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The Armistice Clearing at Compiègne:
Replica of the Wagon de l'Armistice.
In order to complete the reinstatement of the Armistice Clearing, another carriage was obtained, constructed in the same 1913 batch as the original. This was renumbered 2491D and placed inside a new carriage-house. Inside it were placed the furnishings, documents and personal items previously displayed in the original carriage, items which had been removed and taken to a place of safety on the outbreak of war in 1939. This done, the Armistice Clearing was re-dedicated on 11th November, 1950.
During the German occupation of France during World War II, the Alsace-Lorraine Memorial was destroyed and the carriage taken to Berlin, where it was exhibited in Berlin's Lustgarten, an area near the cathedral which the Nazis had converted into a site for mass rallies.
After the Allied advance into Germany in early 1945, the carriage was removed by the Germans for safe keeping to the town of Crawinkel, Thuringia, but as an American armoured column entered the town, the detachment of the SS guarding it set it ablaze, and it was destroyed. Some pieces were however preserved by a private person; they are also exhibited at Compiègne.
After the war, the Compiègne site was restored, but not until Armistice Day 1950 was a replacement carriage, correct in every detail, re-dedicated: an identical Compagnie des Wagon-Lits carriage, no. 2439, built in 1913 in the same batch as the original and present in 1918, was renumbered no. 2419D.
The original carriage has not entirely disappeared, though. Thuringia, where the carriage had been destroyed, had been in the Soviet Occupation Zone immediately after the Second World War, and thus formed part of the German Democratic Republic. After the reunification of Germany in 1990, it became possible for interested parties to look for remains of the original carriage, and several parts of it have been located and returned to France.
The ergonomics about this is so terribly wrong, the toilet paper is so high up, hard to reach for disabled person who has to brace himself with legs while turning a bit, reach for it, then tug to snap off some paper, lose balance, and even hurt your hand on the grab-bar as you snap off some paper.
What's worse, is standing up ! Try to grab on that diagonal grab-bar to pull up and hold up your body as you try to stand and turn, trying to hold onto it and get your pants up; the HEAD bumps into that toilet paper-holder case and face is right up against it,
rubbing on it, where perhaps other people's poopy hands touched.
It is humiliating, filthy, biohazard to the face, bruise to the face, and for shorter arms, actually a barrier to grabbing and holding onto that grab-bar.
This is at the newest part of the very modern Metro Toronto Convention Centre.
She was a woman that after being widowed and humiliated, had her daughters raped and she revolted agains teh romans she always hated, I am not saying good or bad, but the roman did a lot of injustices to her people, mainly the celts and the gals of france.
she was the quee of the iceni, she became the leader of all celt tribes and led agains the romans as commande and general in cheif.
one sole queen for all.
she perhaps was the first queen of england, mary I was the first Queen of England proclaimed, Boudicca had she been annointed by the Pagan order or called the queen of the times she would be and not mary the first.
but she was the first queen of the pagans, perhaps the first.
Virat Kohli and humiliated Anushka Sharma www.thenewsin.com/sports/virat-kohli-and-humiliated-anush...
Virat Kohli and humiliated Anushka Sharma www.thenewsin.com/sports/virat-kohli-and-humiliated-anush...
Virat Kohli and humiliated Anushka Sharma www.thenewsin.com/sports/virat-kohli-and-humiliated-anush...
www.thenewsin.com/wp-content/uploads/2015/03/virat-kohli-...
The Armistice Clearing at Compiègne:
The statue of Foch is the only thing at this memorial that is completely original and remains 'as is' from the park that was inaugurated in the 1920's. The statue of Marechal Foch, created by Firmin Michelet was inaugurated in 1937. It was the only monument spared by Hitler when the site was destroyed in 1940. During the signing of the 1940 Armistice, this statue was shrouded with a huge Swastika flag. Another calculated humiliation.
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La statue du Maréchal Foch, oeuvre de Firmin MICHELET est innaugurée en 1937. C'est le seul monument que HITLER épargnera en 1940 lors de la destruction du site.
The statue of Marechal Foch, created by Firmin Michelet was inaugurated in 1937. It was the only monument spared by Hitler when the site was destroyed in 1940.
Approaching the Armistice Clearing at Compiègne from the east on the E46 out of Soissons / Reims.
The Forest of Compiègne (French: Forêt de Compiègne) is a large forest in the region of Picardy, France, near the city of Compiègne and approximately 60 kilometres (37 mi) north of Paris.
The forest of Compiègne is roughly circular with a diameter of about 9 miles (14 km); it is approximately 58 miles (93 km) in circumference and its area is roughly 14,414 hectares (35,620 acres), making it the third largest forêt domaniale (national forest), a category corresponding to the French State's inalienable domaine, as heir to the monarchy, under a judicial regime distinct from the national patrimoine and from private property, defined by a royal edict issued in 1566.
... Being forced to wear a 50s diner waitress outfit at the Newark airport, nude pantyhose included.
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Contents inside the vitrine of the project "OBEY. Humillados & ofendidos" [OBEY: Humiliated & Insulted], 2007–2009.
24-hour performance, divided in three uninterrupted eight-hour sessions and in three different time periods. Performance carried out entirely in the interior and on the terraces of the Centro Galego de Arte Contemporánea (CGAC). The audience was invited not to attend.
OBEY encompassed 24 hours of performance using an entire museum building as a huge minimal stage made of granite, wood, and white marble. Three acts, lasting eight continuous hours, took place during three distinct blocks of time throughout the empty galleries, corridors, terraces, and “dead zones” of the Centro Galego de Arte Contemporánea (CGAC) in Santiago de Compostela. The interpreters, the artist, and production team were confined by the architecture for the duration of each act—two of which took place during the dead of the night—and the entirety was documented by video and photographs. No audience was present; moreover, contrasting with the usual welcoming tone of museum communications, the exhibition invitation cards explicitly invited the public not to attend.
In each of the three parts of the performance, interpreters—wearing devices or clothing designed to restrict movement, such as leather harnesses—simultaneously executed choreographed actions and readings, in continuously repeating cycles, alone or in groups of two or three. A further principal performer in a Victorian mourning dress presided over an interconnecting point between three gallery wings, making circuits throughout the building that also determined the direction of the cameras. The performers’ movements corresponded to, among other elements, fragments of plays by Samuel Beckett, video performances by the artist Bruce Nauman, and scores by the dancer-choreographer Yvonne Rainer—each of whom could be characterized by their work’s assertive formalism and austere directness.
The dense three-part temporal and spatial organization of OBEY drew on the mystical and occultist possibilities of the floor plan of the CGAC building, and diagrammatic representations of man’s connection to the cosmos. It also made explicit reference to two works of minimalist art: Nauman’s "Three Dead End Adjacent Tunnels, Not Connected" (1979/1981), a triangular sculpture of three tunnels that lead nowhere, and Dan Graham’s "Triangular Pavilion2 (1997), a pyramidal structure of steel and one-way glass located on the CGAC’s roof terrace.
Text by Latitudes.
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Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
tabby's first birthday.
i apologize for being absent the past week. life got a little berserk. hopefully, i'll get out of my funky mood soon...or drink myself to death...dang, it looks like i missed out on a lot of your great posts.
taken: 04/10/2008
In physical education at school, I took off my shoes and went to exercise in the gym barefoot. I was the only one in the whole class who didn't have shoes and was barefoot. All the girls and boys had shoes and I was the only one who practiced barefoot. Dirt from the gym was collecting on my feet and soon I had very dirty feet. Everyone was staring at my bare dirty feet. It was a humiliating feeling to be the only one barefoot and with dirty feet among my classmates with shoes. But at the same time it was a very free and pleasant feeling to be barefoot.😄
A pair of Brazilian models dragging their country's flag through the streets of the East Village after Brazil's humiliating loss to Germany in the World Cup semi-finals.
The Armistice Clearing at Compiègne:
Memorial Hall.
'CE MONUMENT EDIFIE EN 1927 GRACE A LA GENEROSITÉ DE M ARTHUR HENRY FLEMING, CITOYEN AMERICAIN A ÉTÈ DÈTRUIT EN 1940 ET RECONSTITUÊ 1950'
Sometime after this the car was returned to the Compagnie des Wagons-Lits and briefly resumed service as a dining car. In September 1919, it was donated to the Musée de l'Armée, in Paris. The wagon on display in the Cour des Invalides from 1921 to 1927.
At the request of the Mayor of Compiègne, and with the support of the U.S. Arthur Henry Fleming, the car was restored and returned to Compiègne.