View allAll Photos Tagged Haacke,
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
Central Memorial of the Federal Republic of Germany to the Victims of War and Tyranny
The Neue Wache (New Guardhouse) was built in the years 1816 to 1818 on behalf of the Prussian kind, Fredrick William III, according to a design by Karl Friedrich Schinkel. From 1818 until 1918 the Royal Palace Guard was located here.
In 1931, the Prussian Government had the guardhouse redesigned Heinrich Tessnow created a "memorial to those who fell in the world war" in the centre of the room, which was designed to invite reflection, stood a black of granite with a silver wealth of oak leaves.
Shortly before the end of the second world war the Neue Wache was severely damaged by bombs.
From 1960 the restored buildings served the GDR as a "memorial to the victims of facism and militarism." In 1969 an eternal flame was lit in the middle of the room.
In 1969 the mortal remains of an unknown soldier and an unknown concentration camp prisoner were laid to rest here. They are surrounded by earth from the battlefields of the second world war and from concentration camps.
Since 1993 the Neue Wache has served as the central memorial of the Federal Republic of Germany.
The interior design from the time of the Weimar Republic was largely restored. An enlarged replica of the sculpture by Kathe Kollwitz known as "mother with her dead son" stands in the center of the memorial. It was made by Harald Haacke.
The Neue Wache is the place where we commemorate the victims of war and tyranny.
We honor the memory of the peoples who suffered through war. We remember their citizens who were persecuted and who lost their lives. We remember those killed in action in the world ways. We remember those killed in action in the world wars. We remember the innocent who lost their lives as a result of way in their homeland, in captivity, and through expulsion.
We remember the millions of Jews who were murdered. We remember the Sinti and Roma who were murdered. We remember all those who were killed because of their origin, homosexuality, sickness or infirmity. We remember all who were murdered whose right to life was denied.
We remember the people who had to die because of their religious or political convictions. We remember all those who were victims of tyranny and met their death though innocent.
We remember the women and men who sacrificed their lives in resistance to despotic rule. We honor all who preferred to die rather than act against their conscience.
We honor the memory of the women and men who were persecuted and murdered because they resisted totalitarian dictatorship after 1945.
Neue Wache
Unter den Linden 4 10117 Berlin
+49 30 25002333
visitberlin.de
en.wikipedia.org/wiki/Neue_Wache
After German reunification, the Neue Wache was again rededicated in 1993, as the "Central Memorial of the Federal Republic of Germany for the Victims of War and Dictatorship." The GDR memorial piece was removed and replaced by an enlarged version of Käthe Kollwitz's sculpture Mother with her Dead Son. This sculpture is directly under the oculus, and so is exposed to the rain, snow and cold of the Berlin climate, symbolizing the suffering of civilians during World War II.
Taking the goddaughter to London for the first time we went around looking for the Shaun The Sheep statue. We found 68% of them and walked 7 miles. The ones we missed were due to their locations being spread out.
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
Proposal for the Fourth Plinth
By Hans Haacke
Gift Horse
Proposed Materials: bronze, electroluminescent film
Instead of the statue of William III astride a horse, as originally planned for the empty plinth, Hans Haacke proposes a skeleton of a riderless, strutting horse. Tied to the horse’s front leg is an electronic ribbon which displays live the ticker of the London Stock Exchange. The horse is derived from an etching by George Stubbs, whose studies of equine anatomy were published the year after the birth of the reputedly decadent king, whose statue was abandoned due to a lack of funds. Haacke’s proposal makes visible a number of ordinarily hidden substructures, tied up with a bow as if a gift to all.
Haacke’s early work employed physical and organic processes, such as condensation, in what he called ‘systems’, until his focus shifted to the socio-political field of equally interdependent dynamics. For the last four decades Haacke has been examining relationships between art, power and money, and has addressed issues of free expression and civic responsibilities in democratic societies. Haacke’s practice is difficult to categorise, moving from object to image to text, from painting to photography, at times of a provocative nature.
[GLA website]
The Fourth Plinth of Trafalgar Square, in its northwest corner, designed by Sir Charles Barry (1795-1860). It was originally intended to be the base for an equestrian statue of William IV, although it never happened due to funding problems.
In 1998 the Royal Academy of Arts began the Fourth Plinth Project with commissioning three consecutive works; in 2005 the scheme was reprised and has been running ever since.
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
9th Bienal do Mercosul l
----Biennial press -----
Porto Alegre
13 September–10 November 2013
Weather permitting
Porto Alegre, Brazil
The promises of the 9th Bienal do Mercosul l Porto Alegre are to identify, propose and repurpose changing belief systems and appraisals of experimentation and innovation. It intends to raise ontological and technological questions through artistic practice, object making and nodes of experience. This edition of the biennial can be considered an environment in which to encounter natural resources and material culture in a new light, and to speculate on the bases that have marked distinctions between discovery and invention, as well as the values of both sustainability and entropy. The 9th Bienal do Mercosul | Porto Alegre is curated in three components: the exhibition Portals, Forecasts and Monotypes including existing and new work, projects created through collaborative commissions, performances and screenings; the initiative “Island Sessions,” involving field trips, discussions and an online publication, and a five-month art pedagogy program, “Cloud Formations,” designed for teachers, mediators, and the curious.
Artists
Allora & Calzadilla, Anthony Arrobo, Tarek Atoui, Nicolás Bacal, Luis F. Benedit, Bik Van der Pol, Christian Bök, Liudvikas Buklys, Audrey Cottin, Elena Damiani, Koenraad Dedobbeleer, Jason Dodge, Fernando Duval, Faivovich & Goldberg, Cao Fei, Mario Garcia Torres, Hope Ginsburg, Juan Jose Gurrola, Hans Haacke, Malak Helmy, Fritzia Irizar, Eduardo Kac, Zhenia Kikodze for Yuri Zlotnikov, Fernanda Laguna, Suwon Lee, George Levantis, Ana Laura López de la Torre, Gilda Mantilla & Raimond Chavez, Nicholas Mangan, Allan McCollum, Cinthia Marcelle, David Medalla, Marta Minujín, Aleksandra Mir, Eduardo Navarro, Edgar Orlaineta, The Otolith Group, Trevor Paglen, Tania Pérez Córdova, Pratchaya Phinthong, William Raban, Sara Ramo, Luiz Roque, Grethell Rasua, Robert Rauschenberg, Thiago Rocha Pitta, Daniel Santiago, Mira Schendel, Beto Shwafaty, Lucy Skaer, Tony Smith, Daniel Steegmann, Vassilakis Takis, Sandrine Teixido & Aurelien Gamboni, Erika Verzutti, Jorge Villacorta of Alta Tecnologia Andina with Rodrigo Derteano, Jessica Warboys, David Zink Yi, Michel Zózimo
The artists especially commissioned to contribute with pictures or moving images for Island Sessions are Danilo Christidis, Fernanda Gassen, Romy Pocztaruk, Katia Prates, Leticia Ramos, Leonardo Remor and Tiago Rivaldo.
Curatorial team
Sofía Hernández Chong Cuy is the artistic director and chief curator of the 9th Bienal do Mercosul | Porto Alegre. The curatorial team includes Mônica Hoff, ground curator and head of Cloud Formations; Raimundas Malašauskas, time curator; Bernardo de Souza, space curator; and curatorial cloud fellows: Sarah Demeuse, Daniela Pérez, Júlia Rebouças, and Dominic Willsdon. Luiza Proença is the editorial coordinator.
German artist Hans Haacke's sculpture with ticker tape showing London Stock Exchange prices replaces giant blue cockerel on central London square's Fourth Plinth
Distribution of Yves Klein’s faux newspaper Dimanche at newsstands throughout Paris on November 27, 1960, accompanied by a press conference at Galerie Rive Droite. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Photos by and © Hans Haacke. Courtesy Yves Klein Archives
1963-65
Acrylic plastic, water, climate in area of display.
Water evaporates and condenses on the inside walls of the cube in correspondence to environmental conditions in area of display.
The South Australian Institute, incorporating a public library and a museum, was established in 1847 in the rented premises of the Library and Mechanics' Institute in King William
Street whilst waiting construction of the Institute building on the corner of North Terrace and Kintore Avenue.
Frederick George Waterhouse offered his services as curator of the South Australian Institute Museum in June 1859 in an honorary capacity. When the Institute building was
completed, the Board appointed him as the first curator, a position he held until his retirement in February 1882. He was succeeded by Wilhelm Haacke, who in January 1883
recommended the South Australian Institute Museum be renamed the South Australian Museum, and the position of Curator be changed to Director. Wilhelm was appointed the first of
eleven Directors of the South Australian Institute Museum.
In 1939, Haacke’s recommendation was finally realised; legislation was passed that gave the South Australian Museum autonomy from the Art Gallery and Library, and the South
Australian Institute Museum was officially renamed the South Australian Museum.
Canon EOS 5D, 24-70L, AEB
2014
IMG_3165_6_7_
Distribution of Yves Klein’s faux newspaper Dimanche at newsstands throughout Paris on November 27, 1960, accompanied by a press conference at Galerie Rive Droite. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Photos by and © Hans Haacke. Courtesy Yves Klein Archives
Distribution of Yves Klein’s faux newspaper Dimanche at newsstands throughout Paris on November 27, 1960, accompanied by a press conference at Galerie Rive Droite. © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Photos by and © Hans Haacke. Courtesy Yves Klein Archives
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971
Hans Haacke, 142
Whitney Museum
Metropolitan Museum of Art board room, members or Art Strike await arrival of Thomas P.F Hoving, Director of the museum. Tom requested that I take no photos with him present. Among the members of Art Strike are: Carl Andre, Max Kozloff, Kes Zapkus, Hans Haacke, Juliette Gordon, Ann Arlen, Barry Schwartz, Stella Waitzkin, Ralph Ortiz, Sylviana Goldsmith.
PHOTO COPYRIGHT JAN VAN RAAY
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
1971
Questionnaire.
Visitors to a solo exhibition at the Guggenheim Museum in New York were to have been asked to complete this questionnaire. The exhibition was cancelled because the Director objected to this poll of the Museum's visitors and also to two works on New York real estate.
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
2011-03-23 New York Passive House organized a technical construction seminar on SIGA products. Patrick Haacke presented vapor-permeable roof membranes, vapor-retarding air-sealing membranes, and various air-sealing tapes and mastics. Air sealing to eliminate drafts is an important part of the Passive House low-energy construction standard.
www.knme.org - Bill Gilbert at the University of New Mexico holds class for an entire semester in the forgotten outdoors - exploring with students the evolution of Land Arts from its ancient beginnings in rock art - to Earthworks monuments such as the Spiral Jetty - to today's cutting-edge performance art in both rural and urban environments. Watch Artisode 1.2 and get inspired by the wild!
Click the link below to watch the video:
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY