'sche OEuvre seit seinen Anfängen Mitte der 1950er-Jahre stets großes Aufsehen erregt: zunächst die Werke von Ed Kienholz allein, später, ab 1972, die gemeinschaftlichen Projekte mit seiner Frau Nancy Reddin Kienholz. Kaum verwunderlich, stehen doch Religion, Krieg, Tod, Sex und die abgründigeren Seiten der Gesellschaft mit ihren sozialen Konflikten im Zentrum der Arbeit. Mit Themen wie der sexuellen Ausbeutung der Frau in der Prostitution, der Rolle der Medien oder den Auswirkungen von ethnischen Konflikten legen sie den Finger auf Bruchstellen der westlichen Gesellschaften, die bis heute kaum gekittet worden sind und dem Werk eine ungebrochene Aktualität verleihen. ...
Edward Kienholz (* 23. Oktober 1927 in Fairfield, Washington; † 10. Juni 1994 Hope, Idaho) war ein amerikanischer Objekt- und Konzeptkünstler. Er gilt als einer der führenden neodadaistischen Künstler, die den Schritt vom dadaistischen Environment zur Objektmontage vollzogen haben. Leben In den 1950er Jahren begann Kienholz, der nie eine Kunstakademie besuchte und daher weitgehend Autodidakt war, sein künstlerisches Schaffen mit Holzreliefs, er ging nach und nach zur Dreidimensionalität über. Seine Materialien sind objets trouvés, in seinem Fall kann man sie aber auch objets cherchés nennen, da er gezielt auf Trödelmärkten nach Gegenständen für seine Kunst suchte. Wichtig war für ihn, seine Environments mithilfe von Lack oder Farbe zu einer Einheit zu verbinden. Effekte wie zum Beispiel ...
To coincide with the opening of 'Re-View: Onnasch Collection', curator Paul Schimmel gave a talk on the late Edward Kienholz. Hauser & Wirth London, Piccadilly, Tuesday 17 September 2013 Exhibition: http://bit.ly/16xAqX5
The exhibition Kienholz: Five Car Stud at Fondazione Prada in Milan, Italy, brings together a selection of artworks realized by Edward Kienholz and Nancy Reddin Kienholz, including the work that gives the show its title. In this video, we have a look at the exhibition, and curator Germano Celant provides us with an introduction to the show. The video also includes an interview with Nancy Reddin Kienholz, who talks about how she and Edward worked together, and the actuality of their work. This video is an excerpt, the complete video is available at http://vernissage.tv The installation Five Car Stud is a life-sized reproduction of a scene of racial violence. The work has earned a lot of attention and controversy and is considered one of the artist’s most significant works. Edward Kienholz ...
Curator Colin Wiggins introduces 'Kienholz: The Hoerengracht', a new installation at the National Gallery recreating a scene from Amsterdam's Red Light district. Featuring interviews with artist Nancy Kienholz. Discover more on the National Gallery website: http://www.nationalgallery.org.uk/whats-on/exhibitions/kienholz-the-hoerengracht
More interviews and artists at: http://www.artsconversations.org/ Please, also visit our main website: http://www.netropolitan.org/ A conversation with the american artist Ed Moses by Lyn Kienholz at the annual meeting of The Pasadena Art Alliance. www.netropolitan.org © 2006
Mario Ybarra, Jr. is an artist, educator, and activist deeply involved in the Mexican-American community and street culture of greater Los Angeles. He is co-founder, with Karla Diaz, of Slanguage, an artist group based in Wilmington, CA, that promotes intergenerational art education and cross-community discussion of contemporary art. About the video series: LACMA's Artists on Art videos offer insights into works in the museum's encyclopedic collection that have inspired and informed artists working today. Looking at art through their eyes, we hear directly from artists about works that intrigue them and have fed their own creativity. http://www.lacma.org/artistsonart
Rebellious, provocative, and ever polarizing, Kienholz's oeuvre has always caused quite a stir since its beginnings in the mid-1950s, first the works of Ed Kienholz alone, then later, from 1972 on, the collaborative projects with his wife, Nancy Reddin Kienholz. This is scarcely astonishing, since religion, war, death, and the more inscrutable sides of society and its social conflicts have always been at the center of their works. Dealing with such subjects as the sexual exploitation of women in prostitution, the role of the media, and the effects of ethnic conflicts,they pinpoint fractures of Western societies which have hardly been remedied to this day and thus lend the oeuvre its unmitigated topicality. But this contemporaneity is not due solely to the themes dealt with; today we vi...
Ed Kienholz and Nancy Reddin Kienholz, Useful Art #5: The Western Hotel, 1992 More free lessons at: http://www.khanacademy.org/video?v=WhGOmAwuQTE (Portland Art Museum) Speakers: Tina Olsen, Bruce Guenther
POP CLASSICS - THE POP ARTISTS EXTRA FEATURES: INTERVIEW MED MONA JENSEN THE ANDY WARHOL ROOM Det nye ARoS Aarhus Kunstmuseum indbød 29. maj 2004 publikum til det første store udstillingsshow i museets mere end 1000 kvadratmeter store særudstillingsgalleri. Udstillingen "POP CLASSICS" viste hovedværker fra den amerikanske popkunst. "POP CLASSICS" omfattede værker fra 1956 til 1975 med hovedvægten lagt på popkunstens storhedstid i 1960'erne. Udstillingen bød på både maleri, combines, grafik, skulptur og installation. Til de sidstnævnte hører blandt andre store installationer som Robert Raschenbergs 'Soundings' (1968), James Rosenquists 'Horse Blinders' (1968-69) og Edward Kienholz' berømte værk 'The Portable War Memorial' (1968), der ikke havde været ud...
More interviews and artists at: http://www.artsconversations.org/ Please, also visit our main website: http://www.netropolitan.org/ An interview with photographer Tadzio Pacquement by Lyn Kienholz and Rohini Talalla for Netropolitan: Museum without walls. www.netropolitan.org ©2006
More interviews and artists at: http://www.artsconversations.org/ Please, also visit our main website: http://www.netropolitan.org/ An interview with photographer Zelda Georgel by Lyn Kienholz for Netropolitan: Museum without walls.
Rebellious, provocative, and ever polarizing, Kienholz's oeuvre has always caused quite a stir since its beginnings in the mid-1950s, first the works of Ed Kienholz alone, then later, from 1972 on, the collaborative projects with his wife, Nancy Reddin Kienholz. This is scarcely astonishing, since religion, war, death, and the more inscrutable sides of society and its social conflicts have always been at the center of their works. Dealing with such subjects as the sexual exploitation of women in prostitution, the role of the media, and the effects of ethnic conflicts,they pinpoint fractures of Western societies which have hardly been remedied to this day and thus lend the oeuvre its unmitigated topicality. But this contemporaneity is not due solely to the themes dealt with; today we vi...
The exhibition Kienholz: Five Car Stud at Fondazione Prada in Milan, Italy, brings together a selection of artworks realized by Edward Kienholz and Nancy Reddin Kienholz, including the work that gives the show its title. In this video, we have a look at the exhibition, and curator Germano Celant provides us with an introduction to the show. The video also includes an interview with Nancy Reddin Kienholz, who talks about how she and Edward worked together, and the actuality of their work. This video is an excerpt, the complete video is available at http://vernissage.tv The installation Five Car Stud is a life-sized reproduction of a scene of racial violence. The work has earned a lot of attention and controversy and is considered one of the artist’s most significant works. Edward Kienholz ...
Copyright Kienholz, courtesy of L.A. Louver, Venice, CA
Edward Kienholz (1927 - 1994) The Portable War Memorial / Das tragbare Kriegesdenkmal 1968 Environment from various materials, tape, Coca Cola automat / Environment aus diversen Materialien, Tonband, Coca-Cola Automat Museum Ludwig Köln / Cologne
In this video, curator Dana Miller discusses the Whitney Museum's care and handling of Peetie, the live bird included in Edward Kienholz' installation "The Wait" (1964-65), on view in the exhibition "Singular Visions."
"Kienholz On Exhibit", directed by June Steel, consists of audience reactions to a Edward Kienholz's 1966 exhibit at the Los Angeles County Museum of Art (LACMA), featuring well-known works such as "The Birthday", "Roxy's" and the controversial "Back Seat Dodge". Set against a cool soundtrack that saunters from "I'm Through With Love" to "Tell It Like It Is". For more on Edward Kienholz, check out http://www.lalouver.com/html/kienholz_bio.html
Edward Kienholz Five Car Stud Fondazione Prada Milano
Weitere Informationen auf: http://www.schirn-magazin.de/kienholz/ Rebellisch, provokant und polarisierend hat das Kienholz'sche OEuvre seit seinen Anfängen Mitte der 1950er-Jahre stets großes Aufsehen erregt: zunächst die Werke von Ed Kienholz allein, später, ab 1972, die gemeinschaftlichen Projekte mit seiner Frau Nancy Reddin Kienholz. Kaum verwunderlich, stehen doch Religion, Krieg, Tod, Sex und die abgründigeren Seiten der Gesellschaft mit ihren sozialen Konflikten im Zentrum der Arbeit. Mit Themen wie der sexuellen Ausbeutung der Frau in der Prostitution, der Rolle der Medien oder den Auswirkungen von ethnischen Konflikten legen sie den Finger auf Bruchstellen der westlichen Gesellschaften, die bis heute kaum gekittet worden sind und dem Werk eine ungebrochene Aktualität verleihen. ...
Edward Kienholz (* 23. Oktober 1927 in Fairfield, Washington; † 10. Juni 1994 Hope, Idaho) war ein amerikanischer Objekt- und Konzeptkünstler. Er gilt als einer der führenden neodadaistischen Künstler, die den Schritt vom dadaistischen Environment zur Objektmontage vollzogen haben. Leben In den 1950er Jahren begann Kienholz, der nie eine Kunstakademie besuchte und daher weitgehend Autodidakt war, sein künstlerisches Schaffen mit Holzreliefs, er ging nach und nach zur Dreidimensionalität über. Seine Materialien sind objets trouvés, in seinem Fall kann man sie aber auch objets cherchés nennen, da er gezielt auf Trödelmärkten nach Gegenständen für seine Kunst suchte. Wichtig war für ihn, seine Environments mithilfe von Lack oder Farbe zu einer Einheit zu verbinden. Effekte wie zum Beispiel ...
To coincide with the opening of 'Re-View: Onnasch Collection', curator Paul Schimmel gave a talk on the late Edward Kienholz. Hauser & Wirth London, Piccadilly, Tuesday 17 September 2013 Exhibition: http://bit.ly/16xAqX5
"Kienholz On Exhibit", directed by June Steel, consists of audience reactions to a Edward Kienholz's 1966 exhibit at the Los Angeles County Museum of Art (LACMA), featuring well-known works such as "The Birthday", "Roxy's" and the controversial "Back Seat Dodge". Set against a cool soundtrack that saunters from "I'm Through With Love" to "Tell It Like It Is". For more on Edward Kienholz, check out http://www.lalouver.com/html/kienholz_bio.html
Edward Kienholz (* 23. Oktober 1927 in Fairfield, Washington; † 10. Juni 1994 Hope, Idaho) war ein amerikanischer Objekt- und Konzeptkünstler. Er gilt als einer der führenden neodadaistischen Künstler, die den Schritt vom dadaistischen Environment zur Objektmontage vollzogen haben. Leben In den 1950er Jahren begann Kienholz, der nie eine Kunstakademie besuchte und daher weitgehend Autodidakt war, sein künstlerisches Schaffen mit Holzreliefs, er ging nach und nach zur Dreidimensionalität über. Seine Materialien sind objets trouvés, in seinem Fall kann man sie aber auch objets cherchés nennen, da er gezielt auf Trödelmärkten nach Gegenständen für seine Kunst suchte. Wichtig war für ihn, seine Environments mithilfe von Lack oder Farbe zu einer Einheit zu verbinden. Effekte wie zum Beispiel ...
To coincide with the opening of 'Re-View: Onnasch Collection', curator Paul Schimmel gave a talk on the late Edward Kienholz. Hauser & Wirth London, Piccadilly, Tuesday 17 September 2013 Exhibition: http://bit.ly/16xAqX5
Using assemblage artist Edward Kienholz’s harrowing 1970 lynching tableau Five Car Stud as a point of departure, New York Institute for the Humanities at NYU director emeritus (and veteran New Yorker staff writer) Lawrence Weschler will explore some of the ways in which race has served as the radioactive core of American history, continually warping the potential for ordinary class-based politics and accounting for all manner of perverse American exceptionalisms--the subject of Weschler's current work-in-progress. This annual series is made possible by the generosity of Clarice Smith.
Los Angeles artists Ed Bereal, Mel Edwards, George Herms, Nancy Reddin Kienholz, and Betye Saar all made assemblage works that reflected on the charged political climate of postwar America. They used found materials to produce complex objects that engaged with issues including the civil rights movement, the war in Vietnam, and the censorship of art. This lively discussion explores how the medium of assemblage sculpture emerged and continues to thrive as a tool of social critique and transformation. The conversation was moderated by Lucy Bradnock, research associate at the Getty Research Institute. Learn more about this event at the Getty Research Institute's website. http://www.getty.edu/research/exhibitions_events/events/assemblage_politics/index.html
Buy on iTunes: https://itunes.apple.com/us/movie/cool-school-story-ferus-art/id281974357?ign-mpt=uo%3D4 The Cool School is an object lesson in how to build an art scene from scratch and what to avoid in the process. The film focuses on the seminal Ferus Gallery, which groomed the LA art scene from a loose band of idealistic beatniks into a coterie of competitive, often brilliant artists, including Ed Kienholz, Ed Ruscha, Craig Kauffman, Wallace Berman, Ed Moses and Robert Irwin. The Ferus also served as launching point for New York imports, Andy Warhol (hosting his first Soup Can show), Jasper Johns and Roy Lichtenstein as well as leading to the first Pop Art show and Marcel Duchamp's first retrospective. What was lost and gained is tied up in a complex web of egos, passions, money, and ar...
Gallery owner, collector, and patron Virginia Dwan talks with exhibition curator James Meyer (Curator of Art, 1945-1974, National Gallery of Art, Washington DC) and LACMA Senior Curator of Modern Art Stephanie Barron. Dwan was one of the most influential champions of avant-garde art in America in the mid-twentieth century. In her galleries in Westwood (1959-1967) and New York (1965-1971) Dwan presented groundbreaking exhibitions by artists such as Edward Kienholz, Yves Klein, Robert Morris, Claes Oldenburg, and Robert Smithson -- among many others -- and she was one of the greatest supporters of earthworks. In this conversation Dwan, Meyer, and Barron talk about the storied history of the Dwan Gallery and the artists who exhibited there. This event took place in conjunction with "Los Ange...
Die Ausstellung, die buchstäblich unter die Haut geht und niemand gleichgültig lässt. Über 8 Millionen Menschen haben sie schon bewundert: Die echten anatomischen Präparate des Prof. von Hagens einzigartig schön und lehrreich. Erleben Sie ein digitales Wiedersehen mit dem Läufer, dem Schachspieler, dem Hautmann und den anderen Plastinaten. Lernen Sie den Mann hinter den KÖRPERWELTEN kennen, seine bahnbrechende Erfindung, seine Arbeit.
Curator Paul Schimmel introduces his exhibition "Destroy the Picture: Painting the Void, 1949-1962" in this video featuring archival footage of Yves Klein and Salvatore Scarpitta and paintings by Japanese, European, and American artists influenced by the destruction wrought by World War II. Thanks to Paul Schimmel for his generous participation, as well as to the artists and their representatives: Lee Bontecou, Alberto Burri, Niki de Saint Phalle, Gérard Deschamps, François Dufrêne, Jean Fautrier, Lucio Fontana, Adolf Frohner, Raymond Hains, Yves Klein, John Latham, Robert Mallary, Gustav Metzger, Manolo MIllares, Otto Muehl, Saburo Murakami, Robert Rauschenberg, Mimmo Rotella, Salvatore Scarpitta, Shozo Shimamoto, Kazuo Shiraga, Antoni Tàpies, Chiyu Uemae, Jacques Villeglé, Wolf Vostell...
Kein Zweifel: Eine Demenz-Diagnose gibt Ausblick auf ein tristes Schicksal, ein Hinwegdämmern in eine Welt des Vergessens. Eine ARD-Dokumentation fahndete nach guten Nachrichten für Alzheimer-Patienten -- mit Erfolg. Am auffälligsten an dieser ARD-Dokumentation ist: Es geht um ein zutiefst betrübliches Thema -- und dennoch sehen wir viele fröhliche Gesichter. Was daran liegt, dass die Filmemacher sich zum Ziel gesetzt haben, in einem Meer aus Tränen und Verzweiflung nach Inseln zu suchen. Nach Inseln der Hoffnung. Das Meer, das ist die Seuche alternder Gesellschaften: Demenz. Eine Insel, die der 30-Minuten-Beitrag „Die Welt des Vergessens -- Würdevoll leben trotz Demenz" fernab der Bundesrepublik gefunden hat, ist: die Stadt Chiang Mai in Thailand. Dort führen Alzheimer-Patienten ein Lebe...