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About 33% of all tank fires are attributed to lighting and floating roof tanks are especially vulnerable. Therefore it is necessary to install a fuel tank lightning protection system. Oil and gas facilities are hazardous environments. Protection from natural disaster can be highly mitigated or 99.7% eliminated by the proper implementation of a fuel tank lightning protection system along with grounding, and surge suppression products by LEC. Contact us for more information at here: www.lightningprotection.com/pdfs/resources/knowledge-tran...
local radio 'grounding'
Space-Time: Convention T, annual music and arts festival, Wysing Arts Centre, 31st August 2013
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
Rocks,mountains,hills always give me a nice sense of perspective and grounding. This was taken in Joshua Tree. I've been coming here on and off for 20 years now and the same rocks in the same places have always been here. It's almost a sense of stability that no matter what highs or lows are going in my life at the time, these rocks , they will always been in the same spot doing the same thing. Yes in small subtle ways they are different, of course. They erode and shift slightly through time, but their sense of time and mine are vastly different. It becomes almost overwhelming to most of our minds the vast amount of time these rocks have been here. Our lives are measured in 70-80 years on the avg. These have been around for millions. I struggle to wrap my head around a number that big when it's being used to measure time. The things I've seen, done, talked about, heard in just my almost 38 years seems like a lot and yet I am a just a flash in the pan to these rocks. Someone who wanders amongst them for a hour or 2 every few years. They were here long before me, before my earliest ancestors and they will he here long after my bloodline has faded away.
I often wander if they know how much they help me when I come here. Some would call it preposterous to even think that and others would say yes they know. I want to feel like they do, but then again I often throw human perceptions on non human things. So, for now, I will just hope they do.
They were here long before me and they will be here when I am long gone.
Vickers 668 Varsity T1 G-BEDV WJ945 21 Ex 6 FTS RAF Finningley retired to Imperial War Museum where it was flown for a short period before grounding in the 1980's. Under cosmetic restoration
The mine countermeasures ship USS Guardian (MCM 5) sits aground on the Tubbataha Reef in the Sulu Sea, western Philippines, Jan. 22, 2013. Operations to safely recover the ship while minimizing environmental effects were being conducted in cooperation with the Philippine coast guard and navy. (U.S. Navy photo by Naval Aircrewman (Tactical Helicopter) 3rd Class Geoffrey Trudell/Released)
We are being lied to all the time and any one walking the John Muir trail will be gassed with this dangerous toxic reek
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
For the best, pick your favourite coffee beans, ask the shop owner, they'll help you - no additives or flavour added, pure coffee.
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
Grounding: States of Gender
Gita Hashemi
Curated by Soheila Esfahani
Exhibition: January 9 – 29, 2026
Thursday, January 8 from 4–6PM
artLAB Gallery, JLVAC
Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.
Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:
“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”
Grounding addresses the politics of gender in contemporary Iran and beyond:
“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”
Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.
This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.
Exhibition text by Mina Rastgu.
Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op
With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
Direct lightning strikes to transmission lines or substations may damage the electrical equipment and threaten any nearby personnel. Blown transformer can knock out power for hundreds to thousands of people, collateral damages occur of any line connected with it, as its now live, could be carrying thousands of volts, it can also set its surroundings on fire, especially in dry environments. Lightning Eliminators & Consultants, Inc (LEC) is committed to providing lightning protection products, solutions and services by utilizing innovative patented charge transfer technology, grounding systems engineering, surge protection design, and providing comprehensive consulting services based on physics and state of the art engineering principles. For inquiry: www.lightningprotection.com/
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
With an effective lightning protection and grounding system in place, all the excess electricity will be diverted to the earth, thereby saving your sensitive electronics. One of the primary components in dissipating the static discharge to earth is a grounding rod. Lightning Eliminator & Consultant Inc, has manufactured and patented CHEM grounding rod. Grounding electrical work is a necessary and smart move. Click here for more details: www.lightningprotection.com/grounding-rod-can-save-your-l...