The role of the object also changed. From the early s on, an art object was no longer perceived in terms of its aesthetic qualities, but as a material manifestation of the ideas of the artist. Works were intended to provoke the viewer to consider whether objects are important in themselves or whether.
Objects began to be collected not with regard to their individuality, but for their ability to represent a whole class of objects. New worlds were created with the use of familiar materials arranged in surprising systems of signs which referred to certain codes and conventions.
This created new possibilities of reception as interaction. The intermediality of art was the occasion to broaden the manner of perception, utilizing sensory phenomena as a constitutive element of the work for example, the works of Robert Irwin, James Turrell or Michael Asher in the s. The development of modern media and technology created new opportunities for experimentation in the context of time, permanence and impermanence.
Dependence on space and place In visual art throughout the twentieth century, a subjective model of space played a significant role including among constructivists in Schwitters Merz, in the creations of the Bauhaus, in exhibitions of the surrealists and in Brian ODohertys White Cube.
In the s, the word installation appeared in the context of the technical activities connected with exhibition. This gave rise to the qualification of space in connection with the arrangement of a work within it as the art of installation. This could have been a limited, closed space such as the interior of an artistic or non-artistic institution or it could have been an open space such as a townscape or natural landscape.
Thus, space underwent a re-creation resulting from its use in an artistic medium. At times it was specific site-specific , and at times it was variable mobile works and process works. In the case of the first group, the place and space is found and chosen with regard to its specific character and is treated as an integral element of the artwork which forms a certain type of attachment. It is a place to which the work itself refers and which it reconfigures in the course of its reference to it, so the same objects exhibited in a different place would create a different meaning.
In the case of mobile installations projects we are dealing with the opposite situation, which are planned with different temporal frameworks and changeable spatial references in mind for example, the projects of Spencer Tunick. The spatial relationships and the context connected with place are reflected in the polyphonicity of the form of the installation.
The function of place and space might be different, but they are always important. Installations, as stated earlier, undermine traditional conventions and routines. This occurs by conducting a certain type of game with contexts spatial, cultural, social, geographical, political, etc.
This gives installations an open character, and they are dependent on the individual experience and perception of the viewer. Processualism In installations, often the initial appearance is not the only form of the object. This is defined by the result of the multi-aspectual confrontation with other objects or subjects, the processes which the object undergoes with the passing of time.
Many works of installation art express the idea of temporality, in which the material becomes a medium through which to observe a process.
This type of installation would always be in a permanent state of creation and transformation. The Riegelian factor of basing the value of the object on time takes on a specific significance here, though a somewhat contrary one with regard to the intentionality of the creator.
Kasperowicz, R. Irwin, R. Relativity of spatial relationships Since the times of minimal art, frequently considered as a bridge linking traditional sculpture and installations, the relationship between visual works accenting the internal and external spatial relationships has grown in importance. This may be observed in the case of assemblages, in which the interconnections between individual parts of the work were of importance, and environment art, with its references between space and the structure of the arrangement.
A characteristic feature of the installation has become the relativity of the elements with regard to space, the inner relations of elements of a given work and its external relationships with the viewer. Different reception of stakeholders The viewers Cultural and social changes, dynamic technological transformations and the exceptional rapidity of change within all spheres of life have led to new ways to experience art other than through contemplation.
The response to that has been the emergence of impermanent, dismembered and decentralized art, multiplying the perspectives and breaking away from the Renaissance model which considered that there was an ideal place in which art could be appreciated. The relationship between art and its audience underwent reassessment. Traditional art had as its main aim the creation of objects that were in themselves beautiful in order to evoke aesthetic experiences. Conceptualism and the artistic disciplines related to it installations as well as performance and forms of interactive art led to dismantling the aesthetic tradition, the deformalization and dematerialization of the work of art and ultimately the blurring of boundaries between individual artistic disciplines.
One of the principles applied by the creators of installation art is the provocation of the activity of the viewer through an interaction between the viewer and the artwork starting with the Dadaists. It is precisely the active presence of the viewer in the space and the influence of his senses which differentiate installation art as an art form of phenomena4 from traditional art as well as to a great degree from other currents of modern art. The perception of the viewer is treated not as a consideration of the object, but as belonging and present.
The subjective experience of the viewer and their perception has become one of the most important factors utilized by artists. Artists Through the lack of boundaries defining the form and choice of material, the emphasis is placed on the artists concept. The individual iconography of a given element, object or material is usually precisely connected with the meaning of the work.
Kamoji, Wasser, Magdeburg , installation, dimensions and form variable. Penezi, K. Museum of Contemporary Art. Zagreb Drd, Alea iacta est, , installation, printed version, Appendix 2, Warsaw Changes occur in the ontological sphere a new object is produced or there is a new situation which the artist has created which is supplemented by the interaction of the viewer and constituted by his experience.
Other installations are open to interpretation of the curator, conservator or viewer and are changeable and dependent on the place, manner of presentation and context. The occasion for the widest interpretation of the object, but also the risk of its over-interpretation, takes place over its whole lifespan when it is created, presented, re-installed or during conservation interventions. Professionals The lifespan of an installation is defined by its exceptional character.
It begins life in the mind of the artist, then passes through stages of physical creation, existence in an institutional or extra-institutional milieu, and perception by its audience, but the story does not end there. The approach, knowledge and professionalism of the people who surround the work at every stage of its development determine the manner in which it will survive. The individuals responsible for the care and preservation of works of installation art have an extremely difficult task with regard to the characteristics and factors described above.
On the one hand, they want to act in accordance with Ruskins maxim, to fulfil the obligation of preservation of the objects, as we have no right to behave differently, since they do not belong to us, but to those that created them and to future generations.
For collectors, directors of museums and galleries, curators, historians of art and conservators this is connected with a new approach to the issues concerning copyright, acquisition, exhibition, storage, transport, preventive care and, finally, conservation and restoration.
A different and complex approach Why a new approach is needed An installation work in semiological interpretation is a point of reference for the transmission of various kinds of codes and conventions of communication.
These function as a complex of mutually influential signs referring to specific contexts. The incorrect approach, for example the replacement or the lack of the material of a work or the relationship between its elements in a manner that was in conflict with the artists intent, can produce changes in the perception of those signs. It renders impossible the finding of their relationship to the associated codes which can destroy the meaning and value of the work. A proper assessment of the ontological, axiological and material layers brings a new awareness in the approach to installation art.
Sometimes we have to accept the impermanence predicted or contingent , or the necessity of preserving the work in a form that differs from its original one. Ruskin, J. Lampa pamici, in: Kosiewski, P. Zabytek i historia, Warsaw: , p. The challenges for conservation The protection of cultural property and artworks through the activities of conservators assumes the preservation of their authenticity.
This principle concerns preserving in unfalsified form the material, structure and conception of the work. In the case of older works of art, the conservator works with objects constructed in relatively permanent materials, and where the deterioration processes have already taken place.
Their conservation is intended to preserve and prolong the life of the object which comprises the work of art.
In installations, the materials used and their combinations are always different, most frequently they do not belong among the material typically used by artists, and the destruction and ageing processes have been usually programmed by the artist and are an inherent quality of the work. The determination of the state of preservation of the material layer is sometimes impossible due to its changeability. The doctrines that guide the conservation of traditional art which have been arrived at as a result of many centuries of experience exhibit in several areas an inability to be transferred to works of installation art.
These include the obligation to preserve all of the original material, a minimum of intervention, the inability to replace original elements, the differentiation of new elements and the reversibility of the actions undertaken. In addition, this applies to the lack of the perceived need for understanding external factors such space, place and sensual stimuli. The conservation and restoration of the material of an installation must be carried out not for its own sake, but for the preservation of the meaning the creator used it to transmit, which is continued by the process of aesthetic reception by the viewer.
Otherwise attempts at preservation can lead to the artificial freezing of a given state and undesirable fetishism. The requirement to treat each work individually which has for long been advocated in the conservation of more traditional forms of art, must here be respected to a much greater degree.
A multifaceted approach The actions of the conservator are acts of criticism which lead to the creation of a new aesthetic quality, and thus involves a great responsibility. The huge diversity of installations requires interdisciplinary analysis of the material as well as the ontological and axiological spheres, through an approach involving the history of art, philosophy and ethics as well as the theory and practice of conservation and restoration.
It creates a background for defining the ideas and values embodied by the work as well as its character as seen from the point of view of its relations, processes, context and the meaning of the material. And what is new but extremely important in order to recognize many things in accordance with the intentions of the artist, is the importance. The wider range of different issues requires collaboration between specialists from different disciplines. The most pluralistic model of cooperative research9 in the field of modern and contemporary art is INCCA,10 through its platform for sharing knowledge and experience.
Having studied and analysed an object, the conservator defines the decisionmaking process and then selects a course of action on the basis of the character of the object; this action could range from preventive activity to active interference. The conservator acts as an advocate for the work during the processes of acquisition, presentation, transport and storage.
Over the course of the rest of its life, the condition of the object is monitored and the effects of the passing of time, human acts and unfavourable conditions are countered if necessary. The work of conservation or restoration must sometimes be carried out in a manner that differs from conventional methods. The conservator is the interpreter and executor of re-installation, reconstruction, replication or emulation.
The documentation that is compiled for artworks of this type is much wider in scope than that of more traditional forms of art, and in the case of installations, its role is a specific one. In the case of works that are ontologically directed into the conceptual sphere, preservation by documentation is conducted, and this replaces the physical work or its elements.
To achieve this, it is necessary to use knowledge from many academic disciplines in connection with technical analysis, while remaining in direct contact with the work and its creator. Conclusion The character of installations obliges us to preserve not only the object itself, but the experience which it provokes. The authenticity of an installation is situated in the maintenance of the unity of all the elements that comprise the work in the form in which the artist arranged them: the correct relationship between the material elements belonging to different artistic and nonartistic disciplines and the intangible elements, spatial relationships and places as well as the interactions between the work and the viewer.
These elements are invisibly linked with each other and create, throughout the whole lifespan of the installation, a complementary but dynamic whole. This defines the unique value of a work of art. The magnificent variety and individual character of installations is a decisive element determining their lifespan.
A work created by an artist with a given intention and then curated based on existing documentation, analysis and treatment by professionals is completed by the experience of the viewer. How can we save that for future generations? I will answer with the use of an anecdote. A young journalist was conducting an interview with the Polish Nobel-Prize-winning poet, Czesaw Miosz. She had beautiful eyes, but intelligence was not one of the things one could read in them.
She asked the first question: What do you think of transience? Miosz groaned, settled deeper in his chair and replied: I am against it.
So are we. The expression of this is in the care with which we surround the heritage of our times. Wharton, G. References Bishop, C. Brandi, C. Buskirk, M. The Contingent Object of Contemporary Art. Cambridge, Mass. Coulter-Smith, G. Oliveira, de N.
Installation Art in the New Millennium. ECCO Glasgow: University of Glasgow. Hummelen, IJ. Conservation Strategies for Modern and Contemporary Art. Modern Art: Who Cares? London: Archetype Publications. Mortality Immortality? Jokilehto, J. Krauss, R. Laurenson, P. Estetyka i etyka w konserwacji, Ochrona Zabytkw, v. Merleau-Ponty, M. The Phenomenology of Perception. Corzo, M. Muoz Vias, S. Price, N. Reiss, J. From Margin to Center. Rosenthal, M. Szmelter, I. Paradygmat teorii i praktyki konserwatorskiej w odniesieniu do sztuki nowoczesnej in: Szmygin, B.
Sztuka Instalacji, Rzeba Polska, vol. Weyer, C. Marina Pugliese In a recent presentation at the Glasgow conference on authenticity, researched by myself in collaboration with conservator Barbara Ferriani, we defined installations as a medium in evolution. When installations are created at our museum for specific exhibitions, curators collaborate with the artist in order to find the best solutions for the location and the given space. On occasion, the curator has some personal influence on the artwork, and in one case I have even suggested the title of the artwork.
This collaboration depends on the artists personality some artists simply need to discuss their work, while others are more insecure and need more assistance.
However, if we cant define this process as a co-production, it is, at the very least, a cooperation, and a pretty exciting one at that! When dealing with installations, the display of the work and the way in which it is presented are part of its syntax.
As long as the artist is alive, installations can be considered as a medium in evolution. With reference to this last point, when an installation enters the collection of a museum, we suggest that a complete specifications form be drawn up to include a detailed record of the works composition and status quo at the time of the acquisition.
Ideally this document should also serve to stimulate the artist to define an outline of the potential in evolution of his work well into the future, and to establish the limits of authenticity within a set time frame.
In the case of installations, the focus is not only on the use of different materials but also on the recreation of changing relationships between the components of the artwork and the space in which it is installed. Recently, an MA thesis was written on the documentation of Mien Gribbohm Wien, an installation created by John Bock in , exhibited in a second version in Milan in , and then bought by the city for the Museo del Novecento.
It is a complex artwork, both from a conceptual and material point of view, consisting of perishable materials and an essential intangible component a live performance recorded and replayed on video. The thesis succeeded in realising a complete philological reconstruction of the work through the analysis of previous installations and the evaluation of all components, objects and video elements. The research was done in collaboration with various professional contributors: the museums director and curator, the registrar and the collections managers as well as conservators, archivists and video conservation specialists.
Collaboration with John Bock himself was essential and he was interviewed in his studio in Berlin in order to clarify the complex construction and conservation issues inherent in this work. International conference, Art Conservation and Authenticities. For a broader discussion of the concept of identity for time-based media works of art see Laurenson, P. Im permanence. Abstract This chapter explores the implications for conservation of the fact that, unlike traditional forms of fine art, time-based media works can be removed from the media in which they were made and the conditions and technologies originally used for their display.
Physical contingency does not mean that the media and the conditions of display are incidental. How decisions are made regarding the significance of the medium is explored with reference to the use of film by Tacita Dean, Bruce Nauman, Dan Graham and Rosalind Nashashibi.
The chapter concludes by examining the influence of the market on these judgements, and the role of conservation in documenting and presenting the history of decisions made about the significance, or otherwise, of these relationships. Introduction The growing interest in artists films and videos made in the s has meant that some early works are now entering the market for the first time.
This raises questions about whether their identity should be determined by the historical period in which they were made, by the history of their display, or by the moment at which they are redefined for the market.
Vulnerabilities, conservation and the relationship to the medium In addition to physical deterioration, time-based media works are vulnerable to two types of change.
They can be stripped away from the medium in which they were made and they can be divorced from the conditions and technologies of their original display. Whereas traditional artworks rely on chemistry and physics to bind them to their supports, the relationships that tie time-based works to a particular set of parameters are constructed.
The material support of an artwork has traditionally been the focus of fine-art conservation. Charged with the responsibility to minimize loss and damage to the material elements of a work of art, the suggestion that conservation might need to broaden its sphere of interest sits, somewhat uncomfortably, as a threatened loss of clarity to its traditional remit.
Within the conservation of modern art, the formalism characterized by Clement Greenberg, with its reductive focus on the physical medium, was in accord with the concerns of traditional conservation. A conservation tradition. However, in the art that reacted to Greenberg, the relationship to the materials changed, rendering the material form, as Robert Morris famously put it, less self important, with aesthetic terms of reference existing as unfixed variables that find their specific definition in the particular space and light and physical viewpoint of the spectator.
However, despite this, an object remained the result. This enabled conservation to carry on as if the conservation object had not undergone this radical change. Lying somewhere on a continuum between performance and sculpture, the time-based media installation lacks a material object that can be identified as the work, undermining the traditional notion of what constitutes the object of conservation.
The relationship between the particular aspects of the medium and the identity of the work is not a given, but is both constructed and uncovered in the development of the identity of the work. This process has a particular relationship to time.
Given that time-based media works are dependent on technologies that become obsolete, the myth of the timeless art object is quickly exposed. The works identity comes rapidly into question as external pressures for change take hold and decisions as to what can change and what must remain have to be made. For example, a once-ubiquitous piece of equipment like a slide projector is now an object for specialist enthusiasts, and a technology that once symbolized a connection between art and the everyday is now obsolete.
In the conservation of artists installations that employ time-based media, the fact that the work only truly exists in its installed state refocuses the conservators attention on the intangible and the temporary.
However, this temporary quality may not have been apparent, or of interest, to the artist when making the work, since installing it in the gallery gives the illusion of completing it in a form that will persist. The incidental and the significant Entering a corridor within a museum to see Bruce Naumans Art Make-up , I hear the sound of a 16mm film projector. Once inside the room, however, I see four images that were shot on film but are now on video.
The contrast is low; if you look closely, you see that the surface of the image is constructed from the pixel blocks of a liquid-crystal panel of a video projector and the picture has none of the clarity of a film image.
The caption reads: 16mm film 4 parts: No. The first line refers to the medium in which the work was made and originally shown, but the addition of sound to the description of the third and fourth channels refers to the later addition of the sound of a film projector to the. In addition to the obvious signs, for example vertical film scratches, grain or dust, there are a number of other indicators that a work has been shot on film.
These include the way in. The message is mixed. Although it is still possible to see that the work was shot on film, the direct link to the original technology of its production and display has been lost, bar the addition of the sound of the film projector to the otherwise silent image.
Pip Laurenson: Was the decision made because of the interest in the experience of the viewer? I now have nothing left. I can't claim benefit and am terrifed as to how I will survive and where I will live. Vor jedoch 3 Jahre, wurde ich entlassen und verlor mein Haus und jetzt alle meine Ersparnisse. The mother worked in Germany for more than eight years as a frontier worker, after which she was made redundant.
But on Monday August 8 their agonizing was made redundant so to speak : a notice on the wall of Brixton JobCentrePlus announced that the interrogation rooms were 'closed due to unforeseen circumstances' and all benefits would be paid in full.
Am Montag, den 8. Only some years later the writer was named director of the Vieusseux scientific and literary Cabinet, but he was made redundant in because he refused to adhere to the fascist party. He now spends his working life making beautiful wood bowls and vases and boxes and travelling around craft fairs selling them. He is so very thankful that he was made redundant all those years ago and says how much better he feels in himself.
Can I also say as someone who has been of another organisation who went through a downsizing and was made redundant , I am more than envious of the Commission staff and the way they are working and the Commissioner working with them.
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Hause in my country bei uns [by oonss] we go home tomorrow wir fahren morgen nach Hause. Informationen ber? Informationsschalter [informats-yohns-shalter] injection die Spritze [shprits-uh] injured verletzt [fairletst] shes been injured sie ist verletzt [zee] in-laws die Schwiegereltern [shveeger-eltern] inner tube der Schlauch [shlowKH] innocent unschuldig [oonshooldish] insect das Insekt [inzekt] insect bite der Insektenstich [inzekten-shtish] do you have anything for insect bites?
Insektenbekmpfungsmittel [inzekten-bekempfoongs-mittel] inside innen inside the hotel im Hotel lets sit inside setzen wir uns nach drinnen [zetsen veer oonss naKH]. Dolmetscherin intersection US die Kreuzung [kroytsoong] interval at theatre die Pause [powz-uh] into in Im not into J jack k for car der Wagenheber [vahgen-hayber] jacket die Jacke [yackuh] jam die Marmelade [marm-uh-.
Sie es ketchup der Ketchup kettle der Wasserkessel [vasserkessel] O ssel] key der Schlssel [shlOO the key for room , please. January der Januar [yanOOar] jar das Glas [glahss] jaw der Kiefer [keefer] jazz der Jazz jealous eiferschtig [ferz OO O shtish] jeans die Jeans jellyfish die Qualle [kvall-uh] jersey der Pullover [poollohver] jetty der Steg [shtayk] Jewish jdisch [yOO O dish] jewellers das Juweliergeschft [yoov-uh-leer-gesheft] jewellery der Schmuck [shmoock] job die Arbeit [arbite] jogging das Joggen Im going jogging ich gehe joggen [ish gay-uh] joke der Witz [vits] journey die Reise [rize-uh] have a good journey!
Waschsalon laundry clothes die Wsche [vesh-uh] place die Wscherei [vesherr ] lavatory die Toilette [twalett-uh] law das Gesetz [gezets] lawn der Rasen [rahzen] lawyer der Rechtsanwalt [reshts-anvallt] laxative das Abfhrmittel [apfOO O r-mittel] lazy faul [fowl] lead electrical das Kabel [kahbel] lead verb fhren [fOO O ren] where does this road lead to?
Gepckaufbewahrung [gepeck-owfbevahroong] leg das Bein [bine] lemon die Zitrone [tsitrohnuh] lemonade die Limonade [limonahd-uh] lemon tea der Zitronentee [tsitrohnentay] lend leihen [ly-en] will you lend me your Sie mir Bescheid sagen? Rettungsschwimmer [rettoongs-shvimmer] life jacket die Schwimmweste [shvimm-vest-uh] lift in building der Aufzug [owftsOOk] could you give me a lift? Sie ein Restaurant am Ort empfehlen? Deutschland lovely herrlich [hairlish] low prices, bridge niedrig [needrish] luck das Glck [glOO O ck] good luck!
Herrenkleidung [hairenklydoong] mention erwhnen [airvaynen] dont mention it gern geschehen [gairn geshay-en] menu die Speisekarte [shpizeuh-kart-uh] may I see the menu, please? Nachricht fr Feuchtigkeitscreme [foyshtishkites-kraym] moment: Ill be back in a moment ich bin gleich wieder da [glysh veeder].
O brish] brig [OO no way! Goethestrae [gants in dair nayuh] were off tomorrow wir reisen morgen ab [veer ryzen] offensive anstig [anshturssish] office das Bro [bOO O roh] often oft not often nicht oft [nisht] how often are the buses? I said Im sorry, OK ich habe. Mal bezahlt, ich bezahle [letstess mahl] pay phone der O ntsMnzfernsprecher [mOO. Q quality die Qualitt [kvalitayt] quarantine die Quarantne [kvarantayn-uh] quarter das Viertel [feertel] quayside: on the quayside am Kai [ky] question die Frage [frahg-uh] queue die Schlange [shlang-uh] quick schnell [shnell] that was quick das war schnell [vahr] whats the quickest way there?
Rckwrtsgang [rOO O ckvairtsgang] revolting ekelhaft [aykelhaft] Rhine der Rhein [rine] rib die Rippe [ripp-uh] rice der Reis [rice] rich person reich [rysh] food schwer [shvair] ridiculous lcherlich [lesherlish] right correct richtig [rishtish] not left rechts [reshts] you were right Sie hatten recht [resht] thats right das stimmt [shtimmt] this cant be right das kann nicht stimmen [nisht shtimmen] right!
Zimmer [mine-em] room service der Zimmerservice [tsimmerservice] rope das Seil [zile] ros wine der Roswein [rohzay-vine] roughly approximately ungefhr [oongefair] round: its my round das ist meine Runde [mine-uh roonduh] roundabout for traffic der Kreisverkehr [krice-fairkair] round trip ticket die O ck-fahrkartRckfahrkarte [rOO uh] route die Strecke [shtreck-uh] whats the best route?
Moment mal! Selbstbedienung [zelpstbedeenoong] sell verkaufen [fairkowfen] do you sell? Haare waschen und legen? Sehenswrdigkeiten von Slowakische Republik [slovahkish-uh repOObleek] slow langsam [langzahm] slow down! Standby-Ticket star der Stern [shtairn] in film der Star start der Anfang [anfang] verb anfangen when does it start? Schweizerin adj schweizerisch [shvytserish] the Swiss die Schweizer Swiss Alps die Schweizer Alpen [shvytser] switch der Schalter [shalter] switch off TV, lights ausschalten [owss-shalten] engine abstellen [ap-shtellen] switch on TV, lights einschalten [ine-shalten] engine anlassen Switzerland die Schweiz [shvites] swollen geschwollen [geshvollen].
Krperpuder [kurper-pOOder] talk k verb sprechen [shpreshen] tall person gro [grohss] building hoch [hohKH] tampons die Tampons tan die Brune [broyn-uh] to get a tan braun werden [brown vairden] tank k of car der Tank tap der Wasserhahn [vasserhahn] tape for cassette das Band [bant] sticky das Klebeband [klaybuh-bant] tape measure das Bandma [bantmahss] tape recorder der Kassettenrecorder taste der Geschmack [geshmack] can I taste it?
O ber] OO throw verb werfen [vairfen] throw away verb wegwerfen [vekvairfen] thumb der Daumen [dowmen] thunderstorm das Gewitter [gevitter] Thursday Donnerstag [donnerstahk] ticket train, bus, boat die Fahrkarte [fahrkart-uh] plane das Ticket theatre, cinema die Eintrittskarte [ine-trittskart-uh] cloakroom die. Rckfahrkarte nach Heidelberg coming back when? Tomatenketchup tomorrow morgen tomorrow morning morgen O ] frh [frOO the day after tomorrow bermorgen [OO O bermorgen] tonerr cosmetic die Tnungslotion [turnoongslohts-yohn] tongue die Zunge [tsoong-uh] tonic water das Tonic tonight heute abend [hoyt-uh ahbent] tonsillitis die Mandelentzndung [mandel-enttsOO O ndoong] too excessively zu [tsOO] also auch [owKH].
V vacancy: do you have any vacancies? W waist die Taille [tal-yuh] waistcoat die Weste [vest-uh] wait warten [varten] wait for me warten Sie auf mich [zee owf mish] dont wait for me warten Sie nicht auf mich [nisht]. Herr Ober! Sie die fr mich waschen? Rechnung ist ein Fehler [dair reshnoong ist ine fayler] sorry, wrong number tut mir leid, falsch verbunden [tOOt meer lite falsh fairboonden] sorry, wrong room tut mir leid, ich habe mich im Zimmer geirrt [ish hahb-uh mish im tsimmer guh-eerrt] theres something wrong.
Colloquialisms The following are words you might well hear. You shouldnt be tempted to use any of the stronger ones unless you are sure of your audience. Arschloch n [arshloKH] arsehole aufs Kreuz legen to screw, to lay; to take for a ride blau [blow] pissed, smashed Bulle m [bool-uh] cop bumsen [boomss-en] to bonk Bumslokal n [boomss-lohkahl] dive das ist Jacke wie Hose [yack-uh vee hohz-uh] it doesnt make any.
Mist m crap, rubbish Nutte f [noot-uh] hooker, whore Puff m [poof] brothel Scheidreck m [shice-dreck] shit Scheie f [shice-uh] shit Scheikerl m [shice-kairl] bastard, son-of-a-bitch scheivornehm [shice-fornaym] bloody posh, swanky Spinner m [shpinner] crazy guy, nutcase stark [shtark] great verdammte Scheie [fairdammt-uh shice-uh] bloody hell, fucking. Abfahrt dept, departure Abfahrt f [ap-fahrt] departure s Abfall m [ap-fal] litter; rubbish,.
Ameise f [ahmize-uh] ant Amerikaner m [amairee-kahner], Amerikanerin f American amerikanisch [amairee-kahnish]. American Ampel f traffic lights amsieren: sich amsieren [zish amOO O zeeren] to have fun an at; to; on anbieten [anbeeten] to offer Andenken n souvenir andere [ander-uh] other s andere Orte other destinations anderthalb [andert-halp] one. Ankunft arr, arrival Ankauf Anschrift f [an-shrift] address ansehen [anzay-en] to look at Ansicht f [anzisht] view;.
Anfang m beginning anfangen to begin Anfnger m [anfenger], Anfngerin f beginner Anfassen der Waren verboten. Art f sort, kind Arzt m [artst] doctor rztin f [airtstin] doctor rztlicher Notdienst m [airtstlisher noht-deenst] emergency.
Bahnhof station BH Bstenhalter m [bay-hah]. Bremsflssigkeit f [bremsflOO O ssishkite] brake fluid brennbar combustible brennen to burn Brief m [breef] letter Brieffreund m [breef-froynt], Brieffreundin f pen pal Briefkasten m [breefkasten]. Chinese Chirurg m [sheeroork], Chirurgin f surgeon Coiffeur m [kwaffur] hairdresser. Germany Deutschlandlied n [doytchlantleet] German national anthem d. Dia n [dee-ah] slide Diabetiker m [dee-ah-baytiker], Diabetikerin f diabetic Diamant m [dee-ah-mant].
Thursday doof [dohf] stupid Doppelbett n double bed doppelt double Doppelzimmer n [doppeltsimmer] double room Dorf n village dort there dort drben [drOO O ben] over. Duft m [dooft] smell; fragrance dumm [doomm] stupid Dummheit f [doommhite]. Dolmetscher m [dolmetcher], Dolmetscherin f interpreter Dom m [dohm] cathedral Donau f [dohnow] Danube Donner m thunder Donnerstag m [donnerstahk].
European Community ehe [ay-uh] before Ehe f [ay-uh] marriage Ehefrau f [ay-uh-frow] wife Ehemann m [ay-uh-man]. Ebbe f [ebb-uh] low tide echt [esht] genuine Ecke f [eck-uh] corner Edelstein m [aydel-shtine]. Entwerter m [entvairter] ticket-. Erde f [aird-uh] earth Erdgeschoss n [airt-geshoss] ground floor, US first floor Erfahrung f [airfahroong].
Faden m [fahden] string; thread Fahne f [fahn-uh] flag Fahrausweis m [fahr-owssvice]. Fahrt f journey Fahrtziele destinations Fahrzeug n [fahr-tsoyk] vehicle Fall m [fal] fall; case fallen [fal-en] to fall fallenlassen [fal-en-lassen] to. FKK [ef-kah-kah] nudism flach [flaKH] flat Flasche f [flash-uh] bottle Flaschenffner m [flashenurfner] bottle-opener Fleck m stain; spot Fleischerei f [flysher-] butchers Fliege f [fleeg-uh] fly; bow tie fliegen [fleegen] to fly flieend [fleessent] fluent Flitterwochen fpl [flittervoKHen].
Frau Mrs; Ms Frage f [frahg-uh] question fragen [frahgen] to ask Frankreich n [frank-rysh] France Franzose m [frantsohz-uh]. Frulein n [froyline] Miss frech [fresh] cheeky frei [fry] free, vacant frei von Konservierungsstoffen. Frulein Miss froh glad frohes neues Jahr [froh-ess noyess yahr] happy New Year! Frostschaden m [frost-shahden].
Fhrer m [fOO O rer] guide;. Gastwirtschaft f [gast-veertshafft] pub geb. Gestalt f [geshtalt] figure gestattet [geshtattet] allowed gestern [gestern] yesterday gestorben [geshtorben] died gesund [gezoont] healthy Gesundheit f [gezoont-hite].
Getriebe n [getreeb-uh] gearbox getrunken [getroonken] drunk Gewehr n [gevair] gun gewesen [gevayzen] been Gewicht n [gevisht] weight Gewichtsverlust durch Erhitzen weight loss through. Greece griechisch [greeshish] Greek Griff m handle grinsen [grinzen] to grin Grippe f [gripp-uh] flu Groschen m [groshen] Gruppenreise f [grooppen-rizeuh] group excursion Gruss m [grOOss] greeting schne Gre an Haltbar bis Haltbarkeitsdatum best before.
Hemd n [hemt] shirt herabgesetzt reduced zu stark herabgesetzten Preisen prices slashed Herbergsmutter f [hairbairksmootter] warden Herbergsvater m [hairbairksfahter] warden Herbst m [hairpst] autumn, US fall herein! Herr m [hair] Mr; gentleman Herren gents toilet , mens. Herrenkleidung f [hairenklydoong] menswear Herrenmoden mens fashions Herrensalon m [hairen-zalong]. Heufieber n [hoyfeeber] hay fever heute [hoyt-uh] today heute abend [ahbent] tonight heute geschlossen closed today.
Inhaber proprietor Inhalt contents Initialen fpl [inits-yahlen] initials Inland domestic Inlandsflge domestic flights Inlandsgesprch n [inlantsgespraysh] inland call Inlandsporto n [inlants-porto]. K Kabel n [kahbel] cable Kabine f [kabeen-uh] cabin Kaffeefilter m [kaffay-filter]. Kai m [k k ] quay Kalender m calendar; diary kalt cold kam [kahm], kamen came Kamin m [kameen] chimney;.
Jahren sales. Keller m cellar Kellner m waiter Kellnerin f waitress kennen to know Keramik f [kairahmik] china Kerze f [kairts-uh] candle Kette f [kett-uh] chain. Jahren for. Kinderarzt m [kinder-artst], Kinderrztin f pediatrician Kinderbett n cot Kinderkleidung f [kinderklydoong] childrens clothing Kindermoden childrens.
Krankenpfleger m [krankenpflayger] male nurse Krankenschein m [krankenshine] health insurance. Kurvenreiche Strecke bends kurz [koorts] short kurz nach [naKH] just after kurz vor [for] just before kurzsichtig [koorts-zishtish]. Langsam fahren drive slowly langweilig [langvile-ish] boring Lrm m [lairm] noise lassen to let; to leave lssig [lessish] relaxed Laster m lorry, truck Lastwagen m [lasst-vahgen].
Liebe f [leeb-uh] love lieben [leeben] to love lieber [leeber] rather Liebhaber m [leep-hahber], Liebhaberin f lover Lieblings- [leeplings] favourite Lied n [leet] song Lieferant m [leeferant] supplier liefern to deliver liegen [leegen] to lie; to be. Mann m man; husband Mann!
Minute minute Minderheit f [minderhite]. Minerallsteuer f [minerahl-urlshtoyer] oil tax Minirock m miniskirt mir [meer] me; to me mir gehts gut [gayts gOOt] Im. Miststck n [mist-shtOO O ck] bitch mit with Mitbringen von Hunden nicht gestattet no dogs allowed Mitfahrzentrale f [mitfahrtsentrahl-uh] agency for.
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