Andreas Weiland


Andreas Weiland (born 1944[1]) is a bilingual poet.[2] He writes in English, but also in German.[3] His poetry has repeatedly caused positive echos 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 well-known and not so well-known artists and a few filmmakers (thus Jean Marie-Straub[7] Dore O., and Werner Nekes[8]) also cared for his poetry. Weiland is also an art and film critic.[9]

Life and work

The early years

Weiland was born on Oct. 14, 1944 into a pettybourgeois family in Northwest Germany.[10] He studied American literature in Bochum (Germany).[11] In 1967 he founded the poetry magazine Touch together with Steven R. Diamant.The journal is available in the Yale University Library (see World Cat: [http://www.worldcat.org/title/touch/oclc/701816106&referer=brief_results Touch. (Journal, magazine) [WorldCat.org] www.worldcat.org Get this from a library! Touch.. ]); the Bodleian Library, Oxford University () and the DNB Deutsche Nationalbibliothek (see ).Massimo Bacigalupo called it “una rivista d'avanguardia” (a journal of the avant-garde).[12] According to the critic Pavel Branko, the texts written by Weiland that were published in this “journal … showed him not only as a poet but also as a perceptive art critic of unconventional art scenes and as an analyst of independent, non-commercial film. Many times over his criticism stung me and let me feel that feeling of envy – that someone has something that one has not.”[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 a number of “Angry Young Men” – thus Pete Brown, Libby Houston, Adrian Mitchell, Frances Horovitz.[17] And he had a poetry reading together with the British “Beat” poet Michael Horovitz in Bochum in the late 1960s.[18] Traveling to Rome in the summer of 1968 with Steven Diamant, he stayed there for a few weeks, saw films of Cinema indipendente filmmakers, and met the poets and filmmakers Massimo Bacigalupo, Piero Heliczer, and Guido Lombardi.

In the 1970s, he wrote a poetic text inspired by the video film Herman dances alone that was shot by the filmmaker and painter Tony Morgan, wjo is also known for his artistic collaboration with Daniel Spoerri. He read the Amsterdam-based avant-garde art gallery De Appel when both Tony Morgan and the poet were invited to come to Amsterdam for this purpose by the deceased director or manager of the gallery, Wies Smals. There exist mimeographed copies of this text, printed by De Appel.[19]

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.”[20]. Seven years later, Jean-Marie Straub reacted again very positively to Weiland's poetry, as an interview of the poet done by Linda Lombardi reveals. It is published in the journal Art in Society, and it includes the reproduction of a postcard that the poet got from Jean-Marie Straub in 1982. In this card, Straub thanks the poet for “the good poems” which he has received from him. [21]. Jean-Marie Straub and Daniele Huillet had probably read the typescript of a projected volume of poetry that was also sent to others, such as Jürgen Theobaldy (who had already shown a number of poems by Weiland to Nicolas Born in the 1970s).[22] This typescript can only have been identical with the big quantity of poems that Erich Fried had reacted to, in 1981. (The poems were later published as Gedichte aus einem dunklen Land – the “dark,” terrible land referred to in the title being apparently Germany.)

Years in Taiwan

During the second half of the 1970s, the poet worked for several years as a lecturer at the dept. of German and dept. of English of a university in Taiwan.[23] In Taiwan, he founded a journal called 街頭 / Street.[24] In that period, there were many street protests against the KMT dictatorship. When he published two writers who had previously been imprisoned by the KMT, the journal was closed down by the regime.[25] According to his “List of publications,” he published articles in such Chinese magazines as Yinxiang (magazine and Artist Magazine.[26] Two articles published in Artist Magazine were later on republished in a small book, Day for Night in Taipei, Notes of A Cinéaste.[27] An article by him that was published in Yinxiang (magazineabout a film by the Indonesian film director Wim Umboh has been republished in Art in Society.[28] The journal mentions that Weiland interviewed Wim Umboh in Taipei when Umboh's film “Plastic Flowers, scheduled to be screened during the Taipei International Film Festival of 1978, was outlawed by the KMT regime. The poet managed to attend a private screening of the forbidden film. In addition to articles about art and the cinema that the poet wrote and published in Taiwan, his “list of publications” also mentions a number of articles that he wrote in those years about performances of the Cloud Gate Dance Theater.

The 1980s and 90s

Since the early 1980s, Weiland worked as a planning historian at the dept. of planning theory of Aachen Technical University.[29] As a planning historian, Weiland published a number of articles.[30] An interdiscipliary article that crossed the boundary between urbanistics and “discourse theory” appeared in [[Jürgen Link]'s journal kultuRRevolution.[31] This journal also published a number of his poems.[32] He continued to write poetry and it seems that he also continued to corresponded with poets, among them Jürgen Theobaldy[33], Erich Fried[34] and perhaps also John Wieners, with whom he was already in touch in 1973 (see John Wiener's letter to Weiland, in Street Voice, #2)[35] and certainly Cid Corman (until Corman died, it seems).[36]. When he read his poetry, it was very often in the context of art exhibitions. Thus he read his poems in the Villa Ichon (a cultural center) in Bremen in 1986 in conjunction with Wilfried (“Willi”) Seeba's exhibition.[37] In Aachen, he read his poems in the Karmán Auditory during an event organized for him by the late Peter Klein of the renowned Buchhandlung Backhaus that also invited such poets as Volker Braun.[38] And he read his poems in this university town when he was invited to so during the exhibitions of artists like Lui Rummler (http://www.art-in-society.de/AS1/images/LUI-RUMMLER.pdf) and Peter Lacroix. It is also necessay to mention his poetic participation in the art projects and exhibition of such artists as 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 A. Evelyn's catalogue “Burning Cloud and Other Themes” when the artist had a big single exhibition in the RhoK (Flemish art academy) in Brussels in 1987.[39] In 1987, the poet participated in the feminist art project “Unter einem Himmel” (“Under one and the same sky”, gallery of Schloss Borbeck[40], Essen, that was organized and curated by [[Doris Schöttler-Boll] in 1986-1988. Here, he introduced the female Korean artist Eu-nim Ro to the public and read his poetry. And two years later, he participated in the project “Wo bleibst Du, Revolution? (Where are you waiting, Revolution?)” (Museum of Modern Art, Bochum, Germany)[41]. With Fang Weigui, he translated one hundred and fifty-five poems written by the ancient Chinese poet Bai Juyi.[42] The book, 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).[43]

The new millenium (2000 – )

Weiland read his poems frequently during diverse events organized by [[Doris Schöttler-Boll] in the Atelierhaus (art house) in Essen Steele. Thus he presented poems of his new poetry book “Die Tage, das Zeitalter” (The Days, the Age...) during the “Long Night of Poets” (Sept. 21, 2001) – an event that also featured the poets Angelika Janz, Christina Schlegel, D.E. Sattler, Ina Kurz, Matthias Schamp y Urs Jaeggi.[44] When the late Hans van der Grinten, a friend of Joseph Beuys and an early collector of his works, invited Angelo Evelyn to do a big single exhibition in the museum of his hometown, Kranenburg (a retrospective, in celebration of the 60th birthday of the artist), Weiland was invited to read his poetry. Because Hans van der Grinten died, the exhibition was curated by Marcela van der Grinten. Prof. Wolfgang Schmitz gave the introductory talk; Weiland and the musician Gunter Pasler (London/Leipzig) did a poetry & jazz performance.[45] The new poems read during the vernissage were inspired by works of the Canadian artist. They appeared in print in 2003.[46] Weiland also read recently written poetry in the context of a series of events curated by the artist Li Portenlänger.[47] In one case, the result was a small poetry book with an original lithographic art work by Li Portenlänger.[48] And he 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[49], and in the big “Demer” project of Luc Piron (that was exhibited in Diest, Belgium, in 2014).[50] His cooperation with the Belgian artist Luc Piron (a recipient of the State Prize for Art) resulted in a number of artist books with Piron's art works and Weiland's poems.[51] In recent years, Weiland has started two multi-lingual online magazines. One of these is called Street Voice in English. For the sixth issue of this poetry journal, he has translated poetry from the Mongolian language (together with the poet Hadaa Sendoo).[52]

He has been published since 1966 in a number of literary journals and his poems have also been translated into diverse 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).


Book publications (A selection)

Rotterdam (Symposium Verlag) 1998

Rotterdam [etc.] (Jietou Press) 1999, 2da edición 2001

Rotterdam (Symposium Press) 2000

Rotterdam (Symposium Press) 2000

Rotterdam (Symposium Press) 2001

Rotterdam (Symposium Press) 2003, 2da edición 2004

Rotterdam (Symposium Press) 2003

Paris (Jietou) 2005

External links

  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 ») – echos 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 ().
  5. ↑ “Nicolas Born called him a « born lyrical poet » (“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 (distiguished professor, Beijing Normal University) points out. See Weigui Fang, “Nachwort”, in : W. Fang(ed.), 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, the University College London, Oxford University, and Glasgow University; it is also listed in the catalogue of the Austrian Landes-libraries (Österreichische Landesbibliotheken), see: and it is also listed in the UniCat (Union Catalogue of Belgian Libraries), see:
  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. ↑ See Massimo Bacigalupo and Anna Lucia Giavotto (eds.), Critica del Novecento / Criticizing the Twentieth Century, Genova : Tilgher, 2001, p. 429.
  13. ↑ See Pavel Branko: “Od roku 1967 spoluvydával filmový a literárny mesačník Dotyk (Touch), kde publikoval nielen ako básnik, ale aj ako vnímavý výtvarný kritik nekonvenčnej scény a ako analytik nezávislého, nekomerčného filmu. Nad nejednou jeho kritikou ma bodne osteň závisti – na také čosi nemáš...” This assessment by Pavel Branko appeared in the Slovakian literary journal Romboid (Bratislava) Vol. XLIII, No. 8, 2008, S. 67. – ISSN 0231-6714.
  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 Libary, 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. ↑ This is mentioned in: “When Herman Danced Alone. About a video film and some paintings. In memory of Tony Morgan,” in: Art in Society, issue # 13 (); see also Tony Morgan, “Above the Mountain” / for Andreas Wieland (1985) (). – And see : Tony Morgan, “Herman Dances Alone”. Video; b/w., sound. 1976. Duration: 54'; Screens: 1; Exhibition: De Appel Institute (), see also: . And see: Arts Centre: .
  20. ↑ ”It encompasses nearly all my hopes with regard to the film.” See: Cahiers du Cinéma, n. 258-259 (juillet-août 1975), p. 24. See ; -
  21. ↑ Straub mentioned also that the film DALLA NUBE... (recently completed) would be shown by German television. This indicates that the card was sent in 1982. See Linda Lombardi's interview with Weiland, entitled “Vom Schreiben über "Straub-Film(e)"! Ein Interview” (Writing about “Straub film(s)! An Interview), in: Art in Society, issue # 16, ISSN 1618-2154. .
  22. ↑ See: Weigui Fang (ed.), Den Kranich fragen, p. 346.
  23. ↑ SeeJürgen Theobaldy (ed.), Und ich bewege mich doch. Gedichte vor und nach 1968. München : Verlag C.H. Beck, 2d a edición 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...”.
  24. ↑ 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: . This journal republished an article or articles originally published in 街頭 / Street.
  25. ↑ 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 no. 15, . 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.
  26. ↑ 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, Dec. 1976, and his article about the Taiwanese film “Mother Is Thirty”, in the same journal.
  27. ↑ See: . Also: RWTH Aachen University, OPAC catalogue [0=-1&searchString[0]=Day+for+Night+in+Taipei&combinationOperator[1]=AND&searchCategories[1]=100&searchString[1]=&combinationOperator[2]=AND&searchCategories[2]=200&searchString[2]=&submitButtonCall_submitSearch=Suchen&coverAnzeige=Y&selectedBranchView=0&linguistic=false&numberOfHits=25&rememberList=-1&timeOut=120&considerSearchRestriction=1&dbSelection[0]=2.]
  28. ↑ See: Art in Society, issue # 6 ().
  29. ↑ See the PT Lehrstuhl für Planungstheorie website of RWTH Aachen University: that mentions him nowadays as a former member of the academic staff; and see 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.
  30. ↑ 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).
  31. ↑ 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.”
  32. ↑ See his List of pulications.”
  33. ↑ see the correspondence between Jürgen Theobaldy and Andreas Weiland that is archived in Switzerland: ; 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: .
  34. ↑ Erich Fried had written him in 1981, “For a long time, I have not seen poems that I considered to be so good and important” (he is 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: .
  35. ↑ See: and ; in this letter, John Wieners told Weiland, “I adore your own poems”...
  36. ↑ 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.”
  37. ↑ See: .
  38. ↑ 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.
  39. ↑ 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.
  40. ↑ 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.
  41. ↑ 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.
  42. ↑ 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.
  43. ↑ 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, número 1/2007, p. 129-130 – ISSN 0936-4099; also online: ; .
  44. ↑ See: , and . – 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, Sept.26, 2004 , 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, .[or html?]
  45. ↑ See: Angelo Evelyn, Christian Krausch, Wolfgang Schmitz, Nature - D - Nature- D, Aachen and Rotterdam : Symposium Press, 2003. 56pp. ISBN 3-937035-09-05, and a number of articles about the event that appeared in the press.
  46. ↑ See: Andreas Weiland, The Kranenburg Poems. (With twenty-eight reproductions of art works by Angelo Evelyn). Aachen and Rotterdam : Symposium Press, 2nd edition 2004, ISBN 3-937035-10-9. – The book was reviewed positively in the South German daily Donaukurier. See klf, “Dichtung, die dem Maler auf die Spur kommt,” in: Donaukurier, July 30, 2004, also online: http://www.donaukurier.de/lokales/eichstaett/5LES31-Dichtung-die-dem-Maler-auf-die-Spur-kommt;art575,813462.
  47. ↑ See for example “An einem ganz besonderen Ort”, an article in the daily newspaper Donaukurier, June 29, 2010, . And
  48. ↑ 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 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 subjet 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.
  49. ↑ See the daily paper Donaukurier, Nov. 4, 2005 , and in the same paper, Nov. 16, 2005, ; 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 Jan. 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.
  50. ↑ See Hedwig Neesen, “Ode aan de Demer in 200 foto's”, published in the Belgian newspaper Het Nieuwsblad, February 23, 2014, also online: and the article “Fototentoonstelling toont Demer tijdens alle seizonen”, in the newspaper Het laatste nieuws, February 25, 2014; also online: .
  51. ↑ See the poet's “List of publications”
  52. ↑ See Hadaa Sendoo, “Fifteen Poems,” in: Voces de la calle # 6, http://www.street-voice.de/SV6/SVissue6.html.
  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.)
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