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Die Burg Rappottenstein im Waldviertel weist (vom 3. Hof zugänglich) ein Verlies auf, in dem in einem seiner Räume im Mittelalter tatsächlich ein kreisrunder Hungerturm eingerichtet wurde. Während im eigentlichen Verlies mehrere Inhaftierte gemeinsam hinter Schloss und Riegel hausten und wenigstens ab und zu Essbares erhielten, war der Hungerturm ein Fall für die allerschwersten Rechtsbrecher. Sie wurden in diesem Turm zum tiefen, feuchten Boden abgelassen und sollten dort in absoluter Dunkelheit, isoliert von den Mithäftlingen, und bis auf weiteres ohne Nahrungsversorgung, ihre Verstöße bereuen und handzahm gemacht werden. Der hohe Hungerturm mit seinen glatten Wänden war oben mit einem Gitter verschlossen, es konnte hinein regnen, und irgendeine Art von Heizung gab es auch nicht. Um die solcherart isolierten Häftline musste sich das Wachpersonal nicht oder nur ab und zu kümmern. Unter solchen Haftbedingungen starben viele Häftlinge rasch. Die meisten wohl am Hunger, der anderen Todesursachen zuvorkam. So war der Begriff des Hungerturms damals ein abschreckendes Synonym für Qual und Folter.
Rappottenstein Castle in the Lower Austrian region Waldviertel ([Forest quarter]; accessible from the 3rd courtyard) has a dungeon in which a circular hunger tower was actually set up in one of its rooms in the Middle Ages. While several prisoners lived together behind bars in the actual dungeon and at least occasionally received food, the hunger tower was a case for the most serious offenders. They were lowered to the deep, wet floor in this tower and were supposed to repent their offences and be tamed in absolute darkness, isolated from their fellow prisoners and without food until further notice. The high hunger tower with its smooth walls was closed at the top with a grille, it could rain inside and there was no heating of any kind. The guards did not have to look after the prisoners isolated in this way, or only occasionally. Many prisoners died quickly under such conditions. Most of them probably died of hunger, which preceded other causes of death. At the time, the term "hunger tower" was a chilling synonym for torture and agony.
Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) in THE HUNGER GAMES: CATCHING FIRE. Photo credit: Murray Close
Another little build for the library display. Hunger games (not a scene, just some of the elements put together).
New story out for HungerTV -
www.hungertv.com/feature/young-blood-lucia-oconnor-mccarthy/
Photography - Lucia O'Connor-McCarthy
Styling - Zoe Hancock
Hair & Make-up - Michelle Dacillo
Model - Charli Howard @ Union
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Untitled (Hunger 14), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
282/365 - Oct. 9, 2010: The Hunger Games ...
Even though the first book came out a few years ago, it seems that as soon as the last one came out, this series became all the rage. So, with the holds being in the crazy digits at the library, I was grateful that a friend lent hers to me. Overall, good reads!
(Post processed in Lightroom using preset "RAW_COLOR_EVERYDAT_LIGHTEN".)
Ummm...I may have gone just a little overboard with the Hunger Games movie merchandise. Haha! I can't help it! I love the books and can't wait for the movie!!
If you want to get sorted into a District and get your free DIP (ID), go to The Hunger Games movie facebook: www.facebook.com/thehungergamesmovie?ref=ts#!/thehungerga...
The picture on the left has my personal District 11 T-shirt (front), arena parachute necklace (it opens and contains a canister that you can put things in), Mockingjay earrings, Mockingjay pin, my DIP (ID) for District 11, large holographic bookmark, four small magnetic bookmarks.
The picture on the right has my personal District 11 T-shirt (back), Katniss action figure, Hunger Games bag and socks, and the back of the bookmarks.
I took this with my iPhone, so the quality's not the greatest. Sorry about that!
May the odds be ever in your favor. Happy Hunger Games!!
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
My favourite of the series is this Ikarus 250 SE coach dating from 1983, and like the 256 this also unusually features a second door behind the rear axle. I have never seen one of these in reality and know little about them, but the styling wouldn't look out of place in a British coach park of the 1980s, and 1/72 scale is close enough to 1/76 for it to appear on a UK layour. Sadly this collection doesn't appear to include a coach of the type sold in the UK as the Blue Danube.
Another little build for the library display. Hunger games (not a scene, just some of the elements put together).
I made this cake for my boyfriend's son who when I asked what he wanted simply said... "a Mockingjay Pin!".
I had no idea what this was having not read the books or seen the film so had to do some research :)
The Mockingjay Pin is hand modelled out of fondant except the arrow which is a cocktail stick.
The cake board is covered using printed pages from the book.
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
The ghosts of day set steady over a sinking ocean, all spread out and still with reminders of light left behind. Nautical twilight is a while fading yet, one last hour for the souls of lost sailors to swim their way to shore. I've always wanted some singular thing, to be land-locked but not far from salt water, always a very short drive from a view that's endless. All that beautiful anger, raging but hating nothing. A fury I can believe in. While time drifts backwards, I walk uphill and away, toes following heels to the top. Won't turn from the shining set, somehow I think that it demands the attention I've got. I spotted a porcupine in a tree, not sure if I saw him first or the reverse. He wasn't watching the sky, only two things in his world – hunger and escape. I'm running away, too, but less from myself every day.
May 11, 2022
Hillsburn, Nova Scotia
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Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.