View allAll Photos Tagged Relation
The only freight train relation on the Zadar line is the 61170/61171 to the harbor of Bibinje. Sadly the train didn’t stop so the sheep’s are still waiting on the platform.
To be continued!
(Kistanje railway station, 02.09.2013)
Lith-Print
Tmax 100 in Finol
Fomatone Nature 532 II
SE5 50+50+1000+15 200sec.
Ω-Lith 7,5 ml+1000 75sec.
Selentoning MT1 1 :15 30sec.
SMC Pentax DA 18-55mm f3.5-5.6 AL WR
This serene photograph captures a tranquil beach scene at sunset, with the sun setting over the calm sea. The composition adheres to the rule of thirds, with the horizon line placed in the lower third of the frame, allowing the sun to dominate the upper third. The leading lines of the shoreline guide the viewer's eye towards the horizon, emphasizing the vastness of the scene.
The color palette is predominantly soft and muted, with warm hues of the sunset transitioning into cooler blues and grays of the sky and sea. The use of light is masterful, with the sun's reflection on the water creating a shimmering golden pathway. The light also casts a gentle glow on the distant mountains and the pebbled beach, enhancing their silhouettes.
Symbolically, the image evokes a sense of peace and contemplation, with the solitary figure in the foreground adding a touch of human presence to the otherwise vast and natural landscape. The figure's small size in relation to the expansive scene emphasizes the individual's insignificance against the grandeur of nature.
The image's composition and use of light are reminiscent of the Romanticism movement, which often emphasized the sublime and the beauty of nature. The photograph's aesthetic quality is very high, with its harmonious balance of colors, gentle lighting, and serene atmosphere creating a visually appealing and emotionally resonant piece.
In terms of artistic movement, this photograph aligns with the principles of Romanticism, emphasizing the beauty and power of nature. The image's composition, use of light, and symbolic elements are all characteristic of Romantic landscape photography. The subjective aesthetic quality of the image is very high, with its serene and contemplative atmosphere making it a visually appealing and emotionally resonant piece.
auch als Beutelteufel bekannt ist der größte noch lebende Raubbeutler. Die Männchen haben eine durchschnittliche Kopfrumpflänge von 65 Zentimetern, der Schwanz hat im Mittel eine Länge von knapp 26 Zentimetern und sie wiegen etwa acht Kilogramm. Weibchen sind etwas kleiner und leichter: Ihre Kopfrumpflänge beträgt durchschnittlich 57 Zentimeter, der Schwanz bei ihnen ist 24 Zentimeter lang, und sie wiegen etwa sechs Kilogramm.
Der Körperbau des Beutelteufels ist gedrungen und kräftig. Die Vorderbeine sind etwas länger als die Hinterbeine. Der Kopf ist kurz und breit, die Zähne sehr kräftig und ideal dafür geeignet, Knochen zu zerbrechen. Das Fell ist schwarz oder dunkelbraun, abgesehen von einem weißen Kehlstreifen und gelegentlich auftretenden weißen Flecken auf dem Rumpf. Beutelteufel lagern Körperfett in ihren Schwänzen ein. Ein kranker Beutelteufel ist daher meist an einem dünnen Schwanz zu erkennen. Wenn er erregt ist, strömt der Beutelteufel einen beißenden Geruch aus, der in seiner unangenehmen Intensität dem des Stinktieres nicht nachsteht. Gehör- und Geruchssinn sind sehr gut, er sieht jedoch relativ schlecht.
Eine Untersuchung der Bisskraft in Relation zur Körpergröße hat gezeigt, dass der Tasmanische Teufel den stärksten Biss unter den Säugetieren hat. Es ist vor allem der im Verhältnis zu seiner Körpergröße große Kopf, der seine Kiefer so kraftvoll macht.
Quelle:
French postcard by Editions F. Nugeron, no. Star 96.
'The King of Pop' Michael Jackson (1958-2009) entertained audiences nearly his entire life. He started very young in the Jackson 5 and solo he recorded the biggest-selling album of all time, 'Thriller' (1982). He appeared in the film The Wiz (1978), but he was more successful with his elaborate music videos, directed by such famous filmmakers as John Landis, Martin Scorsese, and Francis Ford Coppola.
Michael Joseph Jackson was born in 1958 in Gary, Indiana, and entertained audiences nearly his entire life. His father, Joe Jackson (no relation to Joe Jackson, also a musician), had been a guitarist but was forced to give up his musical ambitions following his marriage to Michael's mother Katherine Jackson (née Katherine Esther Scruse). Together, they prodded their growing family's musical interests at home. Michael was the brother of Rebbie Jackson, Jackie Jackson, Tito Jackson, Jermaine Jackson, La Toya Jackson, Marlon Jackson, Randy Jackson, and Janet Jackson. By the early 1960s, Jackie, Tito, and Jermaine had begun performing around the city. By 1964, Michael and Marlon had joined in. A musical prodigy, Michael's singing, and dancing talents were amazingly mature, and he soon became the dominant voice and focus of the Jackson 5. An opening act for such soul groups as the O-Jays and James Brown, it was Gladys Knight (not Diana Ross) who officially brought the group to Berry Gordy's attention, By 1969, the boys were producing back-to-back chart-busting hits for Motown as 'I Want You Back', 'ABC', 'Never Can Say Goodbye', 'Got to Be There', etc. As a product of the 1970s, the boys emerged as one of the most accomplished black pop/soul vocal groups in music history, successfully evolving from a group like The Temptations to a disco phenomenon. He was originally intended to begin his solo career when he turned eighteen in 1976, but financial problems forced him to remain with the Jackson Five, renaming themselves The Jacksons for legals reasons, until 1979.
Solo success for Michael Jackson was inevitable, and by the 1980s, he had become infinitely more popular than his brotherly group. He was the first solo artist to generate four top ten hits on the Billboard charts on one album with his debut solo album 'Off the Wall' (1979). It sold around 20 million copies worldwide. This success culminated in the biggest-selling album of all time, 'Thriller' (1982) with sales of over 100 million copies worldwide. The album generated seven top ten hits in the USA. With his next album, 'Bad' (1987), he even generated five #1 hits in the USA. He was the highest-earning singer of 1988-1989, with $125 million from his worldwide 'Bad' album tour. A TV natural, he ventured rather uneasily into films, such as playing the Scarecrow opposite Diana Ross as Dorothy in The Wiz (Sidney Lumet, 1978), but he had much better luck with elaborate music videos. Jackson hired film director Martin Scorsese to direct the video for the "Bad" album's title track. When the 18-minute music video debuted on television, it sparked a great deal of controversy as it was apparent that Jackson's appearance had changed dramatically. Starting with 'Michael Jackson: Black or White' (1991), Jackson and his record company referred to his music videos as "short films," never "videos". His video for 'Michael Jackson: Thriller' (1983), which was directed by John Landis, is widely regarded as one of the greatest music videos of all time. In the 1990s, the downside as a 1980s pop phenomenon began to rear itself. Michael grew terribly child-like and introverted by his peerless celebrity. A rather timorous, androgynous figure to begin with, his physical appearance began to change drastically. In 1993 Jackson claimed that his changing skin color is due to a skin disorder vitiligo whilst on The Oprah Winfrey Show. His behaviour grew alarmingly bizarre, making him a consistent target for scandal-making, despite his numerous charitable acts. Two brief marriages - to Elvis Presley's daughter Lisa Marie Presley (1994-1996) and to Debbie Rowe (1996-1999) - were forged. He had two children with his second wife. The purposes behind these marriages appeared image-oriented. In November 2002, Jackson shocked his fans when he dangled his third child, infant Bigi Jackson, over a balcony on the fourth floor of a Berlin, Germany hotel for all hovering fans to see. Michael Jackson died in 2009 in Los Angeles, California. His death triggered an outpouring of grief. Fans gathered outside the UCLA Medical Center, his Holmby Hills home, the Apollo Theater in New York, and at Hitsville U.S.A., the old Motown headquarters in Detroit where his career began, now the Motown Museum. Streets around the hospital were blocked off, and across America people left offices and factories to watch the breaking news on television. Gary Brumburgh at IMDb: "His passion and artistry as a singer, dancer, writer, and businessman were unparalleled, and it is these prodigious talents that will ultimately prevail over the extremely negative aspects of his troubled adult life." Michael Jackson sold over 750 million albums worldwide.
Sources: Gary Brumburgh (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
A Mucabal girl without the giant headwear!
Mucubal (also called Mucubai, Mucabale, Mugubale) people are a subgroup of the Herero ethnic group, which means they are bantu speaking, and are supposed to have come from Kenya and to be related with Massais.
They are semi nomadic pastoralists living of cattle raising and agriculture. They live in a large area between the slopes of Chela Mounts in the north, and River Cunene to the south, where they are believed to have stopped during the Herero migration, about 300 years ago.
Mucubal have some very specific customs and traditions. They only are interested in cattle and do not care of the rest of the world outside of the bush. Mucubals are not allowed to mention people’s name in public, except their parent’s one, and children’s name in general. A married couple is not allowed to talk to each other in public, as long as the wife hasn’t had children. They only can speak to each other in private. Girls have their upper teeth sharpened and lower ones removed. In order to convince young girls to have their lower teeth removed, old men make them believe, that their teeth leave their mouth during the night, to go in a hole dug to relieve themselves and return in their mouth covered with excrement. The family structure and organization is also very specific. The father has the authority and is the head of the family, although the matrilineal descent is considered more important, as they inherit throught the mother's family. For example the son of the Soba -chieftain of the village-’s sister is the heir of the Soba. It is possible to be disowned by their father's family but not by their mother's because for them this link is sacred. The maternal uncle has to provide his nephew with an ox, called Remussungo. However a father provides his son with an ox, called Hupa. Mucubal can only get married with an outsider of the clan, although it cannot be with a member of another tribe like a Himba for example. Marriages of convenience are the rule most of the time. The fiancée is presented to her future husband during the Fico ceremony, when she is fourteen or less. This ceremony consists in a party with the two families during which presents are offered. The couple has to wait a few more years before consummating the marriage in the centre of the village. Mucubal men can have several wives and are also allowed to sell their wife, if they don’t get along with her or even if they want to earn money, as a woman can be worth 2 cows, which is about 2000 euros and represents a lot of money. For a first marriage a woman can even be worth 3 or 4 cows.
Their nomadic lifestyle based on cycles, between nomadism and stays in the same places (where they settle their villages), accounts for their religious customs and the funerary rites they follow. Mucubal people believe in a God called Huku, Klaunga, Ndyambi. They also worship their ancestors' spirits called Oyo Handi and Ovi huku, which are considered inferior to their supreme divinity. Divination is very important in their culture. They use talismans and amulets to protect their herds or prevent adultery. Nevertheless Mucubal are not afraid of death. Funerals can last several days or weeks. They decorate their graves with cattle horns. The number of cows sacrificed are in relation with the importance of the deceased. This shows the importance of cattle in their culture. Cattle is only killed on special occasions, as Mucubal usually don’t eat meat but rather corn (when they manage to grow some), eggs, milk and chicken.
They don’t eat any fish because according to the legend, one of their chieftains was brought to the sea by the portuguese and never came back. So they think that fish kills men.
Women use mupeque oil, a yellow dried fruit crushed and boiled from which they just drink juice but do no eat pulp. They also eat small red berries with a pepper taste that they boil. In order to show they are hungry Mucubal mimic the gesture we do when we brush our teeth. Mucubal especially women, are famous for the way they dress. The latter wear an original and unique headdress called the Ompota. It is made of a wicker framework, traditionally filled with a bunch of tied cow tails, decorated with buttons, shells, zippers and beads. But tradition is disappearing as some women use modern stuff to fill their ompota headdress. One was using a Barbie doll box! Women whether they are married or not can wear jewels. Ornaments like iron anklets, called Othivela, and armlets, called Othingo, are worn by girls as well as adult women. Mucubal women are also famous for the string they have around their breast, called oyonduthi, which is used as a bra. Women use to smoke tobacco (that they keep in a snuffbox called boceta) in pipes called opessi. There are several ways of saying hello. "Okamene" means good morning", "Tchou"is what a woman answers to a greeting and "Mba" is the word a man answers back to a woman saying him hello.
© Eric Lafforgue
“Relation is the essence of everything that exists.”—Meister Eckhart
“We are all beads strung on the same thread. Each one is different yet all are the same. Love is the essence of God in us all.”—lyrics to a song at MA Center, © MA Center
“You can’t be suspicious of a tree, or accuse a bird or a squirrel of subversion or challenge the ideology of a violet.”—Ron Larson
Canon 5D
Canon 50mm Compact Macro
Background is curved white copy paper
Strobist info:
- the number of flashes used: one Nikon SB-28 Speedlight
- where the flashes are placed in relation to the subject or camera: Camera right
- how the flashes were modified (umbrella, soft box, beauty dish, snoot, etc.): Homemade Grid
- how they were triggered: PocketWizards
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
—-
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
-----
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
Ok so here is the lovely Southern Elephant Seal (female) in relation to a couple of male New Zealand Fur Seals.
She's the first Elephant Seal I've seen and boy is she large in comparison to the fur seals.
FUR SEAL MALE: maximum length 2.5 m, weight 90-150 kg.
(At a guess the ones in this photo are about 2 m long).
ELEPHANT SEAL FEMALE: Average length 2-3 m, weight 900 kg
(Information from www.doc.govt.nz/)
And by the way on average Elephant Seal adult males are 4-5 m and weight 3,600 kg.
Sometimes up to 4,000 kg.
They are the largest seal in the world.
Larger even than a polar bear!
Elephant Seals are only occasional visitors along the NZ coastline. Mostly (with very few exceptions) they breed south of New Zealand.
"They range throughout the Southern Ocean around the Antarctic continent and on most sub-Antarctic islands. The New Zealand population is concentrated on the Antipodes Islands and on Campbell Island. In winter, they frequently visit the Auckland, Antipodes and Snares Islands, less often the Chatham Islands and occasionally various mainland locations, from Stewart Island to the Bay of Islands." ref: www.doc.govt.nz/conservation/native-animals/marine-mammal...
Interestingly for the last two years a male elephant seal has chosen this stretch of coast to moult.
No relation to silly movies. The last series was ice. Not long ago, the series was dark so lets jump back to black; I am fading to dark for this shot of the scene stepping back into the atmosphere, all the way through the greys. Including the foreground, I count seven steps to the sky. Holding those steps took some editing work while preserving some shadow detail. This was shot was balanced for the atmosphere in the distance. Well into spring, May was the season of green sprouting grasses and newly leaved trees but only added a kiss of detail late in the evening. What was a great day in May for snapping up the evening. Today, however,we finally got to March and we expect an early spring but then global warming is taking us way off the charts. Today, February hit more than 61 degrees. Thank you Koch brothers for your assistance in warming the globe. The Faux will scream foul but, in reality there were far more record highs than lows this winter here in Kochistan.
I was out shooting the images I could find. I made another loop of the path but the breeze was up a bit and was streaming the grasses to the east. I am out here at Golden Ponds, the Longmont, Boulder County greenbelt and rec area and fortunately, the turn off is only a half-dozen blocks down Hover Street. I wanted to look for possible locations even though the sky had been the pits lately. I wandered the green space and took any evening shots that were available, I shot a few more pictures.
"Feminin" är inget statiskt eller absolut begrepp, utan blir till i relation till "maskulin". Så tänker jag, och gräsänderna hjälper mig att visualisera det.
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
—-
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
TodaysArt 2015
Pier, Scheveningen
Vladimir Grafov – Wavefront Zero
Vladimir Grafov studied physics and mathematics in Moscow, and moved to the Netherlands in 1989, where he became actively involved in the Amsterdam art scene. Grafov combines his artistic approach with scientific research and technological expertise to create new forms of immersive experiences. His current focus is on expanding the boundaries of perception and transcending the audience into the altered reality of pure form, color and sound. Grafov carries out technological, psychological and philosophical research, to focus on the relation between art, science and spirituality. His aim is to develop new applications for existing and emerging technologies as well as developing new forms of audience involvement.
Grafov presents the newly commissioned piece ‘WAVEFRONT Zero’. It starts off with the sea coast being defined by a perfectly straight line of light being interrupted only by waves, as the wavefront is in constant turbulent motion. Grafov uses laser as an optical method to visualise the flow in fluid waves. By marking a zero level as if making an incision in the sea, the work reveals the dynamic forces of the wind and sea streams beneath the Pier. The green wavefront even appears like (artificially) glowing plankton.
Zoro Feigl – Kite Flock
Zoro Feigl lives and works in Amsterdam. He graduated from the Rietveld Academie, Amsterdam and the Hoger Instituut voor Schone Kunst, Gent. The installations of Zoro Feigl seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere. Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-celled creatures, primitive organisms, are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you. Zoro Feigl’s work has been shown internationally at various exhibitions, including the National Art Museum of China, Galeria de Arte do SESI Sao Paulo, Artplay Moscow, A+B Contemporary Italy, 0gms Sofia, Verbeke Foundation Belgium, Kulturhuset Stockholm, Self Surface Stuttgart, Black Door Istanbul and several institutes in the Netherlands such as Stedelijk Museum Schiedam, MU, DordtYart, Het Nieuwe Instituut, W139, Art et Amicitea and Fons Welters. He has curated several exhibitions, has been a part of De ServiceGarage and is a founding member of Kafana. The large scale installations by Zoro Feigl seem to be alive, bringing to mind single-cell creatures, primitive organisms. Feigl follows the laws of physics, but he tries to balance between what mechanics itself brings and what he can do with a minimal gesture to display the aesthetics of technical mechanisms. For TodaysArt, he will perform his ‘Kite flock’, a cloud of kites that swarm around one another like spermatoza or fireflies. Entangled to ropes in a branching structure the kites are constantly in a tug of war creating odd movements
A brief early history of Baraunton Marsh:
Braunton Marsh, which lies to the south of the Great Field and separated from it by a hedge, is an area of grazing land which was probably partially reclaimed in the medieval period from the tidal waters of the River Taw. In the early C19, a Mr Charles Vancouver visited Braunton whilst preparing a report for the Board of Agriculture and recommended the complete reclamation of the Marsh. The local landowners, including the Lords of the Manors of Braunton Gorges, Braunton Abbotts, Braunton Arundel and Saunton, commissioned James Green, the County Surveyor, to prepare a scheme. An Act of Parliament authorising enclosure was granted in 1811. A substantial embankment, known as the Great Sea Bank, was erected on the east side of the marsh, running for a distance or some three miles from Broad Sands in the south to Marstage Farm in the north. Constructed from stone boulders, the embankment has a footpath at the summit and is divided into five grazing sections by stone walls with access provided by stiles; three of the stiles are listed at Grade II. A series of clay-lined ditches, totalling some 16 miles in length, were constructed to drain the marsh and clear water flowing down from the high ground between Saunton and Lobb. The water levels are maintained by a series of sluices controlling drainage from the north and from the River Caen via a canal from Velator Bridge. The ditches collect and discharge via the Great Sluice (listed Grade II) positioned in the Great Sea Bank. Green also incorporated the main salt marsh creeks into his new drainage system, and the name 'pill', which specifically refers to a tidal creek, is still used for some of the drains. His boundary drain followed almost exactly the limit of the marsh. The work was carried out between 1811 and 1815 at an estimated cost of £20,000 and reclaimed some 382ha (945 acres) of marsh. Construction of around 30 linhays is believed to have started almost immediately after the initial enclosure was completed whilst strict rules for the management of the marsh, particularly in relation to water management, were laid down with Marsh Commissioners and Inspectors being appointed.
In the 1850s a second sea wall was constructed to reclaim the newly-accreted Horsey Island to the south. A new cut was also made from Braunton Pill and a further series of linhays were built. With the works being completed in 1857, it brought the total area of enclosed marsh to some 485ha (1200 acres).
2024 All images and use thereof are copyright of Daryl Hutchinson. Reproduction of them is forbidden without prior permission
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
—-
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
-------
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
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
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
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]
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#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
—-
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
-----
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
The Photograph
A 5" x 10" high-definition glossy photograph published by Rotary Photographic of London EC.
George Robey
Sir George Edward Wade, CBE, known professionally as George Robey, was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th. and early 20th. centuries.
As a comedian, he mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the dame roles.
He scored notable successes in musical revues during and after the Great War, particularly with the song "If You Were the Only Girl in the World", which he performed with Violet Loraine in the revue The Bing Boys Are Here (1916).
One of George's best-known original characters in his six-decade long career was the Prime Minister of Mirth.
Born in London, Robey came from a middle-class family. After schooling in England and Germany, and a series of office jobs, he made his debut on the London stage at the age of 21, as the straight man to a comic hypnotist.
Robey soon developed his own act, and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing "The Simple Pimple," and "He'll Get It Where He's Gone to Now".
In 1892, he appeared in his first pantomime, Whittington Up-to-Date in Brighton, which brought him to a wider audience. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he became a mainstay of the popular Christmas pantomime scene.
Robey's music hall act matured in the first decade of the 1900's, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912, and regularly entertained before aristocracy.
George was an avid sportsman, playing cricket and football at a semi-professional level. During the Great War, in addition to his performances in revues, he raised money for many war charities, and was appointed a CBE in 1919.
From 1918, he created sketches based on his Prime Minister of Mirth character, and used a costume he had designed in the 1890's as a basis for the character's attire.
George made a successful transition from music hall to variety shows, and starred in the revue Round in Fifty in 1922, which earned him still wider notice. With the exception of his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio.
In 1913 Robey made his film debut, but he had only modest success in the medium. He continued to perform in variety theatre in the inter-war years and, in 1932, starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's 1944 film, Henry V.
During the Second World War, Robey raised money for charities and promoted recruitment into the forces. By the 1950's, his health had deteriorated, and he entered into semi-retirement. George was knighted a few months before his death in 1954.
-- George Robey - The Early Years
Robey was born on the 20th. September 1869 at 334 Kennington Road, Kennington, London. He would later claim that he was born in the more affluent area of Herne Hill, although this was incorrect. His birthplace in Kennington is a three-storey house above a shop, which was then a hardware outlet. The shop is now home to a sushi restaurant called Sushi Essence.
In the 1860's, Kennington Road was a wealthy area mainly inhabited by successful tradesmen and businessmen. By the 1880's however, the area had fallen into a decline, and was considered by locals to be one of the most impoverished areas in London. The comedian Charlie Chaplin, who had a poor and deprived upbringing, was born in the same road 18 years after Robey.
George's father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade, née Keene, was a housewife; he also had two sisters.
George's paternal ancestors originated from Hampshire; his uncle, George Wade, married into the aristocracy in 1848, a link which provided a proud topic of conversation for future generations of the Wade family.
When Robey was five, his father moved the family to Birkenhead, where he helped in the construction of the Mersey Railway. Robey began his schooling in nearby Hoylake at a dame school. Three years later the family moved back to London, near the border between Camberwell and Peckham.
At around this time, trams were being introduced to the area, providing Charles Wade with a regular, well-paid job.
To fulfil an offer of work, Charles moved the family to Germany in 1880, and Robey attended a school in Dresden. He devoted his leisure hours to visiting the city's museums, art galleries and opera houses, and gained a reasonable fluency in German by the time he was 12.
He enjoyed life in Germany, and was impressed by the many operatic productions held in the city, and by the Germans' high regard for the arts.
When he was 14, his father allowed George to move in with a clergyman's family in the German countryside, which he used as a base while studying science at Leipzig University. In order to earn money, he taught English to his landlord's children, and minded them while their parents were at work.
Having successfully enrolled at the university, George studied art and music, and stayed with the family for a further 18 months so he could complete his studies before returning to England in 1885. He later claimed, apparently untruthfully, to have studied at the University of Cambridge.
There is no evidence that Robey enrolled at Cambridge or indeed any other English university, as fees in Victorian England were beyond the reach of someone like Charles Wade. Members of the theatrical community were nevertheless convinced of his attendance at Cambridge.
The theatre critic Max Beerbohm wrote that Robey was one of the few distinguished men to emerge from the campus, but the English writer Neville Cardus was more sceptical, wondering how someone from the University of Cambridge could end up in the music hall.
Robey's biographer, Peter Cotes, concludes that he likely played along with the assumptions that he was a Cambridge graduate in order to fit in with the higher circles of society.
At the age of 18, Robey travelled to Birmingham, where he worked in a civil engineer's office. It was here that he became interested in a career on the stage, and often dreamed of starring in his own circus.
He learned to play the mandolin, and became a skilled performer on the instrument. This drew interest from a group of local musicians and, together with a friend from the group who played the guitar, Robey travelled the local area in search of engagements.
Soon afterwards, they were hired to play at a charity concert at the local church in Edgbaston, a performance that led to more local bookings. For his next appearance, Robey performed an impromptu version of "Killaloo", a comic ditty taken from the burlesque Miss Esmeralda.
The positive response from the audience encouraged him to give up playing the mandolin to concentrate instead on singing comic songs.
-- George Robey's London Debut
By 1890 Robey had become homesick, and so he returned to South London, where he worked for a civil engineering company. He also joined a local branch of the Thirteen Club, which charged members a fee of half a crown a year. The club members, including both amateur and professional performers, were devoted to the idea of flouting superstition while staging concerts in public houses and small venues across London.
Hearing of George's talent, the founder of the club, W. H. Branch, invited Robey to appear at Anderton's Hotel in Fleet Street, where he performed the popular new comic song "Where Did You Get That Hat?".
Robey's performance secured him private engagements for which he was paid a guinea a night. By the early months of 1891, Robey was much in demand, and he decided to change his stage name. He swapped "Wade" for "Robey" after working for a company in Birmingham that bore the latter name.
It was at around this time that he met E. W. Rogers, an established music hall composer who wrote songs for Marie Lloyd and Jenny Hill. For Robey, Rogers wrote three songs: "My Hat's a Brown 'Un", "The Simple Pimple," and "It Suddenly Dawned Upon Me".
In 1891 Robey visited the Royal Aquarium in Westminster where he watched "Professor Kennedy", a burlesque mesmerist from America. After the performance, Robey visited Kennedy in his dressing room, and offered himself as the stooge for his next appearance.
They agreed that Robey, as his young apprentice, would be "mesmerised" into singing a comic song. At a later rehearsal, Robey negotiated a deal to sing one of the comic songs that had been written for him by Rogers.
Robey's turn was a great success, and as a result he secured a permanent theatrical residency at the venue. Later that year, he appeared as a solo act at the Oxford Music Hall, where he performed "The Simple Pimple" and "He'll Get It Where He's Gone to Now".
The theatrical press soon became aware of his act, and The Stage called him:
"A comedian with a pretty sense of
humour who delivers his songs with
considerable point and meets with
all success".
In early 1892 Robey starred alongside Jenny Hill, Bessie Bonehill and Harriet Vernon at the Paragon Theatre of Varieties in Mile End, where, according to his biographer Peter Cotes:
"He stole the notices from
experienced troupers".
That summer, Robey conducted a music hall tour of the English provinces which began in Chatham and took him to Liverpool, at a venue owned by the mother of the influential London impresario Oswald Stoll. Through this engagement Robey met Stoll, and the two became lifelong friends.
In early December, Robey appeared in five music halls a night, including Gatti's Under the Arches, the Tivoli Music Hall and the London Pavilion.
In mid-December, George travelled to Brighton, where he appeared in his first Christmas pantomime, Whittington Up-to-Date. Pantomime became a lucrative and regular source of employment for the comedian. Cotes calls Robey's festive performances:
"The cornerstone of his comic
art, and the source of some of
his greatest successes".
-- Music Hall Characterisations
During the 1890's Robey created music hall characters centred on everyday life. Among them were "The Chinese Laundryman" and "Clarence, the Last of the Dandies". As Clarence, Robey dressed in a top hat and frock coat, and carried a Malacca cane, the garb of a stereotypical Victorian gentleman.
For his drag pieces, the comedian established "The Lady Dresser", a female tailor who was desperate to out-dress her high class customers, and "Daisy Dillwater, the District Nurse" who arrived on stage with a bicycle to share light-hearted scandal and gossip with the audience before hurriedly cycling off.
With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons.
George also wore black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of dishevelled, dirty-looking hair that poked below a large, battered top-hat.
He applied thick white face paint, and exaggerated the redness on his cheeks and nose with bright red make-up; his eye line and eyebrows were also enhanced with thick, black greasepaint. He held a short, misshaped, wooden walking stick, which was curved at the top.
Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. He next made a start at building his repertoire, and bought the rights to comic songs and monologues by several well-established music hall writers, including Sax Rohmer and Bennett Scott.
For his routines, Robey developed a characteristic delivery described by Cotes as:
"A kind of machine-gun staccato
rattle through each polysyllabic line,
ending abruptly, and holding the
pause while he fixed his audience
with his basilisk stare."
-- Success in Pantomime and the Provinces
At the start of 1894, Robey travelled to Manchester to participate in the pantomime Jack and Jill, where he was paid £25 a week for a three-month contract. He did not appear in Jack and Jill until the third act, but pleased the holiday crowds nonetheless.
During one performance the scenery mechanism failed, which forced him to improvise for the first time. Robey fabricated a story that he had just dined with the Lord Mayor before detailing exactly what he had eaten. The routine was such a hit that it was incorporated into the show as part of the script.
In the final months of 1894, Robey returned to London to honour a contract for Augustus Harris at the Theatre Royal, Drury Lane, the details of which are unknown.
In September he starred in a series of stand-up comedy shows that he performed every September from 1894 until 1899. These short performances, in English seaside resorts including Scarborough and Bournemouth, were designed chiefly to enhance his name among provincial audiences.
For the 1895 and 1896 Christmas pantomimes, he appeared in Manchester and Birmingham respectively, in the title role of Dick Whittington, for which he received favourable reviews and praise from audiences.
However despite the pantomime's success, Robey and his co-stars disliked the experience. The actress Ada Reeve felt that the production had a bad back-stage atmosphere, and was thankful when the season ended, while the comedian Barry Lupino was dismayed at having his role, Muffins, considerably reduced.
On the 29th. April 1898, Robey married his first wife, the Australian-born musical theatre actress Ethel Hayden (shown in the photograph), at St. Clement Danes church in the Strand, London. Robey and Ethel resided briefly in Circus Road, St John's Wood, until the birth of their first child Edward in 1900.
They then moved to 83 Finchley Road in Swiss Cottage, Hampstead. Family life suited Robey; his son Edward recalled many happy experiences with his father, including the evenings when he would accompany him to the half-dozen music halls at which he would be appearing each night.
By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime had enjoyed wide popularity until the 1890's, but by the time Robey had reached his peak, interest in it was on the wane.
A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience.
In his 1972 biography of Robey, Neville Cardus thought that:
"George Robey was at his
fullest as a pantomime Dame".
In 1902 Robey created the character "The Prehistoric Man". He dressed as a caveman, and spoke of modern political issues, often complaining about the government "slapping another pound of rock on his taxes".
The character was received favourably by audiences, who found it easy to relate to his topical observations. That year he released "The Prehistoric Man" and "Not That I Wish to Say Anything" on shellac discs using the early acoustic recording process.
Robey signed a six-year contract in June 1904 to appear annually at, among other venues, the Oxford Music Hall in London, for a fee of £120 a week. The contract also required him to perform during the spring and autumn seasons between 1910 and 1912.
Robey disputed this part of the contract, and stated that he agreed to this only as a personal favour to the music hall manager George Adney Payne, and that it should have become void on Payne's death in 1907.
The management of the Oxford however counter-claimed, and forbade Robey from appearing in any other music hall during this period. The matter went to court, where the judge found in Robey's favour.
Robey was engaged to play the title role in the 1905 pantomime Queen of Hearts. The show was considered risqué by the theatrical press. In one scene Robey accidentally sat on his crown before bellowing:
"Assistance! Methinks I have
sat upon a hedgehog."
'Hedgehog' is a British slang term for an unattractive woman. It is also used to describe a seductively elusive and promiscuous male.
In another sketch, the comedian mused:
"Then there's Mrs Simkins, the swank!
Many's the squeeze she's had of my
blue bag on washing day."
Robey scored a further hit with the show the following year, in Birmingham, which Cotes describes as:
"The most famous of all famous
Birmingham Theatre Royal
pantomimes".
Robey incorporated "The Dresser", a music hall sketch taken from his own repertoire, into the show.
Over the next few years George continued to tour the music hall circuit both in London and the English provinces, and recorded two songs, "What Are You Looking at Me For?" and "The Mayor of Mudcumdyke", which were later released by the Gramophone and Typewriter Company.
-- George Robey's Involvement in Sport
Off-stage, Robey led an active lifestyle, and was a keen amateur sportsman. He was proud of his healthy physique, and maintained it by performing frequent exercise and following a careful diet.
By the time he was in his mid-thirties, George had played as an amateur against Millwall, Chelsea and Fulham football clubs. He organised and played in many charity football matches throughout England, which were described by the sporting press as being of a very high standard, and he remained an active football player well into his fifties.
Robey became associated with cricket by 1895 when he led a team of amateur players for a match at Turney Road in Dulwich. In September 1904, while appearing in Hull, he was asked by the cricketer Harry Wrathall to take part in a charity cricket match at the Yorkshire County Cricket Club.
Robey played so well that Wrathall asked him to return the following Saturday to take part in a professional game. That weekend, while waiting in the pavilion before the game, Robey was approached by an agent for Hull City A.F.C., who asked the comedian to play in a match that same afternoon. Robey agreed, swapped his cricket flannels for a football kit and played with the team against Nottingham Forest as an inside right.
By 1903 Robey was playing at a semi-professional level. He was signed as an inside forward by Millwall Football Club, and scored many goals for them. He also displayed a good level of ability in vigoro, an Australian sport derived from both cricket and baseball which was short-lived in England.
Two years later George became a member of the Marylebone Cricket Club, and played in minor games for them for many years. He gained a reputation at the club for his comic antics on the field, such as raising his eyebrows at the approaching bowler in an attempt to distract him.
The writer Neville Cardus was complimentary about Robey's cricket prowess, and called him "an elegant player" whose performances on the cricket field were as entertaining as they were on the stage. Although a versatile player, Robey thought of himself as a "medium-paced, right-handed bowler".
Robey was asked to help organise a charity football match in 1907 by friends of the Scottish football trainer James Miller, who had died the previous year. Robey compiled a team of amateur footballers from the theatrical profession, and met Miller's former team Chelsea Football Club at their home ground. The match raised considerable proceeds for Miller's widow. Robey was proud of the match and joked:
"I just wanted to make sure that
Chelsea stay in the first division."
-- George Robey the Violin Maker
In his spare time, Robey made violins, a hobby that he first took up during his years in Dresden. He became a skilled craftsman of the instrument, although he never intended for them to be played in public.
Speaking in the 1960's, the violinist and composer Yehudi Menuhin, who played one of Robey's violins for a public performance during that decade, called the comedian's finished instrument "very professional".
Yehudi was intrigued by the idea that a man as famous as Robey could produce such a "beautifully finished" instrument, unbeknown to the public.
Robey was also an artist, and some of his pen and ink self-caricatures are kept at the National Portrait Gallery, London.
-- High-Profile Audiences
Robey's first high-profile invitation came in the first decade of the 1900's from Hugh Lowther, 5th. Earl of Lonsdale, who hired him as entertainment for a party he was hosting at Carlton House Terrace in Westminster.
Soon afterwards, the comedian appeared for the first time before royalty when King Edward VII had Robey hired for several private functions. Robey performed a series of songs and monologues and introduced the "Mayor of Mudcumdyke", all of which was met with much praise and admiration from the royal watchers.
He was later hired by Edward's son, the Prince of Wales (the future King George V), who arranged a performance at Carlton House Terrace for his friend Lord Curzon.
In July 1912, at the invitation of the impresario Oswald Stoll, Robey took part for the first time in a Royal Command Performance, to which Cotes attributes:
"One of the prime factors in
his continuing popularity".
King George V and Queen Mary were "delighted" with Robey's comic sketch, in which he performed the "Mayor of Mudcumdyke" in public for the first time. Robey found the royal show to be a less daunting experience than the numerous private command performances that he gave during his career.
-- George Robey's Film Debut
Robey's first experience in cinema was in 1913, with two early sound film shorts: "And Very Nice Too," and "Good Queen Bess", made using the Kinoplasticon process, where the film was synchronised with phonograph records.
The following year, George tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour.
Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled "George Robey Turns Anarchist", in which he played a character who fails to blow up the Houses of Parliament.
George continued to appear sporadically in film throughout the rest of his career, although never achieving more than a modest amount of success.
-- George Robey in the Great War
At the outbreak of the Great War, Robey wanted to enlist in the army but, now in his 40's, he was too old for active service. Instead, he volunteered for the Special Constabulary, and raised money for charity through his performances as a comedian.
It was not uncommon for him to finish at the theatre at 1:00 am and then to patrol as a special constable until 6:00 am, where he would frequently help out during zeppelin raids.
George combined his civilian duties with work for a volunteer motor transport unit towards the end of the war, in which he served as a lieutenant. He committed three nights a week to the corps while organising performances during the day to benefit war charities.
Robey was a strong supporter of the Merchant Navy, and thought that they were often overlooked when it came to charitable donations. He raised £22,000 at a benefit held at the London Coliseum, which he donated in the navy's favour.
In 1914, for the first time in many years, Robey appeared in a Christmas pantomime as a male when he was engaged to play the title role in Sinbad the Sailor; Fred Emney Senior played the dame role.
Although the critics were surprised by the casting, it appealed to audiences, and the scenes featuring Robey and Emney together proved the most memorable.
During the war the demand for light entertainment in the English provinces guaranteed Robey frequent bookings and a regular income. His appearances in Manchester, Liverpool, Newcastle and Glasgow were as popular as his annual performances in Birmingham. His wife Ethel accompanied him on these tours, and frequently starred alongside him.
By the Great War, music hall entertainment had fallen out of favour with audiences. Theatrical historians blame the music hall's decline on the increasing salaries of performers and the halls' inability to present profitably the twenty or thirty acts that the audiences expected to see.
Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. Stoll offered Robey a lucrative contract in 1916 to appear in the new revue 'The Bing Boys Are Here' at the Alhambra Theatre, London.
Dividing his time between three or four music halls a night had become unappealing to the comedian, and he relished the opportunity to appear in a single theatre. He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma, and the couple duetted in the show's signature song "If You Were the Only Girl in the World", which became an international success.
This London engagement was a new experience for Robey, who had only been familiar with provincial pantomimes and week-long, one-man comedy shows. Aside from pantomime, he had never taken part in a long-running production, and he had never had to memorise lines precisely or keep to schedules enforced by strict directors and theatre managers.
The Bing Boys Are Here ran for 378 performances, and occupied the Alhambra for more than a year. The theatrical press praised Robey as:
"The first actor of the halls".
George made two films towards the end of the war: The Anti-frivolity League in 1916, and Doing His Bit the following year.
-- Zig-Zag to Joy Bells
Robey left the cast of The Bing Boys during its run, in January 1917, in order to star at the London Hippodrome in the lavishly staged revue Zig-Zag!.
Robey included a sketch based on his music hall character "The Prehistoric Man", with Daphne Pollard playing the role of "She of the Tireless Tongue". In another scene, he played a drunken gentleman who accidentally secures a box at the Savoy Theatre instead of an intended hotel room.
The audience appeared unresponsive to the character, so he changed it mid-performance to that of a naive Yorkshire man. The change provoked much amusement, and it became one of the most popular scenes of the show. Zig-Zag ran for 648 performances.
Stoll again secured Robey for the Alhambra in 1918 for a sequel, The Bing Boys on Broadway. The show, again co-starring Violet Loraine, matched the popularity of its predecessor, and beat the original show's run with a total of 562 performances.
Robey returned to the London Hippodrome in 1919 where he took a leading role in another hit revue, Joy Bells. Robey played the role of an old-fashioned father who is mystified over the changing traditions after the First World War.
He interpolated two music hall sketches: "No, No, No," which centred on turning innocent, everyday sayings into suggestive and provocative maxims, and "The Rest Cure," which told the story of a pre-op hospital patient who hears worrying stories of malpractice from his well-meaning friends who visit him.
Joy Bells ran for 723 performances.
In the Italian newspaper La Tribuna, the writer Emilio Cecchi commented:
"Robey, just by being Robey, makes us
laugh until we weep. We do not want to
see either Figaro or Othello; it is quite
enough for Robey to appear in travelling
costume and to turn his eyes in crab-like
fashion from one side of the auditorium
to another.
Robey's aspect in dealing with his audience
is paternal and, one might say, apostolic."
In the early months of 1919, Robey completed a book of memoirs, 'My Rest Cure', which was published later that year. During the run of Joy Bells he was awarded the Legion of Honour for raising £14,000 for the French Red Cross.
George declined a knighthood that same year because, according to Cotes, he was worried that the title would distance him from his working-class audiences; he was appointed a CBE by George V at Buckingham Palace instead.
On the morning of the penultimate Joy Bells performance, Robey was invited to Stoll's London office, where he was offered a role in a new revue at the Alhambra Theatre. On the journey, he met the theatre impresario Sir Alfred Butt, who agreed to pay him £100 more, but out of loyalty to Stoll, he declined the offer and resumed his £600 a week contract at the Alhambra.
-- George Robey in the Inter-War Years
On the 28th. July 1919, Robey took part in his second Royal Command Performance, at the London Coliseum. He and Violet Loraine sang "If You Were the Only Girl in the World".
A gap in the Alhambra's schedule allowed Stoll to showcase Robey in a new short film. "George Robey's Day Off" (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. The British director John Baxter concluded that producers did not know how best to apply Robey's stage talents to film.
By 1920 variety theatre had become popular in Britain, and Robey had completed the successful transition from music hall to variety star. Pantomime, which relied on its stars to make up much of the script through ad lib, was also beginning to fall out of favour, and his contemporaries were finding it too difficult to create fresh material for every performance; for Robey, however, the festive entertainment continued to be a lucrative source of employment.
Robey's first revue of the 1920's was Johnny Jones, which opened on the 1st. June 1920 at the Alhambra Theatre. The show also featured Ivy St. Helier, Lupino Lane and Eric Blore, and carried the advertisement "A Robey salad with musical dressing".
One of the show's more popular gags was a scene in which Robey picked and ate cherries off St. Helier's hat, before tossing the stones into the orchestra pit which were then met by loud bangs from the bass drum.
A sign of George's popularity came in August 1920 when he was depicted in scouting costume for a series of 12 Royal Mail stamps in aid of the Printers Pension Corporation War Orphans and the Prince of Wales Boy Scout Funds.
Neville Cardus, in The Darling of the Halls (1972), writes:
"I think Robey's Mother Goose was, as far
as I know, the greatest piece of acting of
what is called the 'Dame' that I have ever
seen.
But then again his Dame Trot in Jack and
the Beanstalk was great comic acting.
It was incredible. Really a piece of wonderful
acting in a few minutes – acting you would
put on the same plane as you would any
great actor of the time."
The revue Robey en Casserole (1921) was next for Robey, during which he led a troupe of dancers in a musical piece called the "Policemen Ballet". Each dancer was dressed in a mock police uniform on top and a tutu below.
However the show was the first failure for George under Stoll's management. That December Robey appeared in his only London pantomime, Jack and the Beanstalk, at the Hippodrome. His biographer, Peter Cotes, remembered the comedian's interpretation of Dame Trot as:
"Enormously funny: a bucolic caricature
of a woman, sturdy and fruity, leathery
and forbidding.
Robey's comic timing was in a class of
its own."
In March 1922 Robey remained at the Hippodrome in the revue Round in Fifty, a modernised version of Round the World in Eighty Days, which proved to be another hit for the London theatre, and a personal favourite of the comedian.
Stoll brought Robey to cinema audiences a further four times during 1923. The first two films were written with the intention of showcasing the comedian's pantomime talents: 'One Arabian Night' was a reworking of Aladdin, while 'Harlequinade' visited the roots of pantomime.
-- Marriage Breakdown and Foreign Tours
One of Robey's more notable roles under Stoll was Sancho Panza in the 1923 film Don Quixote, for which he received a fee of £700 a week. However the amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. He had a brief affair with one of his leading ladies, and walked out of the family home.
Robey made a return to the London Hippodrome in 1924 in the revue Leap Year. Leap Year was set in South Africa, Australia and Canada, and was written to appeal to the tourists who were visiting London from the Commonwealth countries.
Robey was much to their tastes, and his rendition of "My Old Dutch" helped the show achieve another long run of 421 performances.
Sky High was next, and opened at the London Palladium in March 1925. The chorus dancer Marie Blanche was his co-star, a partnership that caused the gossip columnists to comment on the performers' alleged romance two years previously. Despite the rumours, Blanche continued as his leading lady for the next four years, and Sky High lasted for 309 performances on the West End stage.
The year 1926 was lacking in variety entertainment, a fact largely attributed to the UK general strike that had occurred in May of that year. The strike was unexpected by Robey, who had signed the previous year to star in a series of variety dates for Moss Empires.
The contract was lucrative, made more so by the comedian's willingness to manage his own bookings. He took the show to the provinces under the title of Bits and Pieces, and employed a company of 25 artists as well as engineers and support staff.
Despite the economic hardships of Great Britain in 1926, large numbers of people turned out to see the show. George returned to Birmingham, a city where he was held in great affection, and where he was sure the audiences would embrace his new show.
However, censors demanded that he omit the provocative song "I Stopped, I Looked, I Listened" and that he heavily edit the sketch "The Cheat". The restrictions failed to dampen the audiences' enthusiasm, and Bits and Pieces enjoyed rave reviews. It ran until Christmas and earned a six-month extension.
In the spring of 1927 Robey took the opportunity to tour abroad, when he and his company took Bits and Pieces to South Africa, where it was received favourably. By the time he had left Cape Town, he had played to over 60,000 people, and had travelled in excess of 15,000 miles.
Upon his return to England in October, George took Bits and Pieces to Bradford. In August 1928, Robey and his company travelled to Canada, where they played to packed audiences for three months.
It was there that he produced a new revue, Between Ourselves, in Vancouver, which was staged especially for the country's armed forces. The Canadians were enthusiastic about Robey; he was awarded the freedom of the city in London, Ontario, made a chieftain of the Sarcee tribe, and was an honorary guest at a cricket match in Edmonton, Alberta. George described the tour as "one of unbroken happiness."
In the late 1920's Robey also wrote and starred in two Phonofilm sound-on-film productions, Safety First (1928), and Mrs. Mephistopheles (1929).
In early 1929 Robey returned to South Africa and then Canada for another tour with Bits and Pieces, after which he started another series of variety dates back in England. Among the towns he visited was Woolwich, where he performed to packed audiences over the course of a week.
In 1932 Robey appeared in his first sound film, The Temperance Fête, and followed this with Marry Me, which was, according to his biographer A. E. Wilson, one of the most successful musical films of the comedian's career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper.
By the later months of 1932, Robey had formed a romantic relationship with Blanche Littler (1897–1981), who then took over as his manager. The couple grew close during the filming of Don Quixote, a remake of the comedian's 1923 success as Sancho Panza.
Unlike its predecessor, Don Quixote had an ambitious script, big budget and an authentic foreign setting. Robey resented having to grow a beard for the role, and disliked the French climate and gruelling 12-week filming schedule. He refused to act out his character's death scene in a farcical way, and also objected to the lateness of the "dreadfully banal" scripts, which were often written the night before filming.
-- Venture Into Legitimate Theatre
Until 1932 Robey had never played in legitimate theatre, although he had read Shakespeare from an early age. That year he took the part of King Menelaus in Helen!, which was an English-language adaptation by A. P. Herbert of Offenbach's operetta La belle Hélène.
The show's producer C. B. Cochran, a longstanding admirer of Robey, engaged a prestigious cast for the production, including Evelyn Laye and W. H. Berry, with choreography by Léonide Massine and sets by Oliver Messel.
The operetta opened on the 30th. January 1932, becoming the Adelphi Theatre's most successful show of the year. The critic Harold Conway wrote that, while Robey had reached the pinnacle of his career as a variety star, which only required him to rely on his "breezy, cheeky personality", he had reservations about the comedian's ability to "integrate himself with the other stars ... to learn many pages of dialogue, and to remember countless cues."
After the run of Helen!, Robey briefly resumed his commitments to the variety stage before signing a contract to appear at the Savoy Theatre as Bold Ben Blister in the operetta Jolly Roger, which premiered in March 1933.
The production had a run of bad luck, including an actors' strike which was caused by Robey's refusal to join the actors' union Equity. The dispute was settled when he was included as a co-producer of the show, thus excluding him as a full-time actor. Robey made a substantial donation to the union, and the production went ahead.
Despite its troubles, the show was a success, and received much praise from the press. Harold Conway of the Daily Mail called the piece:
"One of the outstanding triumphs
of personality witnessed in a
London theatre".
Later that year, Robey completed his final autobiography, 'Looking Back on Life'. The literary critic Graham Sutton admired Robey for his honest and frank account, and thought that he was "at his best when most personal".
-- George Robey's Shakespearean Roles
According to Wilson, Robey revered Shakespeare and had an "excellent reading knowledge of the Bard" even though the comedian had never seen a Shakespeare play. As a child, he had committed to memory the "ghost" scene in Hamlet.
Writing in 1933, Cochran expressed the opinion that Robey had been a victim of a largely conservative and "snobbish" attitude from theatre managers, that the comedian was "cut out for Shakespeare", and that if he had been frequently engaged in playing the Bard's works, then "Shakespeare would probably have been popular."
In 1934, the theatre director Sydney Carroll offered Robey the chance to appear as Nick Bottom in A Midsummer Night's Dream at the Open Air Theatre, Regent's Park, but he initially declined the offer, citing a hectic schedule, including a conflict with his appearance in that year's Royal Variety Performance on the 8th. May.
George was also concerned that he would not be taken seriously by legitimate theatre critics, and knew that he would not be able to include a comic sketch or to engage in his customary resourceful gagging.
In the same year, Robey starred in a film version of the hit musical Chu Chin Chow. The New York Times called him "a lovable and laughable Ali Baba".
At the start of 1935 Robey accepted his first Shakespearean role, as Falstaff in Henry IV, Part 1, which surprised the press and worried fans who thought that he might retire the Prime Minister of Mirth.
The theatrical press were sceptical of a music hall performer taking on such a distinguished role; Carroll, the play's producer, vehemently defended his casting choice. Carroll later admitted taking a gamble on employing Robey, but wrote that:
"George Robey has unlimited courage
in challenging criticism and risking his
reputation on a venture of this kind; he
takes both his past and his future in both
hands, and is faced with the alternative
of dashing them into the depths or lifting
them to a height hitherto undreamt of."
Carroll further opined that:
"Robey has never failed in anything he
has undertaken. He is one of the most
intelligent and capable of actors."
Henry IV, Part I opened on the 28th. February at Her Majesty's Theatre, and Robey proved himself to be a capable Shakespearean actor, though his Shakespearean debut was marred initially by an inability to remember his lines.
A journalist from The Daily Express thought that Robey seemed uncomfortable, displayed a halting delivery and was "far from word perfect".
Writing in The Observer, the critic Ivor Brown said of Robey's portrayal:
"In no performance within my memory
has the actor been more obviously the
afflicted servant of his lines and more
obviously the omnipotent master of the
situation".
Another journalist, writing in the Daily Mirror, thought that:
"Robey gave 25 percent of
Shakespeare and 75 percent
of himself".
In any event, such was Robey's popularity in the role that the German theatre and film producer Max Reinhardt declared that, should the opportunity arise for a film version, the comedian would be his perfect choice as Falstaff.
Cotes described Robey as having:
"A great vitality and immense command
of the role. He never faltered, he had to
take his audience by the throat and make
them attentive at once because he couldn't
play himself in."
Although George was eager to be taken seriously as a legitimate actor, Robey provided a subtle nod in the direction of his comic career by using the wooden cane intended for the Prime Minister of Mirth for the majority of his scenes as Falstaff.
The poet John Betjeman responded to the critics' early scepticism:
"Variety artistes are a separate world
from the legitimate stage. They are
separate too, from ballet, opera, and
musical comedy.
It is possible for variety artists to
appear in all of these. Indeed, no one
who saw will ever forget the superb
pathos and humour of George Robey's
Falstaff".
Later, in 1935, Blanche Littler persuaded Robey to accept Carroll's earlier offer to play Bottom, and the comedian cancelled three weeks' worth of dates. The press were complimentary of his performance, and he later attributed his success to Littler and her encouragement.
-- George Robey's Later Career: 1936–1950
Robey was interviewed for The Spice of Life programme for the BBC in 1936. He spoke about his time spent on the music hall circuit, which he described as the "most enjoyable experience" of his life.
The usually reserved Robey admitted that privately he was not a sociable person, and that he often grew tired of his audiences while performing on stage, but that he got his biggest thrill from making others laugh.
He also declared a love for the outdoors, and mentioned that, to relax, he would draw "comic scribbles" of himself as the Prime Minister of Mirth, which he would occasionally give to fans. As a result of the interview he received more than a thousand fan letters from listeners.
Wilson thought that Robey's "perfect diction and intimate manner made him an ideal broadcast speaker". The press commented favourably on his performance, with one reporter from Variety Life writing:
"I doubt whether any speaker other than
a stage idol could have used, as Robey
did, the first person singular almost
incessantly for half an hour without
causing something akin to resentment. ...
The comedian's talk was brilliantly
conceived and written."
In the later months of 1936, Robey repeated his radio success with a thirty-minute programme entitled "Music-Hall", recorded for American audiences, to honour the tenth birthday of the National Broadcasting Corporation. In it, he presented a montage of his characterisations, as well as impressions of other famous acts of the day.
A second programme, which he recorded the following year, featured George speaking fondly of cricket and of the many well-known players whom he had met on his frequent visits to the Oval and Lord's cricket grounds over his fifty-year association.
In the summer of 1938 Robey appeared in the film A Girl Must Live, directed by Carol Reed, in which he played the role of Horace Blount. A report in the Kinematograph Weekly commented that:
"The 69-year-old comedian
is still able to stand up to the
screen by day, and variety
by night."
A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was "a perfect study in bewildered embarrassment".
Robey made his television debut in August 1938, but was unenthused with the medium, and only made rare appearances. The BBC producer Grace Wyndham Goldie was dismayed at how little of his "comic quality" was conveyed on the small screen.
Goldie thought that Robey's comic abilities were not limited to his voice, and depended largely on the relation between his facial expressions and his witty words. She felt that:
"He should be forbidden, by his own
angel, if nobody else, to approach
the ordinary microphone".
Nonetheless, Goldie remained optimistic about Robey's future television career. The journalist L. Marsland Gander disagreed, and thought that Robey's methods were "really too slow for television".
That November, and with his divorce from Ethel finalised, Robey married Blanche Littler, who was more than two decades his junior, at Marylebone Town Hall.
At Christmas, he fractured three ribs and bruised his spine when he accidentally fell into the orchestra pit while appearing in the 1938–39 pantomime Robinson Crusoe in Birmingham. George attributed the fall to his face mask, which gave him a limited view of the stage.
The critic Harold Conway was less forgiving, blaming the accident on the comedian's "lost self-confidence" and opining that the accident was the start of Robey's professional decline.
-- George Robey in the Second World War
Aware of demand for his act in Australia, Robey conducted a second tour of the country at the start of 1939. While he was appearing at the Tivoli Theatre in Sydney, war broke out with Germany.
Robey returned to England and concentrated his efforts on entertaining in order to raise money for the war effort. He signed up with the Entertainments National Service Association (ENSA) for whom he appeared in a wide range of shows, and also in his own one-man engagements.
He would sometimes turn up unannounced to perform at hospitals, munition factories, airfields, anti-aircraft posts and other venues where there was an audience of just a few people.
During the 1940's, Robey appeared predominantly in troop concerts as himself, but caused controversy by jokingly supporting the Nazis and belittling black people during his act. His intentions were to gently poke fun at the "Little Englanders", but audiences thought that he was sympathising with Nazism.
George's jocular view that a defeat for Hitler would mean a victory for bolshevism was highlighted in a series of controversial interviews, which caused him much embarrassment when challenged and which he regretted afterwards. His views became known in the press as "Robeyisms", and they drew increasing criticism, but his Prime Minister of Mirth remained popular, and he used the character to divert the negative publicity.
Cotes wrote that:
"Robey was not a politician, merely a
jingoist, who lived long enough to feel
that his little-Englander outlook was
causing him acute embarrassment, and
his army of admirers deep dismay."
Robey starred in the film Salute John Citizen in 1942, about the effects that the war had on a normal British family. In a 1944 review of the film, Robey was described as being "convincing in an important role" but the film itself had "dull moments in the simple tale".
That Christmas, Robey travelled to Bristol, where he starred in the pantomime Robinson Crusoe. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. Cine-variety introduced Robey to the Astoria in Finsbury Park, London, a venue which was used to huge audiences and big-name acts and was described as "a super-cinema".
During the early months of 1944, Robey returned to the role of Falstaff when he appeared in the film version of Henry V, produced by Eagle-Lion Films. The American film critic Bosley Crowther had mixed opinions of the film. Writing in The New York Times in 1946, he thought that:
"It showcased a fine group of British film
craftsmen and actors who contributed to
a stunningly brilliant and intriguing screen
spectacle. Despite this, the film's additional
screenplay was poor, and Falstaff's deathbed
scene was non-essential and just a bit
grotesque."
Late in 1944, George appeared in Burnley in a show entitled Vive Paree alongside Janice Hart and Frank O'Brian. In 1945, Robey starred in two minor film roles, as "Old Sam" in The Trojan Brothers, a short comedy film in which two actors experience various problems as a pantomime horse, and as "Vogel" in the musical romance Waltz Time.
-- George Robey's Final Years
George spent 1947 touring England, while the following spring he undertook a provincial tour of Frederick Bowyer's fairy play The Windmill Man, which he also co-produced with his wife.
In June 1951, now aged 81, Robey starred in a midnight gala performance at the London Palladium in aid of the family of Sid Field who had died that year. For the finale, Robey performed "I Stopped, I Looked, I Listened" and "If You Were the Only Girl in the World". The rest of the three-hour performance featured celebrities from radio, television and film.
The American comedian Danny Kaye, who was also engaged for the performance, called Robey:
"A great, great artist".
The same month, Robey returned to Birmingham, where he opened a garden party at St. Mary and St. Ambrose Church, a venue in which he had appeared at the beginning of his career. On the 25th. September George appeared for the BBC in an edition of the radio series Desert Island Discs for which he chose among others "Mondo ladro", Falstaff's rueful complaint about the wicked world in Verdi's opera Falstaff.
For the rest of the year Robey made personal appearances opening fêtes and attending charity events.
Robey took part in the Festival of Variety for the BBC in 1951, which paid tribute to the British music hall. For his performance, he adopted an ad-lib style rather than use a script. His wife sat at the side of the stage, ready to provide support should he need it. Robey's turn earned the loudest applause of the evening.
The following month Robey undertook a long provincial tour in the variety show Do You Remember? under the management of Bernard Delfont. After an evening's performance in Sheffield, he was asked by a local newspaper reporter if he considered retiring. The comedian quipped:
"Me retire? Good gracious, I'm too
old for that. I could not think of
starting a new career at my age!"
In December 1951, he opened the Lansbury Lodge home for retired cricketers in Poplar, East London; he considered the ceremony to be one of the "happiest memories of his life."
By early 1952, Robey was becoming noticeably frail, and he lost interest in many of his sporting pastimes. Instead, he stayed at home and drew comic sketches featuring the Prime Minister of Mirth.
In May he filmed The Pickwick Papers, in which he played the role of old Tony Weller, a part which he had initially turned down on health grounds. The following year, and in aid of the games fund, he starred as Clown in a short pantomime at the Olympic Variety Show at the Victoria Palace Theatre.
Organisers asked for him to appear in the Prime Minister of Mirth costume instead of the usual clown garb, a request the comedian was happy to fulfil.
-- Sir George Robey's Knighthood and Death
In the early months of 1954, a knighthood was conferred on Robey by Queen Elizabeth The Queen Mother at Buckingham Palace. However during the following weeks, George's health declined; he became confined to a wheelchair, and spent the majority of his time at home under the care of his wife.
In May he opened a British Red Cross fête in Seaford, East Sussex, and, a month later, made his last public appearance, on television as a panellist in the English version of The Name's the Same.
Wilson called Robey's performance "pathetic" and thought that:
"He appeared with only
a hint of his old self".
By June George had become housebound, and quietly celebrated his 85th. birthday surrounded by family; visiting friends were organised into appointments by his wife Blanche, but theatrical colleagues were barred in case they caused the comedian too much excitement.
Robey suffered a stroke on the 20th. November 1954, and remained in a semi-coma for just over a week. He died at the age of 85 on the 29th. November 1954 at his home in Saltdean, East Sussex, and was cremated at the Downs Crematorium in Brighton.
Blanche continued to live on the Sussex coast until her death at the age of 83 in 1981.
-- Sir George Robey's Legacy
Following his death, Robey's costume for the Prime Minister of Mirth was donated to the London Museum.
In his lifetime, Robey helped to earn more than £2,000,000 for charitable causes, with £500,000 of that figure being raised during the Great War.
In recognition of his efforts, the Merchant Seaman's Convalescent Home in Limpsfield, Surrey, named a ward after him, and the Royal Sussex Hospital later bought a new dialysis machine in his memory.
-- Tributes to George Robey
News of Robey's death prompted tributes from the press, who printed illustrations, anecdotes and reminders of his stage performances and charitable activities. A reporter from the Daily Worked wrote:
"Knighthood notwithstanding, George
Robey long ago made himself a place
as an entertainer and artist of the people."
A critic for the Daily Mail wrote:
"Personality has become a wildly
misused word since his heyday, but
George Robey breathed it in every
pore."
In Robey's obituary in The Spectator, Compton Mackenzie called the comedian:
"One of the last great figures of
the late Victorian and Edwardian
music-hall."
In December 1954, a memorial service for Robey was held at St. Paul's Cathedral. The diverse congregation consisted of royalty, actors, hospital workers, stage personnel, students and taxi drivers, among others.
The Bishop of Stepney, Joost de Blank, said:
"We have lost a great English music
hall artist, one of the greatest this
country has known in the late
nineteenth and twentieth centuries."
Performers gave readings at the service, including the comedian Leslie Henson, who called Robey:
"That great obstinate
bullock of variety".
Robey's comic delivery influenced other comedians, but opinions of his effectiveness as a comic vary. The radio personality Robb Wilton acknowledged learning a lot from him, and although he felt that:
"Robey was not very funny, but
he could time a comic situation
perfectly."
Similarly, the comedian Charlie Chester admitted that:
"As a comedian, Robey still didn't
make me laugh, although he was
a legend whose Prime Minister of
Mirth character used a beautiful
make-up design."
Robey's biographer Peter Cotes disagreed with these assessments, praising the comedian's "droll-like humour," and comparing it in greatness to Chaplin's miming and Grock's clowning. Cotes wrote:
"His Mayor, Professor of Music, Saracen,
Dame Trot, Queen of Hearts, District Nurse,
Pro's Landlady, and of course his immortal
Prime Minister, were all absurdities: rich,
outsize in prim and pride, gloriously
disapproving bureaucratic petty officialdom
at its worst, best and funniest."
Violet Loraine called her former co-star:
"One of the greatest comedians
the world has ever known".
The theatrical producer Basil Dean opined that:
"George was a great artist, one of
the last and really big figures of
his era. They don't breed them like
that now."
The actor John Gielgud, who remembered meeting Robey at the Alhambra Theatre in 1953, called the comedian:
"Charming, gracious, and one of the
few really great ones of the music
hall era."
View of the Swiss-German border area from the edge of the Aeussere Baselstraße (in English: "Outer Basel Street") in the municipality of Riehen, Canton of Basel-City, Switzerland
Some background information:
Riehen is a municipality in the Canton of Basel-City in Switzerland. Together with the city of Basel and Bettingen, Riehen is one of three municipalities in the canton. Riehen hosts the Fondation Beyeler (a privately owned art gallery) as well as a toy museum and several parks. The municipality is located on the right bank of the Rhine on the Swiss-German border between Wiese and the Chrischona Hill. A salient around 2 km in length protrudes from the northeast, over the Herrenwald forest.
Riehen has a population of roughly 21,800. The municipality is commonly considered one of the more affluent suburbs of Basel, as evidenced by numerous villas in Riehen’s municipal area. The Basel tram network runs through Riehen. Both the mathematician Leonhard Euler and the tennis player Roger Federer spent their childhood in Riehen.
Basel (resp. Basle) is a city in northwestern Switzerland on the river Rhine in the immediate vicinity of the French and German borders. With about 180,000 inhabitants Basel is Switzerland's third-most-populous city (after Zurich and Geneva).The official language of Basel is (the Swiss variety of Standard) German.
Basel is commonly considered to be the cultural capital of Switzerland. The city is famous for its many museums, ranging from the Kunstmuseum, the first collection of art accessible to the public in the world (since 1661) and the largest museum of art in Switzerland, to the Museum of Contemporary Art, the first public museum of this type in Europe. Forty museums are spread throughout the city-canton, making Basel one of the largest cultural centres in Europe in relation to its size and population.
The University of Basel, Switzerland's oldest university (founded in 1460), and the city's centuries-long commitment to humanism, have made Basel a safe haven at times of political unrest in other parts of Europe for such notable people as Erasmus of Rotterdam, the Holbein family, Friedrich Nietzsche, and in the 20th century also Hermann Hesse and Karl Jaspers.
In the 1st century, the Romans founded a settlement on the site of today’s Basel Minster, which they extended into a castrum (a fortified camp) in the 3rd century. At that time the area was incorporated in the Roman province of Germania Superior. In the 4th century, the settlement was first named Basilia, from which Basel derives its later name.
After being repelled from crossing the Rhine several times, the Germanic tribe of the Alemanni succeeded in 406. They conquered what is today Alsace in France and a large part of the Swiss Plateau and founded the Duchy of Alemannia. However, in the 6th century, this duchy fell under Frankish rule.
In the 6th and 7th centuries, the Alemannic and Frankish settlement of Basel gradually grew around the old Roman castle and already in the 7th century, Basel began minting its own coins. At that time, Basel was still part of the Archdiocese of Besançon. But in the 8th century, a separate bishopric of Basel was established and at the beginning of the 9th century, a first cathedral was built on the site of the Roman castle.
At the partition of the Carolingian Empire, Basel was first given to West Francia, but with the treaty of Meerssen passed to East Francia in 870. In 917, the town was destroyed by the Magyars. After it had been rebuilt, it became part of Upper Burgundy, and as such was incorporated into the Holy Roman Empire of the German Nation in 1032.
From 999 until the Reformation, Basel was ruled by Prince-Bishops. In 1019, the construction of Basel’s cathedral began and around 1100 the first city walls were built. In the 12th century, a city council of nobles and burghers was established and in 1225, the first bridge across the River Rhine was built. The bridge was largely funded by Basel's Jewish community who had settled there a century earlier. Basel’s first city guild were the furriers, established in 1226, but in the course of the 13th century, altogether 15 guilds were founded, reflecting the increasing economic prosperity of the city.
Political conflicts between the bishops and the burghers begin in the mid-13th century and continue throughout the 14th century. By the late 14th century, the city was for all practical purposes independent although it continued to nominally pledge fealty to the bishops. The House of Habsburg made an unsuccessful attempt to gain control over the city. However, it caused a political split among the burghers of Basel into a pro-Habsburg faction, known as the Sterner, and an anti-Habsburg faction, known as the Psitticher.
In 1348, the Black Death reached Basel. The Jews were blamed and hence, in 1349, an estimated 50 to 70 Jews were executed by burning. This sad event has become known as the Basel massacre. In 1356, an earthquake destroyed much of the city along with a number of castles in the vicinity.
A riot on 26th February 1376, known as Boese Fasnacht (in English: "Evil Carnival"), led to the killing of a number of men of Leopold III, Duke of Austria. This was seen as a serious breach of the peace. The city council blamed "foreign ruffians" for this and executed twelve alleged perpetrators. Leopold nevertheless had the city placed under imperial ban. In a treaty Basel was given a heavy fine and was brought under Habsburg control.
To free itself from Habsburg hegemony, Basel joined the Swabian League of Cities in 1385. In 1393, in the Battle of Sempach, many knights of the pro-Habsburg faction, along with duke Leopold himself, were killed. Following the battle, a formal treaty with Habsburg was made. Beginning around 1400, Basel had gained its de facto independence from both the bishop and the Habsburgs and hence, was free to pursue its own policy of territorial expansion. During the council of Basel, which took place between 1431 and 1449, the city became the focal point of western Christianity.
In the Swabian War of 1499, Basel remained neutral despite being plundered by soldiers of both sides. The Treaty of Basel ended the war and granted the Swiss confederates exemptions from the emperor Maximillian's taxes and jurisdictions, separating Switzerland de facto from the Holy Roman Empire of the German Nation. In 1501, Basel joined the Swiss Confederation as its eleventh canton. The city was a great win for the Confederation, as it had a strategic location, good relations with Strasbourg and Mulhouse, and control of the corn imports from the Alsace region.
In 1529, the city became Protestant and the bishop's seat was moved to Porrentruy. The bishop's crook was however retained as the city's coat of arms. In 1536, the first edition of Christianae religionis institutio, John Calvin's great exposition of the Calvinist doctrine, was published at Basel.
In 1792, the Republic of Rauracia, a revolutionary French client republic, was created. It lasted until 1793. After three years of political agitation and a short civil war in 1833, the disadvantaged countryside seceded from the Canton of Basel, forming the half canton of Basel-Landschaft (in English: "Basel-Country").
Today, the name of the city is internationally known through institutions like Basel Accords, the art fair Art Basel and the football club FC Basel. The Swiss chemical industry operates largely from Basel, and Basel also has a large pharmaceutical industry. International companies like Novartis, Syngenta, Ciba Specialty Chemicals, Clariant, Hoffmann-La Roche, Basilea Pharmaceutica and Actelion are headquartered there. Finally, it should also be mentioned that in 2019, the American human resources consulting firm Mercer ranked Basel among the ten most liveable cities in the world together with the two other Swiss cities of Zurich and Geneva.
During its sojourn at Bressingham, July 15th 1978
"The engine was completed at Crewe in May 1951 at a cost of £20,115 and entered service at Norwich Thorpe depot.
Whilst based at Norwich 70013 was a regular performer on the Broadsman, Norfolkman and East Anglian, the latter being a business train augmented in 1937 which was given a new timetable for the summer of 1951, although the journey times were only trimmed by five minutes. 70013 Oliver Cromwell was not without its problems in running, but this was no more than the average Britannia which were worked hard and gave good service and availability on the Great Eastern express passenger services.
During 1957, it was found that the drive wheels of 70013 had moved in relation to each other; this was caused by the square locking keys, which held the drive wheels in the correct position, being moved and pushed out (ie forced out) resulting in major work being undertaken at Doncaster Works. Towards the latter part of 1960, a substantial crack was noted within the mainframe and this, of course, required immediate remedial treatment, again by Doncaster Works. Only a relative short time later a problem occurred within one of the cylinders; on close inspection it was found that the inner lining had shifted and blocked off the oil supply causing a compression ring failure and consequent lack of power, however this defect occurred four times before actual replacement of the offending cylinder was actioned by Doncaster Works, a delay doubtless caused by austerity measures.
From 1958, diesel-electric locomotives began to replace steam locomotives and by 1961, the influx of new diesel locomotives had taken over many express duties in East Anglia which led to the Britannia class engines working many different trains away from their normal trips to Norwich. Consequently the class was reallocated away from Norwich Thorpe depot to March shed.
This locomotive hauled the last BR steam passenger train over Shap on 26th December 1967. The train carried returning Carlisle football supporters back from a match at Blackpool.
70013 was selected by British Railways to haul a number of special trains throughout 1968. In fact, it was in charge of 16 such trains before it was finally withdrawn from service.
Because of this it had been the last main line engine to receive a repair at Crewe, emerging from the Works on the 2nd February 1967 after a prolonged an expensive overhaul (The overhaul which started in November 1966 was deliberately slowed down to ensure that it was the last locomotive to leave Crewe Works). WD Austerity 2-8-0 90281 did return to Crewe Works on 23rd February to have a faulty regulator valve repaired but 70013 has returned twice to Crewe since being overhauled there. It is interesting to note that of the last fifteen locomotives outshopped from Crewe Works seven were 2-8-0 Austerities, four 4-6-0 Black Fives, two 4-6-2 Britanias (the other was 70014 Iron Duke) and two 2-10-0 standard locomotives. Of the fifteen only two have been preserved – 70013 and Standard 2-10-0 92203.
70013 returned to the works in June 1968 for a paint touch up. The second time it returned was in July 1968 to have its front buffer beam straightened after a rough shunt.
Following 70013’s overhaul at Crewe the locomotive was based at Crewe South depot for a week whilst it was run in on parcel train duties between Crewe and its home base of Carlisle. It then returned to its Carlisle Kingsmoor shed from where, following the withdrawal of the last of its class stablemates, it moved to Carnforth in January 1968.
Following this a grand total of 16 Railtours were organised including the infamous ’15 Guinea Special’ on the 11th August 1968, which involved Britannia 70013 ‘Oliver Cromwell’ hauling the train from Manchester to Carlisle, with other legs of the special’s itinerary shared by three ‘Black Fives’, 45110, 44871 and 44781.
It was withdrawn from service in August 1968 after hauling the Manchester to Carlisle leg of the Fifteen Guinea Special on 11th August. On the 12th August the engine moved under its own power from Carnforth to Norwich and then on to Diss the following day. After this it moved by road to the Bressingham Steam Museum.
Oliver Cromwell had been selected for preservation by the National Railway Museum as part of the National Collection but because of limited storage space an offer from Alan Bloom to house the locomotive at his Bressingham Steam Museum was accepted.
At Bressingham Steam Museum at Diss it provided footplate rides until the 1980s when it became a static exhibit. Following a very long dispute (about ten years) between Bressingham and the National Railway Museum the long term agreement to loan the engine to Bressingham was terminated and the locomotive left on 21st May 2004, travelling by road to York. It had spent nearly 36 years at Bressingham, compared with a main line working life of 17 years.
70013 was a star turn as a static exhibit at the very successful Railfest held at York before it was moved by road to Loughborough later that summer in line with the agreement concluded with the National Railway Museum that the locomotive should be restored to main line running standard by 2008 for the 40th anniversary of the end of steam.
The locomotive was overhauled at the Great Central Railway (GCR) to mainline standards which included the fitting of the train protection warning system, overhaul of 70013’s automatic warning system and the fitment of OTMR.
In early May 2008 it hauled its first revenue-earning passenger services since being restored on the GCR’s eight-mile route. The locomotive made an appearance at the National Railway Museum’s 1968 and All That event celebrating 40 years since the end of steam.
Its first mainline passenger charter since 1968 was on 10 August 2008 when the locomotive took part in a re-run of the Fifteen Guinea Special. It then went on to operate on the Scarborough Spa Express later in the month.
On 14 March 2009 Oliver Cromwell hauled a special on what was said to be the very last train (of any sort) to use the branch line down to Folkestone Harbour, where main line trains used to meet with cross channel ferries.
In March 2010 returned to Crewe for the first time since 1968 to work on the main line over Shap.
A month later, two years after its previous overhaul, Oliver Cromwell suffered from cracks in the firebox and was moved to the GCR for an inspection which lead to the locomotive being withdrawn from service.
During 2010, 70013 Oliver Cromwell underwent firebox repairs at Crewe Heritage Centre. The cab was removed before the rest of the locomotive was sent for repairs to the boiler. Following these repairs, in December 2010 the locomotive had a successful steam test at Crewe.
On 27 May 2012 the locomotive was involved in a blowback incident near Wood Green in North London on a Railway Touring Company railtour called ‘The Peak Forester’. Two of the three crew on board the locomotive had to attend hospital as a result. See Accidents and Incidents for full details.
In August 2013 70013 worked another Fifteen Guinea Special to celebrate the 45th Anniversary of the ending of steam on British Railways. 70013 was in charge of the Longsight to Carlisle leg of the special with the other legs being worked by LMS Black 5s numbers 45305, 45231 and 44932.
In early 2015 it was taken out of service as it needed repairs which were completed to allow 70013 to return to steam in August 2016.
Early in 2017 was out of service whilst its superheater elements were replaced at Loughborough. This is fifty years after its last overhaul under BR ownership at Crewe.
After returning to service on the Great Central Railway 70013 was back on the main line at the start of September 2017. It will be operational until March 2018 when the boiler certificate expires but was hoped that this would be extended.
In early 2018 agreement was reached between the National Railway Museum and the 5305 Locomotive Association which left the locomotive custodianship of 70013 with the Loughborough based group. The 5305 Locomotive Association will carry out another overhaul of the locomotive which will enable it to run on the main line again.
In March 2018, whilst hauling its last main line train before the boiler certificate expires, the locomotive suffered a hot big end. Having melted the whitemetal in the big end and adjoining coupling rod bearings took the train into Norwich at a reduced speed with the power being provided by a diesel on the rear.
The overhaul is scheduled to be undertaken during 2019 and will largely concentrate on the boiler as the bottom end has received considerable attention during the previous operating period.
In March 2018 the boiler inspector gave the boiler a clean bill of health during a cold examination. It was anticipated that this would be followed by a fully functional steam test later that month which would enable the boiler certificate to be extended by nine months. This would enable the locomotive to operate until the end of 2018 but only on heritage lines as it requires a full re-tubing before being allowed onto the national network.
The boiler certificate expired at the end of December 2018.
When the locomotive was taken out of service at the end of 2018 plans for its overhaul had not been agreed by the National Railway Museum although they did state that they planned that it continued to operate on the main line.
In January 2019 the National Railway Museum disclosed that the forty year agreement with the 5305 Locomotive Association would not be extended although the locomotive is likely to remain based on the Great Central Railway at Loughborough.
In March 2019 it was reported that the continued operation of the locomotive was in an agreement that was close to being completed by the National Railway Museum with the Great Central Railway. The National Railway Museum also emphasised that they wanted the locomotive to run on the main line.
Also in March 2019 work began at Loughborough to strip the locomotive down although at this stage the National Railway Museum were said to be unaware that work had started on the overhaul.
The overhaul will include a boiler overhaul which will involve a re-tubing in order to recertify the locomotive for preservation and main line running.
In July 2019 it was announced that an agreement had been concluded between the National Railway Museum and the Great Central Railway (GCR). The agreement provided for the locomotive to be based at the GCR until the end of 2021. Under the terms of the agreement the GCR will submit plans to overhaul the locomotive. Once the overhaul has been completed a second loan agreement will be confirmed to cover the operation of the locomotive.
By December 2019 the frames were placed back onto its wheels – just five months after being lifted off.
In November 2021 it was reported that the boiler had been sent to Tyseley for Overhaul in the previous month."
source: preservedbritishsteamlocomotives.com/70013-oliver-cromwell/
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.
==========================
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.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. We have travelled east across London, through Bloomsbury, past the Smithfield Meat Markets, beyond the Petticoat Lane Markets* frequented by Lettice’s maid, Edith, through the East End boroughs of Bethnal Green and Bow, to the 1880s housing development of Upton Park. It is here that Frank’s closest and only surviving relation lives: his elderly Scottish grandmother, Mrs. McTavish. It is Christmas Day 1925, and after catching a chill going home from a celebratory meal at Lyon’s Corner House** at the top of Tottenham Court Road to celebrate Edith and Frank’s engagement, which then settled on her chest and became influenza, Mrs. McTavish, whilst recovering well, is not well enough to travel through the cold fog and sleet of Christmas Day with Frank to Frank’s fiancée, Edith’s, family home in Harlesden. It was Edith who settled on the idea of rather than Frank and Mrs. McTavish coming to her parent’s home, going with her parents, George and Ada, to them instead, after she took inspiration from a Christmas window display in the Woolworths*** outside the Premier Super Cinema**** in East Ham, where Edith and Frank had seen a midday showing of ‘A Girl of London’***** on their day off.
“There!” Edith sighs, as she settles back on her haunches and admires her work.
Before her, on Mrs. McTavish’s flagstone floor a small Christmas Tree has been set up, it’s short height compensated by standing it in one of Mrs. McTavish’s unused tall terracotta flowerpots overturned, with the thin trunk slipped through the drain hole in its bottom, carefully hidden by an apron of festive red velvet supplied by Ada from her capacious basket, where it sat beneath a succulent roast chicken that she had started cooking in her own kitchen range in Harlesden. The tree’s decoration had been Edith’s job to manage, whilst her mother busied herself finishing off the chicken in the oven of Mrs. McTavish’s range. Being rather creative, this was a pleasure for Edith to do, and she quickly unpacked the gaily decorated boxes of thruppence and sixpence Christmas decorations she had bought at Woolworths in order to decorate the tree, one George had bought as a favour from one of his gardening contacts at his Harlesden allotment. Scattering spools of thick red velveteen****** ribbon and baubles of metallic red and gold across the floor. She quickly made the bare tree into a beautiful and festive centrepiece for the day’s festivities, expertly decorating its branches, hiding sparse parts of the rather weedy tree, until it looked full and perfect.
“What do you think, Gran?” Edith asks, looking over her right shoulder to Frank’s Scottish Grandmother peers out from beneath her thick tartan rug in her usual, old and worn wingback chair by the range.
Mrs. McTavish’s wizened face, covered in a maze of wrinkles beneath the lacy white froth of her cap colours a little and her dark eyes sparkle with delight as she spies the decorated Christmas tree. “Och, Edith my dear!” she exclaims in her thick Scottish brogue. “It looks grand! What a clever we bairn you are!”
“She’s right, Edith,” Frank says with a cheerful lilt as he pauses setting the table, holding one of his grandmother’s best blue and white china plates in his hands and looks over at the decorated tree. “It looks grand!”
“Oh, thank you both.” Edith says, blushing at their compliments.
“Edith always was the one with artistic talent,” George murmurs with pride to his wife as they both stand at the kitchen range, he holding a white bowl out to catch the green peas and bright orange carrots his wife scoops from one of Mrs. McTavish’s saucepans with a slotted spoon. “I would have liked it if she’d been able to pursue her creativity.”
Ada sighs heavily as she gazes at the beautifully decorated Christmas Tree, pausing in her scooping to observe the rich and fat bows and red and gold baubles bask in the golden light cast by Mrs. McTavish’s gas light overhead, giving them an essence of Christmas magic. She coughs and clears her throat before going back to the job at hand by spooning out the last of the sliced carrots from the bottom of the pot and shaking them off the spoon into the plain white bowl her husband holds. “Being an artist doesn’t make money, George.” she says matter-of-factly, drawing her husband from his own thoughts. “What good would she be to Frank if she could paint a picture, but not know how to cook, or one end of an iron from the other.”
George doesn’t reply, his eyes darting from Ada’s face with her determined, but not unfriendly gaze and the Christmas tree.
“No, domestic service was really our only choice with Edith, and it hasn’t worked out badly, has it George? She has a good job at present with Miss Chetwynd, and she knows how to cook and clean, and she’s a damn fine seamstress.”
“She could have worked at the Lambeth Studios******* with her skill as a paintress.” George muses.
“That’s foolish talk, George.” Ada scoffs with frustration, knocking the slotted spoon’s handle noisily against the edge of the beaten old pot to drown out her words from anyone’s hearing but George’s. “You know it is. We couldn’t have afforded the fees at the Lambeth School of Art******** for her to have sent her there, and well you know it.”
“With her precocious talent,” George retorts. “I still think we stood a chance of her winning a scholarship for her, Ada love.”
“Well,” Ada quips quickly. “We’ll never know now, will we? I did what I thought was best at the time,” She then adds a little more kindly. “And it was best for her, George love. You know it was.”
George sighs as he stares at his daughter as she happily laughs and chatters with her fiancée as they arrange Christmas parcels wrapped in brown paper and tied up with twine around the bottom of the tree. “I don’t know about that, Ada love.”
“Don’t let Edith hear you say that.” Ada cautions her husband, as she bangs the spoon handle against the pot determinedly again.
“Frank, I’m serving up the peas and beans for Ada,” George calls out to his future son-in-law as he moves across the kitchen floor from the range to the round table which has been dressed with one of Mrs. McTavish’s beautiful hand made white lace tablecloths. “Look lively my boy, and finish setting the table, or Ada will as likely have your guts for garters,” He chuckles good naturedly. “Or mine.”
“Aye, I will that, or both of you,” Ada laughs happily from the stove, clearly sharing that she will do no such thing, as she wraps the edge of her apron around her hand and opens the door of the oven and peers in.
A cloud of steam and the sizzle of cooking meat fills the air, as does the rich and evocative scent of the roasting chicken.
“That smells spiffing Mrs. Wat… Ada!” Frank exclaims, still stumbling over the idea of calling his future mother-in-law by her first name, rather than Mrs. Watsford.
“Thank you, Frank love.” Ada says with a proud smile as she turns and faces the room, her face flushed from the head radiating from the oven. Closing the door she adds, “Just a few more minutes and we’ll be ready to eat. I hope you’ve all brought a good, healthy appetite, most of all you, Nyree love.” She puts a hand gently on Mrs. McTavish’s shoulder and gives it a gentle squeeze. “We need to be fattening you up. There’s no meat on your bones. No wonder you caught influenza.”
“Aha!” Frank cries from the table as he lays down the last of the dinner plates. He points across the room to his grandmother sitting snuggled in her chair as he says triumphantly, “Your own words, turned back on you for a change!” He laughs. “Gran’s always telling me I’m too thin, Ada. It’s time she had some of her own medicine for a change.”
“Och!” the old Scotswoman scoffs, before starting to cough heavily, her chest heaving up and down beneath her warm blanket. “You are too thin, Francis my bairn!” She coughs a little more, only less severely. “You eat like a wee house sparrow, you do,” she goes on through laboured breaths. “And that’s no good for a strapping young laddie!”
“Gran!” Frank moans. “How many times do I have to tell you, I’m Frank now. Francis is a girl’s name.”
“Nonsense!” she retorts, releasing another fruity cough. “It’s a splendid boy’s name. Twas the name your faither********** and mither*********** gave you and had you christened. You may want to be Frank, but,” She smiles beatifically at her grandson. “But you’ll always be Francis to me.”
“Oh Gran!” Frank says again, blushing red.
Edith giggles. “I’m glad you like the Christmas tree, Gran. I really wanted to make your Christmas a special one.” She reaches up and places her hands over the old woman’s gnarled and wrinkled ones and squeezes them affectionately.
“You have my wee bairn,” Mrs. McTavish says, withdrawing her hands from beneath Edith’s and placing them on Edith’s youthful cheeks. She smiles down at her. “You really have. How could anyone not be delighted by such kindness?” She sinks back in her seat. “You’ve all been so kind to bring the Christmas Day festivities to me.”
“Ahh,” Ada scoffs with a beatific smile and a dismissive wave of her hand as she walks the dirty pots over to the trough skin in the corner of the kitchen. “Christmas is wherever you decide to celebrate it, so why not have it here? As I was saying to Frank a week ago when he was visiting us, it would have been too much to expect you to travel all the way to us Nyree, even if it isn’t a long walk to and from the Tube************ station either way, in your condition.”
“That’s right.” Adds George. “It’s been so cold, and the fogs aren’t pleasant for you to go through either, Nyree love. Better we come to you, and you can keep nice and cosy and warm.”
“Thank you, George. “Lang may yer lum reek*************.”
“What does that mean, Gran?” Edith asks. “Long may yer lum reek?”
“Lang,” Mrs. McTavish corrects Edith gently. “Lang may yer lum reek.”
“It’s a Scottish blessing.” Frank explains. “Long may your chimney smoke. Isn’t that right, Gran?”
“It is, Francis my wee bairn!” Mrs. McTavish concurs. “It means I wish you good fortune and prosperity.”
“Lang may yer lum reek. Lang may yer lum reek.” Edith repeats over and over a few times.
“That’s it, Edith my dear.” Mrs. McTavish encourages. “Och! Francis and I will make a Scotswoman out of you yet!” She chortles happily.
“How do you say, Merry Christmas, Gran?” Edith asks. “In Scottish, I mean?”
“Nollaig Chirdheil**************.” Mrs. McTavish says in her growly Scottish brogue, smiling happily as she does.
“Oh!” Edith’s face falls. “Oh, I might struggle to say that.”
“Och! Well, you weren’t raised with Gaelic being spoken about you, Edith dearie.” Mrs. McTavish chuckles softly. “It will take some practice. However, if you apply yourself, perhaps you might be a better scholar than my wee bairn Francis was when it comes to speaking Gaelic.”
“I’ll try, Gran.” Edith says.
“Good girl!” She pats Edith’s hand. “When I’m better and get over this awful influenza, I’ll have to teach you how to make rumbledethumps***************.”
“Rumbledethumps!” Frank pipes up as he places the last brightly coloured Christmas cracker across a dinner plate at the table. “You’re going to teach Edith to make rumbledethumps?”
“Aye, cluasan mòra!” Mrs. McTavish calls out in reply to her grandson’s question.
“Cluasan mòra?” Edith asks. “What does that mean?”
“Tell your fiancée what a cluasan mòra is, then, Francis my wee bairn.” When Frank doesn’t reply, and busies himself straightening cutlery on the table that doesn’t need straightening, Mrs. McTavish goes on. “If he’d studied Gaelic like I said he should have, he’d know that cluasan mòra means ‘big ears’, Edith my dear.”
Edith can’t help but chuckle as she sees Frank blush bright red.
“Right!” Ada calls cheerily as she withdraws the golden yellow chicken from the oven. “Christmas tea is served!”
Everyone watches, transfixed as she walks across the small kitchen carrying the succulent roast bird across the table in one of her trusty roasting pans from her Harlesden kitchen. Roast potatoes, as golden and crusted as the chicken itself sit nestled around the chicken, and the whole dish releases a delicious aroma that quickly fills the small room.
“Now that smells like Christmas tea to me!” George says jovially. “I’ll open up a bottle of ale for us.”
“Come on Gran.” Frank says kindly as he scurries over to his grandmother’s side. “I’ll help you up.”
“I’ll help too, Frank.” Edith offers. “And we’ll get you safely over to the table and settled in.”
“Thanks Edith!” Frank replies, sighing gratefully.
As the pair help stand the old Scotswoman up, draw away her green and red tartan blanket and gently guide her across the flagstones, she turns her head to Edith. “So Edith, dearie. I hear from your parents and Frank, that this was all your doing.”
“Me?” Edith asks. “Oh I didn’t make the Christmas fare. Mum did, with a bit of help from Dad and me. You saw her, Gran.”
“No! No!” Mrs. McTavish hisses. “Not that. They tell me it was your idea to move your Christmas from your parent’s house here.”
“Oh, I think I might have suggested the idea in the first place, after we found out from Frank that you were sick.”
“You’re being too modest by half,” Frank retorts. “It was Edith’s idea alright, Gran. She should take credit for it.”
As Mrs. McTavish looks upon the blushing face of Edith she says, “Well, as you know, I haven’t really been well enough to finish the Christmas gift for you that I started making.”
“Oh, I don’t care about that, Gran. I don’t need anything from you, when you let us have Christmas in your home, like this.”
“Well, I will finish it, but once I’m better, Edith dearie. And then I’ll give it to you.” She groans a bit as she nears the table with Edith and Frank supporting her delicate and brittle figure. “But there is something I’ve been meaning to ask you, ever since you and Francis told me about your intended nuptials****************.”
“And what’s that, Gran?” Edith asks, as they manoeuvre Mrs, McTavish to a round back Windsor chair close by the warm range and gently lower her down into it.
“Aye. Thank you my wee bairns.” Mrs McTavish says gratefully. Turning her attention back to Edith, whilst Frank fetches her tartan blanket to drape over her knees, she says, “Edith dearie, would you do me the honour of letting me make your wedding veil? I’d rather like to, you know.”
“Oh Gran!” Edith exclaims, flinging her arms around Mrs. McTavish’s neck and hugging her tightly.
“I’ll take that as a yes, shall I then, Edith dearie?” the old woman laughs.
“Oh yes! Yes Gran!” Edith says in a muffled voice filled with elation as she buries her head into Mrs. McTavih’s neck. “Yes.”
“Good!” Mrs. McTavish says matter-of-factly, grasping Edith my the forearms, causing the young girl to release her embrace and take a step back. “That makes me very happy, Edith dearie.”
“Merry Christmas Gran.” Edith manages to say as she swallows her emotions and tries to remain composed in front of her fiancée and family.
“Nollaig Chirdheil, Edith dearie.” Old Mrs. McTavish replies kindly, a broad smile breaking across her face.
*Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. \'The Lane\' was always renowned for the \'patter\' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.
**J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons\' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
***Woolworths began operation in Britain in 1909 when Frank Woolworth opened the first store in Liverpool, as a British subsidiary of the already established American company. The store initially sold a variety of goods for threepence and sixpence, making their goods accessible to everyone, not just the wealthy upper and middle-classes. The British subsidiary proved to be very popular, and it grew quickly, opening twelve stores by 1912 and expanding using its own profits to become a fixture on the high street. The stores became a beloved British institution, with many shoppers assuming they were originally a British company. In 1982, the United Kingdom operations underwent a management buyout from the American parent company, becoming Woolworth Holdings PLC. This followed the American parent company\'s sale of its controlling stake to a local consortium. Later, in 2000, the company\'s parent (by then known as Kingfisher Group) decided to restructure, focusing more on its DIY and electrical markets. The general merchandise division, including Big W stores, was spun off into a separate company called Woolworths in 2001. Unable to adapt to modern retail trends, the company faced increasing competition and financial difficulties. The last Woolworths stores in the United Kingdom closed their doors in December 2008 and January 2009, marking the end of an era.
****The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
*****‘A Girl of London’ is a 1925 British silent drama film produced by Stoll Pictures, directed by Henry Edwards and starring Genevieve Townsend, Ian Hunter and Nora Swinburne. Its plot concerns the son of a member of parliament, who is disowned by his father when he marries a girl who works in a factory. Meanwhile, he tries to rescue his new wife from her stepfather who operates a drugs den. It was based on a novel by Douglas Walshe.
******Velveteen is a woven fabric with a short, dense pile that resembles velvet but is stiffer and has a matte finish. It is typically made of cotton or a cotton blend and is created by weaving loops that are then cut to create the soft, raised surface. Due to its durability and structure, it is used for garments that need to hold their shape, such as jackets and skirts, as well as for home décor like upholstery and draperies.
*******The first Royal Doulton pottery in Lambeth, London, opened in 1815. It started as a partnership between John Doulton, Martha Jones, and John Watts, specialising in utilitarian stoneware like pipes and jars. The company moved to larger premises in Lambeth Walk in 1826, trading as Doulton & Watts. The factory\'s production evolved over time, and in 1871, the famous Doulton Lambeth Studio was established. It became known for its beautiful art pottery, employing artists from the local Lambeth School of Art. The Lambeth Pottery employed over two hundred artists and designers from the Art School by the 1880s, many of them women. The original Lambeth factory finally closed in 1956 due to clean air regulations in the City of London, which prohibited salt glaze production.
********The Lambeth School of Art was an art school established in 1854 in the Lambeth area of London by William Gregory, the vicar of St Mary the Less Church. Now known as the City and Guilds of London Art School, it is now a leading independent art school in London. The school is also associated with the "Lambeth Method" of cake decorating, a style of elaborate buttercream piping known for its regal and intricate designs, famously used on the wedding cake of Her Late Majesty Queen Elizabeth II.
*********The phrase "guts for garters" means to punish someone severely or to threaten them with extreme violence. Its origin is the literal, and now obsolete, threat of disembowelling a person and using their intestines as garters to hold up one\'s stockings. This phrase is first recorded in late Sixteenth Century literature and gained popularity through alliteration and usage in various contexts, from military slang to a more general expression of anger.
**********Faither is an old fashioned Scottish word for father.
***********Mither is an old fashioned Scottish word for mother.
************People started calling the London Underground the "Tube" around 1900, after the opening of the Central London Railway. The railway\'s deep, cylindrical tunnels resembled tubes, and a newspaper nickname for it, the “Tuppenny Tube”, due to a flat fare of two pence, helped the term stick. Over time, the nickname spread to refer to the entire system.
*************A classic Scottish blessing for good luck is "Lang may yer lum reek," which literally means "long may your chimney smoke" and conveys the wish for continued prosperity and good fortune.
**************”Nollaig Chirdheil” is the traditional festive greeting in Gaelic shared at Christmas time.
***************Rumbledethumps is a dish that is popular in the Scottish border regions and is perfect for using up leftover mashed potatoes and excess vegetables. Often referred to as the Scottish version of bubble ‘n squeak, rumbledethumps recipes usually contain turnip and cabbage, but really any vegetable leftovers could be used. The vegetable mixture is topped with cheese and then baked until bubbling. The dish can be made the day before and heated up and whilst it can be eaten on its own, makes a nice accompaniment for a hearty stew.
****************Nuptials is a alternative word for marriage. The term “nuptials” emphasizes the ceremonial and legal aspects of a marriage, lending a more formal tone to wedding communications and documentation.
This festive scene in a cosy kitchen may look real to you, but it is not quite what it seems, for it is made up entirely of pieces from my 1:12 miniatures collection.
Fun things to look for in this tableau include:
The Christmas tree at the centre of the image is a hand-made artisan example from dollhouse artisan suppliers in America. The parcels wrapped in brown paper and tied with twine beneath the tree I acquired from Beautifully Handmade Miniatures in Kettering.
The boxed tinsel garland and the tree top angel box were a gift to me last Christmas from my Flickr friend BKHagar *Kim* who also collects 1:12 miniatures. She picked these up at a house auction as part of a large miniatures collection. The red box containing hand painted Christmas ornaments were hand made and decorated by artists of Crooked Mile Cottage in America. The patterned green box of red and green baubles at the front of Ada’s basket to the right was hand made by Mick and Marie’s Miniatures in the United Kingdom.
The box of Christmas crackers towards the bottom of the picture and the Christmas cards on the table to the left of the image are 1:12 miniatures made by artisan Ken Blythe. I have a large representation of Ken Blythe’s work in my miniatures collection – books mostly. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! Sadly, so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. As well as making books, he also made other small paper based miniatures including cards like the Christmas cards, and boxes of goods. The box, as you can see, is designed to be opened, and each one contains gaily coloured Christmas crackers made from real crêpe paper. The crackers from the box, coloured red, yellow and blue, can be seen sitting on the table. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The round kitchen table is draped with an antique lace jug cover, which I thought made for a beautiful tablecloth for Christmas. As well as Ken Blythe’s Christmas crackers, there are other things of the table. These include beautiful blue and white dinner plates which come from Kathleen Knight’s Doll House Shop in the United Kingdom. The succulent looking roast chicken comes from Beautifully Handmade Miniatures. The cutlery also comes from Beautifully Handmade Miniatures. All the water glasses I have had since I was a teenager. I bought them from a high street stockist that specialised in dolls’ houses and doll house miniatures. Each glass is hand blown using real glass.
Mrs. McTavish’s intentionally worn leather wingback chair and the sewing table to the left of the photo are both 1:12 artisan miniatures. The inside of the sewing table is particularly well made and detailed with a removable tray made up of multiple compartments. Beneath it, the floral fabric lines the underside and opens up into a central bag. Both pieces come from Kathleen Knight’s Doll House Shop. The top comparts are full of sewing items which also came from Kathleen Knight’s Doll House Shop and various online specialists on E-Bay. The small, round pedestal table at the arm of Mrs. McTavish’s chair also comes from Kathleen Knight’s Doll House Shop
The sewing basket that you can see on the floor beneath the sewing table I bought from a high street shop that specialised in dolls and doll house furnishings. It is an artisan miniature and contains pieces of embroidery and embroidery threads. Also inserted into it is an embroidery hoop that has been which embroidered by hand which came from Kathleen Knight’s Doll House Shop in the United Kingdom.
Dominating the rear of the room is the large kitchen range which is a 1:12 miniature replica of the coal fed Phoenix Kitchen Range. A mid-Victorian model, it has hinged opening doors, hanging bars above the stove and a little bass hot water tap (used in the days before plumbed hot water). The fringing hanging from the mantle is actually a beautiful scalloped ribbon that was given to me at Christmas time by a very close friend of mine.
On the small pedestal table next to Mrs. McTavish’s chair sits a blue and white teacup and saucer. It comes from Kathleen Knight’s Doll House Shop in the United Kingdom, and so too does the table.
On the wall just behind Mrs. McTavish’s chair hangs a hand painted cuckoo clock. It has been made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.
In the background you can see Mrs. McTavish’s dark wood dresser cluttered with decorative china. I have had the dresser since I was a child. The shelves of the dresser have different patterned crockery which have come from different miniature stockists both in Australia and the United Kingdom.
The brass pieces on the range all come from different online stockists of miniatures.
The rug on the floor comes from Kathleen Knight’s Doll House Shop in the United Kingdom.
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
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
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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
—-
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
-----
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
The 350-ft Garryvale was completed in 1907 for Vale
Steamship Co Ltd, managed by Crawford, Barr & Co of
Glasgow, who named their ships after Scottish river valleys
beginning with the letter G. By the time this photograph was taken she had been sold to Finnish owners who were happy to keep a British name. Garryvale went aground off the mouth of the River Tees in January 1939 and was so badly damaged that when she was re-floated she sailed directly for the breakers at Inverkeithing.
This design was known as a turret ship - the vast majority were built by Wm Doxford & Sons, Sunderland between 1892 and 1911. They were dry cargo ships and not tankers. In part their popularity was due to the fact that they had a low nett tonnage in relation to their dead-weight (the tonnage they could carry). This lower tonnage reduced the costs of transiting the Suez Canal, which helped popularize this design. When the Suez Canal regulations were amended, this financial advantage was lost and no further vessels were built.