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We have a pretty, undented MBP (with a high res LCD!) on the left and a dented, nasty LCD on the right.
SC Classic (FIN)-Red Ants Rychenberg Winterthur (SUI) 6-3
Match details: www.floorball.org/ottelukooste.asp?sarjaId=&ottelu_id...
Autor: Jan Pavlíček
From the museum label:
The work displayed here is inspired by the extraordinary and complex case of Pablo Escobar's hippopotamuses—once a private exhibition of excess, now an ecological crisis. Imported in the 1980s as a symbol of unchecked power, these animals have since thrived in Colombia's Magdalena River Basin, growing from an initial four to an estimated 150 to 200 by 2025. Their rapid proliferation has disrupted local ecosystems, sparking urgent debates about invasive species, human intervention, and ethical wildlife management.
This story is more than just an environmental anomaly—it is personal. I grew up in Colombia during Escobar's reign, a time marked by relentless terrorism, bombings, kidnappings, and violence that left a generation impacted. Friends and colleagues bore the burdens of this era-some were kidnapped, and others were murdered. These experiences shaped my artistic inquiry, embedding within it a visceral understanding of history's weight and the shadow of power.
This body of work is not solely about Escobar's hippos. It also addresses the aftershocks of unchecked authority, the clash between human ambition and nature, and the role of art as a witness to global challenges. Through these paintings, I encourage viewers to reflect on the enduring consequences of human actions—on individuals, on landscapes, and on the narratives we choose to uphold.
From the museum label: The daughter of a New England merchant, Matilda Stoughton (1778-after 1822) was sixteen years old when Stuart painted this portrait celebrating her marriage in New York to the Spanish official Josef de Jáudenes. Seated before a loosely painted swath of drapery, she wears a fashionable silk dress and is adorned with pearls, diamonds, and a coronet-shaped headdress. An overt display of wealth, the work signals her newfound status as a Spanish aristocrat and departs from the restrained portrait style preferred by most American patrons of the era. The elaborate coat of arms and Spanish inscription-including Stuart's signature-were added later by another hand, likely after the couple returned to Spain in 1796.
SC Classic (FIN)-Red Ants Rychenberg Winterthur (SUI) 6-3
Match details: www.floorball.org/ottelukooste.asp?sarjaId=&ottelu_id...
Autor: Jan Pavlíček