HTML, photos on Flickr

Royal Llama Silk - An amazing yarn blend! by Nancy Queen

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Royal Llama Silk - Popular yarn from Plymouth Yarn Company with an amazing blend of llama and silk. It has a soft tweeded look and feels great to knit. It knits up at a comfortable worsted/aran weight and had a lovely drape. Check out the assortment of sweaters, shawls and accessory patterns available for Royal Llama Silk.

store.nobleknits.com/plrollsiya.html

A New Paintjob (2024) by aarsbog

17

Kamera: Nikon FE2

Linse: Nikkor-S Auto 35mm f2.8 (1974)

Film: Kodak 5222 @ ISO 400 -1EV

Kjemi: Xtol (stock / 9 min. @ 20°C)

Monday 30 December 2024: My New Year resolutions for 2025:

1. Do not buy or use any goods or services coming from Israel or their Occupied Palestinian Territories. Boycott Israel - the most racist, fascist, immoral and genocidal apartheid country in the world.

For me, this is a simple operation and will only involve my total boycott of the Israeli online genealogy platforms MyHeritage and Geni. I have no interest in any other consumer product coming out of Israel. But many of you may have heard of Ahava Dead Sea products coming from the Occupied Territories. Don’t buy it, don’t use it.

2. Do not buy or use any American goods or services as far as it is humanly possible today. They only use their income for WAR. The only way to stop this MADNESS is to stop buying and using their goods and services. Money to the USA is money to Israel.

This task is not as simple as boycotting only Israeli goods and products, but I will do my best - just like the USA has done it’s best in supporting Israel’s genocide in Gaza, providing Israel with weapons and incredible amounts of money, abusing their powers in the UN Security Council, working against international law and justice, supporting apartheid and never ever actually supporting or working to establish a Free Sovereign Palestine.

Israel seems to have become a way for all the corrupt American politicians in their archaic 'democratic' system to get an extra income under the table, directly stealing from the people, and for the American War Industries to thrive and grow; it is a Perpetuum mobile where US politicians donate money to Israel and where Israel in return use those money given to buy off US politicians [tax-deductible] and buying their weapons to slaughter Palestinians.

Americans get their money back [but first, some commercials] [without paying taxes] [under the table] and the Israelis get their fascist religious extremist zionist dreams come true. Incidentally, Israel's bizarre dreams of grandeur are closely linked to the American voters' archaic dreams of extremist christian zionist Eschatology. These people all belong in the Bronze Age.

USA has for so many years since the end of the Cold War been endangering all of Europe’s security by abusing the NATO alliance (this abuse started back in 1999 with the bombing of Yugoslavia!) presiding over a European proxy war with Russia via Ukraine - a war that now even involves North Korea (WTF!) and has killed hundreds of thousands of lives in Europe and flooded Western Europe with refugees once again! It needs to stop, and our own nations and politicians who are hostages to the American gangster regime can do no other - so therefore I can no longer justify MY feeble hard-earned money feeding this warmongering genocidal nation. It has to stop, and the only way I can make a miniscule difference is by boycotting American goods and services.

- First on my list: Mark Zuckerberg (1984) and his his Facebook and all of Facebook's subsidiaries through Meta. Easy. Done. Nothing!

- Second on my list: Larry Page (b. 1973) and Sergey Brin’s (b. 1973) Google and Alphabet Inc. - this is not so easy. This company with their search engine, Gmail and their subsidiary companies like YouTube and Android have infested the whole world. Instead of Google's search engine I have been using DuckDuckGo for years - but this is also an American company so my search will go on for something more safe and European.

As for Gmail, I am using Swiss Proton Mail instead but I have yet to to make the cut final. I hope I will be able to do so during the course of 2025.

As for YouTube, I have no clear alternative right now that is not American.

Android is easy - I never used it. But instead of Android I use Apple - which I feel is safer - but here is the problem - it is an American company. Maybe the solution is to go full-on dumbphone and get a Swiss Punkt. I might in fact do that.

What do you really need an American ‘smartphone’ for anyways? Life is analogue.

More American companies and platforms to boycott:

- Amazon Inc. - I can get most of my (paper) books and other stuff I usually buy on Amazon locally anyways. Amazon is a convenient marketplace, that's true - but it’s American and I’d rather suffer a little inconvenience just to not let the Americans get my money.

- eBay - again, such a great platform and marketplace for (in my case) photographic camera equipment and whatnot - but then again - if I could buy directly from Japanese camera stores with ease and no American involvement I would do so in a heartbeat without using American eBay. Let’s hope the Japanese evolve their international trade in this regard.

As for FILM there's plenty of European film providers; hey, we were first with film and photography anyways and have long traditions still thriving and living here. But I do love Kodak 5222. This is a problem - but at least I only use European chemicals these days. Foma and Tetenal.

- PayPal - also a very convenient platform to use, but goddamned this is the brainchild of Elon Musk (b. 1971) and I’ll do my very best to never support that fascist bastard. You’ll never see me driving an American car either, and certainly not a Tesla. Most unethical car ever.

- Airbnb - an American company that makes it easy to rent a room or a house for anyone in all those illegal Israeli settlements in the Occupied Palestinian Territories - it's just as sick as if American tourists through a 'tourist agency' could come and live in Nazi german confiscated Norwegian flats, houses and cottages to relax or just 'experience' Nazi occupied Norway in 1941. This is exactly what Airbnb is making possible in the Occupied Palestinian Territories these days - and I shall never, ever use Airbnb.

OK, that’s a lot but we’re not finished yet.

- Disney - Easy. They destroyed Star Wars. Done!

- Pepsi and Coca-Cola - Done. Never again. There are many other local alternatives. Easy!

- McDonald’s and Burger King - Done. Easy. Probably the worst hamburgers in the world anyways.

So when it comes to consumer products that you get in the general store, there are two really big and awful companies that I will do my best to never buy their products ever again. These two companies are the American-owned Mondelez International and the Swiss company Nestlé together with all their subsidiaries and brands.

Things not to buy (applicable to me):

- Douwe Egberts coffee (Mondelez)

- Toblerone chocolate (Mondelez)

- Heinz products (Mondelez)

- L’Oréal and ALL their subsidiary products Garnier, Maybelline, Biotherm, Lancôme, Prada, Yves Saint Laurent, Kérastase, Guy Laroche, Redken (Nestlé)

- Nespresso (Nestlé)

- Nescafé (Nestlé)

- Nesquik (Nestlé)

- Nestea (Nestlé)

- Smarties chocolates (Nestlé)

- After Eight chocolate (Nestlé)

- Maggi products (Nestlé)

- Purina dogfood (Nestlé)

[and Friskies catfood for those of you with cats - also Nestlé]

- Freia chocolate products (Mondelez) [The chocolate that could never ever ever be sold to Sweden otherwise we would lose our independence AGAIN - but which could easily be sold to America instead. Remember all those Edvard Grieg Freia commercials?]

- Friele coffee (Mondelez) in Bergen which also produce ALL the norwegian COOP cooffee products and ALL the swedish Gevalia coffee brand products

- Marabou candy and ALL their chocolate products (Mondelez)

Allright, so already quite an extensive list and that’s not half of it.

Therefore at the end, I want to inform you all about the Boycat app - the Ethical Shopping and Boycott Companion. Use it.

And if you have more suggestions of Israeli and American companies, products and services to boycott, do let me know. I’m eager ears.

PS: I am fully aware that Flickr is American. There are many good things coming out of America. I hope in 2025 USA can change their ways.

My Shaving Scuttle by Jake Wilson

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Bought this shaving scuttle a few weeks back from a pottery artisan that has branched out into shaving scuttles. Julie Moore's pottery shop is called Dirty Bird and you can find her on the net here-

www.dirtybirdpottery.com/shavinggear.html

This particular scuttle, how you use is to fill the outer bowl with very hot water through the spout which will in turn, keep the lather you build in the bowl, hot, or as warm or hot as the water surrounding the bowl is

In fact, you do not want to use boiling water as it will (the high temperature) break down your lather. I use my tap water (from the hot faucet) which is 138 degrees f ...yes, I've read this temp with a dial thermometer

Typically the way I use it I fill the outside bowl with hot water and also the inside lather bowl with hot water too, to preheat, then I hop in the shower, prep my beard before shaving then when I'm out of the shower ready to shave I dump the water that I used for pre-heating and re-fill the outer bowl only. Then I proceed to build lather in the inner bowl

This scuttle keeps my lather very warm from my first shaving pass to the last pass. I like warm lather for my entire shave so this scuttle ranks high on my must have wet shaving gear list

In the scuttle (in this pic) you see one of my straight razors, my first Thiers Issard straight razor. Yes, there is oil on the blade. I leave oil on the blade and tang of all of my razors when I'm not using them to shave with. The humidity is high in my Fla. bathroom so I want to protect this carbon steel from rusting. Also pictured in the scuttle's bowl is my boar hair shaving brush. My badger shaving brush is sitting in the stand outside of the scuttle

3D, Trucks, Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California, 2009.10.18 16:41 by Reverend Doctor Wizard ďIsney

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[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California

This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!

Notice that there are no springs in this design, any spring action is from the steel and wood supports.

The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.

SOUTHERN PACIFIC RAILWAY POST OFFICE #12

BUILT: c.1880 BY CARTER BROTHERS

WEIGHT: 13 TONS

LENGTH: 43'

DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD

This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.

As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they

had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.

By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.

dsc00676, 34.154469,-118.307759, 2009.10.18 16.41.50, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Coupler.jpg

Biennalist @ Venice Biennale by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

kern invite 08 - varsity by AndyNoise.Com

1

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

16. Highland Nichole Berry 20:19:01 16 13 1

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

23. Ridgeview Linda Gonzalez 20:58:28 23 20 6

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

31. Golden Valley Karina Rocha 21:23.57 31 28 1

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

51. Golden Valley Denise Silva 22:23.90 51 48 2

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3

65. Ridgeview M. Salgado 23:14.56 65 60 7

66. Golden Valley Anna Avina 23:20.23 66 61 4

67. Golden Valley Ninive Alveno 23:26.73 67 62 6

68. Golden Valley Mercedes Salgado 23:26.73 68 63 5

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

72. Kern Valley S. Hinkey 23:42.47 72 x 1

73. Frontier Ariel Driskill 23:43.12 73 66 1

74. Centennial J. Estrada 23:50.91 74 67 7

75. Kern Valley S. Hazzard 23:51.80 75 x 2

76. Garces G. Ortiz 23:54.66 76 68 7

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

85. Wasco S. Castellon 24:42.66 85 76 6

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

92. Wasco B. Medina 26:00.11 92 80 4

93. Cesar Chavez Shannan Albay 26:00.32 93 x 2

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

96. Wasco A. Rios 27:14.74 96 82 5

97. Independence Samantha Antu 27:17.44 97 83 5

98. Tehachapi L. Shoemaker 27:44.92 98 84 5

99. BC Victoria Wheeler 28:09.47 99 x 2

100. Tehachapi J. Bahera 29:20:93 100 85 6

101. Frontier T. See 29:29.12 101 86 3

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

1937 Horch 853 Spezialroadster (1.035.000 €) by el.guy08_11

2

Chantilly 2016 - Concours d'élégance

www.bonhams.com/auction/23603/lot/26/horch-853-spezialroa...

www.audisport.ch/dossiers/audi-heritage/1399-1937-horch-8...

Horch 853 Spezialroadster vers 1937

Châssis n° 853177

Moteur n° 851234

•Marque allemande de prestige

•L'une des 950 construites

•Entièrement restaurée par Horch Classic

•Boîte cinq rapports

August Horch, l'un des pères fondateurs de l'industrie automobile allemande, était né à Winningen en 1868 et, après des études techniques dans une école d'ingénieur, avait travaillé pour un constructeur de moteurs marins à Leipzig. Il dirigea ensuite l'usine de moteurs de Kral Benz à Mannheim, mais sa frustration devant l'approche conservatrice de son patron le poussa à chercher des fonds pour monter sa propre entreprise. Horch jugeait la « voiture sans chevaux » à moteur arrière de Benz archaïque et sa première voiture, en 1900, arborait un moteur bicylindre installé à l'avant et un arbre de transmission aux roues arrière, une première en Allemagne. Des modèles à moteur quatre et six cylindres suivirent et Horch devint incontournable dans les compétitions et les courses de côtes de l'époque, mais cette pratique l'amena par la suite à entrer en conflit avec sa direction et entraina son départ en 1909 pour fonder Audi.

En 1923, Horch embaucha Paul Daimler, le fils de Gottlieb, comme ingénieur en chef, la première voiture à porter sa griffe étant la 300. Elle était animée par un huit cylindres en ligne à double arbre à cames en tête de 3, 2 litres, un type de moteur qui allait avoir les faveurs de Horch tout au long des années 1920 et 1930. Après le départ de Daimler, Fritz Fiedler (qui allait ensuite s'illustrer chez BMW) prit sa succession et conçut une huit cylindres en ligne à simple arbre à cames – la Horch 450 – qui fut suivi par les modèles 600 et 670 à moteur V12 de 6 litres en 1931 et par la 830 B à moteur V8 de 3, 5 litres en 1933.

En 1932, la société fut intégrée à Auto Union qui réunissait Audi, DKW et Wanderer. Horch sortit une véritable pléthore de versions de ses modèles dans les années 1930, avec des choix incroyables de cylindrées, d'empattements et de styles de carrosseries, tous destinés au marché du luxe sur lequel Horch était le seul concurrent national sérieux face à Mercedes-Benz. La 853 de 4, 9 litres, dévoilée pour l'année-modèle 1936, était propulsée par un huit cylindres en ligne simple arbre reposant sur dix paliers, conçu par Fiedler et installé dans un robuste châssis doté d'une transmission à quatre rapports avec overdrive et de freins hydrauliques assistés. La 853/853a, un élégant cabriolet sportif, fut produite jusqu'à l'entrée en guerre, date à laquelle 950 de ces voitures très exclusives avaient été construites.

Après la seconde guerre, l'usine Horch de Zwickau se retrouva dans la partie est de l'Allemagne où elle fut utilisée pour la construction des utilitaires Trabant, une bien triste fin pour cette marque aristocratique qui avait figuré parmi les meilleures du monde.

Malheureusement la carrosserie d'origine de cette 853 a été perdue pendant la seconde guerre ou peu après. Selon les informations fournies par le vendeur, le dernier propriétaire de la voiture l'avait équipée d'une carrosserie pick up et l'avait utilisée pour transporter des denrées sur son exploitation agricole en Ukraine. On ne sait donc pas si elle avait reçu la carrosserie Sportcabriolet d'usine ou une carrosserie réalisée par un artisan indépendant à l'origine.

La voiture a été achetée en Ukraine en 2009 par Horch Classic qui a aussitôt entrepris une restauration de sept années qui a demandé des milliers d'heures de travail. Il a été décidé de construire une réplique de la légendaire carrosserie Spezialroadster Horch Classic a fait des recherches dans diverses archives (mais aussi dans des documentations privées) pour retrouver des photos d'usine d'époque.

Grâce à la longue expérience de Horch Classic, à la documentation photographique et aux gabarits maison, une forme en trois dimensions fut construite. On la recouvrit de tissu pour visualiser les lignes et les volumes de la carrosserie. De nombreuses modifications furent apportées à cette forme de départ, avant de trouver les bonnes proportions. C'est seulement à ce stade que l'on put commencer à construire la structure en bois de la carrosserie.

Des gabarits furent à nouveau utilisés pour reporter les volumes de la forme et réaliser la structure avec de nombreux essais pour ajuster et trouver les bonnes lignes. À l'aide d'un niveau laser, on a assemblé et collé les composants de la structure entre eux et on les a vissés au châssis. Puis, les panneaux métalliques de la carrosserie ont été fabriqués, ajustés et soudés ensembles. Le châssis Horch avait auparavant été nettoyé et l'épaisseur de son métal et son éventuelle corrosion vérifiées. Les parties trop corrodées ou jugées trop fines avaient été remplacées apprêtées puis recouvertes de plusieurs couches de peinture.

Dès le départ, on considéra de la plus haute importance, non seulement de trouver l'harmonie de couleurs parfaite entre la carrosserie et l'intérieur, mais aussi de trouver un aspect conforme à celui de l'époque pour l'ensemble de la voiture. En conséquence, une couleur de base gris métallisé fut donc choisie, changeant en fonction de l'éclairage, du gris métal pur à un gris avec une légère pointe de rouge. Pour accentuer les lignes fluides de la voiture, des filets furent tracés à la main sur les garde-boue, sur le capot, les portes et l'arrière de la carrosserie.

L'intérieur de la voiture a été tendu de velours noir de haute qualité avec un passepoil du même cuir rouge que les sièges. Le cuir des sièges a été choisi car son aspect ressemble à celui des cuirs utilisés à l'époque. Le logotype Horch a été brodé sur le dos des sièges avant et sur les contre-portes au fil noir. De gros efforts ont été consentis pour le ciel de capote en Alcantara.

Le tableau de bord, constitué d'une seule pièce de bois, a été plaqué de ronce du Canada, laquée et polie pour obtenir un effet miroir. Les boiseries intérieures ont un léger reflet rouge qui s'harmonise à merveille avec les couleurs de l'intérieur et de l'extérieur. Les écussons Horch, sur le radiateur et le coffre, ont été plaqués en or 24 carat par un joailler. Tous les chromes ont été préparés et rechromés ou ont été reconstruits et chromés quand c'était nécessaire.

Le moteur d'origine, les essieux avant et arrière, le différentiel, la boîte de vitesses et la direction ont été démontés et révisés quand cela était nécessaire. Le moteur a été entièrement démonté et toutes les pièces calibrées et vérifiées. De nouveaux roulements ont été montés, de nouveaux pistons installés, l'arbre à cames et les commandes de soupapes révisés. Des joints de soupapes neuf ont été montés et des joints modernes à lèvres d'étanchéité ont été montés sur le moteur, à l'avant et à l'arrière. Le vilebrequin et le volant moteur ont été équilibrés avec précision. Le moteur, essayé au banc pendant une vingtaine d'heure avant d'être réinstallé dans la voiture, tourne parfaitement avec douceur, tandis qu'une boîte a cinq rapports révisée vient augmenter le plaisir de conduite et permet de tenir une bonne vitesse de croisière à des régimes peu élevés. Un faisceau électrique neuf a été refait et recouvert de coton vernissé pour reproduire l'aspect d'époque. Il va sans dire que tous les éléments de sécurité des freins et de la direction ont été rénovés. Un système d'allumage additionnel a été installé.

La voiture est vendue avec un reportage photographique de la restauration, ses papiers d'immatriculation allemands et un contrôle technique (TüV) daté du 11 juillet 2014. Un grand nombre d'articles et de publications sur la marque accompagnent la voiture, ainsi que son manuel du propriétaire (copie), une liste des pièces détachées (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et Jürgen Pönisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque émaillé Horch Dienste, un thermomètre Horch et un parapluie Horch Classic font également partie du lot.

c.1937 Horch 853 Spezialroadster

Chassis no. 853177

Engine no. 851234

•Premier German marque

•One of only 950 made

•Fully restored by Horch Classic

•Five-speed gearbox

One of the founding fathers of the German automobile industry, August Horch was born in Winningen in 1868, and following an technical education at engineering school, worked for a marine engine manufacturer in Leipzig. His next job was managing Karl Benz's motor works at Mannheim, but frustration with his employer's conservative approach prompted Horch to seek financial backing for his own venture. Horch regarded Benz's rear-engined 'horseless carriages' as out-dated, and his first automobile of 1900 featured a front-mounted, twin-cylinder engine and shaft-driven rear axle, the first time this latter innovation had been seen in Germany. Larger four- and six-cylinder models followed, and Horch became active in the trials and competitions of the day, though ultimately this policy would bring August into conflict with his fellow directors and force his departure in 1909 to found Audi.

In 1923 Horch engaged Paul Daimler, son of Gottleib, as Chief Engineer, the first car to bear his stamp being the '300'. This was powered by a 3.2-litre, double-overhead-camshaft, straight eight engine, and power units of this type would be favoured by Horch throughout the 1920s and 1930s. After Daimler's departure Fritz Fiedler (later of BMW fame) took over, designing a single-overhead-cam straight-eight - the Horch 450 - which was followed by 6-litre V12-powered 600 and 670 models in 1931 and the 3.5-litre V8-engined 830B in 1933.

In 1932 the company became part of the Auto Union together with Audi, DKW and Wanderer. Horch produced a veritable plethora of model variations in the 1930s, ringing the changes on engine capacity, wheelbase and styles of coachwork, but all were aimed squarely at the prestige end of the market, where Horch was the only serious domestic rival to Mercedes-Benz. Introduced for the 1936 season, the 4.9-litre Type 853 was powered by a Fiedler-designed, SOHC, ten-bearing straight eight mounted in a solidly built chassis boasting a four-speed overdrive gearbox and servo-assisted hydraulic brakes. A stylish sports cabriolet, the 853/853a was produced up to the outbreak of war, by which time a mere 950 of these exclusive cars had been built.

After WW2, Horch's Zwickau factory ended up on the eastern side of the border where it would eventually be pressed into service manufacturing the utilitarian Trabant - a sad end to a once noble marque that had ranked among the very best.

Unfortunately, the original body of this Horch 853 was lost either during WW2 or soon after. According to information supplied by the vendor, this car's last owner had fitted a pick-up body, and used the car to transport materials on his farm in Ukraine; thus it was not possible to tell whether a factory Sportcabriolet or an independently coachbuilt body had been fitted originally.

The car was purchased in the Ukraine in 2009 by Horch Classic, which then embarked on a seven-year restoration that took thousands of working hours to complete. It was decided to build a replica body in the style of legendary Spezialroadster. Horch Classic researched in numerous archives (and also private sources) to find original factory photographs.

Utilising Horch Classic's long term experience, researched photographic documentation, and in-house made templates, a three-dimensional body buck was fabricated. This buck was then covered in fabric to create a first impression of the body's lines and proportions. Numerous changes had to be made to the original buck before the form and proportions were right; only then could the construction of the wooden body frame begin.

Templates were again used to transfer the buck's shape to the wooden frame, with lots of trial fittings until the right shape and form had been achieved. Using a laser spirit level, the frame components were then glued together and screwed onto the chassis. Then the individual components of the metal body were fabricated, measured again and welded together. The Horch chassis frame had already been cleaned, measured and the metal checked for thickness and corrosion. Parts of the frame which showed either too much corrosion or were deemed too thin were replaced and then primed and painted with several coats.

From the start it was considered very important, not only to achieve perfect harmony of the body colour and interior, but also to arrive at a period-correct look for the car as a result. Accordingly, a base colour of silver metallic was chosen, which changes under different lighting conditions from a pure silver to a silver with a slight red tinge. To emphasise the car's flowing lines, a coach line was applied by hand to the mudguards, bonnet, doors and the rear of the body.

The car's interior was clad in high quality black velour carpet, which was piped in the same red leather as was used for the seats. The leather for the seats itself was chosen for its period-authentic surface texture. The Horch logo has been stitched into the back of the front seats and the door cards with a black thread. A great deal of effort went into the Alcantara hood lining.

The dashboard, made from a single piece of wood, has been covered with Canadian burr veneer that has been lacquered and polished to provide a mirror-like finish. The interior woodwork also shows a slight red tinge, which harmonises beautifully with the interior and exterior colours. The Horch Logo on the radiator and the boot lid were plated with 24 carat gold by a jeweller. All chromed parts were either prepared and re-chromed, or where necessary newly fabricated and plated.

The original engine, front and rear axles, differential, gearbox and steering were dismantled, measured and overhauled where necessary. The engine was completely dismantled and all parts measured and checked. New bearings were fitted, new pistons installed, and the camshaft and valve gear overhauled. New seals were fitted to the valve guides, and modern radial oil seals fitted to the engine at front and rear. The crankshaft was finely balanced together with the flywheel. Dynamometer tested for some 20 hours before fitting to the car, the engine is reported to run very smoothly, while a comprehensively overhauled five-speed gearbox enhances the already pleasurable driving experience and helps to keep the engine revs low at cruising speeds. A new wiring loom has been made and covered with woven cotton to replicate the appearance of the original. It goes without saying that safety-critical components for the steering and hydraulic brakes were renewed also. An additional ignition system is fitted.

The car is offered with photographic documentation of the restoration; German registration papers; and an historic TüV dated 11.07.14. A quantity of marque-related literature comes with it to include an owner's manual (copy); spare parts list (copy); Horch B-Road Atlas Germany; 'Horch: Typen-Technik-Modelle' by Peter Kirchberg and Jürgen Pönisch; and 'The Coachwork of Erdmann & Rossi, Berlin' by Rupert Stuhlemmer. A 'Horch Dienste' advertising enamel sign; a Horch thermometer; and an umbrella with Horch Classic print are included in the sale.accompagnent la voiture, ainsi que son manuel du propriÃ©taire (copie), une liste des piÃ¨ces dÃ©tachÃ©es (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et JÃ¼rgen PÃ¶nisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque Ã©maillÃ© Horch Dienste, un thermomÃ¨tre Horch et un parapluie Horch Classic font Ã©galement par

documenta kassel 2022 by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

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www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

HTML Cover by Usman Zafar

1

Oakwood Cemetery - Syracuse, NY by Michelle

5 20

Taken from: www.shadesofoakwood.com/pages/oakhistory.html

On November 11, 1982, the Haggerty lion was placed in Oakwood as a memorial to Michael Charles Haggerty who died at age 14 in an auto accident in 1974. His brother Thomas, who was two years younger than Michael, was an art student at Syracuse University when his parents asked him to create a special and original memorial. Michael had always liked lions and his mother thought a lion would be appropriate - a friendly protector, inviting but with claws. Thomas began work on the monument in the summer of 1981. He formed the clay image in his garage, spraying and wrapping his work each night. After this initial phase, the large figure was moved outside of his home and his work was supervised by an SU instructor. After a year's work, the 620 pound bronze statue was ready for placement. Michael had originally been buried at St. Mary's in DeWitt, but the authorities responsible for the diocese cemeteries objected to the monument. Michael was then reinterred in a special spot at Oakwood with the lion standing guard. Many people do not know about the Haggerty lion because it is situated in a wooded area and during seasons with leaves, it is well concealed. The lion can be found across the road from the Chapel. At the corner where the woods begin is a small trail which leads about 20 feet up a small incline to the monument.

Submitted for September's TMSH # 7 - Bronzed

Submitted for August's MSH # 4 - Freedom of art - I had several other possibilities, but for some reason when I think of freedom of art, this statue comes to mind. It's a shame that some people can be so small minded.

Submitted for March's MSH # 7 - Bronze Age

Hacker toy by Marco Bernardini

1 7

Hacker: "originally, someone who makes furniture with an axe", according to The Jargon File.

I think this shutter was made by a hacker... who use the axe to paint it, too.

Since the first 7 points of the hacker definition can also be used to describe myself, I bought this fancy toy to restore the original hacker work. After all, a sander called "Mouse" is perfect for a hacker... the problem is I'm always trying to turn the wheel ;-)

I've a heavy duty sander (8 kg!) which is good to sand the keel of an aircraft carrier (if you can find a wood one), but it is not very appropriate for small details.

I've seen this small sander at our local version of Home Depot for 35 euro, but it was out of stock and the clerk suggested me to visit the other shop, 50 km away. Before to waste a couple of hours and 7,50 euro of gasoline I asked him to check the inventory on their network, and he stared at me just like I've demanded a spare hadron collider. So I came home, check on eBay and found the same sander in Rome for 1 euro less, shipping included.

Next time I'll check eBay before to go to the shop... so I'll save another 15 km.

Now I guess you want to know the strobist infos...

- lens: SMC Pentax-DA 16-45mm F4.0 ED/AL

- flash on the left: Hanimex TZ1 in tele mode with standard diffuser - 0.13 GBP (yes! 0.16 euro!) on eBay

- left trigger: cactus like

- flash on the right: Vivitar 3500 Thiristor in wide mode, without diffuser - this one far more expensive, 10.50 GBP (13.26 euro) on eBay

- right trigger: ebay optical slave

See the setup below for the flash positions.

If you want to see the shutter "before" version, it had the same ugly color of the rest of this door.

~~~~~~~~~~~~~~~~~~~~~~~~

Hacker: "originariamente, qualcuno che costruiva mobili con un'ascia", secondo The Jargon File.

Penso che questo scuro sia stato fatto da un hacker... che ha usato l'ascia pure per pitturarlo.

Visto che i primi 7 punti della definizione di hacker possono essere anche usati per descrivere me, ho comprato questo bel giocattolino per restaurare il lavoro originale dell'hacker. Dopotutto, una levigatrice chiamata "Mouse" è perfetta per un hacker... il problema è che cerco sempre di girare la rotella ;-)

Ho una levigatrice pesante (8 kg!) che sarebbe buona per levigare la chiglia di una portaerei (se ne trovate una in legno), ma che non è molto appropriata per i piccoli dettagli.

Ho visto questa piccola levigatrice in una negozio di bricolage a 35 euro, ma era esaurita e il commesso mi ha suggerito di visitare l'altro negozio della catena, a 50 km di distanza. Prima di perderci un paio d'ore e 7.50 euro di benzina gli ho chiesto di verificare l'inventario sulla loro rete, e mi ha guardato come se gli avessi chiesto un collisore di adroni. Così me ne sono tornato a casa, ho guardato su eBay ed ho trovato la stessa levigatrice a Roma, per 1 euro meno spedizione compresa.

La prossima volta guarderò su eBay prima di andare fino al negozio... per risparmiare altri 15 km.

Ora immagino vorrete conoscere le info strobiste:

- ottica: SMC Pentax-DA 16-45mm F4.0 ED/AL

- flash a sinistra: Hanimex TZ1 in modo tele mode with diffusore standard - 0.13 GBP (si! 0.16 euro!) su eBay

- trigger a sinistra: tipo cactus

- flash a destra: Vivitar 3500 Thiristor in modo wide, senza diffusore - questo molto più costoso, 10.50 GBP (13.26 euro) on eBay

- trigger a destra: servoflash ottico preso su ebay

Guardatevi il setup più sotto per le posizioni dei flash.

Se volete sapere com'era lo scuro "prima", aveva lo stesso colore angoscioso del resto di questa porta.