There are also heat pumps in beautiful: The favorites of the week – culture

Design: Heat Pump Hideout

As the CEO of CAV (Climatic Art Vision), Sigrid Amling is a climate change winner. what to give her. But also the environment. Because the company, which was only founded in 2019, offers panels for air conditioning systems and heat pumps on. Good this way. There are 16 million single-family homes in Germany. Which are now gradually being equipped with heat pumps. Which leads to the problem that the heat pump, although it may be ecologically welcome under certain circumstances, is mostly congenial to the toilet window, residual waste bin and the sign “Towing here!” fits. What German houses like to greet their visitors with. The heat pump, the size of half a small car, is therefore increasingly becoming another problem area – alongside the photovoltaic installation on the roof. Cladding heat pumps: it is an act of mercy. Gerhard Matzig

Series: Slow Horses

That’s not how anyone imagines an agent.

(Photo: Apple TV+)

Two spies meet at the Asian’s, the young agent River Cartwright and his boss Jason Lamb, who is busy with a noodle dish. After a short time, the boy changes from the seat opposite to the one next to his mentor – and anyone who has seen the first season of the Apple series “Slow Horses” knows why: not because there are highly secret things to be discussed, but because River simply can’t take it anymore to watch Lamb eat, slurp and smack.

Jackson Lamb is a gruesome eminence of Britain’s MI5, once a top agent, now he’s a scruffy, misshapen creature running the bizarre department Slough House runs – a closet for young losers on duty. Who screwed up at some point and are despised by the right agents, but still hope for a comeback. Lamb – the first thing he does in his gloomy office is to kick off his slippers and get out his bottle – spends most of his working hours bullying the young people he is entrusted with. A kindergarten where the kindergarten teacher is the worst child.

Mick Herron’s novels about the “lame horses” in Slough House are also bestsellers in German. In Apple’s second season (six episodes, directed by Jeremy Lovering), based on the novel Dead Lions, Lamb comes into strong personal action, and he still has many tricks up his sleeve when it comes to tracking, interrogating, combining – he is embodied by Gary Oldman, who still has the respectable agent aura that he had as George Smiley in the Le Carré film “Queen, King, Ace, Spy”. “Soho has changed,” he murmurs as he sees surveillance footage of the neighborhood, “where are all the whores and junkies…”

The new season is about Russian oligarchs and defectors, about energy supplies and diamonds, but also about very personal feelings of revenge from the Cold War. The kids are on fire, over-adapted, they want to prove (themselves) that they can do a good job. Agent work as a tricky life-size chess game – that’s why the crazy “immortal game” between Kieseritzky and Anderssen is celebrated. You feel good in the circle of these losers, these underdogs, all of them losers & misfits & boozerscelebrating Mick Jagger in the theme song…

Four episodes have been shown so far, and the series will end on the penultimate day of this year. Fritz Goettler

Sound Art: Radio Art Zone

Favorite of the week: The project "Radio Art Zone" documents the soundtrack of the Capital of Culture year in Luxembourg.

The “Radio Art Zone” project documents the soundtrack of the Capital of Culture year in Luxembourg.

(Photo: Radio Art Zone)

In the context of the voluminous audio project Radio Art Zone, the name of this team is a subtle joke: “60 Secondes Radio”. The job wasn’t to do one minute of radio. But 22 hours. And such an order was given to 99 other artists and companies. The Radio Art Zone was curated by Sarah Washington and Knut Aufermann, it was part of the program of the Capital of Culture year in Esch/Luxembourg: sound art almost around the clock for a hundred days, broadcast via local radio ARA and as a live stream. Now these radio art projects are permanently on the platform radioart.zone accessible. Some of this who’s who of the scene is contemplative, others disturbing. Field recordings stand next to electro compositions. Right in the middle, 60 Secondes Radio stages a sequence of 1320 countdowns and Mariola Brillowska celebrates a wild Polish wedding for one day. Stephen Fisher

Comic: Where’s Anne Frank

Favorites of the week: Ari Folman, Lena Guberman: "Where's Anne Frank - A Graphic Novel"S. Fischer, 22 euros

Ari Folman, Lena Guberman: “Where is Anne Frank – A Graphic Novel”, S.Fischer, 22 euros

(Photo: S.Fischer Verlag)

Anne Frank addressed the entries in her famous diary to an imaginary friend named Kitty. In comics “Where is Anne Frank” (S. Fischer) Kitty is brought to life by Israeli director Ari Folman (“Waltz with Bashir”), who adapted “The Diary of Anne Frank” as a comic in 2017. In the next volume, Kitty emerges from the ink of the diary, blue-eyed, red-haired and as vivacious as her creator – a great idea for a graphic narrative (illustration: Lena Gruberman). In present-day Amsterdam, Kitty is looking for her friend Anne, is pursued as the thief of the diary and becomes friends with the refugee boy Peter. Action and love story elements, plus pleasing drawings, make it easier for younger readers to access the story, which is also convincingly brought into the present day by linking it to the refugee topic (for readers aged 10 and over, the film of the same name, also directed by Folman, starts in February in the cinema). Martina Knoben

Classic: André Schuen

Favorites of the week: André Schuen's new album with songs by Franz Schubert.

André Schuen’s new album with songs by Franz Schubert.

(Photo: Deutsche Grammophon)

Currently you can Baritone André Schuen in the Munich new production of Richard Wagner’s “Lohengrin” and now also in a new album with songs by Franz Schubert. Doesn’t sound very exciting, but it is. Not only because the 27-year-old Schuen is currently at the peak of his enormous ability, but because, unlike other great baritones, he is equally convincing in opera and song and usually very enthusiastic. In “Lohengrin” he elevates the role of the herald only musically from the royal adlatus to the state-supporting position, and in Franz Schubert’s song cycle “Schwanengesang” (DG) he shows in many ways why both singers and listeners can relate to the Viennese classic The threshold to romance can and should be listened to anew. Schuen has a soft enamel, at times almost as intense in sound as his colleague Bo Skovhus, always retaining a clearly structured vocal core, which not only has an easy recognition value, but also a basic stability that is immediately transmitted to the listener. This certainty allows freedom in design that does not unsettle the listener. You always feel every change of mood in detail as an enrichment, as a pleasant surprise, never as frightening nervousness. And while Schuen used to focus a little on this sound-structuring core, it has recently seemed more relaxed than ever. Everything seems to flow to him, and so does the listener, who can be drawn into the small dramas from the poems of Ludwig Rellstab, Johann Gabriel Seidl and Heinrich Heine in an effortless, almost unfocused and thoughtless manner. Schubert and Schuen agree that the musico-dramatic means must be used very sparingly and purposefully, i.e. very effectively, in order to have a subliminal psychological effect rather than being overcharged with obvious emotions and bold text interpretation that arise anyway. Helmut Mauro

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