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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane.
It was the only British fighter to be in continuous production throughout World War II, and remained in service with several air forces around the world for several years. One of its post-war operators was the Lebanese Air Force, or Al Quwwat al-Jawwiya al-Lubnaniyya (لقوات الجوية اللبنانية).
The Lebanese Air Force was established in 1949 under the command of then-Lieutenant Colonel Emile Boustany who later became commander of the army. Soon after its establishment, a number of planes were donated by the British, French, and Italian governments, with additional planes donated by Britain and Italy later that same year.
Britain donated 4 Percival Prentices, 2 World War II-era Percival Proctors and seven trpocailized Supermarine Spitfires (six Mk. XVIe and one TR.8 two-seater), while Italy donated 4 Savoia-Marchetti SM.79 bombers which were mainly used for transportation.
The Mk XVI Spitfire was a WWII design, and the last variant powered by a Merlin engine and based on the original, sleek fuselage. It was basically the same as the Mk IX, except for the engine, a Merlin 266. The Merlin 266 was the Merlin 66 and was built under licence in the USA by the Packard Motor Company. The "2" was added as a prefix in order to avoid confusion with the engines, as they required different tooling.
All Mk XVI aircraft produced (a total of 1,054 Mk XVIs left Castle Bromwich) were of the Low-Altitude Fighter (LF) variety. This was not determined by the length of the wings (clipped wings were fitted to most LF Spitfires), but by the engine, which had been optimised for low-altitude operation. All production Mk XVIs had clipped wings for low altitude work and were fitted with the rear fuselage fuel tanks with a combined capacity of 75 gal. Many XVIs featured cut-down rear fuselages with bubble canopies. On these aircraft the rear fuselage tank capacity was limited to 66 gal.
Because of a slightly taller intercooler and rearranged accessories on the Packard Merlins a new, bulged upper cowling was introduced, a detail that also appeared on late production IXs. For the service in the Middel East region the Lebanese machines received dust filters which considerably changed the aircraft's silhouette.
Armament consisted of two 20 mm Hispano II cannons - each with 120 rpg - and two 0.50 calibre Browning machine guns - each with 250 rpg. 1 × 500 lb (227 kg) bomb could be carried underneath the centre rack, and 1 × 250 lb (114 kg) bomb could be slung under each wing. As a special feature, the wing hardpoints of the Lebanese Spitfires were "wet" so that slipper tanks with 24 gal. each could be carried, compensating for the reduces rear fuselage tank due to the bubble canopy's lowered dorsal spine.
The Lebanese Spitfires only saw a short service, since in 1953, jet fighters were introduced when 16 de Havilland Vampire jets were received, and the first Hawker Hunters arrived in 1959, which replaced the obsolete Spitfires. This initial Hunter batch was followed by more Hunters through 1977.
In 1968, 12 Mirage IIIELs were delivered from France but were grounded in the late 1970s due to lack of funds. In 2000, the grounded Mirages were sold to Pakistan, and four Hunters were even revived in 2008 and served until 2014.
General characteristics:
Crew: one pilot
Length: 29 ft 11 in (9.12 m)
Wingspan: 36 ft 10 in (11.23 m)
Height: 11 ft 5 in (3.86 m)
Wing area: 242.1 ft2 (22.48 m2)
Airfoil: NACA 2209.4(tip)
Empty weight: 5,065 lb (2,297 kg)
Loaded weight: 6,622 lb (3,000 kg)
Max. takeoff weight: 6,700 lb (3,039 kg)
Powerplant:
1× Rolls-Royce Merlin 60 supercharged V12 engine,
rated at 1.470 hp (1.096 kW) at 9.250 ft (2.820 m)
Performance:
Maximum speed: 370 mph, (322 kn, 595 km/h)
Combat radius: 410 nmi (470 mi, 760 km)
Ferry range: 991 nmi (1,135 mi, 1,827 km)
Service ceiling: 36,500 ft (11,125 m)
Rate of climb: 2,600 ft/min (13.2 m/s)
Wing loading: 27.35 lb/ft2 (133.5 kg/m²)
Power/mass: 0.22 hp/lb (0.36 kW/kg)
Armament:
2x 20mm Hispano Mk II cannon (120 RPG)
2x .5 in Browning machine guns (250 RPG)
Three hardpoints (1 ventral, 1 under each outer wing) for up to 1.000 lb (454 kg).
The kit and its assembly:
This whif is based on a simple idea: how did Lebanon's Air Force start? Small countries make a good whif playground, and I guess that nobody has the Lebanon on his/her list...?
Another factor was that I had some Austrian roundels left in store that could, with a green dot, easily be turned into Lebanese markings. So the theme was quickly settled, but the details take some preparation time, so the idea lingered for some time.
After some legwork I deemed a simple Spitfire with a dust filter worthy as an initial aircraft, and the respective Hobby Boss kit of a Spitfire Mk. VB in the stash came handy.
But somehow this was a bit dull, and at the inception of the Lebanon Air Force there were better option available than an early Mk. V. I still wanted a sleek, Merlin-powered Spitfire variant, though, and eventually settled for the Mk. XVI - with its clipped wings and the bubble canopy it has a very distinctive look.
When a "1 Week group Build" at whatifmodelers.com in the Easter Week 2015 was announced, I took this occassion to build the Lebanese Spitfire.
By that time I already had a basis kit at hand (Heller's Spitfire XVI) as well as some donation parts and decals.
Work was strightforward, the Heller kit was built almost OOB. It's a rather old model kit, with raised panel lines, but good detail. The material is thin, so the built item lacks some structural stability! On the other side, this makes some minor mods really easy: I lowered the flaps and moved the tail rudders slightly off of neutral position. I also opened the cockpit "door" on the left side for later static display, even though the cockpit itself was left OOB. It's a bit "flat", but for the kit's age it's pretty good, and the injected canopy is crystal clear and fits perfectly.
I had some major woes concerning the fit for the forward fuselage, and even more when I tried to mate wings and fuselage: there was a 1mm gap(!) on both sides that had to be bridged with putty, and the thin and flexible material did help much...
Other mods concern the propeller (added a styrene tube and a metal axis for free spin), the radiators (these are molded into the lower wings - sounds horrible, but is made very well and thin, I just added some foamed styrene inside as protective mesh because OOB there's just a blank "box" inside) and the kit received a dust filter - a resin piece taken from a Pavla conversion set for Hawker Hurricanes.
Painting and markings:
While a donated RAF Spitfire would certainly have carried a desert paint scheme in Dark Earth/Mid Stone/Azure Blue or a late WWII Dark Green/Ocean Grey/Light Sea Grey livery I settled for something more individual and effective for the rugged Levantine terrain.
In this case I went for the rarely used RAF 'Tropical Scheme' in Mid Stone/Dark Green from above and with Mediterrenean Blue undersides.
The pattern itself is standard RAF, the upper cammo taken down onto the dust filter's flanks was taken over from RAAF Spitfires during WWII (RAF aircraft would carry a higher waterline, with the filter painted completely in the lower surface's tone). Basic paints are RAF Dark Green from Modelmaster and Humbrol 84 (RAF Mid Stone) - rather authentic. But I used Humbrol 87 (Steel Grey) for the undersides - it's rather intense and has a greenish hue, and by far not as dark as the typical RAF Azure Blue or PRU Blue.
Interior surfaces were painted in RAF Cockpit Green (Modelmaster Authentic), while the landing gear and its wells were kept in Aluminum Dope (Humbrol 56).
Decals/markings were puzzled together and improvised. The Lebanese roundels are actually Austrian national markings into which a dark green dot has ben added manually... the fin flash and the roman/arabic codes come from an Xtradecal aftermarket sheet.
Beyond these basic markings I did not add anything flashy - in 1951 things were rather simple,
The kit received a light shading and some dry painting with light grey, plus a light black ink wash. Soot/exhaust stains were created with grinded graphite and around the engine some leaked oil was added with Tamiya's "Smoke", and everything was sealed under a coat of matt acrylic varnish.
I'll admit it's not a spectacular whif, and overall rather simple concerning build and painting. But a proud addition to whatifmodelers.com's "! Week Group Build", even though this was already finished in just three days from sprues to beauty pics...
On East Lake Mead Blvd in the Las Vegas Valley. Minor injuries. Car was reported to be traveling at a high rate of speed when it drifted off the road and flipped when hitting the curb.
Look what arrived in my mailbox today?! Yes, that's right, the gorgeous single girl pillow that Angela made! And! It's made from vintage sheets that I sent Angela in December in a swap! How cool is that?
On top of that, one of her beautiful crochet stars!
Thank you dear, I seriously love it! And can you believe 2 out of the 3 pillow-forms I have are 24"? Match made in heaven!
Bottle of Notes by Claes Oldenburg and Coosje van Bruggen, unveiled in 1993 and situated in Middlesbrough Centre Square.
“In public sites, our sculptures reflect both the surroundings and their context, but through our imagination and selective perception – which is what makes them also personal” Claes Oldenburgh.
Bottle of Notes is a sculpture by internationally renowned artists and creators of public artworks, Claes Oldenburg and Coosje van Bruggen. Unveiled in 1993, it was commissioned by Middlesbrough Borough Council as the first public artwork to be installed as part of a regeneration initiative for the Tees Valley region.
Situated in Middlesbrough Centre Square, outside Middlesbrough Institute of Modern Art (MIMA), the sculpture takes the form of a giant bottle, standing nine metres high – twice the height of a giraffe. The shape of the bottle is made from a continuous, off-white swirl of steel letters. Blue letters spiral upwards from the inside.
The artists took their inspiration from the local area’s industrial heritage, its relationship with the sea and from Captain Cook, one of the area’s most famous sons. The intricate steel lettering reflects the region’s rich heritage in steel production and fabrication. It was constructed in Hebburn, helping to provide employment for steel workers in the shipyards.
For the outside of the bottle, van Bruggen selected a line of text from Captain Cook’s Journals, written during his first voyage of exploration in the Pacific in 1769: We had every advantage we could desire in observing the whole of the passage of the planet Venus over the Sun’s disk. The text on the inside comes from a poem she wrote, ‘Recalling Amsterdam’, which links the English shore to the European continent: “I like to remember seagulls in full flight gliding over the ring of canals.”
The sculpture is positioned on a slant, to appear as if it had been left stuck in the sand by a receding wave – a giant message in a bottle to local people and the wider world.
This commission was a significant move by the Council to use arts and culture to help revitalise the region and its identity. This was a time when Middlesbrough – like many other traditionally industrial towns and cities, was experiencing a period of change and looking to the future. Initially met by local people with a mix of intrigue, genuine bewilderment and, in some cases, outright hostility, Bottle of notes has now become part of the landscape. It remains the only example in the UK to date of a public sculpture by these celebrated artists.
Oldenburgh and van Bruggen are a husband and wife team who have created monumental public art installations around the world. Their works are characterised by giant, colourful replicas of everyday objects, including a lipstick, trowel and an inverted ice-cream cone (which appears to have dropped out of the sky onto the top of a shopping mall, in Cologne).
Middlesbrough is a town in the Middlesbrough unitary authority borough of North Yorkshire, England. The town lies near the mouth of the River Tees and north of the North York Moors National Park. The built-up area had a population of 148,215 at the 2021 UK census. It is the largest town of the wider Teesside area, which had a population of 376,633 in 2011.
Until the early 1800s, the area was rural farmland in the historic county of Yorkshire. The town was a planned development which started in 1830, based around a new port with coal and later ironworks added. Steel production and ship building began in the late 1800s, remaining associated with the town until the post-industrial decline of the late twentieth century. Trade (notably through ports) and digital enterprise sectors contemporarily contribute to the local economy, Teesside University and Middlesbrough College to local education.
Middlesbrough was made a municipal borough in 1853. When elected county councils were created in 1889, Middlesbrough was considered large enough to provide its own county-level services and so it became a county borough, independent from North Riding County Council. The borough of Middlesbrough was abolished in 1968 when the area was absorbed into the larger County Borough of Teesside. Six years later in 1974 Middlesbrough was re-established as a borough within the new county of Cleveland. Cleveland was abolished in 1996, since when Middlesbrough has been a unitary authority within the ceremonial county of North Yorkshire.
Middlesbrough started as a Benedictine priory on the south bank of the River Tees, its name possibly derived from it being midway between the holy sites of Durham and Whitby. The earliest recorded form of Middlesbrough's name is "Mydilsburgh", containing the term burgh.
In 686, a monastic cell was consecrated by St. Cuthbert at the request of St. Hilda, Abbess of Whitby. The manor of Middlesburgh belonged to Whitby Abbey and Guisborough Priory.[1] Robert Bruce, Lord of Cleveland and Annandale, granted and confirmed, in 1119, the church of St. Hilda of Middleburg to Whitby. Up until its closure on the Dissolution of the Monasteries by Henry VIII in 1537, the church was maintained by 12 Benedictine monks, many of whom became vicars, or rectors, of various places in Cleveland.
After the Angles, the area became home to Viking settlers. Names of Viking origin (with the suffix by meaning village) are abundant in the area; for example, Ormesby, Stainsby and Tollesby were once separate villages that belonged to Vikings called Orm, Steinn and Toll that are now areas of Middlesbrough were recorded in the Domesday Book of 1086. Other names around Middlesbrough include the village of Maltby (of Malti) along with the towns of Ingleby Barwick (Anglo-place and barley-wick) and Thornaby (of Thormod).
Links persist in the area, often through school or road names, to now-outgrown or abandoned local settlements, such as the medieval settlement of Stainsby, deserted by 1757, which amounts to little more today than a series of grassy mounds near the A19 road.
In 1801, Middlesbrough was a small farm with a population of just 25; however, during the latter half of the 19th century, it experienced rapid growth. In 1828 the influential Quaker banker, coal mine owner and Stockton and Darlington Railway (S&DR) shareholder Joseph Pease sailed up the River Tees to find a suitable new site downriver of Stockton on which to place new coal staithes. As a result, in 1829 he and a group of Quaker businessmen bought the Middlesbrough farmstead and associated estate, some 527 acres (213 ha) of land, and established the Middlesbrough Estate Company.
Through the company, the investors set about a new coal port development (designed by John Harris) on the southern banks of the Tees. The first coal shipping staithes at the port (known as "Port Darlington") were constructed with a settlement to the east established on the site of Middlesbrough farm as labour for the port, taking on the farm's name as it developed into a village. The small farmstead became a village of streets such as North Street, South Street, West Street, East Street, Commercial Street, Stockton Street and Cleveland Street, laid out in a grid-iron pattern around a market square, with the first house being built on West Street in April 1830. New businesses bought premises and plots of land in the new town including: shippers, merchants, butchers, innkeepers, joiners, blacksmiths, tailors, builders and painters.
The first coal shipping staithes at the port (known as "Port Darlington") were constructed just to the west of the site earmarked for the location of Middlesbrough. The port was linked to the S&DR on 27 December 1830 via a branch that extended to an area just north of the current Middlesbrough railway station, helping secure the town's future.
The success of the port meant it soon became overwhelmed by the volume of imports and exports, and in 1839 work started on Middlesbrough Dock. Laid out by Sir William Cubitt, the whole infrastructure was built by resident civil engineer George Turnbull. After three years and an expenditure of £122,000 (equivalent to £9.65 million at 2011 prices), first water was let in on 19 March 1842, and the formal opening took place on 12 May 1842. On completion, the docks were bought by the S&DR.
Iron and steel have dominated the Tees area since 1841 when Henry Bolckow in partnership with John Vaughan, founded the Vulcan iron foundry and rolling mill. Vaughan, who had worked his way up through the Iron industry in South Wales, used his technical expertise to find a more abundant supply of Ironstone in the Eston Hills in 1850, and introduced the new "Bell Hopper" system of closed blast furnaces developed at the Ebbw Vale works. These factors made the works an unprecedented success with Teesside becoming known as the "Iron-smelting centre of the world" and Bolckow, Vaughan & Co., Ltd became the largest company in existence.
By 1851 Middlesbrough's population had grown from 40 people in 1829 to 7,600. Pig iron production rose tenfold between 1851 and 1856 and by the mid-1870s Middlesbrough was producing one third of the entire nations Pig Iron output. It was during this time Middlesbrough earned the nickname "Ironopolis".
On 21 January 1853, Middlesbrough received its Royal Charter of Incorporation, giving the town the right to have a mayor, aldermen and councillors. Henry Bolckow became mayor, in 1853.
A Welsh community was established in Middlesbrough sometime before the 1840s, with mining being the main form of employment. These migrants included figures who would become important leaders in the commercial, political and cultural life of the town:
John Vaughan established Teesside's first ironworks in 1841, The Vulcan Works at Middlesbrough. Vaughan had worked his way up through the industry at the Dowlais Ironworks in south Wales and encouraged hundreds of the skilled Welsh workers to follow him to Teesside.
Edward Williams (iron-master), although he was the grandson of the famous Welsh Bard Iolo Morganwg, Edward had started as a mere clerk at Dowlais. His move to the Tees saw him rise to ironmaster, alderman, magistrate and Mayor of Middlesbrough. Edward was also the father of Aneurin and Penry, who both became Liberal MPs for the area.
E.T. John arrived from Pontypridd as a junior clerk in Williams' office. John became the director of several industrial enterprises and a radical politician.
Windsor Richards, an Engineer and manager, oversaw the town's transition from iron to steel production.
Much like the contemporary Welsh migration to America, the Welsh of Middlesbrough came almost exclusively from the iron-smelting and coal districts of South Wales. By 1861 42% of the town's ironworkers identified as Welsh and one in twenty of the total population. Place names such as "Welch Cottages" and "Welch Place" appeared around the Vulcan works, and Middlesbrough became a centre for the Welsh communities at Witton Park, Spennymoor, Consett and Stockton on Tees (especially Portrack). David Williams also recorded that a number of the Welsh workers at the Hughesovka Ironworks in 1869 had migrated from Middlesbrough.
A Welsh Baptist chapel was active in the town as early as 1858, and St Hilda's Anglican church began providing services in the Welsh language. Churches and chapels were the centres of Welsh culture, supporting choirs, Sunday Schools, social societies, adult education, lectures and literary meetings. By the 1870s, many more Welsh chapels were built (one reputed to seat 500 people), and the first Eisteddfodau were held.
By the 1880s, a "Welsh cultural revival" was underway, with the Eisteddfodau attracting competitors and spectators from outside the Welsh communities. In 1890 the Middlesbrough Town Hall hosted the first Cleveland and Durham Eisteddfod, an event notable for its non-denominational inclusivity, with Irish Catholic choirs and the bishop of the newly created Roman Catholic Diocese of Middlesbrough as honoured guests.
In the early twentieth century this Eisteddfod had become the biggest annual event in the town and the largest annual Eisteddfod outside Wales. The Eisteddfod had a clear impact on the culture of the town, especially through its literary and music events, by 1911 the Eisteddfod had twenty-two classes of musical competition only two of which were for Welsh language content. By 1914, thirty choirs from across the area were competing in 284 entries. A choral tradition remained part of the town's culture long after the eisteddfod and chapels had gone. In 2012 an exhibition at the Dorman Museum marked the Apollo Male Voice Choir's 125 years as an active choir in the town.
Industrial Wales was noted for its "radical Liberal-Labour" politics, and the rhetoric of these politicians clearly won favour with the urban population of the North East. Penry Williams and Jonathan Samuel won the seats of Middlesbrough and Stockton-on-Tees for the Liberal Party and Penry's brother, Aneurin would also win the newly created Consett seat in 1918.
Sir Horace Davey stressed his Welsh lineage and stated that "it was scarcely an exaggeration to say that Welshmen had founded Middlesbrough", courting the Welsh vote that saw him elected MP for Stockton. However, others complained that local Conservative candidates were losing to "Fenians and Welshers" (Irish and Welsh people).
These sentiments had grown by 1900 when Samuel lost his seat after a Unionist complained publicly that the town had been "forced to submit to the indignity of being trailed ignominiously through the mire by Welsh constituents". Samuel lost the seat but regained it in 1910 with a campaign that made few, if any, references to his Welsh background.
From 1861 to 1871, the census of England & Wales showed that Middlesbrough consistently had the second highest percentage of Irish born people in England after Liverpool. The Irish population in 1861 accounted for 15.6% of the total population of Middlesbrough. In 1871 the amount had dropped to 9.2% yet this still placed Middlesbrough's Irish population second in England behind Liverpool. Due to the rapid development of the town and its industrialisation there was much need for people to work in the many blast furnaces and steel works along the banks of the Tees. This attracted many people from Ireland, who were in much need of work. As well as people from Ireland, the Scottish, Welsh and overseas inhabitants made up 16% of Middlesbrough's population in 1871. A second influx of Irish migration was observed in the early 1900s as Middlesbrough's steel industry boomed producing 1/3 of Britain's total steel output. This second influx lasted through to the 1950s after which Irish migration to Middlesbrough saw a drastic decline. Middlesbrough no longer has a strong Irish presence, with Irish born residents making up around 2% of the current population, however there is still a strong cultural and historical connection with Ireland mainly through the heritage and ancestry of many families within Middlesbrough.
The town's rapid expansion continued throughout the second half of the 19th century, fuelled by the iron and steel industry. In 1864 the North Riding Infirmary (an ear, nose and mouth hospital) opened in Newport Road; this was demolished in 2006.
On 15 August 1867, a Reform Bill was passed, making Middlesbrough a new parliamentary borough, Bolckow was elected member for Middlesbrough the following year. In 1875, Bolckow, Vaughan & Co opened the Cleveland Steelworks in Middlesbrough beginning the transition from Iron production to Steel and by the turn of the century. Henry Bolckow died in 1878 and left an endowment of £5,000 for the infirmary.
In the latter third of the 19th century, Old Middlesbrough was starting to decline and was overshadowed by developments built around the new town hall, south of the original town hall, the town's population reaching 90,000 by the dawn of the 20th century.[9] In 1900, Bolckow, Vaughan & Co had become the largest producer of steel in Great Britain and possibly came to be one of the major steel centres in the world.
In 1914, Dorman Long, another major steel producer from Middlesbrough, became the largest company in Britain. It employed a workforce of over 20,000 and by 1929 and gained enough to take over from Bolckow, Vaughan & Co's dominance and to acquire their assets. The steel components of the Sydney Harbour Bridge (1932) were engineered and fabricated by Dorman Long of Middlesbrough. The company was also responsible for the New Tyne Bridge in Newcastle.
Several large shipyards also lined the Tees, including the Sir Raylton Dixon & Company, Smith's Dock Company of South Bank and Furness Shipbuilding Company of Haverton Hill.
Middlesbrough was the first major British town and industrial target to be bombed during the Second World War. The Luftwaffe first attacked the town on 25 May 1940 when a lone bomber dropped 13 bombs between South Bank Road and the South Steel Plant. One of the bombs fell on the South Bank football ground making a large crater in the pitch. The bomber was forced to leave after RAF night fighters were scrambled to intercept. Two months after the first bombing Prime Minister Winston Churchill visited the town to meet the public and inspect coastal defences.
German bombers often flew over the Eston Hills while heading for targets further inland, such as Manchester. On 30 March 1941 a Junkers Ju 88 was shot down by two Spitfires of No. 41 Squadron, piloted by Tony Lovell and Archie Winskill, over Middlesbrough. The aircraft dived into the ground at Barnaby Moor, Eston; the engines and most of the airframe were entirely buried upon impact.
On 5 December 1941 a Spitfire of No. 122 Squadron, piloted by Sgt Hutton, crashed into rising ground near Mill Farm, Upsall, on the lower slopes of Eston Hills. Poor visibility due to bad weather and low cloud is believed to have been the cause of the crash.
On 15 January 1942, minutes after being hit by gunfire from a merchant ship anchored off Hartlepool, a Dornier Do 217 collided with the cable of a barrage balloon over the River Tees. The blazing bomber plummeted onto the railway sidings in South Bank leaving a crater twelve feet deep. In 1997 the remains of the Dornier were unearthed by a group of workers clearing land for redevelopment; the remains were put on display for a short while at Kirkleatham museum.
On 4 August 1942 a lone Dornier Do 217 picked its way through the barrage balloons and dropped a stick of bombs onto the railway station. One bomb caused serious damage to the Victorian glass and steel roof. A train in the station was also badly damaged although there were no passengers aboard. The station was put out action for two weeks.
The Green Howards was a British Army infantry regiment very strongly associated with Middlesbrough and the area south of the River Tees. Originally formed at Dunster Castle, Somerset in 1688 to serve King William of Orange, later King William III, this regiment became affiliated to the North Riding of Yorkshire in 1782. As Middlesbrough grew, its population of men came to be a group most targeted by the recruiters. The Green Howards were part of the King's Division. On 6 June 2006, this famous regiment was merged into the new Yorkshire Regiment and are now known as 2 Yorks, The 2nd Battalion The Yorkshire Regiment (Green Howards). There is also a Territorial Army (TA) company at Stockton Road in Middlesbrough, part of 4 Yorks which is wholly reserve.
Post Second World War to contemporary era
By the end of the war over 200 buildings had been destroyed within the Middlesbrough area. The borough lost 99 civilians as a result of enemy action.
Areas of early and mid-Victorian housing were demolished and much of central Middlesbrough was redeveloped. Heavy industry was relocated to areas of land better suited to the needs of modern technology. Middlesbrough itself began to take on a completely different look.
Middlesbrough's 1903 Gaumont cinema, originally an opera house until the 1930s, was demolished in 1971. The Cleveland Centre opened in the same year. In 1974, Middlesbrough and other areas around the Tees, became part of the county of Cleveland. This was to create a county within a single NUTS region of England, with the UK joining the European Union predecessor (European Communities) a year earlier.
Middlesbrough's Royal Exchange building was demolished, to make way for the road. A multi-storey the Star and Garter Hotel built in the 1890s near to the exchange on the site of a former Welsh Congregational Church, was also demolished. The Victorian era North Riding Infirmary was demolished in 2006 and replaced by a hotel and supermarket.
The Cleveland Centre opened in 1971, Hill Street shopping centre opened in 1981 and Captain Cook Square opened in 1999.
Middlesbrough F.C.'s modern Riverside Stadium opened on 26 August 1995 next to Middlesbrough Dock. The club moved from Ayresome Park their previous home in the town for 92 years.
With the abolition of Cleveland County in 1996, Middlesbrough again became part of North Yorkshire.
The original St.Hilda's area of Middlesbrough, after decades of decline and clearance, was given a new name of Middlehaven in 1986 on investment proposals to build on the land. Middlehaven has since had new buildings built there including Middlesbrough College and Middlesbrough FC's Riverside Stadium amongst others. Also situated at Middlehaven is the "Boho" zone, offering office space to the area's business and to attract new companies, and also "Bohouse", housing. Some of the street names from the original grid-iron street plan of the town still exist in the area today.
The expansion of Middlesbrough southwards, eastwards and westwards continued throughout the 20th century absorbing villages such as Linthorpe, Acklam, Ormesby, Marton and Nunthorpe[9] and continues to the present day.
Went to the Otter Bookbinding class this last weekend at the Southern Bookbinders workshop at Winchester and made this single section book.
Will it be good enough for a Level 1 City and Guilds?
Includes 6 poses. Available inworld and at the marketplace.
Inworld: slurl.com/secondlife/Serena%20Carmel/7/78/22
Marketplace: marketplace.secondlife.com/p/WDK-Single-poses-pack-03-box...
Strobist: Single bare flash at 1/16 power triggered by Cybersyncs
This is my "Single Light Source Portrait" entry to the 2009 Photo Challenge hosted by photochallenge.org.
A single strawberry on a burnt white background...
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My first day out- Muskingum River Marietta, Ohio.
This is my beautiful German shell, ELISHA, built in the late '40s or early 1950s. It was rebuilt in Philadelphia in the early 1970s with new stainless steel riggers, oarlocks, decks, foot stretchers, added rib supports and a Stampfli seat. The oars shown here are Stampfli 296s.
I purchased this boat from Ralph Lindamood, longtime coach of Marietta College, in the late 1970s. Ralph's son Norm used this quite a bit and won several medals in it. When Norm 'outgrew' the boat Ralph was lending it to college lightweights but was afraid that it would get damaged and offered it to me.
£42 for the single night in mid summer seems to me a good deal.
Washbasin with hot & cold running water and a plug.
Home-built single tube stereo transmitter for my iPod or sound card.
All solid state except for final RF output stage (a single GE 6550A).
Tuning range: 80MHz to 175MHz in three bands.
AMSTERDAM, JUNE 13TH 2016
Single Market Forum and Single Market Conference. SIMFO
PHOTO MARTIJN BEEKMAN/EUROPEAN COMMISSION
High Wycombe bus station is a busy place. When I visited on 11th January, there was a wide range of types of buses in evidence. The 23 pictures I am uploading in this batch were taken in the space of 40 minutes.
Main operators are Arriva and Carousel although Red Eagle and Vale Travel also appeared.
Perhaps typically, Arriva produced a wide range of vehicles, many elderly. I was also struck by the enormous mix of vehicle types on the same route, with the local high frequency routes boasting a mix of single and double deckers.
Northern Counties Palatine bodied Volvo Olympian 5151 leaves on the 32 to Micklefield (or Micklefie according to the destination display).
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
SOFIA VERGARA as Ava in New Line Cinema掇 romantic comedy 浭EW YEAR悆 EVE,?a Warner Bros. Pictures release.
These sculpted tents are only a single prim, not including the prim used for the shadow texture
You can't really see it from the screenshot but there's tiny stakes at the four corners of the tent. I'm thinking of adding a second prim for some ropes and additional stakes.
Am 12.04.2025 wurde die Baureihe 406 mit einer Abschiedsfahrt in den Ruhestand verabschiedet. Die auch als ICE3M bekannten Triebzüge werden nach der Indienststellung der Baureihen 407 und 408 nicht mehr benötigt und stehen nun zum Verkauf beziehungsweise werden verschrottet.
Die Abschiedsfahrt führte als ICE 13406 von Hannover nach Amsterdam und anschließend als ICE 25 nach Frankfurt am Main. Auf letzterer Fahrt hat die Doppeltraktion aus den Triebzügen 4651 und 4601 soeben die Ortschaft Buir passiert. (12.04.2025)
Oban Distillery is one of the oldest distilleries in Scotland, dating back to around 1800. It underwent refurbishment in the 1890's and there has been little change to the present buildings since then.
Oban distillery takes it name from the town where the Highlands meet the Islands and nestles below the steep cliff that overlooks Oban.
Having booked ourselves for the one hour distillery tour (£ 7.50 each) I was extremely disappointed to be told long after we had paid and about to walk onto the distillery tour it was forbidden to take photographs (for Health & Safety reasons. All you flickr fiends better stop taking photos now if you want to live much longer). Since this was pretty well the only reason why I wanted to go in I debated demanding my money back but hesitated in doing so. I must admit I was going to take a photo of a machine that crushed the malted barley, and raised my camera to do so when the wizened tour guide behind me said, "That's the last photo you'll take" in a way that made me think she would take each of my limbs and put them across her knees and snap them in half before tearing my head from my torso with her bared teeth and throwing the remains over the cliff behind the distillery. There was no warehouse where the men of Oban tossed and turned the malted barley to let it germinate and infuse with the aroma of peat. They import the grain ready malted. There was no warehouse visible where we could see hundreds of wooden casks sitting silently in a cool warehouse for a minimum of 14 years. There was a sample of 53% proof 10 year old malt, but when you are given what seemed like around 2.5ml, not much more than a few teardrops, you felt they were a bit mean, although you did get a modest tot and a glass of their signature whisky afterwards before being led into the distillery shop where you could buy more. The tour was 'efficient' but for me lacked the very 'spirit' of whisky I had come to see, the malt being turned, the peat smoke, the rows of barrels sitting in the warehouse. Sadly, it didn't feel as special to me as it should have done. The Health & Safety lecture reminded me it had just become a modern manufacturing process.
© 2007 All rights reserved JulioC.
Armação de Pêra - Algarve - Portugal
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