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The exhibit gives visitors a glimpse into the life of Chuck Hagel on the campaign trail in Nebraska in 1996 and 2002. When Hagel decided to run for U.S. Senate in 1996 he was virtually unknown to most Nebraskans. As such, Hagel needed to reach out to communities across the state if he intended to win the election. One way Hagel gained support was through local parades and events. This approach helped Hagel win the election and maintain his seat when he ran again in 2002. The photos on display provide a look into the many events, parades, and other local activities that Hagel, his family, his campaign staff, and his volunteers participated in across Nebraska to garner support for Hagel in his two runs for public office.
The Paradise Institute installed at Emily Carr Concourse Gallery. Docents light, headphones and chair.
The Paradise Institute
Janet Cardiff and / et Georges Bures Miller
Organized by the National Gallery of Canada
organisée par le Musée des beaux arts du Canada
In a small replica of a full-sized movie theatre balcony with 16 red velvet-covered seats, viewers put on headphones to watch and listen to a film projected in a miniature movie theatre in front of them. Surprisingly they hear other more intimate sounds and stories. A real and a fictional layer of sound are intertwined, creating a strange sensation of reality for the viewer.
Movies are, of course, The Paradise Institute referred to in the title. Looking over the full-sized balcony into a hallucinatory space of a miniature movie theatre below, a visitor’s senses are further misled by putting on headphones that create surrounding sounds which are equally deceptive between the film being shown and noises being heard. The projected movie is about a man who is a prisoner in a hospital with its own soundtrack faithful to the images. Simultaneously, another soundtrack, more intimate, is confidentially whispered or heard nearby with a surprising fidelity in the viewer’s ears. This other soundtrack seems to directly emerge from other members of the audience present with coughs, secrets, cellphones and other sounds of ordinary life interrupting the flow of the movie’s audio effects. The impression is disturbing as the realities created by the sounds close by are more real than the fiction of the movie, although both are illusions, with their narratives culminating in an eerie conclusion. How the brain tricks itself into believing through image and sound is one of the inescapable implications of the experience of The Paradise Institute.
Dans cette réplique à petite échelle d’un balcon de salle de cinéma, les participants sont invités à s’asseoir dans l’un des seize sièges recouverts de velours rouge et à mettre des écouteurs pour assister à la représentation d’un film projeté sur l’écran miniature devant eux. À leur grande surprise, ils entendront également des sons et des récits intimes. Ces couches de son réelles et fictives sont inextricablement liées et donnent au spectateur une impression étrange de réalité.
Les films sont l’essence même de l’installation The Paradise Institute. En regardant du haut d’un balcon le spectacle hallucinant qui se déroule sur l’écran de cinéma miniature au bas, le spectateur est davantage induit en erreur lorsqu’il met des écouteurs pour entendre des sons qui ne correspondent pas aux images et aux bruits du film projeté. Le film, qui raconte l’histoire d’un homme emprisonné dans un hôpital, possède sa propre piste sonore, adaptée aux images. Simultanément, une autre piste sonore, plus intime, presque un chuchotement, s’impose avec une étonnante fidélité dans les oreilles du spectateur. Cette nouvelle piste sonore semble provenir des autres spectateurs présents qui toussent, livrent des récits intimes, parlent au cellulaire et produisent d’autres bruits réels qui interrompent les effets audio du film. L’impression est troublante car la réalité créée par les sons environnants est beaucoup plus réelle que la fiction du film, même si les deux ne sont qu’illusions, et que les narrations se terminent par une conclusion sinistre. Il est certain que le spectateur s’engagera dans une réflexion sur la façon dont le cerveau se conditionne à croire ce qu’il voit et entend après avoir vécu cette expérience.
Janet Cardiff and / et Georges Bures Miller
CANADA
Janet Cardiff and Georges Bures Miller make audio-based installations and walking pieces that use the narrative and technical language of film noir to create lush, suspenseful sound and video works. The duo represented Canada at the Venice Biennial in 2001. Their work has been shown at the PS1 Contemporary
Art Center of the Museum of Modern Art (New York), The Musée d’Art Contemporain (Montreal), and the Whitechapel Art Gallery (London), amongst others.
Janet Cardiff et Georges Bures Miller conçoivent des installations audio et des marches sonores qui font appel au langage narratif et technique du film noir pour créer des œuvres audio et vidéo riches et pleines de suspense. Ces deux artistes ont représenté le Canada à la Biennale de Venise en 2001. Leurs œuvres ont fait l’objet d’expositions au PS1 Contemporary Art Center du Museum of Modern Art (New York), au Musée d’art contemporain (Montréal)
et à la Whitechapel Art Gallery (Londres),
pour ne citer que ceux-là.
Photo Credits
Mention de sources :
Janet Cardiff and / et George Bures Miller
The Paradise Institute 2001
National Gallery of Canada, Ottawa
Anonymous gift, 2002 / Musée des
beaux-arts du Canada, Ottawa,
cadeau anonyme, 2002
The Deep Space 9 space station filming miniature used in Star Trek: Deep Space Nine from 1993-1999. Although it is called a miniature, the model is a good 5 feet tall.
During the summer of 2019, the traveling exhibit "Star Trek: Exploring New Worlds" exhibit was featured at the Henry Ford Museum in Dearborn, Michigan. This is a photo of one of the displays, taken in August, 2019, near the end of the display's run.
We love working on fun projects. We helped produce the wall graphics used for the LeMay America's Car Museum' exhibit, Powering the Future Learning Lab.
Learn more about our services and request a quote at: www.C2imaging.com
felt exhibit "Salt of earth" Anastassia Arais Veronica Fomina, Museum of Contemporary Art 2014 Minsk
Exhibit of Bernar Venet’s artistic interpretation of Bugatti Grand Sport on view at the Rubell Family Collection
On this photo: Bernar Venet
Litrato (Picture):
My friend and I will hold a two-man exhibit at SM City Baguio from Feb.26 to 28 before the 40 images will be shipped to Hawaii then Denmark this year.
San Omoon specializes in convention and exhibition services, event planning, the exhibition venues booth design, construction and arrangement of the dinner and program co-ordination, the stage structures, advertising planning, design and production, leaflets produced as One body comprehensive professional exhibition company.
San Omoon especializada em serviços de convenções e exposições, planejamento de eventos, a exposição locais estande concepção, construção e organização do jantar e coordenação do programa, as estruturas de palco, planejamento publicidade, design e produção, folhetos produzidos como Uma companhia de exposição do corpo profissional abrangente.
新澳門廣告設計有限公司,於二十世紀八十年代創建於台北，至今已有二十多年歷史。主要從事會議展覽服務、活動策劃、展覽場地設計規劃、搭建及佈置、節目統籌、廣告策劃、禮品/宣傳單設計及製作為一體的綜合性,專業性展覽公司。公司於2007年從台北迁移到澳門並正式成立新澳門廣告設計有限公司，我们擁有一批年輕且有活力的專業設計人員和一班具有專業技術,經驗豐富的施工團隊，秉承著“質量造就品牌”的服務宗旨，為海內外眾多的客戶提供高品質“一站式”會議展覽設計搭建等各種相關服務。
The Wonder of Learning exhibition is on display January 25, 2019 - May 1, 2019 in the Playhouse Gallery of Overture Center and the Youth Services room on the lower level of Madison's Central Library. "This exhibit from the world-renowned schools of Reggio Emilia, Italy is free and open to the public. It will help inspire parents, educators and other advocates for children to better understand the powerful learning that occurs in the early childhood years. Visitors will be immersed in the world of the much-admired Reggio Emilia philosophy of early childhood education and understand how children, from birth, use many “languages,” such as art, music, play, drama and literacy, to learn about and make meaning of the world." Photos by library staff. Learn more at wonderoflearningwisconsin.org
This.
"New thing to do: Pretend to read the last page of Infinite Jest on the subway, then grin pretentiously at everyone else on the train."
Walking City and / et Living Pod
Ying Gao
Walking City is a series of dresses by Ying Gao that explores the idea of motion in fashion design by incorporating pneumatic pistons and pumps beneath the subtle textures of the dresses to animate and activate the swirls and swishes of light materials from within the dress itself. Rather than relying on wind or the wearer’s movement, the dresses are a form of prosthetic device, and when the pressure changes they move, resembling the famous Marilyn Monroe photo posing over a subway grate. The garment itself is mechanically and electronically flexible to its own pre-programmed desires and needs. A person wearing one of these dresses may program the clothes to speak for her.
Living Pod is a set of light-sensitive interactive garments that move and breathe. The movement of one garment is mimicked by the other. The velocity of the garment’s movement depends on the intensity of the light source falling on the dress. In both cases, Gao creates whimsical dresses that look and feel like they are alive, moving and breathing through the space.
Walking City, une série de robes créée par Ying Gao, explore le mouvement dans la création de la mode en intégrant des pistons pneumatiques et des pompes sous les textures souples des robes, de façon à animer et activer des tourbillons et des bruissements dans les légers matériaux intégrés aux robes. Plutôt que de dépendre des mouvements de la personne qui la porte, la robe devient une sorte de prothèse qui bouge au gré des pressions exercées, un peu comme la robe de Marilyn Monroe dans la célèbre photo prise sur une grille d’aération du métro. Les désirs et les besoins préprogrammés du vêtement s’expriment grâce à la souplesse mécanique et électronique. La femme qui porte une de ces robes peut la programmer afin qu’elle s’exprime en son nom.
Living Pod est une série de vêtements interactifs et photosensibles qui bougent et qui respirent. Le mouvement d’un vêtement sera imité par un autre vêtement. La vitesse du mouvement variera selon l’intensité de la lumière à laquelle la robe est exposée. Dans les deux cas, Gao nous présente des robes changeantes, qui semblent prendre vie, se déplacer et respirer dans l’espace.
Ying Gao
canada
Using new technology as a source of inspiration, Ying Gao is a Canadian fashion designer with an aesthetic that mines the interface of fashion, art and technology. She uses software to conceptually develop ingenious patterns and subtly integrates technology into her garments.
Ying Gao est une créatrice de mode canadienne qui s’inspire des nouvelles technologies et dont l’esthétique allie mode, art et technologie. Elle utilise des logiciels pour concevoir des modèles ingénieux et intègre de façon subtile la technologie dans ses vêtements.
Beyond Swastika and Jim Crow is an exhibit telling the story of Jewish professors who left Europe in the 1930s and 1940s and found teaching positions at historically black colleges and universities in the United States. Bennie Thompson Museum, Tougaloo College, Jackson, Mississippi.
Patan (Sanskrit: पाटन Pātan, Newar: यल Yala), officially Lalitpur Sub-Metropolitan City, is the third largest city of Nepal after Kathmandu and Pokhara and it is located in the south-central part of Kathmandu Valley. Patan is also known as Manigal. It is best known for its rich cultural heritage, particularly its tradition of arts and crafts. It is called city of festival and feast, fine ancient art, making of metallic and stone carving statue. At the time of the 2011 Nepal census it had a population of 226,728 in 54,748 individual households. The city received extensive damage from an earthquake on 25 April 2015.
GEOGRAPHY
Patan is on the elevated tract of land in Kathmandu Valley on the south side of the Bagmati River, which separates it from the city of Kathmandu on the northern and western side. The Nakkhu Khola acts as the boundary on the southern side. It was developed on relatively thin layers of deposited clay and gravel in the central part of a dried ancient lake known as the Nagdaha.
It is the third largest city of the country, after Kathmandu, and Pokhara.
The city has an area of 15.43 square kilometres and is divided into 22 municipal wards. It is bounded by:
East: Imadol VDC and Harisiddhi VDC
West: Kirtipur Municipality and Kathmandu Metropolitan City (KMC)
North: Kathmandu Metropolitan City (KMC)
South: Saibu VDC, Sunakothi VDC and Dhapakhel VDC
CLIMATE
Climate is characterized by relatively high temperatures and evenly distributed precipitation throughout the year. The Köppen Climate Classification subtype for this climate is "Cfa" (Humid Subtropical Climate).
HISTORY
Lalitpur is believed to have been founded in the third century BC by the Kirat dynasty and later expanded by Licchavis in the sixth century. It was further expanded by the Mallas during the medieval period.
There are many legends about its name. The most popular one is the legend of the God Rato Machhindranath, who was brought to the valley from Kamaru Kamachhya, located in Assam, India, by a group of three people representing the three kingdoms centered in the Kathmandu Valley.
One of them was called Lalit, a farmer who carried God Rato Machhindranath to the valley all the way from Assam, India. The purpose of bringing the God Rato Machhindranath to the valley was to overcome the worst drought there. There was a strong belief that the God Rato Machhindranath would bring rain in the valley. It was due to Lalit's effort that the God Rato Machhindranath was settled in Lalitpur. Many believe that the name of the town is kept after his name Lalit and pur meaning township.
In May, a chariot festival honoring the deity known as Bunga Dyah Jatra is held in Patan. It is the longest and one of the most important religious celebrations in Patan.
During the month-long festival, an image of Rato Machhendanath is placed on a tall chariot and pulled through the city streets in stages.
Lalitpur said to have been founded by King Veer Deva in 299 AD, but there is unanimity among scholars that Patan was a well established and developed town since ancient times. Several historical records including many other legends indicate that Patan is the oldest of all the cities of Kathmandu Valley. According to a very old Kirat chronicle, Patan was founded by Kirat rulers long before the Licchavi rulers came into the political scene in Kathmandu Valley. According to that chronicle, the earliest known capital of Kirat rulers was Thankot. Kathmandu, the present capital was most possibly removed from Thankot to Patan after the Kirati King Yalamber came into power sometimes around second century AD.
One of the most used and typical Newar names of Patan is Yala. It is said that King Yalamber or Yellung Hang named this city after himself, and ever since this ancient city was known as Yala.
In 1768, Lalitpur was annexed to the Gorkha Kingdom by Prithvi Narayan Shah in the Battle of Lalitpur.
HISTORICAL MONUMENTS
The city was initially designed in the shape of the Buddhist Dharma-Chakra (Wheel of Righteousness). The four thurs or mounds on the perimeter of Patan are ascribed around, one at each corner of its cardinal points, which are popularly known as Asoka Stupas. Legend has it that Emperor Asoka (the legendary King of India) visited with his daughter Charumati to Kathmandu in 250 BC and erected five Asoka Stupas, four in the surrounding and one at the middle of the Patan. The size and shape of these stupas seem to breathe their antiquity in a real sense. There are more than 1,200 Buddhist monuments of various shapes and sizes scattered in and around the city.
The most important monument of the city is Patan Durbar Square, which has been listed by UNESCO as one of seven Monument Zones that make up the Kathmandu Valley World Heritage Site. The seven monument zones were included in the World Heritage List in 1979 as one integrated site. The monument zones are declared as protected and preserved according to the Monuments Preservation Act of 1956. The Square was heavily damaged on 25 April 2015 by an earthquake.
Patan City was planned in Vihars and Bahils. Out of 295 Vihars and Bahils of the valley 56% of them are in Patan. The water conduits, stone spouts, Jaladroni (water tanks), artistic gate ways, Hindu temples and Buddhist Vihars adorn the city. The in built cultural heritage like the royal palace, with intricately carved doors and windows and beautiful courtyards adorned with exquisite icons enhance the beauty of the city. Such art pieces are found in stone, metal, terracotta ivory and other objects. All these artifacts exhibit artistic excellence of the craftsmen and the whole city looks like an open museum.
ECONOMY
A substantial portion of the population is engaged in trades, notably in traditional handicrafts and small scale cottage industries, and some residents work in agriculture. Lalitpur has produced the highest number of renowned artists and finest craftsmen ever recorded in the history of Nepali art.
Patan has maintained a culture of craftwork even in the face of rapid urbanization and many social and political upheavals.
The city is less urbanized than Kathmandu, north of the Bagmati river, but is home to many workshops, stores, restaurants, hotels, schools, embassies and other important sectors of the Kathmandu Valley economy.
Buddha Air has its headquarters in Jawalakhel, near Patan.
EDUCATION
POSTSECONDARY EDUCATION
Patan is home to Pulchowk Engineering Campus, one of the oldest and most reputed colleges affiliated with the Institute of Engineering, Tribhuvan University. Patan Academy of Health Sciences is the only medical university in the city with Patan Hospital as its primary teaching hospital, and there is another medical school - KIST Medical College in Lalitpur. Other instituitions of higher learning in Patan include Kathmandu University School of Management (KUSOM) and Patan Multiple Campus.
PRIMARY AND SECONDARY EDUCATION
The city is served by a number of private and public instituitions providing education from primary until secondary level. Among all, the largest and reputed schools are Adarsha Vidya Mandir, St. Xavier's School, St. Mary's, Little Angels School, Graded English Medium School, Rato Bangala School, DAV Sushil Kedia, Adarsha Kanya Niketan, The British School, Adarsha Saral Madhyamik Vidyalay and Gyanodaya Bal Batika School.
LIBRARIES
Nepal National Library which was established in 1957 AD was moved to Patan from Singha Durbar in 2061 AD. It is at Harihar Bhawan. Madan Puraskar Pustakalaya which awards the Madan Puraskar and Jagadamba Shree Puraskar literary prizes is in the city.
PLACES OF INTEREST
Patan is renowned as a very artistic city. Most of the Nepalese art is devoted to Gods, and there are an abundance of temples and viharas. Notable places of interest include:
Patan Durbar Square: The palace square and residence of the Malla rulers of Patan state which now houses a museum.
Patan Dhoka: One of the historical entrances to the old city.
Bhaskerdev Samskarita Hiranyabarna Mahavihara: A Buddhist temple known locally as Golden Temple.
Mahabouddha Temple: Also known as 1000 Buddha Temple modeled liked the Mahabodhi temple in Bodh Gaya.
Kumbheswor Temple: A Shiva temple with two ponds whose water is believed to come from Gosaikunda.
Ratnakar Mahavihar: Also known as Ha Baha, the viahara complex is the official residence of the Kumari of Patan.
Krishna Mandir: One of the most beautiful stone temples of Nepal built by King Siddhinarsingh Malla in the 16th century.
Park Gallery: an artist run space founded in 1970.
TRANSPORTATION
AIRPORTS
ROADS
Walking is the easiest method of transportation within the city as the core is densely populated. In terms of motor transport, Kathmandu Valley Ring Road which encircles the central part of the valley is a strategic road in the city. Connection to Kathmandu over the Bagmati River is provided by a host of road and pedestrian bridges. The most trafficked and important bridge connecting to the centre of Kathmandu is Thapathali Bridge. Since pedestrians and vehicles often have to share the same road, traffic congestion is a major problem in Patan. Efforts are being made to widen roads to make them more suitable to vehicular traffic.
PUBLIC TRANSPORTATION
Private companies operate a number of routes connecting Patan with other places in the valley. Buses, micro-buses and electric tempos are the most common forms of public transport seen in the city. Lalitpur Yatayat buses connects the touristic Thamel area of Kathmandu with buses stopping at Patan Dhoka, a five-minute walk to Patan Durbar Square. Lagankhel Bus Park is the central transport hub.
MEDIA
To Promote local culture Patan has one FM radio station Radio Sagarmatha - 102.4 MHz which is a Community radio station.
LANGUAGE
The original native language of Patan is Nepal Bhasa's Lalitpur dialect. Though due to the migration form other places to Patan, other languages like Nepali, Tamang, etc. are also spoken.
WIKIPEDIA
A close-up of Ideum's 100" multitouch table. Visitors interact with celestial and terrestrial objects and can view them in various wavelengths. Here an image is seen in infrared and visible light. Ideum developed this large-scale multitouch exhibit for the Adventure Science Center in Nashville, Tennessee. The table is based on Ideum's commercially available MT-50 multitouch table. Photo by Chad Person.
Day 1 photos from Cemtech Middle East and Africa, held at the Grand Hyatt Dubai, UAE over 16-19 February 2020.
Sculptor Chris Kane sculpted a bronze New England cottontail rabbit to greet visitors at the entrance to the Underland exhibit. Working at his Pawtucket, RI studio, Kane first sculpted the rabbit from chicken wire and paper with an outer layer of clay, which was molded and cast in bronze.
Cast bronze
Commission, 2010
Bottle, Fair City Bottling Works, Huron, 1920s (at left). Super 8 Lapel Pin (lower left corner). The first Super 8 Motel was opened in Aberdeen, in 1974. Soda bottle, Hub City Bottling Company, Aberdeen, 1920s (at right).
Exhibit signage.
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For the last forty years or so the Exploratorium, San Francisco’s venerable science museum, occupied the Palace of Fine Arts, a cavernous Beaux Arts building that served as the centerpiece of the 1915 Panama Pacific International Exposition. A few years ago the museum decided to relocate and selected Pier 15 on the city’s Embarcadero as a new site. Thus began a massive project with architects Esherick, Homesy, Dodge, and Davis to transform the pier into a home worthy of the Exploratorium's heritage of hands-on science education. The results will soon be public with a grand opening on 17 April 2013. Having seen the project develop I can report that it is a grand success. The original pier building retains its wonderful utilitarian nature and offers visitors the fine experience of occupying the threshold between bay and city. A new glass structure at the end of the pier – the Observatory – provides the perfect foil to the darker volumes of the pier and an ambitious program to “uncover the stories embedded in a place by directly observing the geography, history, and ecology of the San Francisco Bay region.”
During a sabbatical leave ten years ago I had the great fortune to serve as an Artist-in-Residence at the Exploratorium and have kept in touch, working on occasional projects over the ensuing years. My Hidden Ecologies Project, and the salt pond landscape work it spawned, originated during my sabbatical at the Exploratorium. So, I was particularly delighted when they commissioned an exhibit of photographs from my salt pond work for the new building. The exhibit is made of fifty-seven 9” x 12” prints mounted in a tight grid. The twelve rows of photographs are placed on three walls adjacent to, and above, a stair that leads from the ground floor biology exhibit area (with halophile tanks adjacent to the photographs!) toward the second floor Observatory and an exhibit area on landscapes.
I had a great time working on the photo layout with the idea that lines, colors, and shapes would tie the multiple images together when seen from a distance while each image would hold its own on close inspection. I am very pleased with the way it turned out.
Exhibit booth at the 2021 San Diego Comic-Con Special Edition at the San Diego Convention Center in San Diego, California.
Please attribute to Gage Skidmore if used elsewhere.
Description: Exhibits at the 1876 Centennial Exhibition in Philadelphia in the United States Government Building include a totem pole, minerals, paintings, and mineral technology exhibits. The Smithsonian coordinated all of the U.S. Government exhibits and prepared a display on its activities and collections for the exposition.
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Dimensions: 8 in x 10 in
Date: 1876
Repository: Smithsonian Institution Archives
Accession number: 72-2383