View allAll Photos Tagged Dissonant
Untrodden...
Some paths are made by man…
Some paths are progeny of Mother Nature…
Some paths are proof that something passed…
Some paths are a validation of silence…
Some paths are dissonant…
Some paths are narrow…
Some paths are rather liberal…
Some paths are wild…
Some paths are made to cross over…
Some paths are meant to lead somewhere…
Some paths are trodden tracks…
Some paths are just there…
Some paths are unknown…
Some paths are less traveled…
These paths I wish to discover…
These paths I wish to unravel…
- Ankita Asthana
view my professional portfolio www.fotofolios.co.uk/work/ankitaasthana
St Mary, Creeting St Mary, Suffolk
This little hilltop church is one of the most familiar of sights to Suffolk travellers, rising like a small castle to the north of the A14. At one time there was another church, All Saints, in the same churchyard, which would have looked even more dramatic if dual carriageways had existed in those days. But the old church came down after a storm in 1800, and they built a north transept onto St Mary to accommodate the parishioners. When St Mary underwent a large scale and extravagant restoration in the late 19th Century, an aisle was added to the north side, and no trace of the transept remains.
The tower close-up is a fine sight, its bellstage and battlements crisp from their 1885 rebuilding. The chancel was also rebuilt at this time, and you step into what is almost completely a late 19th Century space. The 15th Century font has been moved into the space beneath the tower, as if not to distract from all things late Victorian. But the overwhelming impression is of what is one of the best collections of Kempe & Co glass in all East Anglia. There are figures of Saints, Old Testament Prophets and Patriarchs, and in the north aisle an excellent Annunciation and figures of St George and St Alban which show that the company could still hold its head up in the early decades of the 20th Century.
The westernmost window in the north aisle strikes the only dissonant note in this sea of Kempe, and a fine dissonance it is. It an important work by Brian Thomas, depicting the Adoration of the Shepherds. It dates from 1950, an early date for such modernist figurativeness, still looking back to the expressionism of stained glass artists like Leonard Walker, with one eye forward to the Festival of Britain joy and simplicity of the likes of Harry Stammers and Moira Forsythe. The subject is always a powerful one in rural backwaters like Creeting St Mary. At about the same time as Thomas was making this work, he received one of the great stained glass commissions of the second half of the 20th Century, to create a vast scheme of windows for the bombed out church of St Nicholas in Great Yarmouth, the largest parish church in England. To see his work here on such an intimate and human scale is a rare privilege.
Stepping back outside, the best feature of the exterior is the excellent 15th Century porch, one of several in this part of central Suffolk. A surprise in it is the Norman doorway, which is perhaps the only survival of the earliest church on this site. A plaque inside the porch records that the modern figure of the Blessed Virgin was given in memory of Canon Harry Fleetwood, who for 45 years never failed to teach the Faith in this church. Fleetwood's infant son, Christopher, is buried beneath a cross to the south of the church.
The war memorial outside the porch faces prominently out across the valley of the infant River Gipping, but back inside the church are brass reminders of lives lost in the Great War. One is to two brothers of Harry Fleetwood's wife, William James and Douglas James. Both in their early twenties, they were killed in the hell of the Battle of Loos in September 1915, just five days apart. The Battle of Loos, it will be remembered, was the occasion on which poison gas was first used, by both sides.
Another brass plaque remembers George Groom, an appropriately-named sergeant in the Royal Horse Artillery. He was killed in the even more infamous Battle of the Somme in July 1916, and is buried at Heilly Cemetery near Mericourt l'Abbé to the east of Albert on the Somme battlefield.
Bey Ler Bey Trio invite Erwan Keravec
Espace Croix-Baragnon, Toulouse
Mars 2017
Toutes les photos... de Bey Ler Bey Trio
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Suspended Animation Classic #203
Originally published November 15, 1992 (#46)
(Dates are approximate)
Doctor Strange #48/Darkhold #3
By Michael Vance
Ancient pages filled with the atrocities of an “Elder God” have found their way into the wrong hands. A sorcerer’s apprentice, entombed for centuries, is released: Modred the Mystic is alive! This mage that summoned the hideous “Other” from these arcane pages rises to undo his evil.
Manipulating both human and superhuman allies to accomplish his ends, Modred sends a college professor and his assistants to Perfection, South Carolina. There, one page begins to wreck many lives.
As Modred schemes, The Scarlet Witch opens doorways to other dimensions and learns some doors are better left closed.
Horror and fantasy are brother and sister to “The Unknown”. Fans of the dark side of fantasy or the fantastic type of horror will enjoy this new comics series, “Darkhold”. Firmly entrenched in the history of both genres, it builds suspense through atmosphere and characterization.
Try to overlook its barely serviceable art.
“Darkhold #3/$1.75, 23 pages/published by Marvel Comics/Chris Cooper, writer; Tony Harris, artist/available in comics shops.
-0-
It’s amazing that, in our enlightened, scientific age, millions cling to a belief in magic, and willingly suspend their disbelief to accept the illusions of ‘real’ magicians like Doug Henning and David Copperfield. That same longing for control over our world with a muttered word or arcane gesture lies at the heart of why “Dr. Strange” remains popular after almost thirty years of adventure.
It doesn’t hurt that the current artistic team is excellent, of course.
In the current adventure, Dr. Strange has discovered mystic planes are dissonant. The balance of reality is under attack by grotesque creatures with leathery wings, claws, and one eye.
Doc gestures. Ectoplasm erupts like fireworks.
By the Hoards of Hogarth! Levitate yourself to the nearest outlet and purchase!
“Doctor Strange” #48/$1.75, 22 pages, Marvel Comics/Len Kaminski, writer; Geof Isherwood, penciller/available in comics shops.
Etienne Fouchet
(Français), plasticien, Antony
Etienne Fouchet est guidé par les mutations des matériaux fluides qu’il utilise. Il crée un vocabulaire de formes et de textures inspirées par les espaces aqueux, naturels, artificiels et travaille en dialogue avec l’histoire même de la sculpture.
Pierres dissonantes est composée de 6 sculptures colorées inspirées du menhir de Freydefond. Elles ont été réalisées à partir d’une empreinte en silicone puis coulées dans une résine. Sous terre, le menhir cache une partie de sa silhouette. L’artiste a alors imaginé la surface enterrée, donnant aux reproductions une dimension plus grande. L’œuvre renvoie au mystère des mégalithes, en questionnant le savoir-faire des sculpteurs du néolithique sur les rapports de force, de tenue dans l’espace, d’équilibre, d’échelle, de poids et de densité. Le liquide visqueux figé sur les pièces fait quant à lui écho à l’élément aqueux qui donne son nom au lieu et à la roche magmatique, le basalte, qui constitue le menhir.
leica iiic
film
colinhuggins.bandcamp.com/track/philip-glass-opening-from...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
91m2 Project Space presents: O. by Orvar, an exhibition curated by Fabio Campagna
Opening: May 7th, 2011, 7.30 pm, performance 9.30 pm.
Open by appointment from May 9 - 13, 2011.
O. by Orvar (1984, Mexico) is a site-specific project, of drawings and performance, operating a semantic analysis of the mythopoetic mechanisms of the body. A process of writing, of and with the body, that proceeds through a descriptive and ritualistic approach.
His scenic and symbolic space of action is the desert. A physical and existential Limen. Ecstatic annihilation, that presents itself as a suspended void, lacerated and hard, within the immaterial space of the paper. From the traces of sedimentation left behind emerges a series of portraits. A silent multitude. Resplendent and physical. The very objectivity, photographic, conveyed with ease and technical expertise, is enhanced by the unfolding of a universe rich with symbols.
A personal mythology is sketched, becoming abruptly common text.
A vigorous emersion that, in its thick references to iconography belonging to precolombian and Catholicism symbolism, activates a paradoxical and profound transcription of the imaginary. An alive distortion, made of contradictory signs. Dissonant geometries of symbols and faces. And their conflict, like a source of content, writes personal metanarratives. Without solutions of continuity.
The imaginary as proliferation of different, other texts. Dense, real. A complex mythography, whose profound, cohesive mark, is the body. A hermeneutic code that gives form to the figurative universe of Orvar. Operating a symbolic transfiguration of reality into a mythological theatre of trauma.
It is precisely this pain, as discontinuity, limit, and self-realisation of the body, who is the protagonist within the system of signs through the installative construction of O. The trauma, together personal and collective, that alone informs every narration. Actualising a panic rituality. Unveiling itself. An operation which is completed through the performative interventions by Orvar. Actions which dynamically ignite the installative machine, following behind it, the process of writing.
The body, through its purest exemplification, the articulation of the voice, illustrating the fractures and the idiosyncrasies of the profound. Positioning itself, in that way, as narrative spaces of a cruel, but necessary, introspective trance.
An irreplaceable ontological pain.
Drawing an alternative and solid position for the human within reality.
Orvar (1984. Mexico) is a crossing media artist. He lives and works in Berlin, Germany. He studied architecure at Universidad Autonoma de Coahuila, Mexico. www.wix.com/oorvar/orvar
Frédéric Martel
Pasquale Quaranta
Delia Vaccarello
Persone lgbt e media nell'era dei diritti, vittime o protagoniste? Le parole possono essere muri o ponti: possono creare distanza o aiutare la comprensione dei problemi. I giornalisti possono essere protagonisti di una narrazione che riduca il rischio di discriminazioni ma in quali termini i media ne parlano? Si parla di minoranza solo narrandone la condizione di vittima o accogliendone la voce dissonante, nuova, provocatoria? Dopo la conquista di una parte dei diritti civili in Italia, un interrogativo si impone: oggi perché fanno notizia le persone lgbt? Perché celebrano le unioni civili oppure per la strage di Orlando? O ancora per il ricorso al cosiddetto “utero in affitto” che solleva polemiche se messo in atto dai gay? Nei media compaiono percorsi obbligati: si parla di lgbt a proposito di conquista dei diritti, discriminazioni, eccentricità. Manca la voce. Potrebbe essere tutta colpa dei media generalisti che non sanno tracciare strade nuove oppure, al contrario, responsabilità del movimento lgbt che, avvitato nella logica della minoranza, non riesce a bucare gli schermi o le pagine dei giornali con proposte di ampio respiro. Da una minoranza ci si aspetta anche una visione politica e culturale, un tesoro di risorse nate dall'essere osservatorio di realtà poco rappresentate. Il panel indagando questi aspetti valuterà le proposte dei media in Italia e altrove, saggiando convergenze e differenze. Un esempio facile: gay e lesbiche si sono mobilitati per i minatori nell'Inghilterra del 1984. Caso unico?
Words can be walls or bridges: they can create distance or help the understanding of problems. Journalists can be protagonists of a narrative that reduces the risk of discrimination, but how should the media talk about this risk? Are minorities discussed only by narrating their state of victimhood, or accepting their dissonant, new, provocative voice? After the achievement of a part of civil rights in Italy, a question arises: why are LGBTs in the news today? Because we can celebrate civil unions or because of the massacre in Orlando? Or even for the use of so-called “surrogate mothers”, which raises controversy when used by gay couples? There are obligatory paths in the media: you talk about LGBTs with regard to the achievement of rights, to discrimination, to oddity. Their voice is missing. It could be all mainstream media’s fault, they cannot draw new roads or, on the contrary, it could be a responsibility of the LGBT movement that, trapped into the “logic of the minority”, is unable to make its presence felt in the media with far-reaching proposals. A minority is expected to have a political and cultural vision as well, a treasure trove of resources born thanks to its position as observatory of underrepresented realities. The panel, considering these aspects, will assess the proposals made by the media in Italy and elsewhere, identifying convergences and differences. An easy example: gays and lesbians mobilized for miners in England in 1984. Is this a unique case?
video: media.journalismfestival.com/programme/2017/lgbt-in-the-m...
■ Pictures of XV ème Edition Marsatac 2013, Marseille 2013, FRA
■ Samedi 28 Septembre 2013 / Saturday, September 28, 2013.
■ All photos of the artist : HERE.
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
Frédéric Martel
Pasquale Quaranta
Delia Vaccarello
Persone lgbt e media nell'era dei diritti, vittime o protagoniste? Le parole possono essere muri o ponti: possono creare distanza o aiutare la comprensione dei problemi. I giornalisti possono essere protagonisti di una narrazione che riduca il rischio di discriminazioni ma in quali termini i media ne parlano? Si parla di minoranza solo narrandone la condizione di vittima o accogliendone la voce dissonante, nuova, provocatoria? Dopo la conquista di una parte dei diritti civili in Italia, un interrogativo si impone: oggi perché fanno notizia le persone lgbt? Perché celebrano le unioni civili oppure per la strage di Orlando? O ancora per il ricorso al cosiddetto “utero in affitto” che solleva polemiche se messo in atto dai gay? Nei media compaiono percorsi obbligati: si parla di lgbt a proposito di conquista dei diritti, discriminazioni, eccentricità. Manca la voce. Potrebbe essere tutta colpa dei media generalisti che non sanno tracciare strade nuove oppure, al contrario, responsabilità del movimento lgbt che, avvitato nella logica della minoranza, non riesce a bucare gli schermi o le pagine dei giornali con proposte di ampio respiro. Da una minoranza ci si aspetta anche una visione politica e culturale, un tesoro di risorse nate dall'essere osservatorio di realtà poco rappresentate. Il panel indagando questi aspetti valuterà le proposte dei media in Italia e altrove, saggiando convergenze e differenze. Un esempio facile: gay e lesbiche si sono mobilitati per i minatori nell'Inghilterra del 1984. Caso unico?
Words can be walls or bridges: they can create distance or help the understanding of problems. Journalists can be protagonists of a narrative that reduces the risk of discrimination, but how should the media talk about this risk? Are minorities discussed only by narrating their state of victimhood, or accepting their dissonant, new, provocative voice? After the achievement of a part of civil rights in Italy, a question arises: why are LGBTs in the news today? Because we can celebrate civil unions or because of the massacre in Orlando? Or even for the use of so-called “surrogate mothers”, which raises controversy when used by gay couples? There are obligatory paths in the media: you talk about LGBTs with regard to the achievement of rights, to discrimination, to oddity. Their voice is missing. It could be all mainstream media’s fault, they cannot draw new roads or, on the contrary, it could be a responsibility of the LGBT movement that, trapped into the “logic of the minority”, is unable to make its presence felt in the media with far-reaching proposals. A minority is expected to have a political and cultural vision as well, a treasure trove of resources born thanks to its position as observatory of underrepresented realities. The panel, considering these aspects, will assess the proposals made by the media in Italy and elsewhere, identifying convergences and differences. An easy example: gays and lesbians mobilized for miners in England in 1984. Is this a unique case?
video: media.journalismfestival.com/programme/2017/lgbt-in-the-m...
beneath the windy and waving canopy of leaves
footfalls are hushed and muffled at dawn
as the wild audience clamber into their seats
the great sheath of drifting shimmering light rises
a large and dissonant orchestra tunes itself to the day
and green ladies dance wildly in the hedgerows...
Lucy Meskill
Photo showing the Project "Voices Diversity" by Michael Kramer (AT) at the Loops of Wisdom Exhibition at Kunstuni Campus.
Seven artists of ClickCollectiv (collective for FLINTA* musicians) perform acoustically through one loudspeaker, each of which is integrated in a circle at head height. Through conversation, discussion, pleading, soliloquy, singing, or exploration of the limits of the human sound spectrum, charged, coherent and dissonant harmonies and statements emerge.
Credit: tom mesic
Explore # 211 Jan. 19, 2009
"It was a creed written into the founding documents that declared the destiny of a nation: Yes, we can.
It was whispered by slaves and abolitionists as they blazed a trail towards freedom through the darkest of nights: Yes, we can.
It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an unforgiving wilderness: Yes, we can.
It was the call of workers who organized, women who reached for the ballot, a president who chose the moon as our new frontier, and a king who took us to the mountaintop and pointed the way to the promised land: Yes, we can, to justice and equality.
Yes, we can, to opportunity and prosperity. Yes, we can heal this nation. Yes, we can repair this world. Yes, we can....
We know the battle ahead will be long, but always remember that no
matter what obstacles stand in our way, nothing can withstand the
power of millions of voices calling for change.
We have been told we cannot do this by a chorus of cynics who will
only grow louder and more dissonant in the weeks to come. We've been
asked to pause for a reality check. We've been warned against
offering the people of this nation false hope.
But in the unlikely story that is America, there has never been
anything false about hope. For when we have faced down impossible
odds; when we've been told that we're not ready, or that we shouldn't
try, or that we can't, generations of Americans have responded with a
simple creed that sums up the spirit of a people.
Yes we can."
Dissonant Nation au Mama Shelter, Marseille, jeudi 11 février 2016
Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez me contacter / For any use please contact me
This unidentified woman wears an elegant, colorful dress of a type that was the height of Florentine fashion around 1540. Her costume and music book indicate her cultured, patrician background; she may have been a member of the Frescobaldi, a powerful Florentine banking family that once owned the painting.
The surprising juxtaposition of the bright green of the tablecloth alongside the sitter’s pink dress, and the polished, sculptural treatment of flesh tones are characteristics associated with Florentine painting of the early sixteenth century. The artist here shows off his ability to represent intricate embroidery and textures, such as the fur trim of the sitter’s sleeves and patterns on her dress.
According to biographer Giorgio Vasari (1511 – 1574), Bachiacca was famous for his accurate illustrations of birds, examples of which appear here on the border of the tablecloth—they can be identified from left to right as a great or lesser grey shrike, a blue jay, a wren and a yellowhammer. The same birds appear in the borders of tapestries designed by Bachiacca, as well as in the fragmentary remains of some of his murals in the Palazzo Vecchio, Florence.
All of these details reveal the artist’s many talents: Bachiacca and his younger brother in fact worked across many media, and were producers of a variety of luxury items for the Medici court, including tapestries, embroidery design, and zoological illustrations.
The melody on the sheet held by the woman is unintelligible; the artist, who is not known to have read music, deliberately obscures it with the sitter’s hand. Bachiacca derived his ambiguous space, juxtaposition of dissonant colors, and polished, sculptural treatment of flesh from Agnolo Bronzino's contemporary portraits of members of the Medici court.
Source: The J. Paul Getty Museum
www.getty.edu/art/collection/objects/668/bachiacca-france...
to the Diaspora
you did not know you were Afrika
When you set out for Afrika
you did not know you were going.
Because
you did not know you were Afrika.
You did not know the Black continent
that had to be reached
was you.
I could not have told you then that some sun
would come,
somewhere over the road,
would come evoking the diamonds
of you, the Black continent--
somewhere over the road.
You would not have believed my mouth.
When I told you, meeting you somewhere close
to the heat and youth of the road,
liking my loyalty, liking belief,
you smiled and you thanked me but very little believed me.
Here is some sun. Some.
Now off into the places rough to reach.
Though dry, though drowsy, all unwillingly a-wobble,
into the dissonant and dangerous crescendo.
Your work, that was done, to be done to be done to be done.
--Gwendolyn Brooks
Rec_Overflow también conocido por su faceta de DJ como Mix-Overflow, es miembro del grupo madrileño Error. Con el que publica en el 2001 “Mira” y “Crónicas del Subsuelo por error”, editados por el sello Yo Gano bajo el nombre de “Delicatessen”. Ese mismo año crean su web www.plataforma-ltw.com dónde editan Error/rrr.CD-r\LTW0001.
En Agosto del 2002 sale a luz la cuarta referencia de la Plataforma “Lptpvrflw”. El primer LP de Rec_Overflow en solitario. Al igual que las otras referencias del sello lleva un autoejecutable híbrido que contiene info, un mp3 y un video, en este caso“rgntn.mov” hecho por Rec_Overflow (montaje y música junto a Bleizes).
En Junio del 2003 editó su segundo Lp tambien con contenido extra, un video, un Mp3, info, Ep3 (7 tracks que no vienen en la parte audio del Cd-r) y todo dentro de un autoejecutable para Mac Os 9, Os X y PC (diseños por ErrorVisualSupport).
Para finales del 2005 salió el Lp en Spa.rk “Madrid” que tuvo una enorme aceptación a nivel público y revistas, incluso la televisión se interesó. Se edito unaversion en digipack y otra mas tarde en Sample Vinyl con 4 tracks del Lp y uno nuevo.
Ha aparecido en recopilaciones con artistas de mucha talla, “VS Fibla”, “Chaos. Lovers”, “Fuga Externa”, “Download Folda”, “VV.AA. XPECTRUM 02”, “VV.AA. ZEMOS98-Sexta Edición”, “Homenaje”...
Ha expuesto en galerias como Galeria Carmen de la Guerra “Organic Cave Software”, con un software creado en el entorno de programación MAX/MSP con la colaboración en la programación de p0l4ro[:de], Vleizes y CJitter. La instalación duro 2 meses y estaba basada en el proceso randomizado de un micro de ambiente en tiempo real. Ha actuado en salas y festivales como Circulo de Bellas
Artes, Rokolectiv (Bucharest), Colegio San Juan Evangelista, Medelink (Medellín), Kathmandú, Benicassim 01/03, Campus Party 03, Arco’01/’03 , Recycled Sound, After Arco 01/02/03, Tendencias Post-digitales, Museo de Arte del Banco de la República (Bogotá), Klubben, Festival Internacional de Música Electroacústica, Soma Club, Sala Apollo, La Casa Encendida, Daf Lab, KlangMaschine, Sonar 04/05, Sonikas 01/02, Werk, Photoespaña 04, Dissonant 01/02, etc...
goed zichtbaar is hier dat de kap van Antwerpen vooral berekend is op het traditionele sncb Bordeaurood.
This weatherbeaten wall is a testament to how hard we all have worked to see our dreams come true.
It breaks my heart to feel distant from some of my closest dreams after working my entire life to reach what were precious goals...
Life, work, time...sometimes create distance. Complications. Dissonant voices...
Hit me with a hammer.
I try to see my reflection in others, and realize things are so good...that i need to appreciate what I have, and how blessed I am.
My fantasy is broken.
Drawing shells was definitely a challenge for me. I used watercolor, pastel chalk, colored pencils and a white marker to color. Basically, I tried almost everything except crayon. I'm new to working in color & have no idea what I'm doing.
I wrote this poem last summer with sea glass in mind. It seemed appropriate to add it here:
An enigmatic reunion
Of bottle bits once brilliant
Now scathed and scorned by the elements
Recklessly tossed along dissonant waves
Finally shunned unceremoniously and deposited
Along pallid shores
Where their watery journey had once begun.
■ Pictures of XV ème Edition Marsatac 2013, Marseille 2013, FRA
■ Samedi 28 Septembre 2013 / Saturday, September 28, 2013.
■ All photos of the artist : HERE.
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
models 1994
Biography
Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).
In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.
In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.
Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.
From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).
Although Marlene Dumas has had Dutch nationality since 1989, she has said:
Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.
I don’t want it both ways.
I want it more ways.
Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.
Explore #239 on 15th June 09
The Dungeon
by Samuel Taylor Coleridge
And this place our forefathers made for man!
This is the process of our love and wisdom,
To each poor brother who offends against us -
Most innocent, perhaps -and what if guilty?
Is this the only cure? Merciful God!
Each pore and natural outlet shrivelled up
By Ignorance and parching Poverty,
His energies roll back upon his heart,
And stagnate and corrupt; till changed to poison,
They break out on him, like a loathsome plague-spot;
Then we call in our pampered mountebanks -
And this is their best cure! uncomforted
And friendless solitude, groaning and tears,
And savage faces, at the clanking hour,
Seen through the steam and vapours of his dungeon,
By the lamp's dismal twilgiht! So he lies
Circled with evil, till his very soul
Unmoulds its essence, hopelessly deformed
By sights of ever more deformity!
With other ministrations thou, O Nature!
Healest thy wandering and distempered child:
Thou pourest on him thy soft influences,
Thy sunny hues, fair forms, and breathing sweets,
Thy melodies of woods, and winds, and waters,
Till he relent, and can no more endure
To be a jarring and a dissonant thing
Amid this general dance and minstrelsy;
But, bursting into tears, wins back his way,
His angry spirit healed and harmonized
By the benignant touch of Love and Beauty.
Photo taken with a Leica IIIc, made in the year 1950
Lens: Leitz Elmar 833946 50mm. 3.5
colinhuggins.bandcamp.com/track/eric-satie-improvisation-...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
More Power Tapes (2015)
Here we go, three more Cassettes form More Power Tapes:
Faculty Men - S/T - This is another one where I was hopeful based on the artwork, but this time I didn't end up being as into it as I hoped. Faculty Men is playing a dissonant sort of punk rock. If I had to guess, I think they might be trying for an early Unwound sort of vibe. They are using some of the thudding bass guitar, screeching guitars and odd transitions that remind my of Unwound, though vocally, the singer from Faculty Men isn't quite as dynamic. There's a lot of shouting and that takes away from the interesting guitar work these guys have.
Faculty Men - S/T:
morepowertapes.bandcamp.com/album/facility-men
Blobs - Shame - Six more songs from Blobs, who you probably remember from me not liking their first cassette yesterday. What I can say about Shame is that it's a bit better than their debut. The vocals aren't quite as monotone as they were on their first tape, but they are still the worst thing about this band. I think the music portion is kind of interesting. It's fast and dynamic; even catchy in some places, but I could never listen to this unless the singer changes something.
Blobs - Shame:
morepowertapes.bandcamp.com/album/shame
Found Drowned - Spooky Sounds - I was very please to find out that Found Drowned was another surf band. As far as More Power Tapes goes, in general they do much better with their surf bands than with their punk bands. At least as far as getting me to like the record goes. Like the Hamiltones, Found Drowned has something of a movie monster vide to it, though it's not as pronounced as the Hamiltones. You can tell these guys like their cult horror movies (the tape is called Spooky Sounds afterall), but they don't beat you over the head with it. Of all the surfy tapes in this recent batch, Found Drowned is my favorite.
Found Drowned - Spooky Sounds:
VI FESTIVAL AUTOPLACER
SÁBADO 26 SEP 2015
Por sexto año consecutivo, el festival de música autoeditada que organiza el colectivo Autoplacer/Sindicalistas llegó al CA2M con una programación de música en directo durante todo un día, con algunos de los mejores grupos de la escena sumergida e independiente española.
Desde las doce de la mañana tuvimos la oportunidad de disfrutar de ocho conciertos entre las plantas baja y primera del museo, incluyendo la presentación del grupo ganador del concurso anual de maquetas Autoplacer y varias pinchadas en la «Pista de Baile» gracias a la colaboración de los colectivos de música electrónica Paraíso Madrid y Valle Eléctrico.
Corte Moderno
Desde Barcelona llega Corte Moderno, grupo formado por Xabel Ferreiro (Montañas, ¡Pelea!), Jordi González (Kana Kapila, Cotolengo) y El Ortiga (Anticonceptivas, Thelemáticos, ¡Pelea!). El día 26 presentarán su nueva obra, Negociudad, una distopía disonante en forma de concierto conceptual con diseño de sonido a cargo de Guillem G. Peeters e ilustraciones de Antoni Hervàs.
For the sixth consecutive year, the self-edited music festival organized by the collective Autoplacer / Sindicalistas arrived at CA2M with live music programming for a whole day, with some of the best groups in the submerged and independent Spanish scene.
From twelve o'clock in the morning we had the opportunity to enjoy eight concerts between the first and lower floors of the museum, including the presentation of the winning group of the annual autoplacer mock-up contest and several hits on the «Dance Track» thanks to the collaboration of The electronic music groups Paraíso Madrid and Valle Eléctrico.
Corte Moderno
From Barcelona comes Corte Moderno, a group formed by Xabel Ferreiro (Mountains, Fight!), Jordi González (Kana Kapila, Cotolengo) and El Ortiga (Contraceptives, Thelematics, Fight!). On the 26th they will present their new work, Negociudad, a dissonant dystopia in the form of a conceptual concert with sound design by Guillem G. Peeters and illustrations by Antoni Hervàs.
Fotografías/ photographs María Eugenia Serrano Díez y/and Pedro Agustín Álvarez.
______________________________________________
Enlaces: WEB CA2M | FACEBOOK CA2M | YOUTUBE CA2M | TWITTER CA2M
A deal with the devil or an urbaine partnership: An old, finely crafted, free-stading church on its own lot with its own parking gave away its land and is now an appendix to a commercial building. Its parking is now underground (as it should, downtown), its office and community hall are in the office building, as they could.
With a dwidling congregation and facing eventual demoliton, commerce became its saviour.
The finest mix of urbanism: Commerce, community and communion. Urban design takes second place unless "design" means the best deal for the city's richness, choice and vitality.
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
INDEPENDENT LENS “Young@Heart" panel at TCA press tour summer 2009
Prepare to be surprised, delighted and entertained by the inspiring members of the Young@Heart Chorus, a New England senior citizens chorus that has delighted audiences worldwide with their renditions of songs by everyone from The Clash to Coldplay. As Stephen Walker’s critically acclaimed documentary begins, the retirees, led by their demanding musical director, are rehearsing their new show, struggling with Sonic Youth’s dissonant rock anthem “Schizophrenia” and giving new meaning to James Brown’s “I Feel Good.” What ultimately emerges is a funny and unexpectedly moving testament to friendship, creative inspiration and expectations defied.
Panelists:
•Bob Cilman, artistic director, Young@Heart Chorus
•Dora Morrow, chorus member
•Liria Petrides, chorus member
•Jack Schnepp, chorus member
•Dennis Palmieri, director of communications, ITVS
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
Frédéric Martel
Pasquale Quaranta
Delia Vaccarello
Persone lgbt e media nell'era dei diritti, vittime o protagoniste? Le parole possono essere muri o ponti: possono creare distanza o aiutare la comprensione dei problemi. I giornalisti possono essere protagonisti di una narrazione che riduca il rischio di discriminazioni ma in quali termini i media ne parlano? Si parla di minoranza solo narrandone la condizione di vittima o accogliendone la voce dissonante, nuova, provocatoria? Dopo la conquista di una parte dei diritti civili in Italia, un interrogativo si impone: oggi perché fanno notizia le persone lgbt? Perché celebrano le unioni civili oppure per la strage di Orlando? O ancora per il ricorso al cosiddetto “utero in affitto” che solleva polemiche se messo in atto dai gay? Nei media compaiono percorsi obbligati: si parla di lgbt a proposito di conquista dei diritti, discriminazioni, eccentricità. Manca la voce. Potrebbe essere tutta colpa dei media generalisti che non sanno tracciare strade nuove oppure, al contrario, responsabilità del movimento lgbt che, avvitato nella logica della minoranza, non riesce a bucare gli schermi o le pagine dei giornali con proposte di ampio respiro. Da una minoranza ci si aspetta anche una visione politica e culturale, un tesoro di risorse nate dall'essere osservatorio di realtà poco rappresentate. Il panel indagando questi aspetti valuterà le proposte dei media in Italia e altrove, saggiando convergenze e differenze. Un esempio facile: gay e lesbiche si sono mobilitati per i minatori nell'Inghilterra del 1984. Caso unico?
Words can be walls or bridges: they can create distance or help the understanding of problems. Journalists can be protagonists of a narrative that reduces the risk of discrimination, but how should the media talk about this risk? Are minorities discussed only by narrating their state of victimhood, or accepting their dissonant, new, provocative voice? After the achievement of a part of civil rights in Italy, a question arises: why are LGBTs in the news today? Because we can celebrate civil unions or because of the massacre in Orlando? Or even for the use of so-called “surrogate mothers”, which raises controversy when used by gay couples? There are obligatory paths in the media: you talk about LGBTs with regard to the achievement of rights, to discrimination, to oddity. Their voice is missing. It could be all mainstream media’s fault, they cannot draw new roads or, on the contrary, it could be a responsibility of the LGBT movement that, trapped into the “logic of the minority”, is unable to make its presence felt in the media with far-reaching proposals. A minority is expected to have a political and cultural vision as well, a treasure trove of resources born thanks to its position as observatory of underrepresented realities. The panel, considering these aspects, will assess the proposals made by the media in Italy and elsewhere, identifying convergences and differences. An easy example: gays and lesbians mobilized for miners in England in 1984. Is this a unique case?
video: media.journalismfestival.com/programme/2017/lgbt-in-the-m...
Last rehearsal of the tour.
Had a fab time in England, six shows in total with Gavin Friday and Gavin Bryars in collaboration with the Royal Shakespeare Company and Opera North.
The sonnets and the dissonant chords start making sense.
I have alsways been a fan of the gangster genre-and Warren Beatty. This film worked for me on all levels. Benjamin "Bugsy" Siegel was not your ordinary gangster. He hob-nobbed with royalty ("Hollywood" and REAL kings and queens) was highly visible, and could "rub someone out" just as easily as he could seduce one of his many conquests. Bugsy Siegel is THE founding father of Las Vegas. At the time he was considered "Crazy". Who wants to vacation in the desert? But like most great people, he was not considered so crazy after his vision came to fruition. Bugsy tells us this tale, plus the tale of The Great Love Affair between he and Virginia Hill. It is a tumultuos, passionate affair that unfortunately did not end on a happy note. Due to outstanding building costs ( and the fact that Virginia stole money from "the boys") Bugsy was killed and Virginia commited suicide a few years later in Austria. The film is amazing to look at. The production design, editing, and writing recapture the Classic Warner Bros. gangster flicks of the '30's and '40's. Warren Beatty has never givven a more fine performance than he does here. His Bugsy is a handsome, charming, cruel, seductive, rabid, passionate killer. The "Bark like a dog" scene is classic! The always brilliant Annette Bening makes us believe that she is from this time period in the way she talks, walks, and flirts. I would like to single out the music. The score is written by Ennio Morricone (Sergio Leone films, The Untouchables et al). It is a romantic melody with dissonant notes that underscore the violence of the relationship. If you have not seen this movie, you owe it to yourself. For More 5 Star Reviews Bugsy starring Warren Beatty, Annette Bening, Harvey Keitel, Ben Kingsley, Elliott Gould
De NL Doet-dagen, de landelijke actiedagen voor en door vrijwilligers, kan in Lelystad zeker een succes worden genoemd. Honderden mensen van alle leeftijden zijn vrijdag en zaterdag in touw geweest, en hebben de wijk opgeruimd, schoolpleinen schoongemaakt, gewandeld met bewoners van verzorgingshuizen, gesnoeid, gebreit, afijn, teveel om op te noemen.
De actie had vrijdag wel een dissonant. Om aandacht voor te vragen voor NL Doet zou er vrijdagmiddag in Batavia Stad een flashmob zijn met wethouder Fackeldey en twintig leerlingen van de SGL en de Rietlanden. Mooi moment voor een foto, dachten wij.
Maar helaas, de flashmob ging niet door. Een flashmob is een gespeelde 'spontane' gebeurtenis, waarbij een groep mensen gedurende een korte tijd iets doet, en daarna snel verdwijnt. De leerlingen zouden in Bataviastad worden opgesteld als bowlingpionnen, en de wethouder zou ze met een grote bal omver kegelen. Maar Bataviastad stak daar een stokje voor. Zij wilden de flashmob niet toestaan, waarop de groep uitweek naar de Bataviawerf. Ook voor het goede doel wat Batavia Stad niet te vermurwen. En dat Batavia Stad de komende tijd maar door veel flashmobs mag worden lastiggevallen. Spontaan en onaangekondigd. Hoe meer, hoe beter.
Maar dat terzijde. Op tal van plaatsen in Lelystad werd het werk van de vrijwilligers wel gewaardeerd. Zoals in verzorgingshuis De Hoven, waar leerlingen van De Rietlanden vogelhuisjes hebben gemaakt en die met wethouder Jacobs hebben uitgereikt aan bewoners. Ook werden diverse zakken vogelvoer overhandigd, zodat de bewoners direct aan het werk werden gezet. Ook de vrijdagklussen voor de 500 leerlingen van de SGL en de Rietlanden waren zeer divers: schuren van het clubhuis X-treme, het Belevenissenbos snoeien bij Staatsbosbeheer, tuinieren met Centrada, poffertjes eten met bewoners Hanzeborg, schilderen bij JTL, naar het dolfinarium met Coloriet, een gala bij Interakt Contour, schilderen bij buurtcentra Bever en Brink, bingo en een wandeling bij De Uiterton, schuren bij Scouting Ascanen en Bramzijger, klussen bij Prehistorische Nederzetting, schminken bij De Lispeltuut, schoonmaken bij de Wingerd en ‘t Schrijverke, schilderen bij het Trefcentrum, vlinderhoek Landschapsbeheer Flevoland, spelletjes bij diverse locaties van Welzijn Lelystad, bladeren ruimen bij HanLammerspark, en meer. Een groep ondernemers (SOIL) heeft de tuintjes bij Coloriet opgeknapt en van kleurrijke voorjaarsbloemen voorzien. (tekst flevopost)
This seagull is chasing a piece of bread in mid-air.
I chose to Sepia-fy because it removes the obvious context (the blue sky) and places the scene in a more abstract and dissonant setting.
To see the details of the bird, please View Large!
■ Pictures of XV ème Edition Marsatac 2013, Marseille 2013, FRA
■ Samedi 28 Septembre 2013 / Saturday, September 28, 2013.
■ All photos of the artist : HERE.
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
■ Pictures of XV ème Edition Marsatac 2013, Marseille 2013, FRA
■ Vendredi 27 et Samedi 28 Septembre 2013 / Friday & Saturday, September 27 & 28, 2013.
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
Frédéric Martel
Pasquale Quaranta
Delia Vaccarello
Persone lgbt e media nell'era dei diritti, vittime o protagoniste? Le parole possono essere muri o ponti: possono creare distanza o aiutare la comprensione dei problemi. I giornalisti possono essere protagonisti di una narrazione che riduca il rischio di discriminazioni ma in quali termini i media ne parlano? Si parla di minoranza solo narrandone la condizione di vittima o accogliendone la voce dissonante, nuova, provocatoria? Dopo la conquista di una parte dei diritti civili in Italia, un interrogativo si impone: oggi perché fanno notizia le persone lgbt? Perché celebrano le unioni civili oppure per la strage di Orlando? O ancora per il ricorso al cosiddetto “utero in affitto” che solleva polemiche se messo in atto dai gay? Nei media compaiono percorsi obbligati: si parla di lgbt a proposito di conquista dei diritti, discriminazioni, eccentricità. Manca la voce. Potrebbe essere tutta colpa dei media generalisti che non sanno tracciare strade nuove oppure, al contrario, responsabilità del movimento lgbt che, avvitato nella logica della minoranza, non riesce a bucare gli schermi o le pagine dei giornali con proposte di ampio respiro. Da una minoranza ci si aspetta anche una visione politica e culturale, un tesoro di risorse nate dall'essere osservatorio di realtà poco rappresentate. Il panel indagando questi aspetti valuterà le proposte dei media in Italia e altrove, saggiando convergenze e differenze. Un esempio facile: gay e lesbiche si sono mobilitati per i minatori nell'Inghilterra del 1984. Caso unico?
Words can be walls or bridges: they can create distance or help the understanding of problems. Journalists can be protagonists of a narrative that reduces the risk of discrimination, but how should the media talk about this risk? Are minorities discussed only by narrating their state of victimhood, or accepting their dissonant, new, provocative voice? After the achievement of a part of civil rights in Italy, a question arises: why are LGBTs in the news today? Because we can celebrate civil unions or because of the massacre in Orlando? Or even for the use of so-called “surrogate mothers”, which raises controversy when used by gay couples? There are obligatory paths in the media: you talk about LGBTs with regard to the achievement of rights, to discrimination, to oddity. Their voice is missing. It could be all mainstream media’s fault, they cannot draw new roads or, on the contrary, it could be a responsibility of the LGBT movement that, trapped into the “logic of the minority”, is unable to make its presence felt in the media with far-reaching proposals. A minority is expected to have a political and cultural vision as well, a treasure trove of resources born thanks to its position as observatory of underrepresented realities. The panel, considering these aspects, will assess the proposals made by the media in Italy and elsewhere, identifying convergences and differences. An easy example: gays and lesbians mobilized for miners in England in 1984. Is this a unique case?
video: media.journalismfestival.com/programme/2017/lgbt-in-the-m...
■ Pictures of XV ème Edition Marsatac 2013, Marseille 2013, FRA
■ Vendredi 27 Septembre 2013 / Friday, September 27, 2013.
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
models 1994
Biography
Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).
In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.
In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.
Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.
From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).
Although Marlene Dumas has had Dutch nationality since 1989, she has said:
Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.
I don’t want it both ways.
I want it more ways.
Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.
Photo showing the Project "Voices Diversity" by Michael Kramer (AT) at the Loops of Wisdom Exhibition at Kunstuni Campus.
Seven artists of ClickCollectiv (collective for FLINTA* musicians) perform acoustically through one loudspeaker, each of which is integrated in a circle at head height. Through conversation, discussion, pleading, soliloquy, singing, or exploration of the limits of the human sound spectrum, charged, coherent and dissonant harmonies and statements emerge.
Credit: tom mesic
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
I can feel it
sometimes
in me
Something
which pretends to be looking
straight ahead
but
it is not
fully
aligned
Or not at all
A dissonant
voice
in the chorus
of my mind
Something I do
which doesn't feel
in line
with the rest
with who I am
with what deeply resonates
with what I am here for
I know
I have to let it go
sometimes it is easy
sometimes it is
long
and painful
This is when
kindness
toward that part of me
is so necessary
so essential
Listen
to it
Hear it
Acknowledge it
Kindly
And let it go
and keep going
Using a dissonant array of printed and patterned textiles, San Francisco artist and Fashioning Cascadia Artist-in-Residence, (June 10 - 21, 2014), Stephanie Syjuco, will work with participants to create limited edition line of garments that speak to ideas of: modern day camouflage; re-envisioned “ethnic” prints; and surveillance technology.
Born in the Philippines, Stephanie Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, SFMOMA, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; UniversalStudios Gallery Beijing; The Contemporary Arts Museum Houston; and the California Biennial at the Orange County Museum of Art, among others. In 2007 she led counterfeiting workshops in Istanbul and in 2009 contributed proxy sculptures for MOMA/P.S.1’s joint exhibition, “1969.” She has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Mills College, Carnegie Mellon University, and currently, is on the faculty at the University of California at Berkeley as an Assistant Professor in Sculpture. A recipient of a 2009 Joan Mitchell Painters and Sculptors Award, she lives and works in San Francisco.
Photos by Sarah Meadows '08.
AR365 Day 279 "the Siege"
Do not watch this video if you have a bad headache, or a raving disdain for loud dissonant 80's prog rock;)
All images June 24th (minor), June 27th, and July 4th from Central Arkansas.
Interesting Note: See if you can see how the flag is blowing in the opposite direction of the large overhead wind mass.... or, see if you see where the storm actually changes direction.
Music: The Siege, by Jeff Johnson and Sandy Simpson, from the 1987 album "The Awakening."
For more on Jeff's Music see: www.arkmusic.com/