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Programme d`orientation 2014-2015
Orientation Programme 2014-2015
CMR/RMC Saint-Jean
24 jul 2014
Photo par/by Mario Poirier
© Sa Majesté la Reine et chef du Canada, représentée par le ministère de la Défense nationale, 2014
© Her Majesty The Queen in Right of Canada, represented by the Department of National Defence, 2014
Official closing event of the UN-NYG Mentoring Programme, held at the Agency headquarters in Vienna, Austria. 8 March 2019
Speech by Mentors and Mentees
Ms Patricia Gody-Kain - Mentor
Mr Christophe Xerri - Mentor
Ms Johanna Slaets - Mentee
Mr Joseph Hiess - Mentee
Ms Melissa Buerbaumer - Mentor
Photo Credit: Dean Calma / IAEA
UN NYG OFFICERS:
Chirayu Batra - President
Denis Subbotnitskiy - Vice President
Kirsten Virginia Glenn - Communications and Liaison Officer
Marianne Nari Fisher – Treasurer
Babatunde Adigun – Programme Manager
Amelia Lee Zhi Yi - Mentoring Coordinator
Rong Liu - Intern Coordinator
The UN-NYG Mentoring Programme is a project initiated by the UN-NYG and led by Ms Amelia Lee Zhi Yi, the UN-NYG Mentoring Coordinator. The programme is implemented with support from the IAEA Office of the Deputy Director General, Ms Mary Alice Hayward, Head of the Department of Management.
The key vision of the mentoring programme is to act as a platform for IAEA staff to strengthen their professional skills at the workplace and improve networking capacity through the cultivation of cross departmental and generational relationships.
The goals of the Mentoring Programme are to:
1. Strengthen staff resources through mutual learning experiences for mentors and mentees, to nurture high performance leaders with the capacity to “give back” at the workplace
2.Develop self-sustaining professional relationships between mentors and mentees that narrow the gap between different departments and age groups at the IAEA
Acid Survivors Charity (ASC), Socio Health And Rehabilitation Programme (SHARP), Sirajgonj.
Neela (left) was married in 2006 aged 14. There was no dowry payment involved. She went to live with her in laws but while she was there overheard her husband saying to his parents that marrying her was a bad decision as he received no dowry payment. She overheard the decision that her husband would traffic her to Saudi Arabia where he worked. When confronting her husband he threw acid over her face and body. She had six months of treatment, still managed to pass her exams and was then brought to ASN to receive support. She now lives with her family in Siraganj. Her husband was arrested and given the death penalty in early 2009. However, he was imprisoned for just one year and now walks free.
‘I am Neela.
I think being a girl, the best thing is nowadays girls’ position in society has improved a lot and we can do many things. At the same time, the worst thing is because it is a male dominated society, even though women have advanced a lot, they are still oppressed and neglected. Side by side, the message I want to convey, as a girl, is that I want for girls to change their minds and go ahead. In my life, I want to continue my studies and graduate. After graduation I want to have a good job.
My name is Neela. I am ActionAid’.
The Acid Survivors Network was formed in 2006 in Sirajganj, Bangladesh to help the victims of Acid Violence. Acid attacks are a form of violent assault, often linked to ‘honour’ in parts of Asia. Acid is readily available and used in the garments trade in areas of Bangladesh where acid violence is inherently more rife. Poor women are usually the victims of these domestic attacks perpetrated as revenge for refusal of marriage, sexual advances, dowry payment or land disputes. The ASN not only helps with the physical challenges such as legal aid and medical assistance, but also assists with the psychological challenges that arise from fear of prejudice and stigma in the community. Victims are provided with a safe place to stay, develop life skills, attend group counselling sessions and actively campaign to enforce acid laws and build awareness. ActionAid is assisting the ASN through its partner organisation SHARP (‘Socio Health and Rehabilitation Programmes).
Photo: Nicolas Axelrod/ActionAid
Official (cheap and nasty) programme for the John Player Supernationals meeting on 31st May 1982.
This was the first national meeting that Barry Sheene had entered for a good few years.
Front cover from the theatre programme for a production of "Florodora" at the Hippodrome Theatre, Keighley, staged by Keighley Amateur Operatic and Dramatic Society in November 1926. The cover was designed by Edwin Wrigglesworth of the Keighley School of Art and Crafts.
Keighley Amateur Operatic and Dramatic Society's production of "Florodora" played at the Hippodrome Theatre in Keighley for six nights (and a Saturday matinee) from Monday 22nd November 1926. The comic opera had music by Leslie Stuart, a libretto by Owen Hall, and lyrics by E. Boyd Jones and Paul Rubens. The KAODS production was produced and directed by G. Edward Hall, with musical director Joseph Harker.
The story takes place on the paradise-like island of Florodora and then in the Welsh castle of Abercoed. It involves an unscrupulous American Cyrus W. Gilfrain (played by Arthur B. Hird) who now claims to own Florodora and has "distilled" its rare essence for exploitation purposes. The rightful owner of the island has died, and his surviving daughter Dolores (Edith Robson) is unaware of her inheritance. The Englishman handling Gilfrain's distillation process is Frank Abercoed (Arthur G. Ramsden) who has fallen in love with Dolores. Her true identity is discovered by 'Professor' Anthony Tweedlepunch (Ernest Marsden) with whom she then mysteriously disappears. All the characters then reassemble at Gilfrain's purchased family seat at Abercoed Castle and after much subterfuge everyone is partnered off appropriately and the secret of the island is maintained.
The show also starred Jack Crabtree, Louis G. Bacon, Alan Petty, Allan Potter, Edward Caswell, Leonard Jackson, Clarence Haigh, Jack Steele, Hilda Mitchell, Eva Robson, Mabel Feather, Elsie Butterfield, Mrs M. Asquith, Ethel Smith, Evie M. Carr, Peggy Eaton, Nellie Hardwick, Stella Dewhirst, Claire Mitchell, Elsie Pickles, Sallie Corban, Mrs John Spencer and Mrs Percy Taylor.
The 52-page programme was printed by The Keighley Printers Ltd. of High Street, Keighley. It measures approximately 190mm by 255mm, although the interior pages are slightly smaller. The programme was part of an anonymous donation given in 2022.
59 - Ted Ogden
61 - Les Archer
62 - Brian Stonebridge
64 - Bob Ray
66 - Jack Stocker
68 - Phil Nex
So sixty nine riders in a mass start for just the one ten lap race. Course length is given as 3 miles, and the event was won by Brian Stonebridge in a time of 1 hr 19 min 21 2/5 sec. So - an average speed of 22.68 mph. No wonder there was an argument about 'proper' mud and rocks [ - course plan shows a quarry ] scrambles in the north, and 'path racing' in the south.
Other awards -
Fastest Lancashire or Yorkshire rider [ The 'Ashes' Casket ] - Geoff Broadbent
500cc - Les Archer
350cc - David Tye
250cc - Bill Barugh
Manufacturer's Team - BSA [ Fred Rist, David Tye and John Avery ]
Club Team - South Reading MCC [ Jack Stocker, Geoff Ward and Les Archer ]
Lukas Bjørneboe Brændsrød and Mayara Magri in woman with water, performed as part of Beauty Mixed Programme.
www.roh.org.uk/tickets-and-events/beauty-mixed-programme-...
NEWS RELEASE
BIG GLOBAL LOYALTY PROGRAMME LAUNCHED IN THAILAND
It will be Asia’s largest loyalty card, says Fernandes
BANGKOK, 22 February 2012 – Following its successful rollout in Malaysia and Indonesia in end 2011, the global loyalty programme BIG was today officially launched in Thailand.
A collaboration between the world’s best low-cost airline, AirAsia, and Tune Money, the financial services arm of the Tune Group of companies, BIG is an innovative global loyalty programme that allows members to earn points when travelling and shopping with its partners worldwide in order to redeem the accumulated points for exciting rewards including AirAsia and AirAsia X seats.
In conjunction with the BIG launch in Thailand, new BIG members, also known as BIG Shots, who apply online today until 31 March 2012 will receive 250 free BIG Points. The offer is exclusively for applicants from Thailand. On top of that, BIG Shots can also earn double points at participating stores with this limited time offer. More information is available from www.tune2big.com.
As a global loyalty programme, BIG membership is borderless and open to anyone aged 2 and above anywhere in the world. Each member, nicknamed ‘BIG Shot’, is issued with a BIG card carrying the cardholder’s name and membership identification number, or BIG Shot ID. BIG enables members to earn loyalty points called ‘BIG Points’ when travelling and shopping with programme partners.
Tune Group Co-Founder and Group CEO of AirAsia, Tan Sri Tony Fernandes says, “I’m very excited that the BIG Card is now in Thailand so you’ll be able to fly AirAsia and shop with our partners to get BIG Points and redeem them for free flights on AirAsia and other rewards. I also encourage all merchants to join this programme. This is very important to us and like AirAsia, from our humble beginnings of flying just 200,000 people to now 32 million guests a year, I believe the BIG Card is going to be the largest loyalty card in Asia. Join us now and let the people of Thailand enjoy more free flights.”
Commenting on the BIG launch, Tassapon Bijleveld, CEO of Thai AirAsia says, “As an airline committed to ensuring that “Now Everyone Can Fly”, we have come a long way since we started off 8 years ago. The launch of the BIG card marks another milestone for us as we continue to offer more value and convenience as a token of appreciation and gratitude to our loyal passengers. Now every time someone purchases a plane ticket or add-on service including pre-booked meals or travel insurance with AirAsia Insure, points can be earned and redeemed for a free AirAsia plane ticket.”
Tune Money CEO, Peter Miller says, “BIG is targeted to the ‘young at heart’ who would like to fly for free. Essentially, BIG is a a card for the majority of consumers who are comfortable transacting online such as booking AirAsia and AirAsia X flights and would like the opportunity to earn free flights and more from their online transactions.”
Providing further details on how the BIG loyalty programme works, BIG CEO, Johan Aris Ibrahim says, “Earning points or BIG Points is simple. Just present your BIG card or quote your BIG Shot ID when you shop online and BIG Points will automatically be loaded into your account. For a limited period until 31 March 2012, new BIG applicants will be receiving 250 free BIG Points so apply now at www.tune2big.com.”
Since it was first launched in Malaysia in November 2011, and followed by Indonesia a month later, BIG has received more than 120,000 applications globally, comprising 125 nationalities. Apart from Malaysia and Indonesia, its members are from various other countries like Thailand, Taiwan, Vietnam, Singapore, Hong Kong and even Australia, the UK and other European countries.
Apart from AirAsia and its related businesses like AirAsiaGo, AirAsiaRedTix, AirAsia Courier and AirAsia Megastore, BIG global partners include Tune Hotels that currently has 17 hotels globally, car rentals services Avis, Budget and Hertz, and Hilton’s loyalty programme Hilton HHonors.
In Thailand, local participating stores and businesses include Dtac, The One Card, Black Canyon, SSP (Restaurants at Suvarnabhumi Airport), KPI, Garmin and Vertec. Local banks including the Bangkok Bank, Kasikorn Bank, Siam Commercial Bank, TMB, Thanachart, KTC as well as Citibank and Diner’s have also become partners of BIG in Thailand. So are magazines and publications in the MEI group.
BIG Shots can collect points from these participating stores in addition to 2,000 more ShopBIG online stores. Redemption for AirAsia flight seats starts from 500 BIG Points with the cash top-up option for those without sufficient points.
For more information on BIG and to sign up as a BIG Shot, visit www.tune2big.com. To stay tuned with BIG’s latest promotions and updates, follow BIG on Facebook at www.facebook.com/BIGShotsThailand or via Twitter @myBIGShots.
-ENDS-
About AirAsia and AirAsia X
AirAsia, the leading and largest low-cost carrier in Asia, services the most extensive network with approximately 165 routes. Within 10 years of operations, AirAsia has carried over 100 million guests and grown its fleet from just 2 aircraft to 107. The airline today is proud to be a truly ASEAN airline with established operations in Malaysia, Indonesia, Thailand and Philippines, servicing a network stretching across all ASEAN countries, China, India, Sri Lanka and Australia. This is further complemented by AirAsia X, its low-cost long-haul affiliate carrier that currently flies to destinations in China, Australia, Taiwan, Iran, India, Korea, UK, Japan, France and New Zealand. AirAsia has been names the World’s Best Low-Cost Airline in the annual World Airline Survey by Skytrax for three consecutive years, 2009, 2010 and 2011.
About Tune Money and BIG
Tune Money is a universal financial services company offering affordable prepaid cards as well as life and general insurance products. Tune Money has been operating in Malaysia since 2007 and together with its sister companies Tune Talk and Tune Hotels, are creating a digital and lifestyle community. Tune Money and AirAsia, who share the same shareholders in Tan Sri Tony Fernandes and Dato’ Kamarudin Meranun, have recently established a 50:50 joint venture, Think Big Digital Sdn. Bhd, to manage BIG loyalty programme.
Photo captions
Photo 1 – Thai AirAsia CEO Tassapon Bijleveld (centre), Tune Money CEO Peter Miller (2nd left) and CEO of BIG, Johan Aris Ibrahim (2nd right) at the official launch of BIG Global Loyalty Programme in Bangkok, Wednesday 22 Feb 2012.
Photo 2 - Thai AirAsia CEO Tassapon Bijleveld, Tune Money CEO Peter Miller and CEO of BIG, Johan Aris Ibrahim with BIG partners and merchants during the official launch of BIG Global Loyalty Programme in Bangkok, Wednesday 22 Feb 2012.
More photos can be downloaded from www.flickr.com/tune2big
Media Contact:
Hamdan Mohamad
Mobile: +6010-5001111
Email: hamdan@tunegroup.com
Contents inside the vitrine dedicated to the project "GRITOS Y SUSURROS. Converses amb els radicals" [CRIES & WHISPERS: Conversations with Radicals], 2009.
Performance in five episodes, one per week, with an approximate duration of 90 minutes each, held at La Capella, located in the Santa Creu hospital complex (Barcelona). Limited audience, with prior registration and indiscriminate acceptance of requests. Entry subject to a strict dress code and in order of arrival until a maximum of 33 people.
GRITOS Y SUSURROS was a series of five performances that took place at La Capella, Barcelona, the former chapel of the 15th-century Santa Creu hospital complex, before captive audiences of 33 people. Each performance was documented by video and audio recordings. The project shares its main title with a 1972 film by Ingmar Bergman, in which cinematic techniques serve as dark metaphors for Christian allegory and the themes of agony and death. Like Bergman’s film, the performances remorselessly explored bleak subject matter tied to physical and psychic suffering through visually arresting set pieces and a dramatic palette of black, white, and red.
The wardrobe design included religious garments from Catholic religious orders, distinctive neck ruffs that were fashionable in European royal courts of the 16th century, leather military boots, “health goth” attire, and fetish hoods. Readings were performed as though rites were being administered, or invocations declared. At times, crouched figures rocked back-and-forth as if in ritual prayer. A scene around a large round table recalled an apostolic gathering or an aristocratic pageant. Several tableaux featured a hooded male “serf” directed into stress positions, being manacled or having his arms stretched out on a metal gibbet in an evocation of crucifixion. Other elements comprised actions of real physical violence with further echoes of the iconography of masochism and martyrdom. A tattooed performer slashed his side and tongue with blades, drawing blood, and suspended himself with chains and hooks that had been put through his skin at the knees.
In the resulting video piece, these events are all punctuated by harpsichord music: the sarabande from Georg Friedrich Händel’s "Keyboard Suite in D Minor" (1706), a composition derived from a form of dance considered so lascivious during the reign of Philip II of Spain that it was banned and punishable by whipping. This 29-minute video combines footage shot at all five performances. Audio recordings were released as the spoken-word CD "ÀNIMA NEGRA" [Black Soul] (2009) and form part of the audio programme of the present exhibition.
Text by Latitudes.
—
Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
Deputy PM Nick Clegg meets students at Number 10 who are part of the Government's Arrival Education programme and all of whom received their GCSE results this morning. 24 August 2010, Crown copyright
Chief Guest: Dr V P Balagangadharan (ISRO -Trivandrum)
Guest of Honor: Shri T. V Madhusudhan - Deputy Controller -Patent office - Chennai
Guest of Honor:Dr T Srinivasan - Patent Attorney - Chennai
Guest of Honor: Ms, Dipti - Principal Training Coordinator- PFC -TIFAC (Ministry of Science & Technology - New Delhi)
Inaugural address: Dr P Krishnakumar - CEO & Secretary - Nehru Group of Institutions
為第七屆立法會候任議員舉行的簡介會
为第七届立法会候任议员举行的简介会
Orientation programme for Members-elect of the Seventh Legislative Council (29.12.2021)
Regional conference to mark the 10th anniversary of the South Programme, a joint initiative between the European Union and the Council of Europe.
by jwcurry.
Ottawa, [A Onion Printshop for] Ottawa International Writers Festival, for 1 may 2o11. [1o3 copies].
8 pp/6 printed, photocopy. 5-1/2 x 8-1/2, stapled wrappers.
programme for the reading by curry with Alastair Larwill, Christine McNair, Sandra Ridley & Grant Wilkins at the Mayfair Theatre as part of the Ottawa International Writers Festival. cover text by Steve McCaffery.
2.oo
Provincial Emergency Programme (British Columbia) circa 1976.
The Provincial Emergency Programme (PEP) was the very same entity that was the Provincial Civilian Protection Committee (BC's Civil Defence) of the Second World War
SAR has now come to be associated with all sorts of cool stuff...helicopters and rappelling and hovercraft and boats and all sorts of specialties...Long Line Rescue, Technical Rescue, Confined Space, Swift Water, etc....back then, it was just boots on the ground. If we were lucky, we would get a RCMP Dog Handler from Vancouver after a few days; if we were REALLY lucky, there was a local hunter with his trusty dog. Mostly it was about tromping through really dense bush using the same skills we used to track a deer or a moose. And when we found the poor soul, if he or she was still alive, it was pure Redneck ingenuity that got 'em extricated, and more boots to hump back to wherever base camp was.
The BC Government was directly responsible for wilderness search and rescue - which was the primary mandate of PEP at the time - with volunteers organised locally or regionally, and generally organised into two groups, Rescue or Communications.
The Rescue volunteers, while they had no formal training, were local farmers, hunters, and outdoors enthusiasts who tended to be intimately familiar with the area of operation.
The Communications side was Citizen Band (General Radio Service) operators. There weren't enough Amateur (Ham) operators to make it reliable, and for local communications CB was as good as Ham anyway. Considering the limits of the technology, success was achieve by pure genius and improvisation...for example, there WERE CB repeaters...that was some poor bloke in a 4WD up on a mountain relaying messages....
The Government later moved away from that model to the one that is in place now with local societies or agencies providing the service.
Programme from the Damned's two "10th Birthday Tea Parties" in Finsbury Park, London, July 1986. Pretty badly organised and laid out, but fun to be at. Highlight was when Sensible was invited on as a guest on the second night, and foul-mouthed chaos once again reigned supreme!
Official closing event of the UN-NYG Mentoring Programme, held at the Agency headquarters in Vienna, Austria. 8 March 2019
Speech by Mentors and Mentees
Ms Patricia Gody-Kain - Mentor
Mr Christophe Xerri - Mentor
Ms Johanna Slaets - Mentee
Mr Joseph Hiess - Mentee
Ms Melissa Buerbaumer - Mentor
Photo Credit: Dean Calma / IAEA
UN NYG OFFICERS:
Chirayu Batra - President
Denis Subbotnitskiy - Vice President
Kirsten Virginia Glenn - Communications and Liaison Officer
Marianne Nari Fisher – Treasurer
Babatunde Adigun – Programme Manager
Amelia Lee Zhi Yi - Mentoring Coordinator
Rong Liu - Intern Coordinator
The UN-NYG Mentoring Programme is a project initiated by the UN-NYG and led by Ms Amelia Lee Zhi Yi, the UN-NYG Mentoring Coordinator. The programme is implemented with support from the IAEA Office of the Deputy Director General, Ms Mary Alice Hayward, Head of the Department of Management.
The key vision of the mentoring programme is to act as a platform for IAEA staff to strengthen their professional skills at the workplace and improve networking capacity through the cultivation of cross departmental and generational relationships.
The goals of the Mentoring Programme are to:
1. Strengthen staff resources through mutual learning experiences for mentors and mentees, to nurture high performance leaders with the capacity to “give back” at the workplace
2.Develop self-sustaining professional relationships between mentors and mentees that narrow the gap between different departments and age groups at the IAEA
59th ABU General Assembly and Associated Meetings 2022
25 November - 30 November 2022
New Delhi, India
Copyright Asia-Pacific Broadcasting Union. Please credit accordingly.
The Adoremus Eucharistic Congress and Pilgrimage offered an impressive parallel programme. These images were taken at the youth event in the ACC Arena.
© Mazur/catholicnews.org.uk
59th ABU General Assembly and Associated Meetings 2022
25 November - 30 November 2022
New Delhi, India
Copyright Asia-Pacific Broadcasting Union. Please credit accordingly.
59th ABU General Assembly and Associated Meetings 2022
25 November - 30 November 2022
New Delhi, India
Copyright Asia-Pacific Broadcasting Union. Please credit accordingly.
Kursus Microsoft Office K-Worker Productivity Programme telah diadakan sebanyak dua (2) Siri, iaitu siri pertama pada 12 hingga 13 Disember 2011 dan siri kedua (2) Pada 28 dan 29 Disember 2011. Kursus tersebut dianjurkan oleh Pusat Pembangunan Teknologis ICT. Siri pertama telah melibatkan seramai 27 orang ahli pengurusan INTAN manakala siri kedua telah melibatkan seramai 19 orang warga kerja INTAN.
Deputy PM Nick Clegg meets students at Number 10 who are part of the government's Arrival Education programme and all of whom received their GCSE results this morning. 24 August 2010, Crown copyright
Some of the advertisements from the programme for Wagner’s opera Siegfried for the 1916~1917 season at the Coliseum of the Ona B. Talbot Fine Arts Association of Indiana. The cast included Schumann-Heink and Frida Hempel with the conductor Artur Bodanzky over the augmented Metropolitan Opera House Orch.
Edison 'new' invention -
According to the 1920 Edison catalogue he spent over $3million perfecting his ‘re-creation’ process – Edison refused to speak of his records as anything else.
He then did public tests where artists stood beside a player and sang so the public could compare the recording with the live voice. Edison claimed that it was impossible to tell the difference.
He actually hired places like Carnegie Hall in New York and Symphony Hall in Boston and claimed that upwards of 3,000,000 music lovers and critics attended these comparisons throughout the U.S.A.
It is of note that over 90% of the programme was taken up with ads and also note the long surgery hours of the ‘Boston Painless Dentist’ – 12 hours a day but only 4 on Sundays!
The Adoremus Eucharistic Congress and Pilgrimage offered an impressive parallel programme. These images were taken at the youth event in the ACC Arena.
© Mazur/catholicnews.org.uk
The Civil Society Programme took place on Wednesday 11 May and Thursday 12 May and provided an opportunity for dialogue between civil society and EBRD staff, senior management, the President and Board Directors. It was an occasion for civil society stakeholders to learn more about the Bank and discuss issues of interest and concern regarding the EBRD’s policies and investment projects.
The Programme also featured multi-stakeholder roundtable sessions on key strategic themes related to the role of civil society as an important actor in transition and development processes. Special features of the Civil Society Programme 2016 were discussions on:
•25 years of Transition - The Role of Civil Society in Central and Eastern Europe and Central Asia
•Engaging civil society to promote transparent procurement
•EBRD’s Strategy for the Promotion of Gender Equality (2016-2020): the role of civil society
•Inclusion through skills and innovatiom
In addition, a panel organised by the youth organisation AIESEC looked at the role of youth in shaping the 2030 Agenda for Sustainable Development.
25 years of Transition: The Role of Civil Society in Central and Eastern Europe and Central Asia
A fire-side chat with Sergei Guriev, Professor of Economics, Sciences Po (incoming EBRD Chief Economist)
Civil society, operating in the space between public and private sectors, has played an important role in socio-political and economic transition processes around the world, including the EBRD’s traditional countries of operations. In 25 years since the establishment of the EBRD, civil society’s contribution to transition has varied across the post-communist transition region. In some countries, the work of civil society organisations (CSOs) has contributed to more democratic political systems and more open market based economies as a ‘reputational actor’ performing a ‘watchdog’ function and as a generator of ‘social capital’ necessary to sustain the change process through the difficult early years. In other countries, the focus of CSOs has been on providing a variety of social services particularly to disadvantaged and vulnerable people negatively affected by the transition process. Many civil society actors have been operating in restrictive regulatory environments, and have relied heavily on international donor funding.
What has been civil society’s input into promoting good governance, sustainable development and economic inclusion in EBRD’s traditional region over the past few decades? What are the key lessons learned, from both its successes and failures that can be applied to other countries embarking on a transition process? What steps could be taken to increase the role of civil society in promoting positive changes in societies and economies?
The discussion looked back at the key achievements and setbacks of the civil society sector in contributing to transition since the Bank’s establishment. It also reflected upon the challenges ahead for civil society in building well-governed, sustainable and inclusive economies and societies.
Baltic Centre for Contemporary Art (also known simply as (the) Baltic, stylised as BALTIC) is a centre for contemporary art located on the south bank of the River Tyne in Gateshead, Tyne and Wear, England. It hosts a frequently changing variety of exhibitions, events, and educational programmes with no permanent exhibition. The idea to open a centre for contemporary arts in Gateshead was developed in the 1990s, which was a time of regeneration for the local area—the Sage and Gateshead Millennium Bridge was also being conceived of in this period.
Baltic opened in July 2002 in a converted flour mill, which had operated in various capacities from 1950-1984. The architectural design of Baltic was devised by Dominic Williams of Ellis Williams Architects, who won a competition to design the new contemporary arts centre in 1994. The building features exhibition spaces, a visitor centre, a rooftop restaurant and external viewing platforms which offer views of the River Tyne. Baltic's current director, the centre's fifth, is Sarah Munro, who joined in November 2015. As of January 2022, Baltic had welcomed over 8 million visitors.
Baltic Flour Mills was built by Joseph Rank of Rank Hovis to a late-1930s design by Hull-based architects Gelder and Kitchen. The first foundations were laid in the late 1930s, and although construction ceased during the Second World War, the mill was completed and started operating in 1950. Known locally as "the pride of Tyneside", 300 people were employed by the mill at its height. The building was composed of two parallel brick façades running east to west, sandwiched between a foundation of concrete silos. The structure could store 22,000 tons of grain. The design of the building also featured a larger silo in which to store and clean wheat. The site was extended in 1957 by the addition of Blue Cross Mill which processed animal feed. In 1976, a fire forced both mills to close, but the silos remained in operation until 1984 to store a portion of the grain owned by the European Economic Community. Baltic Flour Mills was one of a number of mills located along the banks of the Tyne, all of which, due to their size, were prominent local landmarks. The Spillers mill just downstream from Baltic on the north bank of the river was demolished in 2011. Another large mill was owned by the CWS and was located just upstream of Dunston Staiths.
The opening of Baltic as a designated centre for contemporary art was part of the revitalisation and post-industrial regeneration of Gateshead's riverside. The regeneration began in the early 1990s and transformed the Quayside into a centre of modern architecture, including the Sage and Millennium Bridge. In 1991, Northern Arts (now part of Arts Council England) released a five-year plan in which it stated its intention to create "major new capital facilities for the Contemporary Visual Arts and Music in Central Tyneside". Northern Arts were keen to convert an old building into a centre for art, rather than build a new one, and the Labour-run Gateshead Council expressed interest in converting the old Flour Mills. This was in contrast to the Conservative-run Newcastle City Council's approach to development, which saw private firms develop mainly flats, hotels, and offices. Gateshead Council purchased the Baltic Flour Mills silo building, and in 1994 they invited the Royal Institute of British Architects to open a competition which would find an architect to design the new arts centre.
In 1994, Gateshead Council invited the Royal Institute of British Architects to hold a competition to select a design for the conversion of the Baltic Flour Mills. The objective of the competition was to "provide a national and international Centre for Contemporary visual arts". The brief cited a number of similar examples of old buildings which had been converted into arts centres around the world, including a converted flour mill in Porto, Portugal and the Bankside Power Station in London (now the site of the Tate Modern). After evaluating a total of 140 entries, Dominic Williams – a relatively unknown architect who had only been working for three years – won the competition. He entered the competition with Ellis Williams Architects, his father's firm. Andrew Guest remarks that this "simple, honest, industrial" design was an example of architecture which recognised the designs and context of the past. Williams and Ellis Williams Architects stated their intention to "retain as much of the existing character and fabric of the building as possible" while also clearly presenting the structure's new purpose as an art gallery.
The conversion of the flour mills was a complex and technically challenging task. The grain silos were removed, leaving the brick façades unsupported, and a 1,000 tonne steel frame was required to support the remaining building. Four new main floors were inserted into the building supported by a row of pillars. Intermediary floors made out of steel frames and thin concrete were also inserted. These were designed to be removable as to adapt the building and create variable spaces for art. With 13 separate levels in total, Williams claimed he purposefully wanted to create a sense of disorientation for visitors within the building and allow an element of discovery. A spiral staircase winds up the building towards an open-plan office for staff. An efficient ductwork system was installed within the beams which carries heated or chilled air throughout the building. Such a design, conceived of by environmental engineers Atelier Ten, was uncommon for the time. The north and south elevations of the original building were retained along with the original BALTIC FLOUR MILLS lettering and red and yellow bricks. The east and west sides were fully glazed, capturing natural light and allowing views of the River Tyne. Additionally, service towers in the corners of the building, a rooftop viewing box, and a low-rise visitor centre were completed—these now comprise part of the building's major elements. The building stands at 138 feet (42 m) tall. Glass elevators situated close to the exterior offer views of Newcastle, Gateshead and the River Tyne. A restaurant sits at the top of the building, built in a manner which still allows natural light to reach the top gallery floor. The building's interior largely features glass, concrete, aluminium, Welsh Slate, 'Cor-Ten' steel, and Swedish pine. The furniture, purposely built to be flexible and adaptable, was designed by Swedish designer Åke Axelsson.
Awards
Baltic won a RIBA award in 2003, a Civic Trust Award in 2004, and in 2006 was selected as one of the top 10 most outstanding arts and culture schemes in the UK as part of the Gulbenkian Prize. In 2012, it won the National Lottery Awards prize for Best Arts Project.
The founding director, Sune Nordgren, was appointed in 1997. He oversaw the period prior to Baltic's opening, including the construction of the gallery. After almost six years, Nordgren left to take up a new post as founding director of the National Museum for Art, Architecture and Design, Oslo, Norway. At this time, Baltic was facing financial problems. After Nordgren's departure, a former Baltic chairman accused the centre of overspending on commissions during Nordgren's tenure. Baltic's situation was described by Arts Council England as having "serious inadequacies in financial procedures". Nordgren was briefly succeeded by Stephen Snoddy, who had previously run a new gallery in Milton Keynes. Snoddy only remained with the organisation for 11 months, citing difficulties in leaving his family behind in Manchester while working at Baltic. He was succeeded as director by Peter Doroshenko in 2005. Doroshenko's previous institutions included the Stedelijk Museum voor Actuele Kunst and the Institute of Visual Arts in Milwaukee. He was brought to Baltic to increase visitor numbers and resolve the centre's financial situation, which was criticised by Arts Council England and an insider as being chaotic. Doroshenko organized several exhibitions during his time at Baltic, including Spank the Monkey.
In November 2007, Doroshenko left the gallery to head up the PinchukArtCentre in Kiev, Ukraine. He stated that he believed he had made Baltic a more "approachable and visitor friendly place."[30] However, Design Week reported that there were claims that Doroshenko did not deliver the expected "international programme of artistic excellence." Additionally, staff at the centre had complained about his "intolerable" and "bullying" management style. Godfrey Worsdale, founding director of the Middlesbrough Institute of Modern Art, was appointed as director of Baltic in 2008. Worsdale oversaw the 10 year anniversary of Baltic and the hosting of the Turner Prize in 2011. He was awarded an honorary degree from Northumbria University in 2012 in recognition for his work on contemporary art after being on the judging panel for the Turner Prize. He departed in 2015 to take up a new post as director of the Henry Moore Foundation. Sarah Munro MBE became director in November 2015. She was previously artistic director of Tramway in Glasgow and head of arts for Glasgow Life.
History as arts centre
During the four-year construction of Baltic, the new organisation arranged a series of events, publications, and artists in residence in anticipation of the centre's opening. In 1999, after the silos had been removed and before the new floors were inserted, the shell of the building was used to house an art installation by Anish Kapoor. Taratantara was a trumpet-shaped installation of PVC 50 metres (160 ft) long and was situated within the centre of the mill. This installation drew 16,000 visitors and marked a turning point between the building's old purpose and its new life as a centre for art. In October 2000, Jenny Holzer's Truisms – a series of aphorisms and slogans – were projected onto the side of the building. Kapoor and Holtzer's works were intended to engage casual passers-by in an artistic dialogue. The identity of Baltic was also solidified by the publication of 16 newsletters between October 1998 and July 2002 when the centre opened to the public. A significant part of this branding was the use of the now registered typeface BALTIC Affisch, designed by Swedish designers Ulf Greger Nilsson and Henrik Nygren and based on the BALTIC FLOUR MILLS lettering on the building's brick façade.
Opening
After ten years in the planning and a capital investment of £50m, including £33.4m from the Arts Council Lottery Fund, Baltic opened to the public at midnight on Saturday 13 July 2002. The novelty of opening the new building at midnight was intentional: founding director Sune Nordgren sought a dramatic gesture to herald the beginning of the new centre for arts. The inaugural exhibition, B.OPEN, had work by Chris Burden, Carsten Höller, Julian Opie, Jaume Plensa and Jane and Louise Wilson. Opie, who had previously assisted Dominic Williams with aspects of the building's conversion design, contributed an installation consisting of nude outlines on the walls of floor of the gallery. Plensa's installation featured a room filled with gongs which were available for the audience to play. Plensa also contributed Blake in Gateshead – a beam of light which stretched around 2 kilometres (6,600 ft) into the sky. The installation was placed through the glass doorway of the ground floor. Burden constructed a 1/20th scale replica of the Tyne Bridge out of Meccano. Jane and Louise Wilson created Dreamtime, a video of a rocket launch. An early exhibit by the Japanese artist Yoshitomo Nara was also included. The B.OPEN event attracted over 35,000 visitors in the first week. A live art performance, including Tatsumi Orimito's Bread Man and Anne Bjerge Hansen's Moving Bakery, took place during the opening weekend, in which bread was handed out to passers-by in memory of the Baltic Flour Mill's history. When BALTIC opened, there was a target set for 250,000 visitors a year. It achieved one million visitors in its first year, and by its 10-year anniversary in 2012, 4 million people had visited.
Notable events
On 20 September 2007, Baltic management contacted Northumbria Police for advice regarding whether or not a photograph should be displayed as part of the Thanksgiving installation, a forthcoming exhibition by American photographer Nan Goldin. The photograph, along with the rest of the installation, is part of the Sir Elton John Photography Collection. Entitled Klara and Edda belly-dancing features two naked young girls and had previously been exhibited around the world without objections. The installation, which had been scheduled for a four-month exhibition, opened with the remaining photographs whilst Klara and Edda belly-dancing was in possession of the police. However, it closed after just nine days at the request of Elton John. Although this had a determinantal effect on Baltic's reputation in the short-term, Graham Whitham argues in Understand Contemporary Art that it may have given it a higher profile and greater publicity in the long-run.
Beryl Cook
In 2007, the largest survey of artist Beryl Cook's work to date was featured in an exhibition at Baltic.[9] Cook enjoyed widespread recognition of her art towards the end of her life; the exhibition at Baltic took place one year before her death. Her paintings depict everyday and familiar social situations in a playful, colourful, and "portly" style. Peter Doreshenko, the director of Baltic at the time of the exhibition, was keen for the gallery to reject the seriousness audiences may associate with it. The exhibition of Cook's work was part of this populist effort to attract new audiences to the then financially-struggling gallery, whose visitor numbers had dropped to less than 500,000 and whose reputation was decreasing. Adrian Searle of The Guardian reviewed the exhibition and, whilst acknowledging that fans would enjoy it, commented "look too long and you may feel a bit queasy".
Turner Prize
In 2011, Baltic was the venue for the Turner Prize. This was the first time the event had been held outside of London or Liverpool Tate. The Turner Prize exhibition at Baltic attracted 149,770 visitors to the gallery – almost double the average attendance in London. The event at Baltic was also free, whilst Turner exhibitions at Tate Britain had always previously charged for entry. The winning exhibit was by Martin Boyce with the runners-up being Karla Black, Hilary Lloyd and George Shaw.
Judy Chicago
The first major retrospective of American artist Judy Chicago's work was exhibited in Baltic from November 2019 to April 2020. The exhibition included her abstract paintings, records of performance pieces, and began and ended with a four-metre tapestry which portrayed the creation the world from a woman's perspective. At the time of the exhibition, Chicago was in her 80s. Hannah Clugston of The Guardian noted that the more recent featured works embraced the theme of death, particularly End: A Meditation on Death and Extinction, which is based on the stages of grief.
Baltic Open Submission
In March 2020, Baltic announced it would be closing due to the COVID-19 pandemic until further notice. In May 2021, it reopened to visitors with four exhibitions. Baltic Open Submission featured works created during lockdown by 158 artists from the North East. The 158 artists were chosen from over 540 original submissions and selected by a panel of three North East-based artists. The final pieces included paintings, drawings, and sound and video installations.
Community and cultural impact
At the opening of Baltic, director Sune Nordgren outlined the role of the arts centre within the public sphere. He stated that Baltic should be "a meeting place, a site for connections and confrontation between artists and the public." In an October 2002 lecture at the Power Plant Gallery in Toronto, Nordgren reaffirmed the importance of local outreach and explained his intention for Baltic to regard the local history and culture, comparing his intention to examples of modern art museums where this was not considered, such as the Guggenheim Museum in Bilbao (designed in Los Angeles and placed in Spain). From its inception, Baltic emphasised the importance of artist-public relationships and its role as a community hub. "Participate" initiatives encouraged people in the local community to interact with resident artists. A media learning centre in a local library was set up as an extension of Baltic's community resources.
In a 2016 talk on Baltic's 10-year strategic plan (officially named Untitled), the current director of Baltic – Sarah Munro – emphasised that the North East of England "has always led, not followed" the agenda for contemporary arts, and that Baltic had been a big part of this trend. She argued that the visual arts can be used to further the economic and social growth of the area, even amidst the backdrop of political issues and austerity. Baltic also launched an international award for emerging artists in 2016, which offered a £30,000 commission and an accompanying exhibition to four recipients. It was the first such competition in the UK to be judged entirely by artists: in 2017, they were Monica Bonvicini, Lorna Simpson, Pedro Cabrita Reis and Mike Nelson. Munro commented that the award was to foster "a dialogue with our audiences at a local, national and international level."
Local university partnerships and graduate internships are also important to Baltic's community and cultural influence. In 2011, Baltic and Northumbria University established an artistic partnership through the BxNU Institute of Contemporary Art, a centre for artistic and curatorial research. Christine Borland was appointed as Baltic Professor. A designated gallery space, known as Baltic 39, was established on the top floor of refurbished Edwardian warehouses at 31-39 High Bridge in Newcastle. It was designed by Viennese architects Jabornegg & Palffy and housed artwork from students at the university. Baltic 39 was based at High Bridge from 2012 to 2021.
Their annual Self-Publishing Artists’ Market (aka S.P.A.M.) takes the form of a lively programme exploring print culture and practice through talks and workshops with over 50 stalls selling zines and artists’ books. S.P.A.M. Spreads reimagines the market in printed form and has included contributions by artists, activists, illustrators, zine-makers, writers and curators including Vanessa Murrell, Melody Sproates, Okocha Obasi, Stephanie Francis-Shanahan.
Italian programme card for Il Cinema Ritrovata 2007. Photo: publicity still for Blind Husbands (Erich von Stroheim, 1919) with Erich von Stroheim.
Today we heard that Finnish film historian and director Peter von Bagh (1943-2014) passed away on 17 September. We are very sad because we are a huge fan of him. Although we never saw one of his films, we loved his work as the artistic director of the film festival Il Cinema Ritrovato in Bologna. Peter von Bagh introduced many of the films in Bologna. With his passionate, inspiring, informative and witty speeches, he turned every screening into a special event. He was 71. We uploaded 10 programme cards of Il Cinema Ritrovato.