View allAll Photos Tagged Hunger
It looks like these three vampires are wanting to be fed. The video guy looks tasty.
I got to be the B roll still photographer for this production.
www.flickr.com/photos/random_shootings/albums/72157694963...
Nauru island has been destroyed – do you know Nauru? one of the smallest island in the world. And once the richest and wealthiest countries in the world. maybe you are wondering where the country is located, is close to the country australia.
Nauru lay on the land area of 8000 hectares in the western Pacific ocean. The extent of only about one tenth of the oil palm plantation Astra, Eka Cipta Wijaya, Prabowo, Cargill, DL Sitorus, and tycoons Crude Palm Oil (CPO) in Sumatra there. Only about a quarter of its 50 spacious logged forests conglomerates concessionaires in Borneo there. Precisely, the area of the Republic of Nauru is almost equivalent to the Lake Toba.
21km square berarea country for 30 years been listed as one of the richest countries in the world. Income per capita in 1981 reached 17,000 dollars, compared with Indonesia, which is only 530 dollars per capita in the same year. With such a high income and a population of only 13 thousand inhabitants (still more spectators Indonesian league opponents Saudi Arabia the other day, which reached 90,000) Nauru transformed into a very rich country. They build tall buildings. Buy cars and luxury commercial aircraft. There are no poor people in there, let alone bum. State subsidizes the lives of all citizens. More than 80% of the workforce was appointed as civil servants. These employees are not tied to office hours. They may come and go as they pleased. The unemployed also subsidized by the state. In short, was so rich Nauru, without any of the working population can live in luxury. People are not taxed. Education and free health care, subsidized food, who want to study abroad were given scholarships. Even so spoiled, so reluctant to Nauru population of mobile workers. His government was forced to import labor from Australia, China, Kiribati and Tuvalu.
What makes Nauru be all that rich? not because of bird droppings. More than 70% of the land consists of sediment Nauru Guano bird droppings that had accumulated over hundreds and even thousands of years ago. This is because once Nauru is a place for large colonies of birds Guano. This bird droppings into phosphate, which serves as fertilizer for crops.
Phosphate was found in 1899 and began to be explored in 1907. At that Nauru is still a part of the country Australia. Once granted independence on January 31, 1968, phosphate mining areas controlled by men. Estimated that the number of high-quality phosphate across Nauru 41 million tons. This huge amount. Compare with Indonesia, which consists of thousands of islands, the total number of phospatnya estimated at only 2.5 million tonnes. Because it is only natural that the country would fall into the list of the world’s smallest country touted as the country’s phosphate, and targeted by many countries.
After the massive phosphate exploration for decades, Nauru is now reaping the consequences. According to Greenpeace’s investigation, 90% of Nauru was severely damaged and need to be rehabilitated. That means that only about 2 square km area Nauru only habitable. Greenpeace also found spreading poison of its mining activities in three places. Toxic substances that the polychlorinated biphenyls (PCBs), asbestos, Polyvinyl chloride plastic (PVC) and metal.
Tremendous damage this requires a very long rehabilitation period and cost prohibitive. Nauru should import fertilizer, humus, and other essential nutrients to rebuild the ecosystem. It costs about 200 million dollars, and the process took 30 years. The most crucial thing to do is reclaiming back the area of agriculture, clean water sources, livestock and plantasi trees. If this step is not performed, then the entire population of Nauru have to migrate to other areas. When kept in Nauru they will suffer from various diseases due to mining, hunger and lack of water. Migration area selection is empty islands in the Pacific Islands region.
Nauru government intends reclaiming back its territory. For the year 1989, they filed a lawsuit against Australia in the International Court. Nauru demanded Australia to pay compensation for the environmental damage done mining company. The company itself is actually a consortium of three countries, namely Australia, England and New Zealand. Australia circumvent these demands and accused Nauru as a party that should be responsible. Because the country gained independence from Australia in 1968. And since then, phosphate mining Nauru managed native son, no longer by the consortium companies.
In 1992, the International Court of Justice in favor of Nauru. According to them Australia and two other countries (the United Kingdom and New Zealand) must take responsibility for environmental damage Nauru, as they participate explore this mine before.
In 1993 the three countries were required to pay compensation. Australia have to pay compensation of 107 million Australian dollars, while the United Kingdom and New Zealand, respectively 12 million dollars.
So how? Are you curious about this country? if you want to visit to see it? it’s up to you. I hope what happened to Nauru could be a lesson to us all that exploit something excessively without any action about the future it will be bad. so do not get used to always live with a tasty and versatile plush yes, learn to appreciate life and learn to start thinking about the future.
by New Hotel Travel in ift.tt/1XHPf3p
Untitled (Hunger 4), 1996, 7" x 7" x 4", tempera on ceramic bowl. Private collection.
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had at Art Space Seoul in Korea in 1997. A couple years ago, 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.
Click the following link for an essay on this and other work included in an exhibition at Art Space Seoul in Seoul, South Korea in 1997.
Sanaa and Mona Seif, sister of Alaa Abd El-Fattah, an imprisoned Egyptian-British democracy activist on hunger strike, talk to the press outside Britain's Foreign Office.
Alaa is over 200 days into his 100 calorie a day hunger strike in prison in Egypt. A candle-light vigil is planned for this Sunday 6 November at 4 pm opposite 10 Downing Street.
Alaa Abd El-Fattah has endured much of the last twelve years in some of the worst prison conditions anywhere in the world, on account of his brave work in promoting democracy in Egypt.
He was last arrested in September 2019 while attending Cairo's Dokki Police Station and in December last year was sentenced to five years imprisonment for "spreading false news undermining state security." More precisely, he had shared social media posts explaining the hell-hole reality of Egyptian prison conditions.
PROTEST OUTSIDE THE FOREIGN OFFICE
Alaa's two sisters, Mona and Sana'a Seif, are currently staging a protest in London's King Charles Street outside the British Foreign Office in the hope that the Egyptian government can be pressured to release him, as media attention begins to focus on the upcoming COP27 conference at Sharm El Sheikh on Egypt's Red Sea coast.
TORA PRISON - "A DAY HERE, IS LIKE A YEAR IN BELMARSH"
In April, Alaa began his hunger strike in a cell in one of the most secure sections of Cairo's sprawling and notorious Tora Prison - a maze of grim high concrete walls and watch towers, which strike fear into even the thousands of commuters who have to pass daily.
In 2012, one young Londoner confined to one of the least uncomfortable and most survivable wings of Tora prison, contrasted it with his own previous experience at Britain's high security Belmarsh. I can never forget his exact words. "A day here, is like a year at Belmarsh!" A little over 12 months later, he died of TB - the prison authorities had refused to listen to the pleas of his aunt, who fell on her knees during a rare visit, begging that he be admitted to the prison hospital.
ALAA'S HUNGER STRIKE CONTINUES AT WADI EL NATRUN PRISON
More than 200 days have passed since Alaa started his hunger strike. He has now been moved to the Wadi El Natrun prison complex in the desert north of Cairo, dubbed by inmates as the "Valley of Hell."
He may not survive much longer. However, as he holds British-Egyptian nationality, one would hope that the British government would be doing everything they could to secure his immediate release and it would be reasonable to suppose that the Foreign Office could get an immediate pledge in this regard, especially given that the British companies, including the likes of British Petroleum and BP, are the biggest investors in Egypt.
NO CONSULAR ACCESS
However, the British government have failed even to get him any consular access - think about that. That's an outrage. Even a convicted mass murderer, if British, would be entitled to consular access while in prison. That meeting would obviously not take place in his cell - but in a designated room in the prison or the highly supervised prison visiting area.
British men and women convicted of drug smuggling and other crimes in Egypt have received consular visits, so why not Alaa? The answer is because Alaa's crime is that he dared to tell the truth about Egypt, and the injustice both inside and outside its many prison walls. Nobody knows exactly how many political prisoners Egypt now has, but the number is estimated to be at least 60,000.
ALAA WAS ONE OF THE LEADERS OF THE MOST INSPIRATIONAL DEMOCRATIC REVOLT THE WORLD HAS EVER SEEN
Alaa Abd El-Fattah was one of the leaders of arguably the most inspirational democratic revolt the world has seen in the last hundred years. Although the first phase of the 2011 uprising in Egypt lasted just 18 days, and although it followed the toppling of the dictator Ben Ali in Tunisia - the streets and bridges around Tahrir Square became a deadly stage watched by the world, where protesters from every walk of life were pitted against Egypt's feared state security forces. Against all the odds, and at the cost of many lives, Egyptians refused to leave the square, sleeping in front of the tanks and fending off attacks from government militia.
The Egyptian people's initial success in toppling the dictator Mubarak led to further revolts not just across the Middle East (most notably in Libya, Bahrain, Yemen and Syria) - the highly organised Tahrir-Square sit-in provided the inspiration for strikes and workplace sit-ins against austerity across the United States and Europe and to the Occupy Movement of the same year. The people of Egypt showed that it does not matter how brutal, feared and authoritarian a government is, it can be toppled if people act collectively.
THE MILITARY BACKLASH
It's true that Egypt's flirtation with the path to greater freedom seemed to be only temporary - the Egyptian authorities deployed the usual divide and rule tactics - encouraging the less committed protesters to return home - and then rushed to elections without allowing time for genuinely democratic opposition parties to develop.
Mohamed Morsi of the Muslim Brotherhood won the presidential election in 2012 - the Brotherhood (contrary to the perception many people have here in the West) had genuinely progressive elements within it, but the chance for any transformative radical programme was prevented partly by the corruption and self-interest of some of the main political actors and partly by opposition to its democratic mandate from the deep state (the military, the Interior Ministry, State Security, the police etc.)
The army, seeing its chance, seized power in 2013, superficially in the name of the people, but in reality, to advance the interests of the generals. The new president, Abdel Fattah El-Sissi, moved quickly to crush all opposition, and ordering his security forces to attack Muslim Brotherhood supporters who had gathered in eastern Cairo at Rabaa al-Adaweya Square, killing at least 800 people - the bloodiest massacre of civilians in Egypt's modern history.
DON'T ALLOW EGYPT TO USE COP27 TO GREENWASH ITS REGIME - AND PLEASE SIGN THE PETITION TO SAVE ALAA
Now COP27 is scheduled to take place in Sharm El-Sheikh and Sisi has been given a golden opportunity to greenwash his murderous regime, which has also seen ever increasing levels inequality and corruption. While British representatives at COP27 will be given accommodation in the most luxurious five star hotels in Sharm El-Sheikh and fall asleep listening to the sound of the waves, another British citizen, Alaa Abdel El-Fatah is near death, on a painful hunger strike in the darkest of places - his dimly lit cell. The only thing he might hear at night is the desperate cry from some prisoner in another cell appealing for medical help which most likely never comes.
If we care for freedom, real democracy and justice, we can't allow the British Foreign Office to forget Alaa - especially if it's simply not to upset the highly profitable relationship British multinationals have with one of the world's most authoritarian and corrupt regimes - a relationship which only benefits the wealthiest of Egyptians.
If you live in London, please show your support at the protest at King Charles Street - and wherever you live please sign the petition -
www.change.org/p/help-free-my-brother-before-it-s-too-lat...
...
Untitled (Hunger 7), 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.
I make two bowls of warmed, minced lamb and cut chicken breast, with a sachet of decent cat food between, Misty gets a while sachet and a little lamb and chicken. Once Misty has near finished I let the kittens back into the kitchen. Given that all bowls are pretty much the same, what's special about the one?
My custom movie poster and tribute to one of my favorite films, 'Hunger' (2008), directed by Steve McQueen.
Her facial sculpt is special just for this doll. Her hair is in a braid and is packaged attached to her outfit.
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
Main Flickr Account // Facebook // Flickriver Most Interesting
Copyright: Not for any commercial use, web sites or printing without my written consent. Any posting of this image on twitter, facebook or the like are to be a LINK/share to this Flickr page or the my corresponding Facebook image only. Image freely available for personal use only as electronic screen wallpaper or screensaver.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
* My models, Please link & share rather than download and repost to your Facebook or sites, thank you.
* Model Mayhem # 3763448