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Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
"Echoes of Tomorrow" is a visual ode to a future where artificial intelligence and robotics seamlessly integrate with human aspirations. This series delves into the potentialities of architecture, design, and daily life, transformed by the limitless creativity and precision of AI. It captures a world where physical constraints persist, yet human ingenuity is amplified through the vast possibilities offered by technology. These images offer a glimpse into a plausible future where constructions and landscapes are crafted with a detail and scale currently unimaginable - a tribute to the unforeseen ahead.
Poem:
In the glow of gilded domes agleam,
Where the wheels of time ignite their spark,
She stands, a relic of a bygone dream,
Gazing forth at dawn's impending arc.
She watches robots weave thoughts and steel,
In a choreography of code's own verse,
Where the line betwixt creator and creation
Is blurred in technology's harmonious curse.
We don ourselves in dreams' attire,
Forge bridges from lucid streams of data,
In a world where AI's breath infuses life
Into abodes we cherish, ever fonder.
Haiku:
Golden domes rise high,
Dreams of AI gently bloom,
New dawn, hope descends.
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Built 1878 for William Kyffin Thomas, purchased 1880 by William Pile who added a ballroom, became Oriental Guest House 1918, backpackers hotel 1982, converted 1990s to 3 apartments, building now known as Albert Hall. The road along the sea front south of Jetty Rd was originally known as Albert Terrace or Seawall. Closed to vehicles by the Council 1918, it was renamed South Esplanade in 1932.
“A fine house is in course of construction for Mr. W. K. Thomas on Albert-terrace, for which Mr. D. Miller is the contractor. The new building, which consists of a basement and two stories, will contain 20 rooms, and will be very elegantly finished.” [Register 1 Jan 1878]
“A large house erected by the late Mr. W. K. Thomas on the esplanade was finished about midwinter.” [Register 1 Jan 1879]
“Correspondence. . . From W. Kyffin Thomas, acknowledging receipt of the letter from the Town Clerk which requested him to have his land at the north west corner of the Saltram property covered with seaweed to prevent the sand from drifting from the property on to Kent-street. He stated that he had already taken steps to comply with the wish of the Council, and he had done so with the greater promptitude because he inferred that it was the intention of the Council to form and metal the road. . . and trusted that the Council would also have the Esplanade (Albert terrace) formed and gravelled as soon as possible. A portion of the road — called, he believed, St. John's-road — at the rear of the grounds fronting Albert-terrace required forming and metalling, and if it were necessary that contributions should be made by adjoining landowners to meet the expense he (Mr. Thomas) was prepared to pay his part in proportion to his frontage to the road.” [Register 19 Apr 1878]
“Wanted, a Good Laundress. Apply to Mrs. W. K. Thomas, Albert-terrace, Glenelg.” [Register 15 Jun 1878 advert]
“Wanted, a Needlewoman. . Apply Mrs. William Pile, Seawall, Glenelg.” [Register 15 Dec 1881 advert]
“PILE. — [Birth] On the 11th April, Seawall, Glenelg, Mrs. William Pile, of a daughter.” [Register 14 Apr 1883]
“Wanted, a Nursery Housemaid. Apply Mrs. W. Pile, Seawall, Glenelg,” [Register 15 Mar 1894 advert]
“The committee of the Nurses' Fund are not likely to have any difficulty in selecting enough nurses to go to South Africa. . . and assist in helping our wounded soldiers back to health. Among the many with this noble aspiration was Miss May Pile, a daughter of Mr. William Pile, of Glenelg.” [Express & Telegraph 8 Feb 1900]
“Nurses For South Africa. . . This afternoon the six ladies who have been selected to go to South Africa as nurses will leave for Melbourne, where they will join the steamer Australian which leaves for Cape Town on Wednesday. . . For some time it was doubted whether the War Office required nurses. . . Many of them volunteered to go without pay and to pay their own expenses, and one of these — Miss May Pile, of Glenelg — when she found that she would not be chosen generously donated £60 to the fund.” [Advertiser 19 Feb 1900]
“The Bushmen's Contingent are having quite a round of farewell entertainments. . . Mr. William Pile, of Glenelg, is giving them an afternoon tea. . . It will really take the form of a garden party when music, croquet, tennis, billiards, and games of all sorts will form the afternoon's programme. Mr. Pile's beautiful house and grounds on the sea wall is an ideal spot for such an entertainment.” [Critic, Adelaide 3 Mar 1900]
“Glenelg. To be opened shortly as High Class Boarding Establishment, ‘The Oriental’, Seawall, (Formerly Rurua), Newly renovated and furnished throughout. Mrs. Morgan.” [Advertiser 19 Nov 1918 advert]
“Wanted for High-class Boarding Establishment, opening at Glenelg. Woman Chef; good wages to competent person.— ‘The Oriental’, 16, Seawall. Glenelg.” [Advertiser 25 Nov 1918 advert]
“Wanted, immediately, good Housemaid-Waitress.— Mrs. Morgan, ‘The Oriental’, Seawall, Glenelg.” [Advertiser 3 Jan 1919 advert]
“At the Oriental, Sea Wall. Glenelg has Beautifully Furnished Double Room Vacant. Mrs. Morgan.” [Advertiser 26 Mar 1919 advert]
“Oriental, 16 Seawall. Magnificent position, luxurious dining room; perfect home for Paying Guests. Entirely under New Management.” [Saturday Journal 6 Oct 1923 advert]
“Auction. . . By direction of Mrs. Milburn and Mrs. Place, the latter of whom is leaving for England:— The Well-Known and Highly Esteemed Seawall Guest Home. ‘The Oriental’, Glenelg. To Be Sold Walk-in, Walk-out, completely furnished and equipped for the conduct of a highclass Boarding Establishment. . . 25 Rooms, , including a wonderful Dining Hall (a truly magnificent apartment, with handsome Marble Mantel and special Stained Floor). . . all rooms being fully booked up until well on into April.” [Register 18 Oct 1924 advert]
“At the Oriental Guest Home. 16 Seawall. Balcony room, winter tariff.” [Advertiser 16 Jun 1936 advert]
“Auction. . . The Oriental Guest Home. . . Unsurpassed Location. . . an Imposing structure in well executed stonework, with verandah and balcony along its facade from which an uninterrupted view of the foreshore and Gulf is obtained, and contains lower Gound, Ground and First Floors. There are in all, 25 rooms, including Dining Room of most Dignified Proportions (previously a ballroom), domestic offices, bathroom facilities, and in addition, detached servants' quarters and garaging. Although the Oriental has been conducted successfully as a first class guest home for a number of years. It also has Distinct Potentialities for adaptation to full development for First Class Flats.” [Advertiser 14 Apr 1951 advert]
“The Oriental guest home, Seawall, Glenelg, was passed in after £12,000 had been bid at auction in Adelaide yesterday. . . negotiations for the purchase of the 26-roomed property were going on.” [Advertiser 3 May 1951]
“Housemaid wanted, live in or out. Oriental Guest House, Glenelg.” [Advertiser 5 Jan 1952 advert]
WILLIAM KYFFIN THOMAS
“THOMAS.— [Died] On the 4th July, at his residence, Glenelg. William Kyffin Thomas, aged 56 years.” [Register 5 Jul 1878]
“Mr. William Kyffin Thomas. . . was the second son of the late Mr. Robert Thomas, one of the original proprietors of the Register. He was born at Fleet street, in London, on November 4, 1821. . . The family were of Welsh extraction, having come from the neighbourhood of Llanymynach in Montgomeryshire, in North Wales. Mr. Thomas was educated at a grammar school in Rickmansworth, a small town in Hertfordshire. . . Mr. Thomas's life is so closely interwoven with the history of the Register. . . sailed from England in the Africaine. . . several months when he was away at the Victorian diggings in 1852, and of a longer interval about ten years before that date, when he for a time engaged in agricultural pursuits. . . Justice of the Peace. . . Councillor for Grey Ward in 1863. . . Aborigines Mission, the Bushmen's Club, Union College. . . Flinders-street Baptist Church. . . he leaves besides a widow and nine children — three sons and six daughters — and twenty grandchildren. His eldest daughter died rather more than three months ago, and two other children died in infancy.” [Register 5 Jul 1878]
WILLIAM PILE
“PILE.— [Died] On the 20th May, at Somerton, Glenelg, William Pile.” [Advertiser 22 May 1916]
“Pastoralist and Sportsman. . . Mr. William Pile. . . was a brother of Mrs. McKinley, widow of the explorer. The late Mr. Pile, who was 75 years of age, was a son of the late Mr. James Pile, of Gawler. The latter came out to South Australia about 67 years ago, and shortly afterwards took up land on the Darling, in partnership with McKinley, the explorer. He obtained Cuthero and Polia Stations. . . Deceased was for about 36 years a resident of Glenelg, and also had a small farm at Plympton. . . Mrs. Pile, who predeceased her husband a couple of years ago, was a daughter of Mr. McLean, the original owner of Polia. Deceased's daughters are Miss Pile, Mrs. John Tennant Love, and Mrs. Dan Cudmore, of Queensland. There are three sons — Lieut. W. Pile, who is at the front, Charles, and Allen, of Somerton.” [Register 22 May 1916]
“Mr. William Pile owned the Melbourne Cup winner The Assyrian, the Australian Cup winner First Water, and other noted horses. After retiring from the turf Mr. Pile distinguished himself as a member of the Adelaide Gun Club, and occupied his spare time with his farm at Morphettville. His pigeon tower is a familiar landmark to all who travel on the Glenelg railway line and who frequent the Morphettville racecourse.” [Advertiser 22 May 1916]
ALBERT TERRACE
“The threat made by Mrs. Burford, a ratepayer residing on Albert Terrace, to force the council to open the Terrace to vehicular traffic, is one which will, we feel sure, find little support from those other ratepayers fortunate enough to own property fronting such a picturesque outlook as is provided by the beautifully-kept lawns and footway. . . two or three years ago Albert Terrace was one of the most desolate spots along the whole of the sea frontage. It was nothing more or less than a veritable sand-heap, overrun by weeds and bushes. . . the council decided that if the Terrace was to be transformed into a ‘thing of beauty’, then one of the first essentials was to stop all vehicular traffic along it.” [Glenelg Guardian7 Feb 1918]
“Mrs. Burford Explains. . . Many years ago, when the Glenelg Council wished permanently to close the esplanade to vehicular traffic, I together with other residents, strongly objected on principle, it being a public roadway, and as such no council had the right to close it.” [Glenelg Guardian 28 Feb 1918]
“During the season many visitors flock these parts, for the reason, among others, that the Council has closed Albert Terrace (south of jetty), and the North Esplanade only remains for motors and other vehicles.” [Glenelg Guardian 20 Feb 1919]
“The whole of the streets in Glenelg bearing two or more names have been renamed, so that one name only designates each street in future. There is but one exception. Albert-terrace is to be known by that name as far as Pier-street, and thence towards Brighton will be known as South Esplanade.” [Advertiser 14 Mar 1923]
“Glenelg Town Council. . . it was decided that Esplanade South, from Pier St. southwards, be renamed Albert Terrace.” [Glenelg Guardian 19 Jun 1924]
“Mr. Charles Moore, a ratepayer residing at 36 Albert Terrace, wrote as under:— 36 Sea Wall, or South Esplanade, or Albert Terrace, January 5th, 1925. [to] The Town Clerk, Glenelg. Dear Sir — I desire to bring under the notice of your Council the confusion arising from the frequent changes in the name of this thoroughfare. When I came here some four years ago this house was known as 32, Sea Wall, and was so given in directories, telephone guides, etc. Later when the re-numbering took place it was changed to 36. No sooner, however, had we came used to the new number, when this portion of the front became ‘South Esplanade’. . . After just allowing time for us to notify our friends, and have some new stationery headings printed, we suddenly and without warning blossomed into ‘Albert Terrace’. . . respectfully suggest that ‘Sea Wall’ or ‘Esplanade’, either of which is well known and self explanatory. . . Mr. Moore has been informed that the Council cannot do anything at present in regard to the matter.” [Glenelg Guardian 22 Jan 1925]
“Glenelg Council. . . a memorial from residents of Albert Terrace to have that handsome boulevard changed to South Esplanade, made such an eloquent appeal that the request was granted without a demur.” [Glenelg Guardian 16 Mar 1932]
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Choose your god?
Today, many people call themselves atheists, and it is frequently argued that atheism is the only rational viewpoint.
However, it is also often said that there is no such thing as a real atheist.
This is supported by the Bible which declares: “the fool in his heart hath said there is no God.”
So which view is correct?
If we give just a little thought to this matter, we can see that there is no argument at all as to whether the qualities and properties usually attributable to God actually exist.
This is certain and beyond dispute.
So really the only disagreement is over the source or origin of these attributes.
Furthermore, we can see that there are only 2 possible alternative sources of these attributes.
It is self evident that something material can never come out of (absolute) nothing of its own accord (First Law of Thermodynamics & Law of Cause and Effect). (Something cannot create itself, it would need to pre-exist its own creation to do so).
We know that something material exists (i.e. the universe), therefore something must have always existed, something must be eternal and have had no beginning. This eternal something, can only be:
1. A force or power independent of the material, and thus the Creator of the material, OR
2. The material itself.
So an eternal nature must be possessed by,
EITHER:
1. A Supernatural Power.
OR
2. Matter/energy.
Consequently, all the other qualities, powers and potentialities which exist in the universe must have originally derived from ONE OR OTHER of these two proposed 'eternal' sources.
Some of the qualities existing in the material world.
Laws of Nature, Life, Information & means of information storage (DNA etc.), Consciousness, Intelligence, Design, Order, Motion, Love, Choice, Good, Beauty, Emotion, Kindness, Personality, Morality, Awareness, Justice, Wisdom, Hope, Joy, skill, etc.
There is no disagreement that these qualities are present in the universe.
The only dispute is over the source or origin of these qualities.
THEREFORE ....
Is the stuff of the universe (matter/energy) eternal?
Does this 'eternal matter' intrinsically possess all the above qualities, or the inherent potential to produce them of its own volition?
OR
Is there a power greater than, pre-existing and independent of, the material?
A Supernatural Creator of the material, possessor and originator of all the above attributes evident in the material creation?
IT CAN ONLY BE ONE OR THE OTHER
SO THIS IS THE ONLY DISAGREEMENT, AND IT IS AN AGE-OLD DISAGREEMENT.
No atheist would attempt to claim that mankind is the originator of all these qualities.
We are not eternal, we did not create ourselves or the universe, something greater than us essentially exists.
Is that something a Supernatural Creator God?
Or a purely material power which must intrinsically possess all the qualities, powers & potentialities usually attributed to a Supernatural Creator God?
- - A material god? - - A pagan god!
SO THE CHOICE IS CLEAR,- -
WE MUST FACE THE FACTS! - -
ATHEISM (or even agnosticism) IS NOT AN OPTION.
YOU MUST PAY HOMAGE TO A POWER WHICH IS GREATER THAN YOURSELF,
EITHER:
The Creator God of the Bible,
OR,
The material pagan god or gods' (represented by: Mother Earth, Nature, the Sun, Moon, or idols of stone, wood etc.) which you must necessarily imbue with the SAME ATTRIBUTES.
Atheism = the religion of Pagan Naturalism.
SO NOW CHOOSE YOUR GOD?
Footnote:
An eternally, self-existent universe, or any uncaused, natural entity with no beginning is not possible.
Matter/energy cannot be eternally existent with no beginning.
Why?
Because all natural things are contingent.
Contingency is an inherent property of all natural entities. They have to comply with the law of cause and effect, so they cannot exist independently of causes.
The nearest you could get to eternally, existent matter/energy would be a very, long chain of causes and effects, but a long chain is not eternally existent, it has to have a beginning at some point. At the beginning there would have to be a non-contingent, eternally existent, first cause. A long chain of causes and effects simply pushes a first cause further back in time, it can't eliminate it.
What about an eternally, cyclical universe?
It is obvious that the idea of the universe simply rewinding itself in a never ending cycle, which had no beginning, is unscientific nonsense. As well as the Law of Cause and Effect - the Second Law of Thermodynamics also rules it out
There is no such thing as a free lunch, the idea of a rewinding universe is tantamount to applying the discredited notion of perpetual motion - on a grand scale, to the universe.
Contingent things don't just rewind of their own accord.
Where does the renewed power or renewed energy potential come from?
If you wind up a clock, it doesn't rewind itself after it has stopped.
The universe had a beginning and it will have an end. That is what science tells us, it cannot rewind itself.
The Second Law of Thermodynamics tells us the universe certainly had a beginning and will have an end. The energy potential of the universe is decreasing from an original peak at the beginning of the universe. Even the most fundamentalist atheists seem to accept that. Which is why most of them believe in some sort of beginning event, such as a big bang explosion.
So an eternally existent, god of 'matter/energy' is demonstrably IMPOSSIBLE... that leaves only one POSSIBLE choice of god - the supernatural, creator God, as described in the Bible.
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Thomas Bayrle. I’ve a feeling we’re not in Kansas anymore
06/02/2009 - 19/04/2009 MACBA
This exhibition offers an overall vision of the praxis of German artist Thomas Bayrle (Berlin, 1937) from the end of the 1960s until now. The beginnings of his work were conceived in a key historical, (political and social maybe get rid of politican and social – ‘historical’ should do the trick) moment in the recent history of Europe, at the end of the 60s. This was a moment defined by the need to create a new conception of the cultural identity and aesthetic sensibility of a country in a state of upheaval, Germany. Frankfurt, the city Thomas Bayrle was living and working in (or: where TB has always lived and worked), became one of the most important centres of protest. The economic miracle following the Second World War had reached its end and the need to completely revise the ideological bases and structure of existing hierarchies had become urgent for a generation that felt the need to write history in other terms and to actively create cultural alliances different from those of preceding generations. The atmosphere generated by the American presence in Germany, the crisis in the Middle East and the war in Vietnam undoubtedly marked the starting point of an œuvre that has remained attentive to the possibility that change can be produced in the world we know, and new and different future might emerge.
The aim of the exhibition is to familiarize the spectator with a particular artistic method and logic. While it is true that, at first sight, Bayrle’s work seems very close to the aesthetics of the Pop movement, it is no less true that this feeling becomes less powerful as we discover many features that are totally at odds with the American movement.
The arrangement of the works in the museum’s entrance space and in the galleries is not strictly chronological. The first installation we encounter is entitled SARS Formation (2005). It consists of various modules of cardboard suspended in space. Each of the units is made up of a complex interlacing of expressways. The title refers to the Severe Acute Respiratory Syndrome diagnosed for the first time in Asia in 2003. This work combines many of the elements recurring in Bayrle’s œuvre: the continual references to China (more specifically, Mao’s China); to highly technified societies in which the individual subject is conceived as part of a machinery that moves the entire social body; and the expressway, an image that immediately evokes notions of circulation, communication, travel and speed. A system of expressways suspended in the air is pure potentiality: An organism, that appears spontaneously and forces the course of events to generate chaos, but also the possibility of a change; it opens the door so that known reality and the theories that explain it are displaced by a new force, a new logic.
The inner wall of the museum ramp is papered with one of his most representative works, Potato Counters (1968). The title refers to the cultivation of the potato in China, and to the numerous articles on the subject that Thomas Bayrle read in German Maoist magazines, to which he subscribed for years. In them, images tell the story of the achievements of locally improved seeds, which turn the Chinese harvests and the revolution into a success. Not very far away we can see another of his wallpapers: Raport/ Stadttapette (1997-2009). This is a photographic collage that shows the view of a city; a forest of buildings grouped cumulatively. It’s an urban space in black and white, a dense mass of multiple housing units, an inventory of rational spaces for living and for developing modern life. It’s an ordered, yet organic network through which move thousands of men and women who go to and from work each day.
The space is repeated because the functions it must respond to are the alike: providing transport, maximizing resources, electricity, etc. The city is all one, but it conceals many differences. In the late 70s and early 80s Bayrle created numerous works that respond to this principle. They are often photographic collages on wood that depict various landscapes we might describe as being entropic. Most of them are in the first room of the exhibition, alongside some of the drawings and watercolors of the early period.
Bayrle’s work as a whole is defined by an awareness of time as a sense that keeps us permanently on course towards the future, to the conquest of new limits. The possibility of a break taking place, of creating a caesura in the continuity of the unfolding of history, or of provoking a crisis that is capable of calling the world into question and even leading to a genetic mutation which turns the human being we know into an unknown species, is expressed in a multitude of forms and media. All we need do is look at some of the works made in the 1980s, one of the strangest and most expressive moments in his career. Capsel (1960-1983) is a mural made up of many drawings that show a couple trapped in a capsule, similar to those hotels in Japan consisting of niches more than rooms. The drawing simulates a computer illustration of quantum mechanics. Body and space are formed by an arrangement of lines and the difference between the volumes is what indicates the difference between the two. Here is a man and a woman trapped in space, the universe, with no possibility of escape, since all is identical; no distinction exists between matter and non-matter, between the organic or non-organic. They are trapped in a continuum and not even time exists. They both know this. She throws her hands in the air. This claustrophobic sensation is even greater in the digital films shown not far from the mural in question. Thomas Bayrle has made more than one filmic experiment in which montage plays a crucial part. The film loop provides him, almost naturally, with the effect of endless repetition that attracts him so much. To the works made in 16 mm in the 1960s and 1970s must be added a whole series of digital horrors, in the best sense of the word, which he produced between 1980 and 2006. Horror has to do with excess, with a lack of adaptation. The computer not only enables him to digitally reproduce a given element ad infinitum, just as he was doing manually in his graphic work or even in his painting, but also to add volume and three-dimensional effect to the resulting image. Thereby he provokes a feeling of deformation that has nothing to do with the representation of an image, but with the non-adaptation of the latter to the optics of the camera or even to the TV monitor that reproduces it. He achieves a breakdown in the system or a perverse game with the possibilities of technology to appear.
The vocabulary and even the technique that Thomas Bayrle utilizes are not new. The newness resides in his ability to combine and to push graphics, collage, painting and film to the aesthetic limit with to the purpose of investigating the possibilities of change that might appear on the horizon. Thomas Bayrle is trawling our most immediate past, the modernity of the 1960s, ‘70s and ‘80s. His work can be understood as a sweep through the aesthetic dimension of pop culture designed to create not a nostalgic memory of the past but the vision of a future that is yet to come. His œuvre places us before the possibility of relating emotionally to change, of granting us strength in the face of the unknown, (‘granting us strength’ is a bit ave maria,)
of whatever kind it may be, utopian or entropic; In Thomas Bayrle’s work, the unknown will always be a motor for the machinery of thought.
Exhibition dates: From 6 February to 19 April 2009
Curator: Chus Martínez
Production: Museu d'Art Contemporani de Barcelona (MACBA)
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
This album represents 19 of more than 200 locations I re-photographed in 2019, as part of a larger project.
Artist’s statement
ENGLISH
RE-TRACE - Post-war Sarajevo 1996 + 2019
A photo exhibit by Denis McCready
I photographed post-war Sarajevo in April - May 1996, merely weeks after the reintegration of the city. I visited it again in 1997, 2006, and 2009, each time documenting the gradual rebuilding and the slowly vanishing traces of war. I visited again in the spring of 2019 to capture 200 locations I had photographed in 1996. This exhibit is the first selection of these 1996/2019 duos.
These images carry a deep sense of loss, the explicit and implicit. Back then, I was an accidental guest among the people of Sarajevo, documenting the ruins of their city, which was the theatre of their daily lives.
In 2019, the traces I was recapturing were the obvious result of two events acting upon each other through time. Someone had built a house, someone else had destroyed it, then the house got rebuilt. Because one doesn’t know when the previous event happened, or when the next will come, the city exists in a post-trauma state of potentiality.
In the spring of 1996, amidst the spring blossoms and newly reopened cafés, people walked everywhere, safely, in what felt like a suspended state of being. They had stopped dying, but they hadn’t started living again.
In May 2019, Sarajevo was a changed city, full of life. I would sometimes catch a ghostly silhouette on a façade or come face to face with a carcass in the middle of downtown, as if people had stopped noticing it was there and didn’t care anymore, but naturally after every destruction comes rebirth; people have moved on with their lives. Some buildings had been rebuilt exactly as they were, almost out of spite, new ones had emerged, like mushrooms of glass and steel. I felt the layers upon layers of a culture’s process of recovery, between the persistence of memory and its erasure.
Every time I go back, I keep asking myself this question: How long does it take for the traces of war to disappear?
Izjava umjetnika
BOSANSKI
TRAGOVI VREMENA - Poslijeratno Sarajevo 1996 + 2019
Izložba fotografija Denisa McCreadyja
Fotografisao sam poslijeratno Sarajevo u periodu između aprila i maja 1996. godine, samo nekoliko sedmica nakon reintegracije grada. Vraćao sam se u Sarajevo 1997., 2006. i 2009. godine, svaki put dokumentujući postepenu obnovu i polako nestajuće tragove rata. Ponovo sam posjetio Sarajevo u proljeće 2019. godine kako bih snimio 200 lokacija koje sam fotografisao 1996. Ova izložba je prvi izbor uporednih fotografija iz perioda 1996/2019.
Ove slike nose dubok osjećaj gubitka, eksplicitnog i implicitnog. Tada sam bio slučajni gost među stanovnicima Sarajeva, dokumentujući ruševine njihovog grada, koji je bio pozorište njihovog svakodnevnog života.
Tragove koje sam ponovo bilježio 2019. bili su očigledan rezultat dva događaja koja su vremenom djelovala jedan na drugog. Neko je sagradio kuću, neko drugi je uništio, a zatim je kuća obnovljena. Budući da ne znamo kada se dogodio prethodni događaj, niti kada će doći sljedeći, grad postoji u posttraumatskom stanju potencijalnosti.
U proljeće 1996., usred proljećnog behara i novootvorenih kafića, ljudi su hodali svuda, sigurno, u nečemu što je izgledalo kao suspendovano stanje postojanja. Prestali su umirati, ali nisu ponovo počeli živjeti.
U maju 2019. godine Sarajevo je bilo promijenjen grad, pun života. Ponekad bih ulovio sablasnu siluetu na fasadi ili se našao licem u lice s lešom usred centra grada, kao da su ljudi prestali primjećivati da je tu i više ih nije bilo briga, ali prirodno nakon svakog uništenja dolazi preporod, ljudi su krenuli dalje sa svojim životima. Neke su zgrade obnovljene upravo onakve kakve jesu, gotovo iz inata, pojavile su se i nove, poput gljiva od stakla i čelika. Osjećao sam slojeve na slojevima procesa oporavka kulture, između postojanja sjećanja i njegovog brisanja.
Svaki put kad se vratim, neprestano se pitam: Koliko treba vremena da tragovi rata nestanu?
Présentation par l’artiste
FRANÇAIS
RE-TRACER - Sarajevo d’après-guerre 1996 + 2019
Une expo photo de Denis McCready
J’ai photographié Sarajevo d’après-guerre en avril-mai 1996, quelques semaines à peine après la réintégration de la ville. Je l’ai visité encore en 1997, 2006 et 2009, documentant à chaque fois la reconstruction progressive et les traces de la guerre qui disparaissent lentement. J’y suis retourné au printemps 2019 pour capturer 200 endroits que j'avais photographiés en 1996. Cette exposition est la première sélection de ces duos 1996/2019.
Ces images sont chargées d’un profond sentiment de perte, explicite et implicite. À l'époque, j'étais un invité accidentel parmi les habitants de Sarajevo, documentant les ruines de leur ville, qui était le théâtre de leur vie quotidienne.
En 2019, les traces que je captais étaient le résultat évident de deux événements agissant l'un sur l'autre à travers le temps. Quelqu'un avait construit une maison, quelqu'un d'autre l'avait détruite, puis la maison a été reconstruite. Parce que l’on ne sait pas quand l’événement précédent s’est produit ni quand le prochain viendra, la ville existe maintenant dans un état post-traumatique de potentialité.
Au printemps 1996, au milieu des fleurs printanières et des cafés nouvellement rouverts, les gens marchaient partout, en sécurité, dans ce qui ressemblait à un état suspendu. Ils avaient arrêté de mourir, mais n’avaient pas recommencé à vivre.
En mai 2019, Sarajevo était une ville changée, pleine de vie. J'attrapais parfois une silhouette fantomatique sur une façade ou je me retrouvais face à face avec une carcasse au milieu du centre-ville, comme si les gens avaient cessé de remarquer qu'elle était là et s'en moquaient, mais naturellement après chaque destruction vient la renaissance; les gens ont continué leur vie. Certains bâtiments avaient été reconstruits exactement comme ils étaient, presque par dépit, de nouveaux avaient émergé, comme des champignons de verre et d'acier. J'ai ressenti couche après couche de ce processus de rétablissement d'une culture, entre la persistance de la mémoire et son effacement.
Chaque fois que j'y retourne, je me pose cette question: combien de temps faut-il pour que les traces de la guerre disparaissent ?
chak·ra
ˈCHäkrə/
noun
plural noun: chakras
(in Indian thought) each of the centers of spiritual power in the human body, usually considered to be seven in number.
Root Chakra - Represents our foundation and feeling of being grounded.
Location: Base of spine in tailbone area.
Emotional issues: Survival issues such as financial independence, money, and food.
More on Root Chakra healing
Muladhara[edit]
Chakra01.png
Muladhara (Sanskrit: मूलाधार, IAST: Mūlādhāra, English: "root support") or root chakra is symbolized by a lotus with four petals and the color red. This center is located at the base of the spine in the coccygeal region. It is said to relate to the gonads and the adrenal medulla, responsible for the fight-or-flight response when survival is under threat.[45] The seed syllable is LAM.
Muladhara is related to instinct, security, survival and also to basic human potentiality. Physically, Muladhara governs sexuality, mentally it governs stability, emotionally it governs sensuality, and spiritually it governs a sense of security.[46] Muladhara has a relation to the sense of smell.[47]
This chakra is where the three main nadi separate and begin their upward movement. Dormant Kundalini rests here, wrapped three and a half times around the black Svayambhu linga, the lowest of three obstructions to her full rising (also known as knots or granthis).[48] It is the seat of the red bindu, the female drop (which in Tibetan vajrayana is located at the navel chakra).[clarification needed]
The seed syllable is Lam (pronounced lum), the deity is Ganesh,[citation needed] and the Shakti is Dakini.[49] The associated animal is the elephant.[50]
A western interpretation of the Bodhisattva Kuan Yin / Kwan Yin (Chinese) or Kanzeon (Japanese).
The pearl represents Bodhicitta (compassionate awareness in action) . The open handed mudra symbolises fearlesness (through recognition of emptiness of self and other).
The chalice is symbolic of wisdom and receptivity.
The Mantra "OM MANI PADME HUM" refers to the jewel in the lotus - the potentiality for unlimited growth in all beings. This is in Tibetan script. The final character HRIH is the seed syllable of this Bodhisattva.
Oil on canvass. Artist: Dharmachari Vajrananda
chak·ra
ˈCHäkrə/
noun
plural noun: chakras
(in Indian thought) each of the centers of spiritual power in the human body, usually considered to be seven in number.
Root Chakra - Represents our foundation and feeling of being grounded.
Location: Base of spine in tailbone area.
Emotional issues: Survival issues such as financial independence, money, and food.
More on Root Chakra healing
Muladhara[edit]
Chakra01.png
Muladhara (Sanskrit: मूलाधार, IAST: Mūlādhāra, English: "root support") or root chakra is symbolized by a lotus with four petals and the color red. This center is located at the base of the spine in the coccygeal region. It is said to relate to the gonads and the adrenal medulla, responsible for the fight-or-flight response when survival is under threat.[45] The seed syllable is LAM.
Muladhara is related to instinct, security, survival and also to basic human potentiality. Physically, Muladhara governs sexuality, mentally it governs stability, emotionally it governs sensuality, and spiritually it governs a sense of security.[46] Muladhara has a relation to the sense of smell.[47]
This chakra is where the three main nadi separate and begin their upward movement. Dormant Kundalini rests here, wrapped three and a half times around the black Svayambhu linga, the lowest of three obstructions to her full rising (also known as knots or granthis).[48] It is the seat of the red bindu, the female drop (which in Tibetan vajrayana is located at the navel chakra).[clarification needed]
The seed syllable is Lam (pronounced lum), the deity is Ganesh,[citation needed] and the Shakti is Dakini.[49] The associated animal is the elephant.[50]
P. 96 in: Scrapnel 14.
Van water tot land: het meer gekarteerd
Polderkaarten en waterschappen zijn onlosmakelijk met elkaar verbonden. Zonder nauwkeurige kaarten kon een waterschap niet functioneren. Dat gold helemaal voor de droogmaking van de grote meren aan het begin van de 17e eeuw. Dergelijke ondernemingen werden van A tot Z op kaarten gepland. Voorafgaand aan de eigenlijke droogmaking was er een kaart nodig van het meer.
Welke sloten kwamen er precies in uit? Wat waren de beste plekken om langs de rand van het meer de molens te bouwen? Welke eilanden lagen er precies in het water? Hoe konden de ringdijk- en vaart langs de rand van het meer het beste worden aangelegd? Loonde het de moeite in het meer uitstekende landtongen op te kopen zodat de ringdijk rechtdoor kon lopen? Geen wonder dus dat de rijke Amsterdamse investeerders in de droogmaking van de Beemster in 1607 eerst opdracht gaven een kaart van het Beemstermeer te maken. De betreffende landmeter P.C. Kort uit Alkmaar kreeg opdracht op alle bovengenoemde punten scherp te letten. Indien de gelegenheid zich voordeed werd de metingen bij voorkeur 's winters over het ijs gedaan. De droogmakers van de Schermer lieten een hele grote kaart van het Schermeer maken en gebruikten die jarenlang.
Gedrukte kavelkaarten: tussen ambacht en kunst
De inrichting van het nieuwe land werd ook zeer precies op de kaart gepland. Er moest van tevoren heel goed worden nagedacht over de verdeling van het nieuwe land in kavels. Omdat de aandelen van de investeerders in morgens land (een morgen is 0,9 ha) werden uitgedrukt, was het zaak zoveel mogelijk kavels met dezelfde oppervlakte in te plannen. Verder moest iedere kavel over de weg en door de sloot bereikbaar zijn. Afgaande op de bebouwing op het oude land rekenden de droogmakers van de Beemster bovendien op de groei van een hele serie dorpen. Die planden ze ook alvast op de kaart in met ruimte voor marktpleinen. Al voordat het meer droog was, werd er vaak een fraaie kaart van de voltooide droogmakerij met alles erop en eraan verspreid. Daarvoor moest de kaart worden gedrukt. De plaatsnijder etste en graveerde de handgetekende kaart van de landmeter in een koperen plaat. Dit moest spiegelbeeldig gebeuren. De belettering vormde een vak apart. Dit gold eveneens voor het aanbrengen van de kunstige illustraties en versieringen. Ook die moesten allemaal in spiegelbeeld worden aangebracht. Ten slotte werd de kaart gedrukt bij een plaatdrukker. De kaart kon daarna nog met de hand worden ingekleurd door de 'afzetter'.
Koperplaten
De koperen drukplaten waren kostbare objecten. Ze werden niet gelijk vervangen wanneer het topografisch kaartbeeld veranderde, maar eindeloos bijgewerkt aan de veranderde situatie. Nieuw aangezette stukken en uitgehamerde details getuigen daarvan. Behalve om een getrouw beeld te krijgen van de polder, was een kaart ook een statussymbool, een middel om gezag en prestige te benadrukken. Ze werden vaak cadeau gedaan aan relaties. De familiewapens van de leden van het bestuur sierden vaak de kaarten. Natuurlijk wilde een nieuw bestuur graag een bijgewerkte druk met de eigen wapens erop. Soms was hiermee vanaf het begin rekening gehouden. De familiewapens werden vaak op een gemakkelijk te vervangen losse rand gegraveerd.
Uitwaterende Sluizen
In 1660 gaf het toenmalige Hoogheemraadschap van de Uitwaterende Sluizen opdracht een enorme kaart van het werkgebied te maken. Dat besloeg heel Noord-Holland benoorden het IJ. Gelukkig kon de ingehuurde landmeter J.J. Dou uit Leiden soms terugvallen op bestaande kaarten. Maar toch was hij vele jaren bezig. Het hoogheemraadschap liet zijn handgetekende kaart direct in 16 koperen platen graveren die als een legpuzzel aan elkaar pasten. De eerste druk rolde in 1680 van de pers. Deze kaart was voor die tijd een wonder van precisie. Men liet hem tot het einde van de 18e eeuw regelmatig herdrukken waarbij alleen de wapens van de bestuursleden werden aangepast. Natuurlijk was deze grote wandkaart ook een indrukwekkend statussymbool. Een echt hoogheemraadschap kon gewoon niet zonder zo'n kaart!
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Steven M. Rosen's book - Dimension of Apeiron could only be viewed in the Koninklijke Bibliotheek. As a result I did not read it properly. My special interest in 'apeiron' is related to the 'First Quadrant' in the quadralectic philosophy, the invisible invisibility.
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STEVEN M. ROSEN is Emeritus Professor of Psychology at the College of Staten Island of the City University of New York. During his thirty years of teaching and research (1970–2000), he offered courses in both the Psychology and Philosophy Departments. Dr. Rosen currently resides in Vancouver, Canada, where he is actively pursuing interdisciplinary interests that include phenomenological ontology, the philosophy and poetics of science, Jungian thought, the gender question, ecological change, and cultural transformation. After receiving his Ph.D. in experimental psychology from the City University of New York in 1971, Rosen began to explore the foundations and frontiers of science, his work becoming interdisciplinary and philosophical in nature. He has lectured internationally, and his numerous essays have appeared in a variety of journals and books spanning the fields of philosophy, psychology, education, semiotics, ecology, and theoretical science. Rosen is author of Science, Paradox, and the Moebius Principle (Albany, N.Y.: State University of New York Press, 1994) and The Moebius Seed (Walpole, N.H.: Stillpoint Publications, 1985). Dr. Rosen is presently Research Associate and member of the Board of Directors of the Lifwynn Foundation for Social Research, an organization dedicated to carrying forward the work of the American social psychiatrist Trigant Burrow. Rosen is also on the Editorial Board of the Journal of Mind and Behavior, and has served as editorial consultant for such journals as Foundations of Physics and Man/Environment Systems, and for the State University of New York Press.
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Apeiron (/əˈpaɪrɒn/; ἄπειρον) is a Greek word meaning "(that which is) unlimited," "boundless", "infinite", or "indefinite" from ἀ- a-, "without" and πεῖραρ peirar, "end, limit", "boundary", the Ionic Greek form of πέρας peras, "end, limit, boundary". It is akin to Persian piramon, meaning "boundary, circumference, surrounding".
Apeiron as an origin
The apeiron is central to the cosmological theory created by Anaximander, a 6th-century BC pre-Socratic Greek philosopher whose work is mostly lost. From the few existing fragments, we learn that he believed the beginning or ultimate reality (arche) is eternal and infinite, or boundless (apeiron), subject to neither old age nor decay, which perpetually yields fresh materials from which everything we can perceive is derived. Apeiron generated the opposites (hot–cold, wet–dry, etc.) which acted on the creation of the world (cf. Heraclitus). Everything is generated from apeiron and then it is destroyed by going back to apeiron, according to necessity. He believed that infinite worlds are generated from apeiron and then they are destroyed there again.
His ideas were influenced by the Greek mythical tradition and by his teacher Thales (7th to 6th century BC). Searching for some universal principle, Anaximander retained the traditional religious assumption that there was a cosmic order and tried to explain it rationally, using the old mythical language which ascribed divine control on various spheres of reality. This language was more suitable for a society which could see gods everywhere; therefore the first glimmerings of laws of nature were themselves derived from divine laws. The Greeks believed that the universal principles could also be applied to human societies. The word nomos (law) may originally have meant natural law and used later to mean man-made law.
Greek philosophy entered a high level of abstraction. It adopted apeiron as the origin of all things, because it is completely indefinite. This is a further transition from the previous existing mythical way of thought to the newer rational way of thought which is the main characteristic of the archaic period (8th to 6th century BC). This shift in thought is correlated with the new political conditions in the Greek city states during the 6th century BC.
Roots
In the mythical Greek cosmogony of Hesiod (8th to 7th century BC) the first primordial god is Chaos, which is a void or gap. Chaos is described as a gap either between Tartarus and the earth's surface (Miller's interpretation) or between earth's surface and the sky (Cornford's interpretation). One can name it also abyss (having no bottom).
Alternately, Greek philosopher Thales believed that the origin or first principle was water. Pherecydes of Syros (6th century BC) probably called the water also Chaos and this is not placed at the very beginning.
In the creation stories of Near East the primordial world is described formless and empty. The only existing thing prior to creation was the water abyss. The Babylonian cosmology Enuma Elish describes the earliest stage of the universe as one of watery chaos and something similar is described in Genesis. In the Hindu cosmogony which is similar to the Vedic (Hiranyagarbha) the initial state of the universe was an absolute darkness.
Hesiod made an abstraction, because his original chaos is a void, something completely indefinite. In his opinion the origin should be indefinite and indeterminate. The indefiniteness is spatial in early usages as in Homer (indefinite sea). A fragment from Xenophanes (6th century BC) shows the transition from chaos to apeiron: "The upper limit of earth borders on air. The lower limit reaches down to the unlimited. (i.e. the Apeiron)". Either apeiron meant the "spatial indefinite" and was implied to be indefinite in kind, or Anaximander intended it primarily 'that which is indefinite in kind' but assumed it also to be of unlimited extent and duration. His ideas may have been influenced by the Pythagoreans:
[...] for they [the Pythagoreans] plainly say that when the one had been constructed, whether out of planes or of surface or of seed or of elements which they cannot express, immediately the nearest part of the unlimited began to be drawn in and limited by the limit.
Greek philosophy entered a high level of abstraction making apeiron the principle of all things and some scholars saw a gap between the existing mythical and the new rational way of thought (rationalism). But if we follow the course, we will see that there is not such an abrupt break with the previous thought. The basic elements of nature, water, air, fire, earth, which the first Greek philosophers believed that composed the world, represent in fact the mythical primordial forces. The collision of these forces produced the cosmic harmony according to the Greek cosmogony (Hesiod). Anaximander noticed the mutual changes between these elements, therefore he chose something else (indefinite in kind) which could generate the others without experiencing any decay.
There is also a fragment attributed to his teacher Thales: "What is divine? What has no origin, nor end." This probably led his student to his final decision for apeiron, because the divinity applied to it implies that it always existed. The notion of the temporal infinity was familiar to the Greek mind from remote antiquity in the religious conception of immortality and Anaximander's description was in terms appropriate to this conception. This arche is called "eternal and ageless" (Hippolitus I,6,I;DK B2).
Creation of the world
The apeiron has generally been understood as a sort of primal chaos. It acts as the substratum supporting opposites such as hot and cold, wet and dry, and directed the movement of things, by which there grew up all of the host of shapes and differences which are found in the world. Out of the vague and limitless body there sprang a central mass—this earth of ours—cylindrical in shape. A sphere of fire surrounded the air around the earth and had originally clung to it like the bark round a tree. When it broke, it created the sun, the moon and the stars. The first animals were generated in the water. When they came to earth they were transmuted by the effect of the sun. The human being sprung from some other animal, which originally was similar to a fish. The blazing orbs, which have drawn off from the cold earth and water, are the temporary gods of the world clustering around the earth, which to the ancient thinker is the central figure.
Interpretations
In the commentary of Simplicius on Aristotle's Physics the following fragment is attributed direct to Anaximander:
Whence things have their origin, there their destruction happens as it is ordained [Greek: kata to chreon means "according to the debt"]. For they give justice and compensation to one another for their injustice according to the ordering of time.
This fragment remains a mystery because it can be translated in different ways. Simplicius comments that Anaximander noticed the mutual changes between the four elements (earth, air, water, fire), therefore he did not choose one of them as an origin, but something else which generates the opposites without experiencing any decay. He mentions also that Anaximander said all these in poetic terms, meaning that he used the old mythical language. The Goddess Justice (Dike), appears to keep the order. The quotation is close to the original meanings of the relevant Greek words. The word dike (justice) was probably originally derived from the boundaries of a man's land and transmits metaphorically the notion that somebody must remain into his own sphere, respecting the one of his neighbour. The word adikia (injustice) means that someone has operated outside of his own sphere, something that could disturb "law and order" (eunomia). In Homer's Odyssey eunomia is contrasted with hubris (arrogance). Arrogance was considered very dangerous because it could break the balance and lead to political instability and finally to the destruction of a city-state.
Aetius (1st century BC) transmits a different quotation:
Everything is generated from apeiron and there its destruction happens. Infinite worlds are generated and they are destructed there again. And he says (Anaximander) why this is apeiron. Because only then genesis and decay will never stop.
— Aetius I 3,3
Therefore, it seems that Anaximander argued about apeiron and this is also noticed by Aristotle:
The belief that there is something apeiron stems from the idea that only then genesis and decay will never stop, when that from which is taken what is generated is apeiron.
— Aristotle, Physics 203b 18–20
Friedrich Nietzsche claimed that Anaximander was a pessimist and that he viewed all coming to be as an illegitimate emancipation from the eternal being, a wrong for which destruction is the only penance. In accordance to this the world of the individual definite objects should perish into the indefinite since anything definite has to eventually return to the indefinite. His ideas had a great influence on many scholars including Martin Heidegger.
Werner Heisenberg, noted for the creation of quantum mechanics, arrived at the idea that the elementary particles are to be seen as different manifestations, different quantum states, of one and the same "primordial substance". Because of its similarity to the primordial substance hypothesized by Anaximander, his colleague Max Born called this substance apeiron.
Scholars in other fields, e.g. Bertrand Russell and Maurice Bowra, didn't deny that Anaximander was the first who used the term apeiron, but claimed that the mysterious fragment is dealing with the balance of opposite forces as central to reality being closer to the quotation transmitted by Simplicius.
There are also other interpretations which try to match both the previous aspects. Apeiron is an abstract, void, something that cannot be described according to the Greek pessimistic belief for death. Death indeed meant "nothingless". The dead live like shadows and there is no return to the real world. Everything generated from apeiron must return there according to the principle genesis-decay. There is a polar attraction between the opposites genesis-decay, arrogance-justice. The existence itself carries a guilt.
The idea that the fact of existence by itself carries along an incurable guilt is Greek (Theognis 327) and anybody claims that surpasses it, commits arrogance and therefore he becomes guilty. The first half of the 6th century is a period of great social instability in Miletus, the city state where Anaximander lives. Any attempt of excess leads to exaggerations and each exaggeration must be corrected. All these have to be paid according to the debt. The things give justice to one another with the process of time.
Justice has to destroy everything which is born. There is no external limit that can restrict the activities of men, except the destruction. Arrogance is an expression of the chaotic element of human existence and in a way a part of the rebounding mechanism of order, because pushing it to exertions causes destruction which is also a reestablishment.
Influence on Greek and Western thought
We may assume that the contradiction in the different interpretations is because Anaximander combined two different ways of thought. The first one dealing with apeiron is metaphysical (and can lead to monism), while the second one dealing with mutual changes and the balance of the opposites as central to reality is physical. The same paradox existed in the Greek way of thought. The Greeks believed that each individual had unlimitable potentialities both in brain and in heart, an outlook which called a man to live at the top of his powers. But that there was a limit to his most violent ambitions, that arrogance-injustice (hubris or adikia) could disturb the harmony and balance. In that case justice (dike) would destroy him to reestablish the order. These ideas are obvious in later Greek philosophers. Philolaus (5th century BC) mentions that nature constituted and is organized with the world from unlimitable (Ancient Greek: ἄπειρα apeira, plural of apeiron) and limitable. Everything which exists in the world contains the unlimited (apeiron) and the limited. Something similar is mentioned by Plato: Nothing can exist if it doesn't contain continually and simultaneously the limited and the unlimited, the definite and the indefinite.
Some doctrines existing in Western thought, still transmit some of the original ideas: "God ordained that all men shall die", "Death is a common debt". The Greek word adikia (injustice) transmits the notion that someone has operated outside of his own sphere, without respecting the one of his neighbour. Therefore, he commits hubris. The relative English word arrogance (claim as one's own without justification; Latin: arrogare), is very close to the original meaning of the aphorism: "Nothing in excess."
Other pre-Socratic philosophers' ideas about apeiron
Other pre-Socratic philosophers had different theories of the apeiron. For the Pythagoreans (in particular, Philolaus), the universe had begun as an apeiron, but at some point it inhaled the void from outside, filling the cosmos with vacuous bubbles that split the world into many different parts. For Anaxagoras, the initial apeiron had begun to rotate rapidly under the control of a godlike Nous (Mind), and the great speed of the rotation caused the universe to break up into many fragments. However, since all individual things had originated from the same apeiron, all things must contain parts of all other things—for instance, a tree must also contain tiny pieces of sharks, moons, and grains of sand. This alone explains how one object can be transformed into another, since each thing already contains all other things in germ.
. . . unusual way of fishing: the trawl net was brought out a hundred meter or so into the sea. Now it is pulled in from the beach by two teams of villagers.
______________________________
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
chak·ra
ˈCHäkrə/
noun
plural noun: chakras
(in Indian thought) each of the centers of spiritual power in the human body, usually considered to be seven in number.
Muladhara[edit]
Chakra01.png
Muladhara (Sanskrit: मूलाधार, IAST: Mūlādhāra, English: "root support") or root chakra is symbolized by a lotus with four petals and the color red. This center is located at the base of the spine in the coccygeal region. It is said to relate to the gonads and the adrenal medulla, responsible for the fight-or-flight response when survival is under threat.[45] The seed syllable is LAM.
Muladhara is related to instinct, security, survival and also to basic human potentiality. Physically, Muladhara governs sexuality, mentally it governs stability, emotionally it governs sensuality, and spiritually it governs a sense of security.[46] Muladhara has a relation to the sense of smell.[47]
This chakra is where the three main nadi separate and begin their upward movement. Dormant Kundalini rests here, wrapped three and a half times around the black Svayambhu linga, the lowest of three obstructions to her full rising (also known as knots or granthis).[48] It is the seat of the red bindu, the female drop (which in Tibetan vajrayana is located at the navel chakra).[clarification needed]
The seed syllable is Lam (pronounced lum), the deity is Ganesh,[citation needed] and the Shakti is Dakini.[49] The associated animal is the elephant.[50]
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
FREE FOTOLAB
2004 –ongoing, itinerant photo lab and photographic archive
Photography has ever proved a fertile ground for interesting conundrums of art and commerce, culture and law. Just over one hundred years ago a doting father arranged to have a portrait photograph taken of his infant daughter, a decision which would subsequently embroil him in the now little known litigation of Holmes v. Langfier and Newnes (1903). In short, Langfier (the photographer) had passed the image of the child onto George Newnes, then proprietor of the weekly periodical Woman’s Life. Newnes reproduced it on the cover of his magazine, as a result of which Holmes sued for both breach of copyright and breach of contract. Langier and Newnes countered that they had the permission of the Holmes’ wife to reproduce the image. Regardless of the court’s actual decision (Holmes was successful), the case triggers various lines of enquiry – questions of authorship and ownership, of lawful and unlawful use and appropriation, of the private and the public, and of trust, autonomy and respect. These questions, and more, are the same ones with which Phil Collins’ free fotolab wrestles.
Art or exploitation? Unabashed voyeurism or the conceit of an arch–raconteur?
How best to understand the Faustian pact which lies at the heart of free fotolab? The basic premise of the project is as follows: you hand over a roll of 35mm film for developing, the film is developed and a set of 4” x 6” prints produced for free but only on condition that you agree to let the developer (Collins) use any of the images in any way he sees fit, whether by exhibition, publication, sale, alteration, and so on. In exchange for developing the film you cede all claims as to authorship, ownership, exploitation and control of the images captured thereon. As such, these photographs are not the covertly taken images of otherwise unknown individuals by photographers like Walker Evans (Many are Called), Sophie Calle (Double Game) or Luc Delahaye (L’Autre); neither are they truly found photographs such as those re–presented by Thomas Dworzak (Taliban) or in Robert Flynn Johnson and William Boyd’s recent Anonymous. Rather these images are negotiated. As such, at the same time as introducing the domestic and the unseen into the gallery, they bring into the home the weight of the legal edifice which bears upon the production and potentiality of any photograph.
These are images taken by and for ordinary people but then, after the fact, willingly released into the hands of another. Those who participate are confronted with the concept of their photographs as perhaps something other than the ordinary, as a potential commodity, as public information, or an unanticipated invasion of their private domain. These are no longer simple snapshots but the potential focus for a maelstrom of legal rights, obligations, relationships and tensions. In this regard free fotolab also provides an opportunity for considering the fissures between the theoretical and doctrinal assumptions which the legal regime perpetuates as to these questions, and the reality of everyday perceptions of and attitudes to the same.
Ronan Deazley, 2005
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Perfect Masonic Ashlar.
phoenixmasonry.org/esoteric_consideration_of_the_perfect_...
Esoteric Consideration of the Perfect Ashlar
David D. Mavity, MM
In our Entered Apprentice lecture, we are presented with, and likened to, two of our Moveable Jewels, the Rough Ashlar and the Perfect Ashlar. The Rough Ashlar is described as “a stone as taken from the quarry in its rude and natural state.” It symbolizes every one of us, as natural, imperfect men.
The Perfect Ashlar, by contrast, is explained as “a stone made by the hands of the workman to be adjusted by the Working Tools of the Fellow Craft.” It symbolizes a state of perfection theoretically achieved by the Master Mason, realistically achieved by few men.
After our Initiation, we are placed, as a building stone in the traditional position for cornerstone placement by Operative Masons- the North- East corner. This is symbolic of our Masonic “birth,” and has a further allusion as to our relative exposure to Masonic Light: partly in the Light of the East, and partly in the darkness of the North, but at this stage, still mostly in the dark.
Typical of Masonic symbolism, this is a relatively clear, almost self- explanatory, almost obvious allegory; even more typical, however,is that there is more meaning, if we wish to explore this symbol further.
What is the actual meaning of this perfection, which we symbolize by, essentially, a polished rock? How does it manifest? Where can it be found?
At this point, a brief explanation of the Hebrew alphabet as used in mysticism may be necessary for those not familiar with some of its more curious characteristics:
First, the aleph-bet is descended from a hieroglyphic alphabet. Each letter name is a word, and each has its obvious word meaning. Kabalistically, each letter also has a hidden meaning.
According to the “Sefer Yetsirah,” (the Book of Formation, one of the oldest Kabalistic texts) unlike modern languages, which use their characters only to form words for written and oral communication, the Hebrew alphabet is considered to be alive. Not alive in the sense of a living or dead language, but alive in the sense that each character represents a living component “spark” of Spirit/matter, and any combination in the form of a word, or phrase to be a representation of an actual creation composed of that Spirit/matter. 1.
Think of this alphabet as an ancient, Hebrew, spiritual Periodic Table of the Elements, and Hebrew words as a sort of spiritual molecular chain.
Stone, and finished stone in particular, is an ancient symbol of perfection, common to many Mystery systems. Two of the systems worth discussing that rely on this symbol heavily are Kabala and Alchemy , both of which, arguably, have contributed to our own Masonic Tradition.
Kabala has several variants, including the traditional Hebrew system, and the so-called Hermetic system, which combines large portions of the traditional system with other disciplines such as Astrology, Alchemy, Tarot, etc..
Esoteric Alchemy is a tradition that uses chemical allegory to “transmute base metals into Gold,” in the same way we, as Masons, use stone- working allegory to “build the Temple.”
In Hebrew, the word for stone is “e-ven”, spelled Aleph-Beth-Nun in Hebrew characters, the equivalent of ABN in English. This particular word for stone implies building stone in a finished state, or, a Perfect Ashlar.
The word ‘bn has some peculiar attributes when submitted to the process of esoteric analysis:
-The first two letters, Aleph and Beth, taken together spell ‘av- “Father.”
-The last two letters, Beth and Nun, spell ben- “Son.”
The implication of this word, when taken in this sense as a symbol of perfection, is the unification of the father, ‘av, and the son, ben. In many Christian mystical systems, this is how Christ’s words, ”The Father and I are one,” are interpreted. It implies unobstructed conscious union of the human spirit with G-d and the realization of their Identity as a unified whole.
Most importantly, understand that this state of union with Divinity is not something we work to achieve; it is already established, we work to discover it through education, expansion of intellect, and subduing of passions.
Further analysis may be made of this word by an analytical technique known as Notarikon. Notarikon is the art of reading a Hebrew word, not as a communicative sound or symbol, but as graphic statements of interacting principles. Letters are read as words and /or phrases, combining the traditional hidden meanings of the Hebrew letters, which are strung together in order in the form of an equation. The meanings, both exoteric and esoteric, of the letters for ABN are as follows:
Aleph:
Exoteric: “ox” or “bull.”
Esoteric: pure power and force, mastery, the Ain Soph Aur of the Kabbalists, the Limitless Light or L.V.X. of the Hermetists, or G-d as Pure Pressure and Force.
Beth:
Exoteric:“house”
Esoteric: manifestation, establishment, internalization, form, body, to embrace or to pair.
Nun:
Exoteric: as a verb, “to propagate” or “to reproduce.”
Esoteric: potentiality, display, and implementation.
When the hidden meanings of these letters are combined into the word for stone, this particular type of analysis gives us several similar conclusions:
-The life Force paired with its display
-A compacted formulation of potentiality
-Principle interiorized for purpose
All these give the same basic message as the first analysis- the realization of the Divine captured within man and man as individualized, unified, physical emanations of Deity.
Again, not the establishment of this state, but a realization of its necessary pre-existence.
Gematria is another analytical technique which is a helpful tool, although it is greatly misunderstood and often erroneously thrown in to the category of “numerology.”
In Hebrew, and in ancient Greek, each letter of the alphabet is also a number. By taking the combined numerical value of a word, comparisons may be made and contemplated between different words and concepts.
The numerical value of this word for stone, e-ven, is 53. Knowing that, we have made a mental connection between this word, and any other word that adds to the same number. A few words that also add to 53, as given in the first five books of the Old Testament:
-Genesis: “stone,” “garden,”” I do bring,” “and he became great.”
-Exodus: “and was content,” “I will utterly.”
-Leviticus: “her produce.”
-Numbers: “the host.”
-Deuteronomy: “ we shall come,” “the great,” “wealth.”
Keep in mind that the conceptual relationships made by any given individual tend to be personal, and derived through contemplation and meditation, so deeper spiritual connections between these words must be made by individually. No two people will interpret these exactly the same way.
In Alchemical texts, and in some European Masonic Tradition, there appears another peculiar word: V.I.T.R.I.O.L.. Exoterically, when written as a word in lower case, vitriol is chemical slang for sulphuric acid, or sulpher salts, which, curiously enough, are used in Operative Masonry for preparing a stone surface for a smooth application of aggregate or stucco.
Written in capitals, each letter punctuated by periods, this word takes on a much deeper significance.. It is an acronym for the Latin phrase: “Visita Interiora Terrae Refectificando Invenies Ocultam Lapidem.” Translation: Visit the Interior of the Earth, and Rectifying (i.e. purifying) you will find the Hidden Stone.
The meaning of “Earth” here is of particular Masonic interest. It requires us to make use of the Hermetic axiom, “ That which is Above is as that which is Below, and that which is Below is as that which is Above.” Simply put, the Universe is arranged in such a way that there is always a correspondence between the laws and phenomena of the various planes of Being and Life. It is the basic theory of life existing in Macrocosm and Microcosm, and is an endless two way process, with every “Macro” a relative “Micro” to that above it, and every “Micro” the “Macro” of that below.
In this case, the Lodge Room, or Temple, represents the planet Earth, macrocosmically. A quick look at the Old Testament account of the Temple “furniture” will affirm this to the more contemplative- minded, and a thoughtful look at a modern Lodge Room and Ritual will yield some of the same results.
Microcosmically, the Lodge Room represents us, individually: in proportion, in symbolism, as a microcosm of the Earth. This is the Earth we are encouraged to “visit,” our interior center. This interior center is the human heart, or the Point within the Circle, and at this center, we find and purify the “hidden Stone”; the ABN of the Kabbalists, the Philosopher’s Stone of the Alchemists, and the Perfect Ashlar of Freemasonry.
Additionally, Alchemy gives a technique, veiled in allegory, for this discovery and purification of the stone. While the language of this discipline is incredibly rich in symbolism, it can be very hard to follow, and is made even more confusing by its mixture of chemical and astronomical terms. In Alchemical texts, we can variously read, “Integrate Gold and Silver, by the use of Mercury,” “The Sun and the Moon, with the aid of Mercury,” and “Salt and Sulpher, dissolved with the Universal Solvent.” All refer to the conscious act of perfection by internally reconciling Duality- balancing Dark with Light, Female with Male, Negative with Positive, Inertia with Fury. Regardless of terminology, all result in the discovery of the “hidden stone.” One of the beauties of our esoteric Masonic system is that all these allegories and symbols, from Kabalistic, Hermetic, and Alchemical systems, can be found in all three of our Degrees, by “those who have ears to hear.”
***
At the lintel of the entrance to the Temple of Apollo at Delphi were inscribed the words, “Gnothi Seauton”- Know Thyself. This working and polishing of the Rough Ashlar to achieve the state of the Perfect Ashlar is an internal process of self- discovery and knowledge.
By discovering the True Self, we come to an understanding of our Creator, where He dwells, and what He desires. We learn of our true relationship with Deity- one of Unity, as co- creators within the plan on His Trestle- Board; and of Unity with our fellow man, and through this discovery, we learn to act accordingly towards G-d, each other, and ourselves.
1.Sefer Yetsirah, chapter 2:
“Twenty- two foundation letters. He ordained them, He hewed them, He combined them, He weighed them, He interchanged them. And he created with them the whole Creation and everything to be created in the future.”
“He formed substance out of chaos and made nonexistence into existence. Carved great pillars out of air that cannot be grasped. This is the sign: one forsees, transposes, and makes all creation and all words with one Name. And a sign of this: twenty- two objects in a single body.
. . . unusual way of fishing: the trawl net was brought out a hundred meter or so into the sea. Now it is pulled in from the beach by two teams of villagers.
______________________________
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
. . . unusual way of fishing: the trawl net was brought out a hundred meter or so into the sea. Now it is pulled in from the beach by two teams of villagers.
______________________________
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
THE DISCOURSES OF IDENTITY
Insufficient public awareness, a lack of focus among local governments, alien and elite sources which make conservation external to the area, and the dearth of funds all present a challenge to conserving urban environments. Cultural identity is a collective self, in which people share a common history and ancestry. Each identity has a set of characteristics that can be gained through social interactions. Michel Foucault described this as practices by which individuals are led to focus attention onto themselves to decipher, recognize and acknowledge themselves as subjects of desire. This brings into play a certain relationship that allows them to discover the truth of their being. Personalities are often formed through the characteristics or common origin one shares with another person or group and, through shared values, an allegiance is formed. Questioning the trajectory of self, British sociologist, Anthony Giddens wrote, “The search for identity is a modern problem, which probably has its origins in Western individualism. And the idea that each person has a unique character and special potentialities that may or may not be fulfilled is alien to pre-modern culture.” Cultural identity works as a mediator between past and future. Rainwater wrote that the self forms a trajectory of development from the past to anticipate future. Each individual appropriates his past by sifting through it in the light of what in anticipated for a future. The trajectory of the self has a coherence that derives from a cognitive awareness of the various phases of the lifespan.
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Common Name: Spiderwort, Cow Slobber, Indian Paint, Widow's Tears, Moses in the Bulrushes, Dayflower, Trinity Flower.
Scientific Name: Tradescantia virginiana (Named for John Tradescant, the royal gardener of King Charles I of England. In 1637 his son brought the plant from North America back to England where it became a favorite as a garden exotic; the species name attests to its origin in the colony of Virginia).
The name Spiderwort is attributed to the observation that the monocotyledonous, grass- like leaves of the plant are suggestive of a crouching spider. To further augment the arachnid syllogism, when the stalk of the Spiderwort is broken, sap emerges that forms filaments that resemble a spider's web. This is the source of the vernacular name "Cow Slobber." The term "wort" is from the Old English wyrt meaning root or herb and is generally applied to a plant to indicate a medicinal application, in this case spider bites. It is likely that the perceived need for a treatment for spider bites arose due to the prevailing belief in Southern Europe that spider venom was the cause of a malignancy known as choreomania, or dancing madness. Symptoms included headaches, sweating, and trembling, and severe melancholia. In the absence of an antidote, frenzied dancing to the point of exhaustion was permitted even where it was prohibited by unflinching religious fiat. In Italy it was called tarantism, as it was attributed to the bite of the tarantula, a species of wolf spider. As early as 1633, plants of the genus Asphodelus were recommended as antidotes. The discovery of the spider-like plant in the New World during the heyday of this mania probably led to its consideration as a medicine for the condition.
That the name spiderwort is suggestive of the use of the plant as a palliative against spider bites is based on the Doctrine of Signatures. The hypothesis is that a plant can be used as a medicinal for human ailments based on some aspect of its form or color, so that a red plant would be appropriate for blood disorders and a flower shaped like a butterfly would be an antidote for an insect bite. It is thought to have originated in Ancient China where plant features were correlated to human organs, and independently in Greece, where it was alluded to by the physician Galen (131-200 CE). It reemerged in 17th Century Europe with the publication of the book "Signatura Rerum; the Signature of All Things" written by a poor German shoemaker named Jacob Boehme who claimed divine inspiration. The Doctrine of Signatures owes its prominence, however, to the noted Swiss physician and chemist Philippus Aureolus who is more commonly known by the eponym Paracelsus (Latin for "superior to Celsus", who was a noted Roman physician) and is considered by some to be the father of modern chemistry. Paracelsus gained a reputation throughout Europe as a healer who used unconventional medicines containing natural ingredients, laying the groundwork for the field of chemical physiology.
The use of the various species of Spiderwort by Native Americans lends credence to the notion of its potentiality as a cure for tarantism. The Cherokee used the plant to make a tea used in the treatment of "female" problems and as a laxative to treat ailments of the stomach and kidney. The Lakota made a blue paint from the flowers that they used to decorate their clothing, whence the name Indian Paint. Perhaps most importantly, a poultice made by crushing the leaves of the plants was used as a treatment for insect bites and stings.
As a botanical link between the wetland grasses called sedges and the lilies, spiderworts have always been of interest to the scientific community. This is especially true because they have very large chromosomes that are ideally suited to the study of cells or cytology. Its long flowering period which allows more readily for artificial pollination has been exploited in genetic research using the prominent stamen hair cells. The most remarkable aspect of the Spiderwort plant is its use as an indicator of radiation and of chemical pollution, an application that has recently become manifest due to its widespread use in laboratory testing.
Since 1974, experimentation has demonstrated that the spiderwort plant is an accurate instrument for measuring cumulative doses of radiation. Studies conducted at Kyoto University in Japan and at Brookhaven National Laboratory found that the normally blue stamen hairs indicated mutation by turning pink when exposed to radiation. The same effect has since been observed when the spiderwort plant is subjected to chemical pollution. The use of a biological means to monitor radiation offers distinct advantages over electronic or chemical devices in that it gives a more meaningful measure of the effect on living things. The Roentgen Equivalent Man (REM) is used in radiation detection technology to take the biological aspect of radiation damage of a Roentgen of radiation into account. The Stamen-hair-mutation test (Trad-SHM) has been formalized as a means to detect gene mutation due to radiation and the Micronucleus test (Trad-MCN) has been established to detect DNA damage due to chemical pollutants.
Family: Commelinaceae
Genus: Tradescantia
Species: x andersoniana
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Why I do clicks and snapping them into frames?
I could never develop a living creature in this physical world; and not only me, by anybody or anything except Earth and Women. Only these are having the potentiality to create a living creature in this universe. All other creations are shadows of the light rayed from them. Often we vocalizing the words Spirit or Soul, and they simply passed on here by them. Wherefore, they are absolute discrete without any comparison.
We call it “Suyambu” in tamil which meant unfeigned or uncontrived or un pretended. Without any persuasion, a fallen seed start to germinate isn’t? So as she! It is difficult that sprouting from a tiny seed and growing spontaneously so as to become a great wild. It won’t stop there; she is with all her heart and hands pretending the lives of thousands of birds, millions of larvae, and even deadly species. She is great mother who is catering the biomass of an entire universe! She is called “Suyambu”.
The dark, which secretes the mother's womb, is primordial light isn’t? I wish to hold my camera ahead them to focus a tiny illumination of the endless light. I know even after a thorough effort, manipulating a superlative frames of aforementioned things may not absolute possible. Still, I need to stand close to it at least. Eventually, I am running through it as my living habitual!
In its prolongation, I started to flash a light on women I cross across on my walk to capture unfeigned smiles of them. Sometimes I go a long way in search of a certain smile that accumulated in the depths of memory a while before. There I won’t try any photographic artifacts or tremendous technologies I swear. All my tutelage is to register a smile of its purest form. From new-sprung buds to those who are waiting on the brink of death after lived a whole life, each one of them adding a different hue to my rainbow.
Turning these images tomorrow will bring rain and I will start to pluck flowers!
For More Works :
www.instagram.com/suyambu_portraitproject/
www.facebook.com/naveengowtham.ng/media_set?set=a.1641109...
Why I do clicks and snapping them into frames?
I could never develop a living creature in this physical world; and not only me, by anybody or anything except Earth and Women. Only these are having the potentiality to create a living creature in this universe. All other creations are shadows of the light rayed from them. Often we vocalizing the words Spirit or Soul, and they simply passed on here by them. Wherefore, they are absolute discrete without any comparison.
We call it “Suyambu” in tamil which meant unfeigned or uncontrived or un pretended. Without any persuasion, a fallen seed start to germinate isn’t? So as she! It is difficult that sprouting from a tiny seed and growing spontaneously so as to become a great wild. It won’t stop there; she is with all her heart and hands pretending the lives of thousands of birds, millions of larvae, and even deadly species. She is great mother who is catering the biomass of an entire universe! She is called “Suyambu”.
The dark, which secretes the mother's womb, is primordial light isn’t? I wish to hold my camera ahead them to focus a tiny illumination of the endless light. I know even after a thorough effort, manipulating a superlative frames of aforementioned things may not absolute possible. Still, I need to stand close to it at least. Eventually, I am running through it as my living habitual!
In its prolongation, I started to flash a light on women I cross across on my walk to capture unfeigned smiles of them. Sometimes I go a long way in search of a certain smile that accumulated in the depths of memory a while before. There I won’t try any photographic artifacts or tremendous technologies I swear. All my tutelage is to register a smile of its purest form. From new-sprung buds to those who are waiting on the brink of death after lived a whole life, each one of them adding a different hue to my rainbow.
Turning these images tomorrow will bring rain and I will start to pluck flowers!
For More Works :
www.instagram.com/suyambu_portraitproject/
www.facebook.com/naveengowtham.ng/media_set?set=a.1641109...
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a beach town by the Arabian Sea in Thiruvananthapuram city, Kerala, India, located around 16 km from the city center. It is the only International beach in India.
ETYMOLOGY
Kovalam means a grove of coconut trees and true to its name the village offers an endless sight of coconut trees.
HISTORY
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. However, Kovalam shot into limelight in the early seventies with arrivals of the masses of hippies on their way to Ceylon in the Hippie Trail. This exodus started the transformation of a casual fishing village of Kerala into one of the most important tourist destinations in all India.
GEOGRAPHY
BEACHES
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the famous crescent of the Kovalam beach
LIGHTHOUSE BEACH
The southernmost beach, the Lighthouse Beach is the one most frequented by tourists, Lighthouse Beach got its name due to the old Vizhinjam Lighthouse located on a 35 meter high on top of the Kurumkal hillock. The lighthouse is built using stones, is colored in red and white bands and enjoys a height of 118 feet. It's intermittent beams at night render the beach with an unearthly charm.
HAWAH BEACH
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. With a high rock promontory and a calm bay of blue waters, this beach paradise creates a unique aquarelle on moonlit nights.
SAMUDRA BEACH
A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too.The sight of the waves lashing on the rocks below is awesome.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer all kinds of goods and services.
The larger of the beaches is called Lighthouse Beach for its 35 metre high light house which towers over it atop Kurumkal hillock. The second largest one is Hawah Beach named thus for the topless European women who used to throng there. It was the first topless beach in India. However topless bathing is banned now except in private coves owned by resorts. Visitors frequent these two beaches. The northern part of the beach is known as Samudra Beach in tourism parlance. A large promontory separates this part from the southern side. Samudra Beach doesn't have tourists thronging there or hectic business. The local fishermen ply their trade on this part. The sands on the beaches in Kovalam are partially black in colour due to the presence of ilmenite and Monazite. The normal tourist season is from September to May. Ashoka beach is also the part of Kovalam beach.
TOURIST FACILITIES
There are a large number of beach resorts in and around Kovalam. The sea port of Vizhinjam is about 3 km away and famous for its special varieties of fish, old Hindu temples, big churches and a mosque. The Proposed International Trans shipment Terminal at Vizhinjam is also close to Kovalam.
Kovalam was among the most prominent tourist spots in India during the hippy era. It still has a high status among tourists, who arrive mostly from Europe and Israel. Kovalam is finding a new significance in the light of several Ayurvedic salons, and recuperation and regeneration resorts which provide a wide variety of Ayurvedic treatments for tourists.
NEAREST TRAIN STATION
Thiruvananthapuram Central, about 16 km
NEAREST AIRPORT
Trivandrum International Airport, about 10 km
POLITICS
Kovalam assembly constituency is part of Trivandrum (Lok Sabha constituency). The assembly constituency of Kovalam is represented by Jameela Prakasham of Janatha Dal. She defeated the sitting MLA Adv. George Mercier.
WIKIPEDIA
Kovalam is a region in the city of Trivandrum, around 13 km southwest of the city center, whose beaches are a tourist destination.
Kovalam first received attention when the Regent Maharani Sethu Lakshmi Bayi of Travancore constructed her beach resort, Halcyon Castle, here towards the end of the 1920s. Thereafter the place was brought to the public eye by her nephew the Maharaja of Travancore. The European guests of the then Travancore kingdom discovered the potentiality of Kovalam beach as a tourist destination in the 1930s. In the early 1970s many hippies came on their way to Ceylon in the Hippie Trail, beginning the transformation of a casual fishing village of Kerala into a significant tourist destination.
Kovalam has three beaches separated by rocky outcroppings in its 17 km coastline, the three together form the crescent of the Kovalam beach.
Lighthouse Beach
The southernmost beach, the Lighthouse Beach, is the one most frequented by tourists. It got its name due to the old Vizhinjam Lighthouse located on top of the Kurumkal hillock, 35 metres high. The lighthouse is built using stones, is colored in red and white bands and stands at a height of 118 feet (36 m).
Hawah Beach
Eve’s Beach, more commonly known as Hawa Beach, ranks second, in the early day, is a beehive of activities with fishermen setting out for sea. It consists of a high rock promontory and a bay.
Samudra Beach
A large promontory separates this part from the southern side. The local fishermen ply their trade on this part.
Detour past Kovalam junction to land on Samudra Beach which is to the north of Ashoka Beach. One has the option to walk along the sea-wall too, where the sea can be sighted above the rocks.
Shallow waters stretching for hundreds of metres are ideal for swimming. The beaches have steep palm covered headlands and are lined with shops that offer a variety of goods and services