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The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
Built in 1909 (opened in January 1910) by real estate developer Robert Marsh (who saw Mount Washington as a real estate possibility). His goal was to subdivide the more level land at the top of the hill and create large, exclusive, expensive lots with spectacular views of the ocean, Catalina and the San Gabriel Mountains. He wanted his development to rival the mansions in Westlake, West Adams and South Broadway. And he would lure people to the area by first constructing a resort hotel.
Even though the hotel was initially modest the whole project was enormous. Aside from constructing a hotel Marsh had to buy the land, design tracts and install public utilities. Furthermore, there was no practical access to the top of the mountain. Marsh was inspired by the “Angels Flight” incline rail (in downtown Los Angeles) which ran at 33% grade. He took a silent partner (Arthur St. Clair Perry) and built his own incline* rail called the "Los Angeles and Mount Washington Railway Company." The cable system had a length of 3000 feet (with a grade as high as 42%) and cost $42,000. Marsh was convinced that people would ride the Los Angeles Railway from downtown, get off at (what would become) Avenue 43 and Marmion Way and then ride his incline rail cars up to the hotel to experience its breathtaking views. He ran an ad in the May 21, 1909 Los Angeles Times which read:
“Mt Washington is just 20 minutes from Broadway and the center of downtown Los Angeles. It is no longer a dream of future achievement. It is a splendid, vivid reality of today. The stately mountain, whose beauties and scenic advantages have been admired for years, is now within 20 minutes of the heart of the business district. The sound of builders is heard from every side. Beautiful costly homes are about to spring up all over the mountain. A magnificent system of streets and boulevards is being projected. A trip to the incline and the summit of Mt. Washington will inspire and thrill you. Just take the Garvanza car, get off at Marmion Way and Avenue 43, and for 5 cents, just a nickel, you will have the ride of a lifetime. Service begins Sunday- May 23rd. Robert Marsh & Company 140 West 5th Street-Los Angeles.”
Marsh had wanted service to start on George Washington’s birthday (Feb 22) but the weather did not cooperate with construction. Furthermore the city inspector insisted that wood planking be added to the cable route as a safety measure. But in the end the plan worked, people flocked (the incline cars ran 11 hours a day, 18 hours on weekends) and the area eventually blossomed as an exclusive hilltop residential site.
Interestingly enough Mount Washington Hotel had only 18 rooms. With the majority of visitors coming and going for merely an afternoon or an evening there was little profit to be made. However, there were several silent film studios nearby (particularly in Sycamore Grove Park). And motion picture stars were taking up long term residence in the hotel. But in 1913, the studios ran out of room to expand their facilities and started moving to the Edendale section of Los Angeles, leaving The Mount Washington Hotel without customers. It closed in the summer of 1921. Briefly it became the location of the Goodrich-Mount Washington Emphysema Hospital before being purchased (in 1925) by Parmahansa Yogananda, a monk of the ancient Swami Order in India and founder of the Self-Realization Fellowship. The hotel was restored when Yogananda purchased it (it was occupied by vagrants and had been vandalized). The hotel building, today, remains the international headquarters of the Self-Realization Fellowship.
* The incline rail was what is known as a funicular railway. It consisted of two cars connected to each other by a cable. They counterbalanced each other so as one ascended the other descended. The railway ceased functioning in 1919 (due to a battle with the L.A. Board of Public Utilities who viewed the rail line as an elevator and wanted Marsh to make required upgrades). Although Marsh was granted a license to operate it as a railroad the California State Supreme Court determined that it was a vertical elevator. So Marsh ended the service and abandoned the railway. The City of Los Angeles had to purchase Mt. Washington Dr. (a private road), assume its maintenance, as well as construct other roads to serve the area. Suffice to say that the city spent far more money than if they had simply taken over and run the incline railway themselves.
3880 San Rafael Ave., Los Angeles, California
A “non-F” photo
Meat, alcohol - drugs and free sex should not to be taken up to maintain the Self-Realization attained. Pre-marital sex is wrong and if ever it has happened one can do pratikraman to wash the karma bound and be determined not to indulge in it again. One must find a partner, get married and remain sincere to that person.
To know more about dangers of free sex, please click on:
English: www.dadabhagwan.org/path-to-happiness/self-help/how-to-pr...
Gujarati: www.dadabhagwan.in/path-to-happiness/self-help/how-to-pra...
Hindi: hindi.dadabhagwan.org/path-to-happiness/self-help/how-to-...
To know more about dangers of meat eating, please click on:
English: www.dadabhagwan.org/path-to-happiness/spiritual-science/n...
Gujarati: www.dadabhagwan.in/path-to-happiness/spiritual-science/no...
Hindi: hindi.dadabhagwan.org/path-to-happiness/spiritual-science...
Sonder - the realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.
Home... a collection of memories. Travels, events up and down, realizations, things learned.
Quan Yin... the Goddess of Compassion and Mercy
Quan Yin is one of the most universally beloved of deities in the Buddhist tradition. Also known as Kuan Yin, Quan'Am (Vietnam), Kannon (Japan), and Kanin (Bali), She is the embodiment of compassionate loving kindness. As the Bodhisattva of Compassion, She hears the cries of all beings. Quan Yin enjoys a strong resonance with the Christian Mary, the Mother of Jesus, and the Tibetan goddess Tara.
In many images she is shown carrying the pearls of illumination. Often Quan Yin is shown pouring a stream of healing water, the "Water of Life," from a small vase. With this water devotees and all living things are blessed with physical and spiritual peace. She holds a sheaf of ripe rice or a bowl of rice seed as a metaphor for fertility and sustenance. The dragon, an ancient symbol for high spirituality, wisdom, strength, and divine powers of transformation, is a common motif found in combination with the Goddess of Mercy.
Sometimes Kuan Yin is represented as a many armed figure, with each hand either containing a different cosmic symbol or expressing a specific ritual position, or mudra. This characterizes the Goddess as the source and sustenance of all things. Her cupped hands often form the Yoni Mudra, symbolizing the womb as the door for entry to this world through the universal female principle.
Quan Yin, as a true Enlightened One, or Bodhisattva, vowed to remain in the earthly realms and not enter the heavenly worlds until all other living things have completed their own enlightenment and thus become liberated from the pain-filled cycle of birth, death, and rebirth.
There are numerous legends that recount the miracles which Quan Yin performs to help those who call on Her. Like Artemis, She is a virgin Goddess who protects women, offers them a religious life as an alternative to marriage, and grants children to those who desire them.
The Goddess of Mercy is unique among the heavenly hierarchy in that She is so utterly free from pride or vengefulness that She remains reluctant to punish even those to whom a severe lesson might be appropriate. Individuals who could be sentenced to dreadful penance in other systems can attain rebirth and renewal by simply calling upon Her graces with utter and absolute sincerity. It is said that, even for one kneeling beneath the executioner's sword already raised to strike, a single heartfelt cry to Bodhisattva Quan Yin will cause the blade to fall shattered to the ground.
The many stories and anecdotes featuring this Goddess serve to convey the idea of an enlightened being who embodies the attributes of an all pervasive, all consuming, unwavering loving compassion and who is accessible to everyone. Quan Yin counsels us by Her actions to cultivate within ourselves those particular refined qualities that all beings are said to naturally possess in some vestigial form.
Contemplating the Goddess of Mercy involves little dogma or ritual. The simplicity of this gentle being and Her standards tends to lead Her devotees towards becoming more compassionate and loving themselves. A deep sense of service to all fellow beings naturally follows any devotion to the Goddess.
Guanyin (Chinese: 觀音; pinyin: Guānyīn; Wade-Giles: kuan-yin, Japanese: Kannon, Korean: Gwan-eum, Vietnamese: Quan Âm) is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin (觀世音, pinyin: Guānshìyīn, Wade-Giles: kuan-shih yin) which means (hola estudiantes de la oxford)buddha god of mercy (not the game) "Observing the Sounds (or Cries) of the World". Source: Bethleen Cole
It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokiteśvara (अवलोकितेश्वर), which is her male form. Commonly known in English as the Goddess of Mercy. Guanyin is also revered by Chinese Daoists (Taoists) as an Immortal.
More in my sets... Buddhas and Gods and Living in a Jungle.
The icon of very American culture Iron Man is now Japanese Samurai, the very soul of Japanese culture! He will eat sushi instead of cheeseburger! It is amazing to see Japanese culture almost in every aspect of our life scenes. They did not win the last war but won the hearts of people over the years with their culture…
Manufactured by Bandai in 2017. About 7 inches tall.
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
Though perhaps not the most clear picture ever taken, I included this one in my gallery because it's not every day you see a full paratrooper drop at an airshow. Here two C-130Hs of the 120th Airlift Wing (Montana ANG) drop about a platoon of paratroopers from the 19th Special Forces Group (Airborne) of the Utah Army National Guard. Despite high winds that day, the platoon made good landings between the runways in front of the crowd. I found this more impressive than the Army Black Knights that made a drop earlier in the day--the Black Knights were superb, but this is as close to a combat jump as civilians will get to see in the United States.
GEM, Den Haag 2012
Schaduwen hebben iets raadselachtigs. Ze zijn er en ze zijn er niet. Carlijn Mens (1972) legt schaduwen vast en tekent het licht. De resultaten zijn soms gelukmakend: schaduwen van takken op een zomerse dag of haar dochter die danst met haar eigen schaduw. Bij Faith Fear Face het project in progress dat zij speciaal voor het GEM realiseert, dient het licht als metafoor voor de strijd om te overleven en het gevecht voor een beter leven. De installatie gaat over het ontnemen van vrijheid en is gebaseerd op het onderzoek dat Mens het afgelopen jaar heeft gedaan naar de internationale drama’s van mensensmokkel. Maar het gaat verder: het werk refereert ook aan de eeuwige zoektocht van de mens. Het resultaat is indrukwekkend en beklemmend.
Het ontnemen van vrijheid is iets van alle tijden. Bij het maken van Faith Fear Face vormde de bekende Dover-zaak uit 2000, waarbij 58 Chinezen in een container om het leven kwamen, de rode draad. In een enorme tekening - circa 15 meter breed en 2,40 meter hoog - wordt een container doorgelicht om verstekelingen te traceren. Om het effect van röntgenfotografie – waarmee containers worden doorgelicht - te bereiken, heeft Mens het lichaam gebruikt om afdrukken te maken van de menselijke figuur. Ze geeft een gezicht aan deze onzichtbare, anonieme wereld en blijft zo dicht mogelijk bij de realiteit. Door Mens wordt het onmenselijke menselijk gemaakt.
Ze zoekt in haar werk naar tegenstellingen: donker en licht, werkelijkheid en illusie, goed en kwaad, recht en onrecht, leven en dood. Het licht staat voor hoop en/of de illusie van een beter leven, terwijl schaduwen laten zien wat er werkelijk gebeurt. Faith Fear Face refereert aan begrippen die Mens tijdens haar onderzoek veelvuldig tegenkwam. Faith staat voor geloof en vertrouwen in de toekomst, Fear voor angst en ontzag voor gezag en Face voor gezichtsverlies en schaamte. Mens onderbouwt haar getekende beelden met het onderzoek waarbij zij medewerking kreeg van politie, Openbaar Ministerie, Forensisch Instituut en Vluchtelingenwerk. Op die manier maakt ze de omvang van deze schrijnende onzichtbare wereld duidelijk.
Ook bij eerdere projecten van Mens draait het om schaduw en licht. Zo heeft ze in het project ‘Preserved Places’ papier uitgerold in het bos om plekken te documenteren die ze wil behouden en beschermen. In het project ‘Preserving the Artist’ legt ze de schaduwen vast van een generatie kunstenaars die haar gevormd heeft, kunstenaars die bepalend zijn in de kunstgeschiedenis. Dit is voor haar een persoonlijke noodzaak. Bij het maken van de schaduwportretten, ontdekte Mens de bizarre verpersoonlijking van de mens in zijn schaduw. De schaduw kan alleen van die persoon zijn, net zoals DNA, röntgenfoto’s en vingerafdrukken. Vanuit die gedachte is het project voor het GEM ontstaan.
There’s something odd about shadows. There and yet not there. In her drawings, Carlijn Mens (b. 1972) captures shadows and depicts light. The results are sometimes joyful: shadows of branches on a summer day or her daughter dancing with her own shadow. But in her current project for the GEM, Faith Fear Face, light serves as a metaphor for the struggle to survive and the battle for a better life. The installation is about the deprivation of liberty and is based on the inquiry that Mens has conducted over the past year into the international tragedy of people smuggling. But it goes further than that: the work also refers to mankind’s never-ending quest to better its condition. The result is both impressive and disturbing.
The deprivation of liberty is a perennial phenomenon. The notorious case in which 58 Chinese people were found dead in a shipping container at Dover in 2000 is the key motif in Faith Fear Face. A vast drawing – around 15 metres wide and 2.4 metres high – shows a container being scanned to detect stowaways. To create the effect of X-ray photography (now used to scan containers), Mens uses body prints to represent human figures. She lends this invisible, anonymous world a human face and adheres as closely as possible to reality. Mens (whose name actually means human being in Dutch) renders the inhuman human.
In her work, Mens looks for contrasts: dark and light, reality and illusion, good and evil, justice and injustice, life and death. Light stands for hope and/or the illusion of a better life, whereas shadows reveal what is really happening. The title Faith Fear Face is an allusion to terms that Mens encountered repeatedly during her inquiry. Faith stands for belief and confidence in the future, Fear for anxiety and dread of the authorities, and Face for degradation and shame. Mens uses the results of her research (conducted with the cooperation of the police, Public Prosecution Service, Netherlands Forensic Institute and Dutch Council for Refugees) in support of the images in her drawings. By doing so, she reveals the extent of this harrowing hidden world.
Earlier projects also revolved around shadow and light. In her ‘Preserved Places’ project, for example, Mens rolled out lengths of paper in woodland areas to record places she wants to preserve and protect. In the ‘Preserving the Artist’ project, she creates shadow portraits of a generation of artists who have influenced her, artists who have had a decisive impact on the history of art. For her, this is a personal necessity. While recording these shadows, Mens has discovered the bizarre identification of the person and his shadow: like DNA, X-ray photos and fingerprints, shadows are unique to the individual. The present project for the GEM was born of that realization.
Carlijn Mens studied at the AKV / St. Joost in ’s Hertogenbosch and graduated from the Dutch Art Institute (DAI) in Enschede. She currently lives and works in Schoorl and Den Helder.
Built in 1909 (opened in January 1910) by real estate developer Robert Marsh (who saw Mount Washington as a real estate possibility). His goal was to subdivide the more level land at the top of the hill and create large, exclusive, expensive lots with spectacular views of the ocean, Catalina and the San Gabriel Mountains. He wanted his development to rival the mansions in Westlake, West Adams and South Broadway. And he would lure people to the area by first constructing a resort hotel.
Even though the hotel was initially modest the whole project was enormous. Aside from constructing a hotel Marsh had to buy the land, design tracts and install public utilities. Furthermore, there was no practical access to the top of the mountain. Marsh was inspired by the “Angels Flight” incline rail (in downtown Los Angeles) which ran at 33% grade. He took a silent partner (Arthur St. Clair Perry) and built his own incline* rail called the "Los Angeles and Mount Washington Railway Company." The cable system had a length of 3000 feet (with a grade as high as 42%) and cost $42,000. Marsh was convinced that people would ride the Los Angeles Railway from downtown, get off at (what would become) Avenue 43 and Marmion Way and then ride his incline rail cars up to the hotel to experience its breathtaking views. He ran an ad in the May 21, 1909 Los Angeles Times which read:
“Mt Washington is just 20 minutes from Broadway and the center of downtown Los Angeles. It is no longer a dream of future achievement. It is a splendid, vivid reality of today. The stately mountain, whose beauties and scenic advantages have been admired for years, is now within 20 minutes of the heart of the business district. The sound of builders is heard from every side. Beautiful costly homes are about to spring up all over the mountain. A magnificent system of streets and boulevards is being projected. A trip to the incline and the summit of Mt. Washington will inspire and thrill you. Just take the Garvanza car, get off at Marmion Way and Avenue 43, and for 5 cents, just a nickel, you will have the ride of a lifetime. Service begins Sunday- May 23rd. Robert Marsh & Company 140 West 5th Street-Los Angeles.”
Marsh had wanted service to start on George Washington’s birthday (Feb 22) but the weather did not cooperate with construction. Furthermore the city inspector insisted that wood planking be added to the cable route as a safety measure. But in the end the plan worked, people flocked (the incline cars ran 11 hours a day, 18 hours on weekends) and the area eventually blossomed as an exclusive hilltop residential site.
Interestingly enough Mount Washington Hotel had only 18 rooms. With the majority of visitors coming and going for merely an afternoon or an evening there was little profit to be made. However, there were several silent film studios nearby (particularly in Sycamore Grove Park). And motion picture stars were taking up long term residence in the hotel. But in 1913, the studios ran out of room to expand their facilities and started moving to the Edendale section of Los Angeles, leaving The Mount Washington Hotel without customers. It closed in the summer of 1921. Briefly it became the location of the Goodrich-Mount Washington Emphysema Hospital before being purchased (in 1925) by Parmahansa Yogananda, a monk of the ancient Swami Order in India and founder of the Self-Realization Fellowship. The hotel was restored when Yogananda purchased it (it was occupied by vagrants and had been vandalized). The hotel building, today, remains the international headquarters of the Self-Realization Fellowship.
* The incline rail was what is known as a funicular railway. It consisted of two cars connected to each other by a cable. They counterbalanced each other so as one ascended the other descended. The railway ceased functioning in 1919 (due to a battle with the L.A. Board of Public Utilities who viewed the rail line as an elevator and wanted Marsh to make required upgrades). Although Marsh was granted a license to operate it as a railroad the California State Supreme Court determined that it was a vertical elevator. So Marsh ended the service and abandoned the railway. The City of Los Angeles had to purchase Mt. Washington Dr. (a private road), assume its maintenance, as well as construct other roads to serve the area. Suffice to say that the city spent far more money than if they had simply taken over and run the incline railway themselves.
3880 San Rafael Ave., Los Angeles, California
A “non-F” photo
Photos taken and published with permission of the Self-Realization Fellowship, www.yogananda-srf.org
215 West K Street
Encinitas, CA 92024
(760) 753-2888
In 1960, the US Army came to the realization that it had no real scout helicopter: the OH-13 Sioux could operate effectively in the role, but it was aging and its slow speed made it vulnerable to ground fire. The O-1/L-19 Birddog was a good scout aircraft, but it did not have the mobility of a helicopter. With this in mind, the Army issued a requirement for a Light Observation Helicopter (LOH). The new helicopter needed reasonably high speed, good visibility from the cockpit, and be not too expensive. Bell, Hiller and Hughes all developed prototypes; in 1965, the Army chose Hughes' Model 369 as the OH-6A Cayuse, and placed an order for 1300 helicopters.
The Army was then presented with a problem. Hughes did not have a large factory, and was run by the mercurial and unpredictable Howard Hughes: there was a real concern that Hughes could not deliver the order. Moreover, the Army learned that Hughes had deliberately undercut Bell's and Hiller's bids to win the contract, and as such was taking massive losses on the OH-6. The Army then reopened the competition, and Bell's OH-58A Kiowa won this time: the Army would use both helicopters. As for Hughes, the company would later make up the losses by marketing the OH-6 as the Model 369 and later the Model 500.
The OH-6A entered service in 1966, and was sent to Vietnam soon thereafter. Though given the name Cayuse (as part of the US Army's tradition of naming helicopters after native tribes), this name never stuck: instead, the helicopter was nicknamed Loach, after the LOH project name and its buglike appearance. Loaches were quickly armed with field modification kits to carry machine guns, and were usually paired with the also newly-arrived AH-1 Cobra as a "Pink Team." The job of the Pink Team was to scout ahead of the UH-1 "slicks" carrying troops: the OH-6 would come over at low level to see if it drew ground fire. If it did, it would then call in the AH-1s to attack the enemy position and clear the landing zone. This hunter-killer team proved very effective, if dangerous to the OH-6 crews: of 1420 OH-6s built, 842 were shot down over Vietnam.
Because of the heavy losses over Vietnam, the scout role after the war was gradually taken over by the OH-58A, which was cheaper to buy and easier to maintain. OH-6s began to be passed on to Reserve and National Guard units, but got a new lease on life after 1980: the Army still needed a small helicopter that could land in places the OH-58 or UH-1 could not. The OH-6 was the only aircraft that fit the bill, and several dozen were seconded to Task Force 158 in preparation for an operation to free the American hostages in Tehran, Iran. The hostages were freed by the Iranians themselves in 1980, but the Army recognized the need for an elite force trained in night operations, and renamed the unit Task Force 160--known to its crews as the "Nightstalkers."
TF 160 proved its worth during Operation Prime Chance, the United States' undeclared naval and air war against Iran in 1988, and the OH-6s were redesignated MH-6 (for transport OH-6s) and AH-6 (for armed versions). Nicknamed "Little Birds" by their crews, TF 160 worked closely with the elite and secretive Delta Force, most notably in the Battle of Mogadishu in 1993, where they were the only gunships available to the beleaguered Army forces in the Somalian city. The standard OH-6 has been retired from Army units, but the MH-6 and AH-6 remain in service. The Cayuse also remains operational with Spain and Japan, though in both cases it is being replaced.
This OH-6A, 67-6017, entered Army service in 1968 and probably saw action in Vietnam. After the war ended and the Loach force was gradually withdrawn, 67-6017 was relegated to the aviation companies of the 45th Infantry Division (New York National Guard), and served there until 1995, when it was retired. It was acquired by the Russell Military Museum and remains there today.
67-6017 has had two of its rotors removed for easier storage and is missing its interior, but otherwise it is in good shape, and retains the markings of its last unit, the New York National Guard. The US Army sigils and olive drab camouflage were retained by the OH-6 force throughout its career, including during Vietnam.
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
57-0526 was only the second C-130B ever built, and would serve as a testbed all of its career. Delivered in 1959, it would test rocket-assisted takeoff (RATO) for the 6515th Test Squadron at Edwards AFB, California; it would test the midair retrieval of satellite film capsules for the 6594th Test Group at Hickam AFB, Hawaii; it would finish testing electronics with the 6514th Test Squadron at Hill AFB, Utah. With 11,000 flight hours under its belt, 57-0526 was retired in 1994 and moved across the runway to the Hill Aerospace Museum.
57-0526 may have been recently refinished, as it is in superb shape; it carries Europe One tactical camouflage. To reflect its first assignment testing RATO flights, RATO bottles are attached to the fuselage just forward of the rear crew door.
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
This rather anonymous C-130H is a prepainted kit; my intention at some point is to repaint it and give it some character. For now, it sits on my shelf as a proud representation of arguably the greatest transport ever produced. It wears the present overall AMC Gray camouflage used by USAF C-130 units.
Seashore On The Sand is one block from the heart of Carlsbad Village. With over 30 restaurants to choose from, a number of microbreweries, pizza parlors, live music venues, dancing, twice weekly farmers' market, antique shops and boutique retail, all in a quaint seaside village setting. We're only 5 minutes from Legoland and Sea Life Aquarium, the Carlsbad Flower Fields and the Carlsbad Premium Outlets. Two blocks from the San Diego Coaster rail service that will take you to the Del Mar Racetrack or downtown San Diego's vibrant Gaslamp Quarter and even Petco Ball Park. With only a thirty minute drive to San Diego Zoo, SeaWorld, Qualcomm Stadium and San Diego Wild Animal Park.
For the adventurists and sports enthusiasts, just outside of your private beach access you can jog along miles of sandy beaches or enjoy a peaceful stroll picking up seashells. Carlsbad is also home to many golf courses and a few that even host the Masters. Take a limousine wine tasting tour, go deep sea fishing from the neighboring Oceanside harbor. Rent a surf board and catch the waves or rent a bicycle and explore miles of flat trails. Explore the scenic Batiquitos Lagoon Nature Preserve, or book yourself a day of pampering at one of the many local spas, including Carlsbad Mineral Spa founded in 1882. How about a day trip to the Oceanside Art Museum, the splendid gardens of Encinitas Self Realization Temple or the Quail Botanical Gardens. Shop till you drop at the Carlsbad Premium Outlet Center and catch bargains at retailers like Polo, Michael Kors, David Yurman, Ferragamo, Coach and Barney's. With so much to do in Carlsbad, there's never a dull moment. Come visit us and find out for yourself. Once you stay here, you wont want to leave... Find out why everyone wants to come back to North San Diego County's best oceanfront hotel in Carlsbad California.
In 1960, the US Army came to the realization that it had no real scout helicopter: the OH-13 Sioux could operate effectively in the role, but it was aging and its slow speed made it vulnerable to ground fire. The O-1/L-19 Birddog was a good scout aircraft, but it did not have the mobility of a helicopter. With this in mind, the Army issued a requirement for a Light Observation Helicopter (LOH). The new helicopter needed reasonably high speed, good visibility from the cockpit, and be not too expensive. Bell, Hiller and Hughes all developed prototypes; in 1965, the Army chose Hughes' Model 369 as the OH-6A Cayuse, and placed an order for 1300 helicopters.
The Army was then presented with a problem. Hughes did not have a large factory, and was run by the mercurial and unpredictable Howard Hughes: there was a real concern that Hughes could not deliver the order. Moreover, the Army learned that Hughes had deliberately undercut Bell's and Hiller's bids to win the contract, and as such was taking massive losses on the OH-6. The Army then reopened the competition, and Bell's OH-58A Kiowa won this time: the Army would use both helicopters. As for Hughes, the company would later make up the losses by marketing the OH-6 as the Model 369 and later the Model 500.
The OH-6A entered service in 1966, and was sent to Vietnam soon thereafter. Though given the name Cayuse (as part of the US Army's tradition of naming helicopters after native tribes), this name never stuck: instead, the helicopter was nicknamed Loach, after the LOH project name and its buglike appearance. Loaches were quickly armed with field modification kits to carry machine guns, and were usually paired with the also newly-arrived AH-1 Cobra as a "Pink Team." The job of the Pink Team was to scout ahead of the UH-1 "slicks" carrying troops: the OH-6 would come over at low level to see if it drew ground fire. If it did, it would then call in the AH-1s to attack the enemy position and clear the landing zone. This hunter-killer team proved very effective, if dangerous to the OH-6 crews: of 1420 OH-6s built, 842 were shot down over Vietnam.
Because of the heavy losses over Vietnam, the scout role after the war was gradually taken over by the OH-58A, which was cheaper to buy and easier to maintain. OH-6s began to be passed on to Reserve and National Guard units, but got a new lease on life after 1980: the Army still needed a small helicopter that could land in places the OH-58 or UH-1 could not. The OH-6 was the only aircraft that fit the bill, and several dozen were seconded to Task Force 158 in preparation for an operation to free the American hostages in Tehran, Iran. The hostages were freed by the Iranians themselves in 1980, but the Army recognized the need for an elite force trained in night operations, and renamed the unit Task Force 160--known to its crews as the "Nightstalkers."
TF 160 proved its worth during Operation Prime Chance, the United States' undeclared naval and air war against Iran in 1988, and the OH-6s were redesignated MH-6 (for transport OH-6s) and AH-6 (for armed versions). Nicknamed "Little Birds" by their crews, TF 160 worked closely with the elite and secretive Delta Force, most notably in the Battle of Mogadishu in 1993, where they were the only gunships available to the beleaguered Army forces in the Somalian city. The standard OH-6 has been retired from Army units, but the MH-6 and AH-6 remain in service. The Cayuse also remains operational with Spain and Japan, though in both cases it is being replaced.
Built as 67-6381 in 1968, this OH-6A was sent directly to South Vietnam, where it served from 1969 to 1971, mainly with the 17th Cavalry Regiment at Di An. After the regiment was withdrawn from Southeast Asia, 67-6381 was relegated to an unknown Army National Guard unit, along with most of the Loach fleet. It was retired in the 1980s and donated to the English Field Air and Space Museum in Texas, but when that museum closed in 2007, 67-6381 was moved to the Pima Air and Space Museum.
67-6381 is displayed hanging from the ceiling in Pima's main hangar, appearing as it would have in 1970; the white triangle on the fuselage is a tactical marking, while the red tailfins identified an aircraft of the 17th Cavalry.