View allAll Photos Tagged Castrum
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
Durante il X secolo la Valle di Susa patì la situazione di grande incertezza dovuta al generale clima d'incertezza dovuto alla dissoluzione dell'Impero Carolingio e alle scorrerie dei Saraceni. Da questa situazione, però, sorse un nuovo ordine che influenzerà grandemente la storia successiva di questo territorio.
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
From Chateau Grimaldi to the Picasso Museum
Founded on the ancient acropolis of the Greek city of Antipolis, Roman castrum, residence of the bishops in the Middle Ages (from 442 to 1385), the Grimaldi castle was inhabited from 1385 by the Monegasque family which gave it its name. It became the residence of the governor of the King, and after 1792, the town hall, the building was transformed into a barracks in 1820, marking the takeover of the premises by the military engineer until 1924.
Professor of French, Greek and Latin at the Lycée Carnot in Cannes, Romuald Dor de la Souchère began his archaeological research in Antibes in 1923. On March 29, 1924, Dor de la Souchère founded the Friends of the Museum of Antibes, whose aim was to found a historical and archaeological museum and to work to make known the past of the region.
In 1925, the castle of Grimaldi was bought by the city of Antibes and became the Grimaldi museum with the first conservative, Romuald Dor de la Souchère. In September 1945, Pablo Picasso went to the Grimaldi Museum and in 1946, Romuald Dor de la Souchère offered to use part of the castle as a workshop.
From Picasso ....
Picasso, enthusiastic, works in the castle and carries out many works, drawings and paintings. Following his stay in 1946, Pablo Picasso left 23 paintings and 44 drawings in the city of Antibes. Among the most famous paintings: La Joie de vivre , Satyr , Fauna and centaur in the trident , The Gobeur d'oursins , The Woman with sea urchins , Still life with the owl and the three sea urchins , La Chèvre ...
On September 22, 1947, the Picasso hall was officially inaugurated on the first floor, accompanied by a first hanging of the works of Antibes.
On September 7, 1948, an exhibition confirms the significant enrichment of 78 ceramics made at the Madoura workshop in Vallauris.
On September 13, 1949, on the occasion of the inauguration of the exhibition "Tapisseries françaises", new rooms devoted to Picasso's paintings, ceramics and drawings are open to the public. And on December 27, 1966, the city of Antibes pays homage to Pablo Picasso again and the Grimaldi castle officially becomes the Picasso Museum, the first museum devoted to the artist. Finally, in 1991, the Jacqueline Picasso dation authorizes a further enrichment of the Picasso collections.
The Castle hill is made of drift accumulating during centuries. However, a legend about its origin says that when Attila the Hun (also called the Scourge of God) plundered Aquileia (one of the biggest cities of the Roman Empire at that time) in the year 452, he asked his soldiers to build a hill to see the Aquileia burning. This was made by filling the helmet of each soldier with ground.
The first official statement of the existence of a building on the hill dates back to 983: the Holy Roman Emperor Otto II donated to Rodoaldo, Patriarch of Aquileia a "castrum", a military building.
The present building has the form of a palace and it was built on the ruins of a fortress destroyed in the year 1511 by an earthquake. The construction had started in 1517 and the works had lasted for 50 years. The external decoration of the palace and the paintings in the Parliament Hall are due to Giovanni da Udine, one of the pupils of Raphael.
The council of the Patria del Friuli was one of the first parliaments in the world, and it was suppressed after the French occupation in 1797.
Today the castle hosts the History and Art Museum of the City of Udine.
The menu / Az ebéd.
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... Éljen a népek barátsága!
San Clemente (Rimini) Italy Dicembre 2008
.....Attention fall khaki
Sulle prime colline della Riviera Adriatica si erge il colle di San Clemente. Il nome di San Clemente ha origine illustri: esso deriva infatti dal Vescovo di Roma che fu terzo successore di San Pietro dall’88 al 97 d.C. Le prime notizie sul Castrum Sancti Clementis si hanno nel 962 quando Ottone I ne fece dono ai conti di Carpegna. Entrata in seguito a far parte dei possedimenti dei Malatesta, vi rimase, tranne un breve periodo, fino al 1504 quando il castello passò in mano ai veneziani. Nel 1508 la Santa Sede lo assegnò al Comune di Rimini.
On the first hills of the Adriatic Riviera, lies the hill of San Clemente. The name of San Clemente has distinguished origin: it derives from the Bishop of Rome who was the third successor of St. Peter dall'88 97 AD. We have The first news of the Castrum Sancti Clementis in 962 when Otto I made it a gift to the counts of Carpegna. Entry after become part of the possessions of Malatesta, there remained, except for a brief period, until 1504 when the castle passed into the hands of the Venetians. In 1508 the Holy See assigned to the Municipality of Rimini.
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
Il primo documento che ricorda Monte Battaglia è un atto rogato nel 1154 entro le mura della rocca che viene indicata come castrum de Monte Batalla.
Quasi nove secoli di storia non hanno permesso di individuare con certezza l'origine di quel toponimo che vede gli storici e gli studiosi di toponomastica divisi su due ipotesi. Da una parte c'è chi si rifà ad un'importante battaglia fra Goti e Bizantini, mentre dall'altra parte c'è chi guarda alla
dominazione longobarda, individuando nel toponimo "battaglia" un'alterazione del termine longobardo pataia, cioè lembo di stoffa che sventola, qual doveva apparire un vessilo o una bandiera mossa dal vento sulla cima della torre di Monte Battaglia.
Tra i sostenitori della prima ipotesi troviamo Gina Fasoli dell'Università degli Studi di Bologna, la quale, nella relazione "Ricerche su un toponimo" presentata nel corso della Giornata di Studi su Monte Battaglia svoltasi a Casola Valsenio il 21 luglio 1973, ipotizzava:
Monte Battaglia, il monte della battaglia: ma di quale battaglia? Deve essere stata una battaglia importante, se ha dato vita ad un toponimo destinato a sopravvivere per secoli. Una battaglia importante per gli effettivi in campo, ma soprattutto per il significato che lo scontro armato aveva nella storia e nella vita di tutta la regione e che deve essere stata combattuta prima dell'anno 1154. (...)
Dobbiamo voltare altre pagine a ritroso nel gran libro della storia d'Italia ed arrivare alla guerra gotica, alla guerra tra Goti e Bizantini e più precisamente al 542, quando Totila, battuto l'esercito imperiale a Faenza, passò ad assediare Firenze e costretto a togliere l'assedio si ritirò nel Mugello, difendendo accanitamente contro tutti i tentativi di riscossa dei Bizantini i valichi dell'Appennino tosco-romagnolo: è l'unico momento storico in cui si possa ipotizzare una grande battaglia o per lo meno una battaglia il cui valore politico trascenda il fatto puramente episodico: una battaglia combattuta non da tirannelli turbolenti e faziosi, ma una battaglia combattuta tra due giganti come Totila e l'Impero bizantino, che decidevano con le armi le sorti d'Italia.
Sulle stesse posizioni della Fasoli troviamo Romeo Galli che sul Corriere Padano del 15 gennaio 1943 scriveva: "Come e quando seguisse la battaglia che improntò del suo nome la vetta solitaria, non sappiamo! Battaglia fra Etruschi e Galli? Fra Goti e Bizantini? (...) Nel 542 re Totila battè, sul nostro Appennino avanti di sterminarle a Faenza, le schiere imperiali; non è inverosimile, pertanto, che lassù seguisse uno scontro sanguinoso". Anche Giulio Cesare Cerchiari nel Ristretto Storico della Città d'Imola del 1847 si rifà ad una battaglia, ma collocata in epoca diversa: "Monte Battaglia chiamavasi Monte delle Battaglie per le molte zuffe che ebbero luogo fra i Barbari e gl'Imolesi che colà nel principio del secolo decimo si erano riparati e fortificati".
Altri studiosi invece ipotizzano un'origine del toponimo più semplice e singolare. Come Antonio Polloni il quale nella pagine della Toponomastica Romagnola sostiene che "battaglia" è probabilmente un'alterazione del termine di origine longobarda pataia, cioè straccio o meglio straccio o lembo di stoffa che sventola. Come conferma il vocabolo patajôl o patajòla usato nel dialetto romagnolo fino a pochi decenni fa per indicare quel lembo di camicia che fuoriesce, sventolando, dalla patta aperta dei bambini.
E molto probabilmente un vessillo, un drappo o una bandiera sventolava in cima alla torre di Monte Battaglia quale segnale di collegamento tra i punti fortificati del sistema militare difensivo di appartenenza. Sistema che rimanda ai Longobardi, cioè alla seconda metà del VII secolo. Tutte le storie sulla valle del Senio concordano nell'individuare il percorso del rio Cestina, affluente del Senio, quale linea di confine tra Esarcato e Longobardi.
Questi ultimi crearono una linea difensiva lungo il crinale che corre alla sinistra del Cestina con alcuni insediamenti fortificati - probabilmente torri di vedetta e di difesa - tra cui quelli di Campalmonte e Monte Battaglia che, via via, vengono rinforzati e nel 961 vengono ricordati come castelli dal cronista Giovanni Antonio Linguerri nel manoscritto Storia della valle del Senio. Le due rocche erano in mano alla famiglia Campalmonte che nel 1046 viene scacciata da bande di "montanari" e si rifugia a Imola; Comune che poi riconquista Monte Battaglia riaffidando la rocca ai Campalmonte che la fortificano. E' probabilmente in questo periodo che essa assume l'assetto pervenuto nella forma fino a noi, pur attraverso ricostruzioni e rimaneggiamenti.
Le village de Mauvezin (en occitan gascon Mauvesin, « Mauvais voisin ») occupe, sur la route de Lannemezan à Bagnères-de-Bigorre, un emplacement privilégié (stratégique : en période troublée, voir loin pouvait être vital) permettant au promeneur (en période de paix) de bénéficier du panorama.
Son château, ancienne possession de Gaston Phoebus, domine les Baronnies et la vallée de l'Arros.
Le site, occupé dès la protohistoire, s'est transformé en castrum au Haut Moyen Âge. Un château fort a été bâti au xie siècle par les Comtes de Bigorre. Il a été reconstruit par Gaston Fébus vers 1380. Il reste dans la famille des Béarn-Foix qui deviennent plus tard rois de Navarre, et ainsi passe à Henri IV.
Il tombe en désuétude après le rattachement de la Bigorre au royaume de France en 1607 ; c'est la fin des châteaux forts à vocation défensive. Il fut démantelé petit à petit, ses pierres servant alors pour d'autres constructions.
Aujourd'hui, le château est en cours de restauration et abrite un musée historique et folklorique du Béarn et de la Bigorre. Le château et le donjon de Gaston Fébus ont été inscrits monument historique par arrêté du 22 décembre 1941.
Le château est ouvert à la visite libre tous les jours et toute l'année. Des visites guidées sont proposées tous les jours en juillet et août, et toute l'année sur réservation pour les groupes. Des journées à thèmes et visites scolaires sont également possibles. Des spectacles sont organisés tous les dimanches en juillet et août.
Définies comme région naturelle ou encore pays traditionnel, les Baronnies sont situées au sud d'une ligne Lannemezan - Bagnères-de-Bigorre. Bien que son noyau soit constitué à l'origine des 4 communes de l'ancienne baronnie d'Esparros, il est admis de nos jours qu'elle s'étend sur 27 communes : Argelès-Bagnères, Arrodets, Asque, Avezac-Prat-Lahitte, Banios, Batsère, Benqué, Bettes, Bonnemazon, Bourg-de-Bigorre, Bulan, Castillon, Esconnets, Escots, Esparros, Espèche, Espieilh, Fréchendets, Labastide, Laborde, Lies, Lomné, Marsas, Molère, Sarlabous, Tilhouse, Uzer.
C'est pour les paysages de cette région que Le Pacte des loups y a été tourné, bien que l'action se déroule en Gévaudan.
La garbure au porc noir dit « porc gascon » est une spécialité des Baronnies.
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.
Photo Julien Mudry
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
Swallow's Nest is a decorative castle near Yalta on the Crimean shore in southern Ukraine. It was built between 1911 and 1912 near Gaspra, on top of 40-meter (130 ft) high Aurora Cliff, to a Neo-Gothic design by the Russian architect Leonid Sherwood. The castle overlooks Ai–Todor cape of the Black Sea and is located near the remnants of the Roman castrum of Charax. Swallow's Nest is one of the most popular visitor attractions in Crimea.
Since 1975, an Italian restaurant has operated within the building. Swallow's Nest was also featured in several Soviet films. It was used as the setting of Desyat Negrityat, the Soviet screen version of Agatha Christie's And Then There Were None. The Swallow's Nest Castle and the surrounding landmarks such as the Massandra palace were also shortly featured in a Jackie Chan film.
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
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.
Rheinthermen Augusta Raurica ( Baujahr um 260 nach Christus - Römer Römische Ruinen Therme Bad Badeanlage ) im Kastell - Castrum Rauracense der ehemaligen Stadt der Römer - Römerstadt Augusta Raurica im heutigen Kaiseraugst im Kanton Aargau der Schweiz
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Ausflug nach B.asel am Samstag den 06. August 2016
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Mit dem Z.ug von B.ern über B.asel nach K.aiseraugst
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Besichtigung der r.ömischen R.uinen in K.aiseraugst
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Mit dem S.chiff C.hristoph M.erian von K.aiseraugst bis B.asel D.reiländereck
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S.paziergang durch die A.ltstadt B.asel
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Mit dem Z.ug von B.asel zurück nach B.ern
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Hurni160806 AlbumZZZZ160806AusflugBasel KantonAargau AlbumRömerinderSchweiz AlbumRömerstadtAugustaRaurica
E- Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 110816
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NIF
CASTRUM DOMINORUM MANIACI, alle falde del Monte Jouf.
Bello, vero? Un centinaio d'anni dopo fu lesionato/distrutto dal terremoto
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).
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
Randonnée du Castrum de Saint-Marcel à la vigie de Saint-Marcel par les crêtes et retour par le sentier bleu via la croix de Saint-Marcel
Photo Julien Mudry
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
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
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
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
Photo Julien Mudry
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
Castrum médiéval construit sur un éperon rocheux surplombant la rivière Maronne, les Tours de Merle se trouvent dans les collines et forêts de la Xaintrie. Elle sont une forteresse naturelle dans un pays authentique de la Corrèze : la Xaintrie !
Ce site historique suscite l'imaginaire des visiteurs, grands ou petits !
Classé Monument Historique depuis 1927, inscrit au titre de son paysage, situé en zone Natura 2000 et d'intérêt écologique floristique et faunistique, le site recèle des trésors d'Histoire et de Nature.
Tra VIII e IX secolo la storia della Valle di Susa venne fortemente influenzata dalla storia europea. Si tratta di un periodo critico durante il quale la funzione della valle oscillò tra quella di confine e quella di collegamento. Dalla conquista franca al controllo dei marchesi arduinici passando per lo spopolamento dovuto alle scorrerie del "Saraceni".
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
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