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Sophia Al-Maria: Taraxos
“ * - Every asterisk a star. Every star a clock. Every clock a chime. Every chime a warning. Waking a cell, then a seed, then the germ of a weed getting ready to flower. – Sophia Al-Maria
Sophia Al-Maria considers the dandelion an emblem of freedom and resistance, as each seed has the potential to become an agent of resilience and change. Inspired by the life cycle and geometry of the dandelion (taraxacum officinale), the sculpture taraxos is a model for understanding and listening to the world.
Taraxos is a meditative place for anyone to slow down time for themselves. Visitors can sit beneath and stand amongst a constellation of 12 metal achenes, which take the form of futuristic dandelion ‘seeds’, and listen to the sculpture. Activated by the wind, the sculpture can also be played by touching the stems which are covered in copper, a material selected for its antimicrobial qualities.
At the top of each achene the asterisk* appears as shorthand symbolising a dandelion seed’s bracts, below it is inscribed into the ground in reference to the navigational tool of a meteorological wind rose. The punctuation mark of the asterisk* is a motif in Al-Maria’s work which emerged from her screenwriting practice in which the asterisk indicates rewriting and revision. The central node of taraxos is a piece of reclaimed titanium from an airplane. This durable yet light material, ideal for air and space travel mirrors that of the seemingly fragile airborne dandelion seed.
The Serpentine x Modern Forms Sculpture Commission focuses on Serpentine’s immediate environment as a space for artists to engage with the landscape of the park.
Sophia Al-Maria was selected for this new public sculpture commission by Hans Ulrich Obrist, Artistic Director, Melissa Blanchflower, Curator, Exhibitions and Public Art, Serpentine and Nick Hackworth, Director, Modern Forms.”
Text © The Serpentine Gallery 2021-22
Despite demolition work taking place in the area, a pair of peregrine falcons, the fastest birds in the world, decided that the top of an old clinker silo at a CEMEX UK plant in the Midlands was going to be ‘home’ for them and their future chicks.
In March, unaware of the peregrines’ presence, contractors decided to measure up the nearby stacker reclaimer for a new external staircase. The falcons protected their nearby home by dive bombing the contractors. The work ceased on the reclaimer and surrounding area to protect them and employees on the site are eagerly awaiting sitings of the chicks.
Building materials week. Brick is HEAVILY used in Bogota, so it's not hard to find some interesting arrangements of it.
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
Travaux de renouvellement du site propre du trolley à Nancy dans le cadre des aménagements pour la ligne 1 du trolley.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Ouest
Adresse : avenue du XXᵉ Corps
Famous stone carving sculptures, Kandariya Mahadev Temple, Khajuraho, India. Unesco World Heritage Site, Hindu, Hinduism, India, Kandariya Mahadev, Kandariya Mahadev temple, Kandariya Mahadeva temple, Khajuraho, Madhya Pradesh, activities, ancient, architectural, architecture, building material, carve, carved, carving, construction material, exterior, historic, historical, history, image, indian, ornate, outdoor, outdoors, outside, place of worship, religion, religious, religious building, sandstone, sculpture, statuary, statue, stone, stone sculpture, temple, temples, tourism, travel
My wife and I were visiting family in Maryland. On Tuesday, I took the camera out for a photo walk. My brother in law is doing some construction work and the lumber was laying on the cement of the porch.
A selection of artifacts and architectural pieces from the archaeological remains beneath Ridwani House.
ALPOLIC Aluminum Composite Panels Used On Interior Signage For Red Bull Music Academy Workshop fabricated by Vanmark LLC
Panel Manufacturer: ALPOLIC
Designer: The Ludlow Group
Location: Virginia Beach, Virginia
Completion: Early 2012
image courtesy of © The Ludlow Group
Source: livinghistories.newcastle.edu.au/nodes/view/44704
This image was scanned from the original glass negative taken by Ralph Snowball. It is part of the Norm Barney Photographic Collection, held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
Notes:
In 1899 a Committee was formed to look at the possibility of conducting an Annual Show in Newcastle. Those involved in this enterprise were all prominent businessmen, including the then Mayor of Newcastle, Mr. W. Cann. Dr. Joseph Beeston was appointed President of the newly formed Newcastle and District Agricultural Horticultural and Industrial Association and Mr. M.A. Frazer appointed as Secretary, at a salary of 52 pounds a year.
The first event held was a Sports Day early in 1901, with 'spectacular events such as an 8 man ladder and hose race, municipal tug-of-war, wrestling on horseback, tent pegging and highland dancing and piping.' This proved an excellent first venture for the fledgling Committee and they presented the first Newcastle Regional Show on 17th May, 1902. The Show was opened by Mr. Joseph Wood, Patron of the Association. It was hailed as a ‘splendid success’ by the newspapers of the day. Judging was held in Poultry, Horses, Garden Produce, Flowers, Cookery, Needlework, Wagons & Buggies, Painting, Drawing & Writing, Dairy Produce, Apiculture etc. 19 sections in all.
The Annual Newcastle Regional Show continued without interruption through to the 1916 Show, which was not held because the grounds were being used as a Military Camp for World War I. Then in 1919 the Show was not held due to the influenza epidemic which was raging round the world at the time. Annual Shows continued to be held through the great depression years, but Newcastle Showground was used as an Army Staging Camp during the Second World War and no shows were held during the years 1941 to 1945 inclusive.
Source : www.newcastleshow.com.au/page346/History-of-the-Show.aspx Accessed 17 September 2009
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Strobist: Twin Lumpro 120s with full CTO gels, in a Westcott Apollo 28" softbox, camera left. Canon 550 EX with a full CTO gel, shooting through a Buff 42" PLM, camera right. ALien Bees 800 in standard reflector, behind subject, and to the right, about 30 feet away, firing through the window for rim.
Head of Colossal Statue of Constantine (313-324 AD) photographed at Musei Capitolini, 1 - 00186 ROMA Roma, Italia by Joel Morin Musei Capitolini - Palazzo dei Conservatori - Courtyard
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
At the Du Pont Safety Award ceremony in Istanbul September 2011, CEMEX UK won an award for its cyclist safety campaign. Andy Taylor, Director Health and Safety was at the ceremony to receive the award
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
Objects of Desire: Surrealism and Design 1924 – Today
“Curated with Vitra Design Museum, the exhibition will explore design from the birth of surrealism in 1924 to the current day; spanning classic Surrealist works of art and design as well as contemporary surrealist responses.
The exhibition will uncover how one of the 20th century's most influential movements came to impact design through its questioning of the conventional and its commitment to exploring the mind, unconscious and mystical.
It will bring together the best in Surrealist design, from furniture, interior design, fashion, photography and world-renowned artworks from Surrealist pioneers such as Salvador Dalí, Dora Maar, Man Ray, Leonora Carrington and Lee Miller, through to contemporary artists and designs, such as Schiaparelli, Dior, Björk.
The result is an exhibition filled with playful, curious and poetic objects that uncover the rich history of Surrealism and its fascinating influence on design.
#ObjectsOfDesire”
“'Miss Blanche' chair, 1988
SHIRO KURAMATA
Roses floating in transparent resin give this chair a dream-like, insubstantial appearance. It is named after the fragile character of Blanche DuBois, from Tennessee Williams play A Streetcar Named Desire.
Shiro Kuramata's design expresses Blanche's increasingly unstable sense of reality in a tragic story shot through with beauty and delusion, seduction and violence.
Manufactured by Ishimaru Co. Ltd
Acrylic resin, plastic roses, anodised tubular aluminium
Vitra Design Museum”
All text above © The Design Museum, 2022