View allAll Photos Tagged Relation
Mirit Ben-Nun's art usually exists independently of reality, she even dares to move it away. Her aggressiveness in the use of primary colors along with bright tones, reveal Her autonomy in relation to shapes. The lines, the points and the forms do not try to imitate reality but rather give each work a unique importance showing the emotional charge of the artist.The artist has a spirit of rebellion, new ideas, trying to overcome without seeking perfection, just looking for expression. Through her work she explores personal identity trying to redefine the art itself. Its purpose is to describe and illustrate or to reproduce the world and the nature of human civilization, focusing primarily on the dominant exposure of the expressive function.His art is made by an artist that reflects the complex problems that shape our diverse, global and rapidly changing world, trying to redefine art.
Dora Woda
Orangefarbene Beziehung
Bitte nicht nach dem Sinn fragen, hier geht's nur um die Farben! :))
You think, this makes no sense? You're right! It's all about the colours! :))
Tools: Aperture, Color Efex Pro 4.
I have mixed emotions in relation to Southern Magnolia trees and their flowers. They do very well here in Canberra and are very common. As an evergreen, they retain their leaves throughout the year. This is in stark contrast with many other magnolias such as the hybrid Magnolia soulangeana. It is very impressive to see these deciduous trees in full bloom - trees 5 to 7 metres in height with no leaves but with masses of white/purple/pink flowers.
Seemingly at odds to the size of the flowers, the Southern Magnolia blooms last only a few days before dying. The pure white tepals take on a rust color before dropping to the ground.
Whilst walking in the gardens around our apartment building, I came across this flower. I peered over the top of the tepals (i.e., undifferentiated petals and sepals) into the centre of the flower. Besides nearly being overcome by the strong sweet fragrance, I was delighted to see that the developing seed pod was on display and would make a strong photographic subject. The curled stems covering the upper half of the structure are the stigmas (female parts of the flower). The black spots on the crimson-colored base of the structure are scars left behind where the stamen (male parts) were attached. There is just one of these left - i.e., the single splayed-out stem on the righthand side.
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Links for background information ...
Basic reference ...
en.wikipedia.org/wiki/Magnolia_grandiflora
www.nationalarboretum.act.gov.au/living-collection/trees/...
en.wikipedia.org/wiki/Magnolia_%C3%97_soulangeana
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[ Location - Barton, Australian Capital Territory, Australia ]
Photography notes ...
The photograph was taken using the following hardware configuration ...
(Year of manufacture indicated in braces where known.)
- Hasselblad 501CM Body (Chrome) - S/N 10SH26953 (2002).
- Hasselblad CFV-50c Digital Back for Hasselblad V mount camera.
- Hasselblad Focusing Screen for the CFV-50c digital back, with focussing prism and crop markings.
- Hasselblad 45 Degree Viewfinder PME-45 42297 (2001).
- Hasselblad Carl Zeiss lens - Planar T* 80mm f2.8 CFE (2000).
- FotodioX B60 Lens Hood for Select Hasselblad Standard Length CF Lenses.
- Hasselblad Extension Tube 56E (56mm) for 200 and 500 Series - MFR # 30 40656.
I acquired the photograph (8272 x 6200 pixels) with an ISO of 400, exposure time of 1/500 seconds, and aperture of f/11.0
Post-processing ...
Finder - Removed the CF card from the camera digital back and placed it in a Lexar 25-in-1 USB card reader. Then used Finder on my MacBook Air to download the raw image file (3FR extension) from the card.
Lightroom - Imported the 3FR image.
Lightroom - Used the Map module to add the location details to the EXIF header.
Lightroom - Made various small lighting and color adjustments to the image.
Lightroom - Saved the Develop module settings as preset 20161211-001.
Lightroom - Output the image as a JPEG image using the "Maximum" quality option (8272 x 6200 pixels).
[At this point, I intended to transfer the image to my iPad Mini and perform some re-touching in Photoshop Fix. However, this iOS app cannot handle images with this many pixels. It down-samples the image before it performs any action, robbing the image of some of its fine detail. Instead, I used apps on my 2014 MacBook Air 11" - i.e., Pixelmator and Photo RAW - which could retain the full complement of pixels.]
Pixelmator - Carried out some re-touching of distracting features on the righthand side of the image.
Pixelmator - Applied a square crop (i.e., aspect ratio of 1:1).
Lightroom - Output the image as a JPEG image using the 100% quality option (6200 x 6200 pixels).
ON1 Photo RAW 2017 - Added some dark vignette to the image. Output the image as a JPEG image using the 100% quality option (6200 x 6200 pixels).
PhotoSync - Copied the JPEG file to my iPad Mini for any final processing, review, enjoyment, and posting to social media.
Exif Editor - Copied the EXIF data from the Lightroom output image to the final image.
@MomentsForZen #MomentsForZen #MFZ #Hasselblad #501CM #CFV50c #Lightroom #Pixelmator #PhotoRAW #ON1 #ON1PhotoRAW #ExifEditor #Macro #Closeup #ExtensionTube #Flower #SouthernMagnolia #Magnolia #MagnoliaGrandiflora #White #Crimson #Spring #Stigma #Stamen #SeedCone #SeedPod
52. Beyond a certain level there can not be external or internal any more. There is no external or internal - for in relation to the limit of consciousness everything is inside and in relation to the centre of consciousness everything is outside.
70. If God were out of me then God would be not God but one of the things that exist. To suppose an objective God is strictly speaking an indirect negation of God.
78. All that exists is an illusion. Only he/that is not an illusion who/what I am.
79. The »isness« of the Subject is so certain because it is beyond »isness«. What is in the sphere of »isness« can never be certain in the sense of infinity.
109. I might be able to see the soul or even the spirit in someone else. But the Subject can not be seen in someone else because the Subject is in me only.
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Metaphysical aphorisms by András László
Simple seating in Canterbury cathedral. Recommended on black.
♪♪♫ The Garden of Delight - The Relation Of Light To Shadow ♪♪♫♪♪♫
No relation to the upcoming movie of course. After doing so mostly Homeworld/Peter Elson inspired Microspace. I wanted to do an homage to Studio Nue and Kazutaka Miyatake in particular.
On a piece of machinery at an a quarry in North Wales. I thought it rather apt considering Iain's interest in quarries!
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
In relation to Pathfinder Tours visiting Paignton with the Crompton Torbay Venturer Class 37 6975 worked five return trips from Paignton to Kingswear.
The 14:50 service is seen at Goodrington Sands.
Bank Holiday Monday 29/05/23.
«The real sustains the same relation to the ideal that a stone does to a statue - or that paint does to a painting. Realism degrades and impoverishes» – Robert Green Ingersoll
View of Dora Riparia fountain. Turin, Italy. © Michele Marcolin, 2022. GR3.
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The Fountain of Dora Riparia River, together with that representing the river Po, is located in Piazza CLN, in the center of Turin.
Before 1935 it was known as Piazza delle Due Chiese. The current aspect is due to the restructuring of 1935 foreseen by Marcello Piacentini's project, in the middle of the fascist period. Two statues of the Duce were designed by Vittorio Emanuele III, plus two fountains placed on the back of the two churches. Only these last two sculptures were realized. During the German occupation in the Second World War, the square was sadly known for hosting the command of the German police, located at the National Hotel, currently redeveloped through an ambitious real estate operation. The name of the square was later dedicated to the National Liberation Committee, formed in Italy at the end of fascism.
Both the statues are set against the back of the churches of San Carlo and Santa Cristina, whose facade looks onto Piazza San Carlo. The construction dates back to 1936 and is contemporary with that of the CLN square. The choice was the result of a competition, open to all young artists of the time, which led to the examination of 56 sketches. In the end, the sculptor Umberto Baglioni [Scalea 1893 - Turin 1965] won, who chose to represent the two rivers in the form of human figures: a bearded man and a strikingly shapely woman, both resting on a marble base.
Nothing ever exists entirely alone; everything is in relation to everything else. ~Buddha~
Just trying new things.
Taking advantage of some natural light. Sunny in Oregon today.
By total accident I lined the heel up with the edge of the chair perfectly. heh.
Really should have shot this again.
Random fact: These red shoes are my wedding shoes.
Yes, I'm aware that is odd. :) and no, I didn't wear the socks.
A quick sketch looking towards the First Metropolitan United Church. I used a pitt pen on this which has a unique feel to it, It can really lay down a lot of black quickly. I added some quick watercolour too. The tree in the foreground has started to flower and I hope you can make out the touch of pink I added there. I love flowering trees, and they put on a nice show here in Victoria.
I completely screwed up the top of the tower by drawing an arched window there where it should not be! (it is one bay lower). This shows how I sketch I suppose - I block in the major proportions and relationships and fill in the details in relation to the overall structural "bays" on buildings. I thought I was one bay lower on the tower when I drew the arched window. Ah well, it is only a sketch after all...
I like the vertical format, in fact I like it a lot.
Blogged at urban sketchers: www.urbansketchers.org/
EN :
FUTURON - POLARIS EXPRESS
"Polaris", in reference to the mythical Set 6972 Polaris-I Space Lab, and "Express", in reference to the Orient Express of Siberia, in relation to a tracked vehicle of the tundra
The inspiration comes mainly from the Russian vehicle Vityaz DT-30 tracked, and its little brother the Vityaz DT-10PM, particularly adapted to the tundra and the cold.
Multi-function vehicle. It can be converted into a Cargo, Passenger, Small Vehicles, Oxygen, etc.
There are 6 modular blocks of 5x7 studs, which can be unclipped, can be put in the hold, and can be put in the order you want. Include a mix. The roof can be unclipped.
The 2 types of Vityaz DT have lots of military or civilian variations. Surely one of the vehicles with the most variation in the world, as crazy as that is. Excavator version, passenger / troop transport version, ballistic missile version, freight transport version, radar station version in arctic base, amphibious version, crossing bridge version, logging transport version, tank version (yes yes, with 2 turrets !), snow plow version, mobile laboratory version, gas / mining version (currently used by Gazprom), etc ... We are on a monster which is not far from making 3 to 4 large cars wide depending on the version. I wanted to stay a little in this “multifunction” spirit for the MOC.
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FR :
FUTURON - POLARIS EXPRESS
"Polaris", en référence au mythique Set 6972 Polaris-I Space Lab, et "Express", en référence à l'Orient Express de Sibérie, par rapport à un véhicule chenillé de la toundra
L'inspiration vient principalement du Véhicule Russe Vityaz DT-30 chenillé, et son petit frère le Vityaz DT-10PM, particulièrement adaptés à la toundra et au froid.
Vehicule Multi-fonction. Il peut se convertir en véhicule de Fret, de passagers, de petits véhicules, etc.
Il y a de 6 blocs modulaires de 5x7 tenons, déclipsable, pouvant être mis en soute, et pouvant être mis dans l'ordre que l'on souhaite. Inclus un mix. Le toit est déclipsable. J'ai soigné les traces de chenilles et le radar.
Les 2 types de Vityaz DT ont des tas de déclinaison militaire ou civile. Surement l'un des véhicules qui a le plus de déclinaison au monde, aussi fou que cela soit. Version pelleteuse, version voyageurs/transport de troupes, version missiles balistiques, version transport de fret, version station radar en base arctique, version amphibie, version pont de franchissement, version transport de coupe de bois, version char (si si, avec 2 tourelles !), version déneigeuse, version laboratoire mobile, version gazière/minière (actuellement utilisé par Gazprom), etc... On est sur un monstre qui n’est pas loin de faire 3 à 4 grosses voitures de large suivant les versions. Je voulais rester un peu dans cet esprit « multifonction » pour le MOC.
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
I always thought these two looked related to each other.
But now, side by side and take away Colette and they don’t look as related as I imagined.
Name: Torre Marenostrum S.L. Gas Natural SDG S.A
City: Barcelona
Architect(s): Enric Miralles (EMBT)
Completion: 2008
The constructable volume, the singular character of this new building, its relationship with the urban periphery makes the new office building of Gas Natural a member of the family of contemporary buildings, that have started to appear on the skyline of the city.
However this doesn’t mean the new building lacks a clear desire to become compatible with it urban surroundings; the small scale of the district of la Barceloneta, the surrounding houses and the park.
It has the verticality of an office tower, while at the same time offers an entrance that shows the representative character of the buildingfrom a rapid view of the interior.
That is why we have made a proposal where the interest lies in the fragmentation of the constructable volume into a series of constructions that at the end form a unified volume, which responds to different scales and in clear relation to the nearby apartment buildings. by forming a great doorway which allows the opening up of the district of La Barceloneta and a singular public space that brings the construction to the ground, until it forms an urban landscape of different dimensions…
The treatment of the facades follows a similar criteria… A series of large windows create interest close up, while an indifferent volumetric treatment protects the building from the sun and the noise and shows a series of abstract volumes that confuse with the other buildings along the periphery.