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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
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
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 Phoebus ont été inscrits monument historique par arrêté du 22 décembre 1941.
Le château de Mauvezin avec son enceinte et son donjon quadrangulaire est un exemple caractéristique de l'architecture militaire méridionale.
Le donjon de trente-sept mètres de hauteur possède des murs de trois mètres cinquante d'épaisseur à la base et de deux mètres au sommet. Ils sont construits, en grande partie, avec des cailloux roulés de l'Arros, mêlés par endroits à des assises de briques. La chaux utilisée provenait des carrières voisines, situées au nord-ouest du château. Les murailles de la forteresse forment un quadrilatère rectangle de trente-cinq mètres de côté sur quinze mètres de haut, consolidées par sept épais contreforts et couronnées par un chemin de ronde de deux mètres de largeur. Les remparts sont surmontés de mâchicoulis.
Le château est en perpétuelle restauration depuis 1906. Six salles présentent un musée folklorique et historique.
(Wikipedia)
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
Kastell Eburodunum ( Ruinen des römischen Castrum - Baujahr 325 n. Chr. ) der ehemaligen Stadt der Römer - Römerstadt Eburodunum im heutigen Yverdon - les - Bains im Kanton Waadt - Vaud der Schweiz
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Kastell Eburodunum
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Die Ruinen des ehemaligen römischen Kastell Eburodunum befinden sich in Yverdon - les -
Bains im Kanton Waadt - Vaud der Schweiz
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Vom bedeutenden Kastell, das die Römer zum Schutze des H.afens von Eburodunum -
Yverdon - les - Bains errichtet hatten, sind nur noch sehr wenige Überreste erhalten.
Die letzten Mauern wurden im 19. Jahrhundert niedergerissen.
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Im Jahr 325 errichteten die Römer in Eburodunum - Yverdon ein riesengrosses Kastell,
um den Hafen vor den immer wiederkehrenden Angriffen der Alemannen zu schützen.
Eburodunum war die wichtigste Militärbasis an einem S.ee nördlich der A.lpen und befand
sich an strategischer Lage auf den Hauptverkehrswegen. Heutige Forschungen lassen
vermuten, dass sich die Römer in die Lokalbevölkerung integriert, zahlreiche Bräuche
übernommen und die eigenen verändert hatten.
In Eburodunum errichteten sie eine bedeutende Befestigungsanlage. Sie erstreckte sich
über 2 Hektar und war von einer Mauer mit 15 Türmen umgeben.
Der Druck der Barbaren hielt bis 405 an. Die Römer zogen sich nach R.om zurück und
gaben das Kastell auf. Die letzten Überreste der mächtigen Mauern wurden 1.8.6.0
niedergerissen, um eine Ausdehnung der Stadt zu ermöglichen.
Von 1.9.0.3 bis 1.9.0.6 erfolgten erste Grabungen unter der Leitung des Kantonsarchäologen
Albert Naef. Die zahlreichen Funde sind heute im H.istorischen M.useum im S.chloss von
Yverdon ausgestellt, darunter auch einige sehr erstaunliche Stücke.
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Dank Markierungen auf der Strasse und durch den F.riedhof kann man die Ausmasse des
Kastell sehr gut sehen.
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( BeschriebrömischesKastellYverdon Römer Römisches Römische Reich Imperium Romanum
Romain Geschichte History Helvetier Helvetien Ruine Ruinen AlbumRömerinderSchweiz
Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス Zwitserland Sveits
Szwajcaria Suíça Suiza AlbumRömerinderSchweiz )
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A.usf.lug G.echichte Waadt am Freitag den 18. Januar 2013
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Mit dem Z.ug von B.ern über N.euenb.urg - N.euc.hâtel nach Y.verdon - les - b.ains und weiter
mit dem P.osta.uto bis C.oncise, La R.aise
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Zu F.uss : C.oncise, La R.aise - R.ömischer S.teinb.ruch - K.artäuserk.loster - C.hartreuse
S.aint - L.ieu de la L.ance - K.irche C.oncise - V.ier M.enhire - Q.uatre M.enhirs - D.olmen -
D.olmeng.rab O.nnens - M.enhir bei B.onv.illars
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Besuch des h.istorischem M.useum von Y.verdon im S.chloss Y.verdon und die R.uinen
des r.ömischen K.astell von Y.verdon
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Mit dem Z.ug von Y.verdon les b.ains über N.euenb.urg - N.euc.hâtel zurück nach B.ern
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Hurni130118 AlbumZZZZ130118A.usf.lugG.eschichteW.aadt KantonWaadt KantonVaud AlbumStadtYverdonLesBains StadtYverdonLesBains AlbumRömerInDerSchweiz
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 231223
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NIF
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.
Photo Julien Mudry
Spectacle "Downtown Centre-Ville, Episode 2", 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
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 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!
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
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).
Mauer des Castrum Vindonissense ( Entdeckung 1905 - Ruine Umfassungsmauer Römer Kastell ) des römischen Legionslager Vindonissa ( Lager Besetzt 14 - 101 und 270 - ca. 406 nach Christus ) im heutigen Windisch im Kanton Aargau der Schweiz
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L.egionärsp.fad in V.indonissa am Dienstag den 16. Mai 2023
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Hurni230516 KantonAargau
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 160523
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NIF
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
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
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
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 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
Varbola Jaanilinn on Eesti suurimaid linnuseid. Asetseb lameda, 3-4 m kõrguse aluspõhjakõrgendiku põhjaotsal neemikul. Nimetatud Henriku kroonikas (castrum Warbole), samuti vene letopissides.
Ligi 2 ha suurust õue ümbritseb kõigist külgedest kuivmüürseinte ja palkidega toestatud kividest (peamiselt paest) vall, mille külgi katab ülaosa varisemisest tekkinud rusukalle. Valli kogupikkus on 580 m; ida, põhja ja lääne poolt liitub valli väliskülg linnuse aluseks oleva kõrgendiku järsu nõlvaga. Kõrgus valli välisküljelt (koos alusnõlvaga) on 7 - 10 m, siseküljelt 2 - 7 m. Kagupoolsel küljel on umbes 10 m laiune ja 2 - 3 m sügavune vallikraav; lame nõgu on jälgitav ka lääne- ja idajalamil.
Vallis on kaks väravakäigu kohta koos väljastpoolt nendesse suubuva muistse teega, üks ida- teine lääneküljel. Läbiuuritud läänepoolse käigu laius oli 2,2 - 2,4 m; mõlemal küljel oli puupostidega toestatud kahekordne kuivmüürsein. Postidest on jäänud kivimüüri tühimikud. Postid toestasid ka käigu kunagist pealisehitist. Lõunapoolse küljemüüri allosas leiduv lubi on tõenäoliselt tekkinud paekividest käigu puitkonstruktsioonide intensiivsel põlemisel. Leitud müntide järgi pärineb väravakäik 13. sajandi teisest või kolmandast veerandist. Sügavamal on varasemad rusud.
Linnuse õuel on läbi uuritud kümmekond kerisahju varega elamukohta; mitme elamu juures olid jälgitavad paeplaatidega sillutatud põrand ja kividest laotud seinaalused. Ahjudes oli säilinud paeplaadist põrand, pae- ja raudkividest külgseinte alused ja tagaseinas suurem püstjas kivi. Ahju suu ees, eenduvate külgseinte vahel oli lee. Elamud olid nelinurkse põhiplaaniga, rõhtpalkidest, suurusega 4,5 -5 x 5 - 6 m. Võimalik, et sisse pääses väiksema eesruumi kaudu. Ahi asetses elamu nurgas. Enamik ahjuvaresid on juba väliselt eraldatavad kivikuhelikena, läbimõõt 2 - 7 m, kõrgus 0,2 - 0,8 m; neid on linnuses ligi 90. Vähemalt sama palju pidi olema elamuid.
Õue keskel oli 13 m sügavune kaev, mille ülaosa ümbritses kuivmüürsein. Linnust kasutati 12. - 14. sajandil; 15. - 17. sajandil kasutati linnuse õue kesk- ja lääneosa kalmistuna. Sellest ajast pärineb arvukalt leitud münte, millest enamik on olnud ohvriandideks.
Kaevatud 1938-42, 1953, 1974-86.
Evald Tõnisson
Eesti arhitektuur III. Üldtoimetaja V. Raam. Tln., 1997
Varbola kuulsaim paik on Varbola Jaanilinn. Pindala ja kaitsevalli võimsuse poolest kuulub Varbola Eesti tipplinnuste hulka. 2 ha suurust õue ümbritseb 580 m pikkune ringvall, mille laius on pealt kuni 3 m ja alt 30 m ning kõrgus välisservast kuni 10 m, seest 6 m. Sellise müüri ehitamiseks tuli lahti murda, kohale vedada ja paika laduda ümmarguselt 100 000 kuupmeetrit paekivi. Nii said meie esivanemad kaitserajatise, mille kohta ei ole teada, et teda oleks kunagi tormijooksuga võetud.
Teadaolevalt proovis linnuse kallal esimesena "hammast" sõjalise vapruse poolest tuntud Novgorodi vürst Mstislav Uljas oma teisel Eestimaa sõjaretkel, kuid tulutult (või siiski: Varbolal tuli halvima ärahoidmiseks maksta novgorodlastele 700 nogatit hõbedas, vastutasuks pääses kants esmakordselt kirjasõnasse - Novgorodi leetopissi). Ka hilisemad ründajad - taanlased ja leedulased, polnud edukamad.
Ajaloolaste arvates oli Varbola kants viimast korda sõjaliselt kasutusel Jüriöö ülestõusu päevil. Sellele järgnes ligi 500 aastat vaikust kirjasõnas, vaid arheoloogilised leiud näitavad, et 16.-17.sajandil kasutati linnuseõue kalmistuna.
Üldsuse laiem huvi võimsa muinasehitise vastu tekkis 18. sajandi lõpus, mil temast kirjutasid I. A. Andreä ja L. A. Mellin. Viimane koostas ka linnuse plaani (1786). Tegelike uurimusteni jõuti siiski märksa hiljem: aastail 1938-41 kaevas linnusel E. Laid ja 1953. a. K. Mark. Uus ulatuslik uurimistöö algas 1974. a. E. Tõnissoni ja J. Seliranna juhtimisel ning need jätkuvad tänaseni.
Sõjaeelsetel kaevamistel puhastati linnuse kaev, viimaste uurimiste ajal on tähelepanu pööratud õue idaosale, kus on avatud mitmed eluasemed ja sepikoda. Rekonstrueeritud on värav ringvalli loodeküljel. Huvitavamatest leidudest võiks nimetada kaevust leitud tammepuust kärbi (sõjanuia) ots, luust täringu leid oli esimene Ida-Baltikumis ja näitab, et viikingiajal levinud hasartmäng oli tuttav ka Varbolas.
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 David Deppierraz
Spectacle "Downtown Centre-Ville", 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
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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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
Bühlturm in der Mauer Castrum Vindonissense ( Turm Ruine Umfassungsmauer - Römer - Kastell - Entdeckt 1905 ) des römischen Legionslager Vindonissa ( Lager Besetzt 14 - 101 und 270 - ca. 406 nach Christus ) im heutigen Windisch im Kanton Aargau der Schweiz
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L.egionärsp.fad in V.indonissa am Dienstag den 16. Mai 2023
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Hurni230516 KantonAargau
E - Mail : chrigu.hurni@bluemail.ch
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Fireplace / stove. / Tűzhely.
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!