Castrum photos on Flickr

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

Italy - Pavia - Historic centre of Pavia and Chartreuse by gosiapostcards

Located on the banks of the river Ticino, Pavia was founded in the 5th century B.C. as a Gaul-Ligurian village; it became a Roman colony in 89 B.C. and was called Ticinum. The city was organised in accordance with the typical structure of a Roman castrum with streets meeting at 90-degree angles - still to be appreciated in the structure of the modern city. Thanks to its favourable strategic position, controlling the area crossed by the rivers Ticino and Po, Pavia played a major political and economic role also during the late Roman empire and the early Middle Ages, when it took on the name of Papia and retained its strength and prestige as a capital city under the Ostrogoths and, subsequently, with Lombards and Franks.

Having become an independent Commune, thanks to its economic prosperity, Pavia could lay the foundations for a lively urban development and the flourishing of Romanesque art, which led to the creation of numberless places of worship as well as of the powerful walls. Among churches, reference should be made to St. Michael's church, which is a 12th-century reconstruction of the Palatine Basilica; it is a cruciform building with several bays and sandstone walls, which is regarded as the masterpiece of the Romanesque in Lombardy. The church is also known as the place where Frederick the Red-Bearded was crowned in 1155, a few years after the church had been built.

Under the Seigniory of the Visconti family, Pavia became the focus of one of the most elegant courts of the Italian Renaissance. Building of the Visconti Castle started soon after the family had become the lords of the city. The Castle was both an armed stronghold and a lordly residence; this dual nature, military and princely at the same time, is mirrored on the one hand by the powerful quadrangular structure and, on the other hand, by the elegance of architectural components and the airy porticoes and loggias.

It was Gian Galeazzo Visconti (1351-1402) who founded the Chartreuse of Pavia, in 1396 - one of the most renowned monuments of Renaissance art in Italy. Works on the building, which stands isolated on the flatlands surrounding Pavia, continued from the end of the 14th century up to the mid-16th century and marked - together with the contemporary Cathedral of Milan - the artistic evolution in Lombardy from Gothic to Renaissance style. The original design was by Bernardo da Venezia, an architect who had already been entrusted with building the Pavia castle, together with Giacomo da Campione - who had worked on the Cathedral of Milan. The area reserved for the monks started being built in the early 15th century, including cells, chapter house, scriptorium, dining hall, and vestry. The building was completed in 1542 and was also used as a "mausoleum" for the Visconti dynasty. The church was designed by Bernardo da Venezia and Giacomo da Campione, but the original project was amended by Cristoforo Solari; it has a small cloister on a side, used for standard ceremonies. There are additionally a larger cloister, containing small house-like cells where the monks lived, worked and prayed absolutely alone; guest rooms (the so-called "Duke's Palace", currently accommodating the Museum of the Chartreuse); the dormitory; a pharmacy; cellars, and storerooms for grains. The whole complex is surrounded by fields, lawns and vineyards, which once were attended to by the monks. From an artistic viewpoint, reference should be made to the façade of the church, whose upper part was never finished, as it represents a sort of open-air museum of sculpture. Its decorations, which were the work of some of the most important Lombard artists of Renaissance such as Giovanni Antonio Amadeo, Cristoforo and Antonio Mantegazza, and Benedetto Brioso, are unequalled. Inside, the church hosts valuable paintings, sculptures and decorations such as the paintings and frescoes by Ambrogio Bergognone, Bernardino Luini, Daniele Crespi and Cerano, the stained-glass windows, the famous ivory polyptic by Baldassare degli Embriachi, the marble tombs of Ludovico il Moro and Beatrice d'Este (Cristoforo Solari) and Gian Galeazzo Sforza (Gian Cristoforo Romano).

During the Sforza seigniory in Pavia, as well as major public buildings such as the first core of the University, the Cathedral started being built. The building of the latter monument covered one of the longest time spans ever in the history of Italian architecture and was especially complex; great masters such as Bramante and Leonardo gave their contribution to it. Works started in 1488 under the architectural direction of Cristoforo Rocchi, who was subsequently replaced by Giovanni Antonio Amadeo and Gian Giacomo Dolcebuono. The dome of the imposing building, which Ascanio Sforza wanted to be built in the centre of the city, is the third largest in Italy - only the dome of St. Peter's and the Cathedral of Florence being larger. The imposing plan of the church, in which an octagon-shaped core covered by the dome is merged with a longitudinal body consisting of a nave and two aisles, is unanimously attributed to Donato Bramante, who also designed the crypt (completed in 1492) probably modelling it after some Roman monuments. The importance attained by this building led also Francesco di Giorgio Martini and Leonardo to Pavia, in 1490; Leonardo's many drawings and sketches for composite buildings with a central core show many similarities with the plan of the Cathedral at Pavia.

When the city fell under Spanish political influence, it was strengthened by ramparts and bulwarks that made it impregnable. In the early 18th century Pavia became a part of the Hapsburg domains; building activities newly flamed up and the city was embellished by late-Baroque and Neoclassical palaces.

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

Seborga by Dan

2

Originally called Castrum Sepolcri, and then Sepulcri Burgum, from where the current name is derived, Seborga stands at an elevation of more than 500 m in the hilly Ligurian hinterland. The compact old town is a maze of alleyways, arches, covered passages, staircases and culs-de-sac that showcase the vernacular architecture of the area.

le castrum de St-Chamas by Dominique LENOIR

les vestiges de la muraille est du castrum de Sanctum Amantum à Saint-Chamas [13250]

VIA CASTRUM 2019 by Jordi Costa

Rakkersblad #2 / Seite 12 by Michael Studt

2

Ivanov's Rakkersblad / Heft-Reihe

> Tilo (art: Charlie Bood)

Verlag: Uitgeverij Castrum (Gent/Belgien; 1955)

ex libris MTP

www.stripinfo.be/reeks/strip/244375_Ivanovs_Rakkerblad__1...

www.lambiek.net/artists/b/bood_charlie.htm

Castell' Ursino by Gisella Santagati

2

Castello Ursino Catania

Il nome deriva da "Castrum sinus", ossia "castello del golfo" poiché in origine era a picco sul mare ma la colata di lava dell'eruzione dell'Etna del 1669 lo allontanò dalla costa di qualche centinaio di metri. Il Castello Ursino dall'aspetto severo e massiccio fu costruito su un altopiano circondato dal mare tra il 1239 e il 1250 dall'architetto Riccardo da Lentini per volere di Federico II di Svevia. L'imperatore amava le figure geometriche. Ne è un esempio la struttura a pianta quadrata del castello delimitata da quattro torrioni a struttura circolare del diametro di 10 metri posti ad ogni angolo e da torri semicilindriche situate a metà di ciascun lato. L'ingresso si apre ad arco acuto sul prospetto, sovrastato dallo stemma degli Svevi, un'aquila che artiglia una lepre. All'interno si ammirano opere di notevole interesse artistico. Tra queste, le strutture portanti delle varie sale ornate da eleganti volte a costoloni, da pregiati capitelli intarsiati e da grandi archi ogivali. Di ottima fattura sono le statue: Afrodite di stampo ellenistico, il Torso di Eracles risalente al quarto secolo a.C., e i Gladiatori, rilievo romano su lava. Il castello fu residenza dei reali Aragonesi nel XIV sec. Verso la metà del Settecento venne circondato da imponenti mura a scopo difensivo e, in seguito, modificato nella parte meridionale secondo l'impronta rinascimentale. Nel 1837 fu trasformato in prigione. Oggi, restaurato ed illuminato in modo suggestivo, è sede del Museo civico e la sua pinacoteca ospita mostre d'arte.

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

Photographic documentation of opening at Castrum Peregrini taken by Cristina Cochior and Florian Cramer

Schlösschen Altenburg ( Schloss / Castle / Château => auf schweizerdeutsch auch Schlössli ) gebaut auf den Mauern eines römischen Kastell von 370 und heute Jugendherberge in Altenburg bei Brugg im Kanton Aargau in der Schweiz by Hurni Christoph

Schlösschen Altenburg ( Schloss - Castle - Château - auf schweizerdeutsch auch Schlössli ) gebaut auf den Mauern eines römischen Kastell von 370 und heute Jugendherberge in Alten-

burg bei Brugg im Kanton Aargau in der Schweiz

.

Das Schlösschen wurde auf den Mauern des Castrum Vindonissense ( Römische Ruinen des Kastell Vindonissa des Legionslager der Römer - Erbaut um 300 - Aufgegeben um 406 ) an der A.are im heutigen Brugg im Kanton Aargau der Schweiz erbaut

.

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Schlösschen Altenburg

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- Entstehungszeit : 370

- Erhaltungszustand : erhalten

- Ort : Altenburg bei Brugg

.

Das Schlösschen Altenburg ( auf schweizerdeutsch auch Schlössli genannt) ist eine Burg

in der Schweizer Stadt Brugg. Sie steht rund 1 km westlich der Altstadt im Stadtteil Altenburg

am U.fer der A.are. Die Burg hat ihren Ursprung in einem römischen Kastell, das um 370 n.

Chr. errichtet worden war.

Ende des 10. Jahrhunderts war sie die erste nachweisbare Residenz der Habsburger.

Heute dient die Anlage als Jugendherberge.

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Geschichte

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Das römische Kastell Altenburg, eines von drei an der A.are gelegenen Flusskastellen,

wurde um das Jahr 370 herum unter Kaiser Valentinian I. erbaut. Es entstand auf einem

steilen Felskopf an der Flussbiegung und war Teil des D.onau - I.ller - R.hein - L.imes.

Allerdings lassen einige Münzfunde darauf schliessen, dass das Kastell möglicherweise

bereits zu Beginn des 4. Jahrhunderts erbaut worden war. Vermutlich schützte es einen

Umladeplatz, da die anschliessende Flussenge aufgrund zahlreicher Felsen für Last-

kähne nur schwer passierbar war. Ausserdem konnte der F.luss an dieser Stelle leicht

überschritten werden. Nur wenige Jahre später, zwischen 401 und 406, wurde das Bau-

werk wieder aufgegeben.

Im späten 10. Jahrhundert liess sich hier ein Adelsgeschlecht nieder, welches möglicher-

weise ursprünglich von den elsässischen Etichonen abstammte. Graf Lanzelin gab den

Auftrag, unter Verwendung der vorhandenen römischen Mauern eine kleine Burg zu er-

richten.

Um 1020 ordnete Lanzelins Sohn Radbot den Bau der H.absburg auf dem drei Kilometer

südwestlich gelegenen W.ülpelsberg an. Einige Jahrzehnte später nahm das Geschlecht

den Namen dieser Burg an. Nachdem die H.absburger umgezogen waren, überliessen

sie die Altenburg treuen Gefolgsleuten, zunächst den Schenken von Habsburg, später der

Familie E.ffinger von W.ildegg.

1397 wurde die Altenburg zusammen mit dem gesamten Eigenamt an das von den Habs-

burgern gegründete K.loster K.önigsfelden übertragen. Nach der Eroberung des Aargaus

im Jahr 1415 fiel die Anlage in den Besitz der S.tadt B.ern. Die Gesellschaft Pro Vindonissa

und die Aargauische Historische Gesellschaft erwarben 1938 das Areal.

.

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Anlage

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Das spätrömische Kastell wies einen glockenförmigen Grundriss auf, die Innenfläche

war 28,3 Aren gross. Mindestens vier halbrunde Türme sowie ein nicht mehr zu erkennen-

der Graben schützten die bis zu fünf Meter dicke Mauer.

Die Reste der flussseitigen Mauer wurden 1894 beim Bau eines Zulaufkanals für das

Brugger Wasserkraftwerk abgerissen. Die erhalten gebliebenen antiken Ruinen sind in

die heute bestehenden Gebäude integriert.

Die markantesten Gebäude sind das Turmhaus und das Giebelhaus, die beide im Jahr

1570 im spätgotischen Stil errichtet wurden. Die Westwand des Turmhauses besteht

bis in eine Höhe von sieben Metern aus römischem Mauerwerk (die höchste erhalten

gebliebene römische Mauer der Schweiz).

Im Turmhaus wurde 1943 eine Jugendherberge eingerichtet. Innerhalb der Kastellmauern

befinden sich ausserdem einige Bauernhäuser, die auf die erste Hälfte des 16. Jahrhunderts

zurückgehen.

.

( BeschriebSchlossAltenburg AlbumSchlösserKantonAargau Schloss Castle Château

Castello Kasteel 城 Замок Castillo Mittelalter Geschichte History Gebäude Building

Archidektur AlbumSchweizerSchlösser,BurgenundRuinen Schweiz Suisse Switzerland

Svizzera Suissa Swiss Sveitsi Sviss スイス Zwitserland Sveits Szwajcaria Suíça Suiza

KantonAargau Römer Römisches Römische Reich Imperium Romanum Romain

AlbumRömerinderSchweiz )

.

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.

Auf den Spuren der R.ömer am Samstag den 13. Oktober 2012

.

Mit dem Z.ug von B.ern nach B.asel S.BB

.

Mit dem F.ahrr.ad durch die S.tadt B.asel - R.ömische W.arte / W.acht.urm in der H.ard bei M.uttenz - H.ard ( BL - 373m ) - R.angierb.ahnh.of M.uttenz - W.ehrk.irche St. A.rbogast - M.ittenza ( BL - 291m ) - M.uttenz ( BL - 291m ) - W.artenb.erg ( BL - 479m ) - R.uinen auf dem W.artenb.erg - T.eile der R.uinen von A.ugusta R.aurica - R.heinf.elden - e.ntlang dem R.hein - R.ömische W.arte - B.ürgli ( AG - 294m - R.ömisches K.astell ) - C.hräbis ( AG - 293m ) - R.ömische W.arte bei R.appertsh.üsere - R.appertsh.üseren ( AG - 290m ) - R.ömische W.arte - S.telli W.allb.ach S.pätr.ömischer W.achtt.urm - B.ahnh.of M.umpf

.

Mit dem Z.ug weiter von M.umpf nach B.rugg

.

Eine Stunde mit dem F.ahrr.ad durch B.rugg

.

Mit dem Z.ug von B.rugg zurück nach B.ern

.

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Hurni121013 KantonAargau

E - Mail : chrigu.hurni@bluemail.ch

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Letzte Aktualisierung - Ergänzung des Textes : 060222

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NIF

Jeux du Castrum - Downtown Centre-Ville, Episode 3 by David Deppierraz & Laurence Iseli

Photo Julien Barro

Spectacle "Downtown Centre-Ville, Episode 3", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

Verdun City by one-thirteen

Built in downtown on the old ramparts of the Roman castrum which were found after the bombing of the battle of 1916, this monument was inaugurated in 1929.

The 73 steps of the staircase lead to a crypt which houses the files of soldiers who received the Medal of Verdun. At the top of the tower (30 meters high), there is a statue of a warrior leaning on his sword and looking east. Two Russian guns, taken by the Germans and then retaken by the French, flank the tower.

The monument offers visitors a breathtaking view over the city.

Formerly on this site was The Collegiate Church of the Magdalene. Its ruins were razed it was decided to build this site a "memorial" honoring the French soldiers who participated in the Battle of Verdun.

This monument is annually the scene of a special patriotic ceremony. On 1 November, the torch of remembrance burning under the Arc de Triomphe in Paris was sent to Verdun by the Committee of the Sacred Way and the Way of Freedom. After a ceremony at the Cenotaph, the flame is deposited in the crypt of the Monument to Victory. Under a vigil by patriotic associations, it will burn until November 11, the anniversary of the signing of the Armistice in 1918.

"CASTRUM" DE MERLE (Corrèze) by Gérard d'Alboy

2

la porte de la chapelle Saint Leger

Hardknott Roman Fort by - Ozymandias -

1

Hardknott Pass '18

Jeux du Castrum 2012 - Downtown Centre-Ville - Episode 1 by David Deppierraz & Laurence Iseli

Photo Julien Barro

Spectacle "Downtown Centre-Ville, Episode 1", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

Castrum Sarnani - Sarnano (MC) by Silvia Gibertini

Motta Filocastro (VV), aprile 2015 by Alessandro Rocco

Motta Filocastro, (secondo lo storico nicoterese Adilardi, il nome di questo paese è composto da Motta, Filos e castrum che significa piccolo ma delizioso paese, eretto su un monte e adatto alla difesa), oltre ad essere un bellissimo Borgo Mediovale circa 200 anni fà era sede del Comune..

Sorge sulla cima di una collina a 360 m sul livello del mare, lungo l’antica via Popilia, nel tratto tra Rombiolo e Nicotera.

Le sue origini si crede che appartiene al periodo fra il VII e il V secolo a.C. per opera dei greci di Locri, in epoca magnogreca, altri da Annibale ecc...

In altri documenti, inoltre, si afferma che Motta è stata costruita dagli stessi abitanti di Nicotera dopo che la città fu distrutta dall'emiro Hasan-ibu-Alì (950 d. C.).

Durante l’Impero Romano era un villaggio ad economia agricolo-pastorale, nel 946, divenne molto popolato, quando gli abitanti di Nicotera si trasferirono a causa delle terribili incursioni dei Saraceni.

Motta nel' IX divenne pure insediamento d’eremiti Basiliani, mentre nel' XI i Normanni ne popolavano la zona, il Conte Ruggero con il suo dominio nella città di Mileto fece erigere, a Motta un castello con 12 torri, dove nel 1097 Papa Urbano II lo visitò, venuto in Calabria allo scopo di mettere ordine nelle pratiche della Chiesa, visitò i castelli di Mileto e di Motta Filocastro.

Con il Regno degli Svevi per opera dell' Imperatore Federico II, Motta divenne centro Urbano ricco ed autonomo, la giustizia si narra era amministrata dai Cavalieri del Tocco che si riunivano proprio al Tocco, si narra che qui i cavalieri stabilivano i turni di guardia, oggi è un bellissimo balcone mozzafiato, (abbellito con sedili di marmo fatti venire da Napoli), dove si può ammirare lo stupendo panorama della Piana di Gioia Tauro, le montagne delle Serre e dell’Aspromonte, lo Stretto di Messina, parte della Sicilia e l’ETNA…

Nel 1260 a fronte della guerra guelfi e ghibellini le varie famiglie calabresi si schierarono contro gli Svevi, da qui in poi e continuando nel 1266 con gli Angioini, Motta ed in genere il meridione fu teatro di violenti sommosse e povertà.

Furono gli Aragonesi ha portare a Motta una nuova speranza, economica e culturale con l'allevamento del baco da seta...

Nel 1506 e per diversi secoli i Pignatelli duca di Monteleone (vibo valentia) ne continuò questa forma di collaborazione al benessere..

Motta alla fine del 1600 era dotato anche di un Ospedale, che serviva ai poveri e ai pellegrini e aveva giurisdizione sui villaggi di Branconi (Caroni), Mandraono (Mandaradoni), San Nicolo (San Nicola), Zimbadi (Limbadi), San Martino, Cassinadi e Mambrici.

Il centro era circondato da mura che ne garantivano ogni difesa, l'entrate da tre grandi porte.

I soldati dei Pignatelli nel 1638 andarano in aiuto alla vicina Nicotera per respingere degli attacchi dei Turchi..

Motta nel 1799 fu dichiarato Comune..

Con una legge del 19 gennaio 1807 il re di Napoli Napoleone Bonaparte elevò Limbadi ad Università nel governo di Nicotera.

Anni dopo, Motta, perse l'autonomia di Comune il 1 gennaio 1830 con un decreto emanato dal re delle Due Sicilie Francesco I., con l'annessione dell'ex Regno delle due Sicilie al Regno d'Italia, Motta divenne anch'esso teatro di scontri, a causa delle varie ingiustizie dei Savoia sul meridione, allorché il brigantaggio impedivano il traffico, effettuando sequestri di persona e uccisioni di possidenti, rendendo impossibile la vita e la coltura delle campagne.

La repressione fu dura e spietata: le teste dei briganti uccisi venivano esposte legate su dei pali ed esposte alla porta dell'Olmo porta principale d'entrata di Motta Filocastro.

Con il malessere economico e sociale nel 1906 nasce il movimento separatista mottese...al quale si erano associati anche i cittadini di Mandaradoni e San Nicola, che chiesero ripetutamente alle alte autorità del tempo il giusto provvedimento visto, la perdita dell'Autonomia di Comune, ma nulla purtroppo per loro tornò come prima.

VIA CASTRUM 2019 by Jordi Costa

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

VIA CASTRUM 2019 by Jordi Costa

1

Verdun City by one-thirteen

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Built in downtown on the old ramparts of the Roman castrum which were found after the bombing of the battle of 1916, this monument was inaugurated in 1929.

The 73 steps of the staircase lead to a crypt which houses the files of soldiers who received the Medal of Verdun. At the top of the tower (30 meters high), there is a statue of a warrior leaning on his sword and looking east. Two Russian guns, taken by the Germans and then retaken by the French, flank the tower.

The monument offers visitors a breathtaking view over the city.

Formerly on this site was The Collegiate Church of the Magdalene. Its ruins were razed it was decided to build this site a "memorial" honoring the French soldiers who participated in the Battle of Verdun.

This monument is annually the scene of a special patriotic ceremony. On 1 November, the torch of remembrance burning under the Arc de Triomphe in Paris was sent to Verdun by the Committee of the Sacred Way and the Way of Freedom. After a ceremony at the Cenotaph, the flame is deposited in the crypt of the Monument to Victory. Under a vigil by patriotic associations, it will burn until November 11, the anniversary of the signing of the Armistice in 1918.

Jeux du Castrum 2012 - Downtown Centre-Ville - Episode 1 by David Deppierraz & Laurence Iseli

Photo Julien Barro

Spectacle "Downtown Centre-Ville, Episode 1", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

Boppard, Oberstraße, Rest des römischen Kastells (remains of the Roman Castrum) by HEN-Magonza

Durch die Eroberungsfeldzüge Julius Cäsars in Germanien, gelangte auch die Region, in der Boppard liegt, in den Machtbereich Roms. Vor den Römern lebten bereits die Kelten hier und nannten den Ort Baudobriga. Nach den ersten römischen Siedlungen am Anfang des Mühltales nahe des heutigen westlichen Ortsrandes, entstand Mitte des 4. Jh. ein starkes römisches Castrum (Festungsanlage) namens Bodobrica , woraus sich der heutige Name Boppard entwickelte. Nachdem die Zeiten zu unruhig wurden und die Römer schließlich den Rhein verließen, entwickelte sich aus dem römischen Kastell der Siedlungskern der heutigen Stadt.

The Warp and Weft of Memory by Renée Turner

The Warp and Weft of Memory

Exhibition Opening at Castrum Peregrini

August 24th, 2018

'There are stains. What are we to do with them? Her sweat has turned brown with time and its acid has etched itself into her white cotton shirts and the lining of dresses. Skin oil has darkened the fingers of leather gloves, and her idiosyncratic walk has shaped the heels of her shoes. Her clothes have been recording devices.'

Excerpt from The Warp and Weft of Memory: www.warpweftmemory.net

In her latest multi-faceted work, Renée Turner explores the contents of Gisèle d'Ailly van Waterschoot van der Gracht’s closet. Although Gisèle passed away in 2013 at the age of one hundred, the traces of her figure can still be sensed through the shape and wear of her clothes. Spanning decades, the range of garments illustrates her fascination with travel, textiles, and design. There are Greek woollen vests, a Chinese silk jacket and several dresses fashioned by the renowned Dutch designer Dick Holthaus. All were meticulously itemized in Gisèle’s own wardrobe inventories. As Turner notes, “Gisèle was a taxonomist of her own life.”

Her clothes and taxonomical fervour are mirrored in her photographic archive as well, which Turner has selectively digitized to create a semantically-driven, online narrative. Combining writing, photographs of her clothes, videos, and illustrations, she personally reflects on her direct encounter with Gisèle’s belongings, the intimacy of the closet and how its content reflects her remarkable life, the history of the Netherlands before, during, and after the War, women and their clothing, the privileges of class, and the persona of the female artist. While each garment has its own story, it can be woven into a larger tapestry of other narratives past and present. In The Poetics of Space, Gaston Bachelard writes: “Every poet of furniture—even if he be a poet in a garret, and therefore has no furniture—knows that the inner space of an old wardrobe is deep.” Turner’s online project and exhibition at Castrum Peregrini traces the depths of those echoes and reverberations and contemplates what will be remembered and what will be reduced to dust.

The Warp and Weft of Memory has contributions by: Frans-Willem Korsten, Kate Pullinger, Andre Castro, Manufactura Independente, Cristina Cochior and Cesare Davolio. The related public program will be posted on the Castrum Peregrini website and facebook page.

Renée Turner is an artist, writer and Research Lecturer at the Willem de Kooning Academy and Piet Zwart Institute. Since 2016, she has been an artist in residence at Stichting Castrum Peregrini. Her research over the past two years has resulted in public lectures, the exhibition and online narrative.

This project was generously supported by the Mondriaan Foundation through the awarding of a two-year grant, Stipendium for Established Artists with Commissioner (WerkbijdrageBewezen Talent + Opdrachtgever). The initial research phase was funded through a Start-Up Grant from the Creative Industry Funds (Stimuleringsfonds Creatieve Industrie).

Jeux du Castrum 2012 - Downtown Centre-Ville, Episode 3 by David Deppierraz & Laurence Iseli

Photo Julien Mudry

Spectacle "Downtown Centre-Ville, Episode 3", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

Jeux du Castrum 2012 - Downtown Centre-Ville, Episode 3 by David Deppierraz & Laurence Iseli

Photo Julien Mudry

Spectacle "Downtown Centre-Ville, Episode 3", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

Jeux du Castrum - Downtown Centre-Ville, Episode 3 by David Deppierraz & Laurence Iseli

Photo Julien Barro

Spectacle "Downtown Centre-Ville, Episode 3", Par Dahlia Production (CH), écrit et mis en scène par David Deppierraz et Laurence Iseli, avec Vincent David, Salvatore Orlando, Stefania Pinnelli, Isabelle Renaut, Charlotte Reymondin, Anne-Sophie Rohr Cettou, Marylène Rouiller, Valério Scamuffa, musique et atmosphères sonores Stanislas Romanowski, coach chorégraphie Chrystel Romanowska, costumes Scilla Ilardo & accessoires Félicie König.

Festival des arts scéniques les Jeux du Castrum, Yverdon-les-Bains, édition 2012

Direction artistique David Deppierraz & Laurence Iseli

www.jeuxducastrum.ch

VIA CASTRUM 2019 by Jordi Costa

Umm er-Resas by Aerial Photographic Archive for Archaeology in the Middle East

Reference: APAAME_20160918_RHB-0183.jpg

Photographer: Robert Howard Bewley

Credit: Aerial Photographic Archive for Archaeology in the Middle East

Copyright: Creative Commons Attribution-Noncommerical-No Derivative Works

Zemplen_2011majus_2859 by emzepe

Castrum Boldua middle age style restaurant in the castle of Boldogkőváralja, in North-Eastern Hungary. Coming back from a 2-day bike tour in the nearby mountains, we stopped here for lunch in the castle's renaissance restaurant. It was interesting to see that many of the guests were non-Hungarian Slovakians from the neighbouring Slovakia, which was also reflected in the signs on the restroom doors. I am happy to see these two nations getting closer to each other.

Boldogkőváralja, Zemplén megye - Castrum Boldua középkori étterem. Egy kétnapos kerékpártúráról hazafelé indulva a csapatból négyen még ide is beugrottunk, elsősorban ebédelni ebbe a híres reneszánsz étterembe. Az étel jó volt, a hangulatot ügyesen kialakították, és némi meglepetésemre a vendégek jelentős része magyarul nem is beszélő szlovák volt, a mellékhelyiség feliratai is tükrözték ezt az irányt... Ez a szlovák hölgy a gyerekeit is magyar színekbe öltöztette a hangulat kedvéért. Éljen a népek barátsága!

Château d'Allègre XIIe by sudfrance30

La première mention du castrum de Alegrio date de 1163 lorsque Bernard de Ferreyroles rendit hommage à Bernard Pelet, baron d'Alès.

En 1211, un parchemin du Philippe Auguste indique que le castrum de Allegrio diocesis Uticensis appartient à plusieurs familles seigneuriales se partagent le domaine d’Allègre sous la suzeraineté de l'évêque d'Uzès.

En 1313, Guillaume de Randon, seigneur dominant du castrum, reçoit l'hommage des huit coseigneurs : Jaussin de Naves, Pierre Jourdan, Pierre Guilhem Bérard, Raymond de Guilhefred, Guerin et Raymond d'Allègre, Raymond de Cadoine et Bernard del Puech. Inscription aux monuments historiques depuis le 25 juillet 1997.

- La prima menzione del castrum di Alegrio data di 1163 quando Bernard di Ferreyroles rese omaggio a Bernard Pelet, barone di Alès.

In 1211, una pergamena del Philippe Auguste indica che il castrum di Allegrio diocesis Uticensis appartiene a parecchie famiglie signorili si dividono il campo del vivace sotto la sovranità del vescovo di Uzès.

In 1313, Guillaume di Randon, signore dominante del castrum, riceve l'omaggio degli otto coseigneurs: Jaussin di Naves, Pierre Jourdan, Pierre Guilhem Bérard, Raymond di Guilhefred, Guerin e Raymond di vivace, Raymond di Cadoine e Bernard del Puech.

Iscrizione ai monumenti storici dal 25 luglio1997.