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Volkstheater - People's Theatre
The Volkstheater (2008)
The Volkstheater is one of the most important Schauspielbühnen (drama stages) of Vienna. It was founded in 1889 by the poet Ludwig Anzengruber and the industrialist Felix Fischer by the Association of the German folk theater (Volkstheater), to create an alternative to the Imperial Hofburg Theatre, the latter one the representation of everyday life, the folksy and comedic elements keeping away from its stage boards. The first president of the club was the famous stool manufacturer Franz Thonet. The founders intended in addition to folk plays mainly classical and modern dramas being performed and to provide a broad class of population access to the theater. Therefore the famous Theaterarchitektenduo (duo of theater architects) Ferdinand Fellner and Hermann Helmer the neo-Renaissance building with the representative column loggia have given a large auditorium with little boxes and many exits to the outside, by which this building in the style of historicism became a model for the entire monarchy. The auditorium with the ceiling painting by Eduard Veith, showing the coronation of the Austrian poets Ferdinand Raimund, Johann Nepomuk Nestroy and Ludwig Anzengruber, is one of the last in its original state preserved audiences in Vienna and was with 1900 seats formerly the largest in the entire German-speaking world. Today, the capacity of the theater is 970 places and it is the second largest theater stage in Vienna. According to safety regulations, which were adopted after the Ring Theatre fire in Vienna in 1881, the Volkstheater was the first exclusively electrically lit theater house.
History
On 14 September 1889 opened the theater its doors with Ludwig Anzengruber's drama "The stain on the honor". The bourgeoisie and the aristocracy of money (Geldadel) called the new theater "their house" and thus defied the exclusively reserved for the aristocracy Court Theatre, whose artistic director initially even harbored takeover plans. When the popular theater was run down and broke, he then wanted to buy it cheap. But the people theater celebrated one success after another. Just one year after the opening had to be enlarged the stage area. In 1907 were added a further extension with additional foyer and 1911 more stage side rooms.
In the 1920s, the Volkstheater experienced under the theater directors Alfred Bernau and Rudolf Beer artistic highlights. Spectacular repertoires, prominent actors, directors and stage designers of that time continued the success story of the theater. From 1938 to 1945, the theater became part of the Nazi leisure program "Strength through Joy" of the German Labor Front under Walter Bruno Iltz. In the years 1938/1939 was rebuilt the theater and removed the sculptural decoration on the facade. For a visit of Adolf Hitler even a reception and break room was extra set up, the so-called leaders room (Führerzimmer). In 1944 the dome and foyers were destroyed in an attack, a year later the building was restored but for the time being it was decided not to reconstruct the dome and the facade decoration. Only in the course of a general renovation in the early 1980s the dome was restored. On 10 May 1945, the theater was reopened. After the war, the director and actor Günther Haenel became director of the theater. His game plan focused mainly socio-critical issues.
In the following two decades (1950s and 1960s) dominated on the initiative Leon Epps' contemporary plays and bold interpretations of classics the theater program and the popular theater became famous with Raimund and Nestroy interpretations under the direction of Gustav Manker. Manker became at the beginnings of the 1970s director of the theater and celebrated breakthroughs with the discovery of modern Austrian dramatic literature.
In 1954, the play series "People's Theatre in the districts" was launched. Individual productions of popular theater are presented in external venues in the districts of Vienna. Among these secondary venues since 2005 the "Hundsturm (dogs tower)" as a smaller stage is included in which experimental theater works are staged. But also in the main building of the popular theater are additional venues located, like the "Red Bar" (in the buffet room on the first floor), the "Black Salon", the "White Salon" and the "Reception Room" (formerly "Führerzimmer"). Since 2009/10 in Bellaria Cinema at Museum Street behind the People's Theatre the production "Go West ? - Young authors write for the popular theater" has its home.
The auditorium (2009)
On both sides of the main house in the Neustiftgasse watch "the good spirits of the Viennese popular theater". In the nearby small Weghuberpark sits theater buffoonery poet Ferdinand Raimund suspended in reverie on a marble bench, surrounded by the feminine genius of fantasy. This sculpture was created by the Austrian sculptor Franz Vogl 1898. At the corner of Burggasse/Museum Street a bust of the famous Austrian actress Johanna "Hansi" Niese (by Josef Müllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.
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1936 from the souvenir of Col. W. De Basil's Ballets Russes at Covent Garden 3rd season June to Sept.
Scenery by Picasso for "Pulcinella"
Pablo Ruiz Picasso [1881-1973] was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.
Pulcinella is a one-act neoclassical ballet by Igor Stravinsky based on an 18th-century play Quartre Polichinelles semblables ("Four identical Pulcinellas"). Pulcinella is a stock character originating from commedia dell'arte.
The ballet premiered at the Paris Opera on 15th May 1920 under the baton of Ernest Ansermet. Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. The ballet was commissioned by Sergei Diaghilev.
Costumes by J. W. Sert for "Cimarosina"
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#Nikah #Event #a2z #Wedding #Hall Follow us on Instagram @DclassyClicks and @a2zevents We are now taking bookings for July-17 to Apr-18 Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #DClassyClicks #DClassyClicksbya2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #hoteldecor #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
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“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
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V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
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“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
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Needing a break from a puzzle I am currently working on ( stuck in the dreaded large dark tree area) I have just done this one. I have had it for several years now and it is probably my favourite of the Circular Springboks. "An art nouveau study of ladies' hats through the ages"
The artist Loudon Sainthill (1918-1969) who was Australian born, was" England's finest and one of the world's foremost stage designers"
His stage designs include, 1950 for Sir Robert Helpmann and Dame Margot Fonteyn's Ile de Sirenes and 1951 for Michael Benthall's The Tempest at The Shakespeare Theatre Stratford-on-Avon.
Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer, born in Málaga, Spain. He showed extraordinary artistic talent from a very young age, receiving formal training from his father, an art teacher, and later at prestigious art schools in Barcelona and Madrid.
Picasso is best known as one of the founders of Cubism, together with Georges Braque. Cubism broke away from traditional perspective and representation, instead presenting subjects from multiple viewpoints at once, revolutionizing Western art. His famous early Cubist work, Les Demoiselles d’Avignon (1907), shocked the art world with its radical style inspired in part by African and Iberian art.
His artistic career is usually divided into several periods:
• Blue Period (1901–1904): somber paintings in shades of blue, reflecting poverty, loneliness, and human suffering.
• Rose Period (1904–1906): warmer tones with circus performers, acrobats, and more romantic themes.
• African-influenced Period (1907–1909): marked by Les Demoiselles d’Avignon, inspired by African masks and sculpture.
• Cubism (1909–1919): developed with Braque, including both Analytical and Synthetic Cubism.
• Neoclassicism & Surrealism (1920s–1930s): explored classical forms, mythology, and surrealist influence.
One of his most famous works, Guernica (1937), was painted in response to the bombing of the Basque town of Guernica during the Spanish Civil War. The mural-sized painting is a haunting anti-war statement and remains one of the most powerful political artworks of the 20th century.
Throughout his long career, Picasso produced over 20,000 works in different media, constantly reinventing his style. He spent much of his later life in France, where he continued working until his death in 1973. Picasso’s impact on modern art is immeasurable: he challenged conventions, redefined artistic expression, and influenced countless artists around the world.
________________________________________
Na hrvatskom:
Pablo Picasso (1881.–1973.) bio je španjolski slikar, kipar, grafičar, keramičar i scenograf, rođen u Malagi, Španjolska. Od najranije dobi pokazivao je izniman talent za crtanje i slikanje. Njegov otac, učitelj umjetnosti, bio mu je prvi mentor, a kasnije se školovao na uglednim umjetničkim akademijama u Barceloni i Madridu.
Picasso je najpoznatiji kao jedan od osnivača kubizma, zajedno s Georgesom Braqueom. Kubizam je potpuno promijenio zapadnu umjetnost jer je napustio tradicionalnu perspektivu i realističan prikaz te prikazivao predmete i figure iz više kutova istovremeno. Njegovo djelo Gospođice iz Avignona (1907.) bilo je revolucionarno i nadahnuto afričkom i iberijskom umjetnošću.
Njegov se opus obično dijeli na nekoliko razdoblja:
•Plavo razdoblje (1901.–1904.): tmurni tonovi plave boje, teme siromaštva, tuge i ljudske patnje.
• Ružičasto razdoblje (1904.–1906.): toplije boje, motivi cirkusa i akrobata, romantičniji ugođaj.
• Afričko razdoblje (1907.–1909.): obilježeno djelima nadahnutim afričkim maskama i skulpturom.
• Kubizam (1909.–1919.): analitički i sintetički kubizam, razvijen u suradnji s Braqueom.
• Neoklasicizam i nadrealizam (1920-e i 1930-e): povratak klasičnim formama, mitološkim temama i istraživanje nadrealizma.
Njegovo najpoznatije političko djelo je Guernica (1937.), monumentalna slika koja prikazuje stradanje stanovnika baskijskog grada Guernice, bombardiranog u Španjolskom građanskom ratu. To je snažna antiratna poruka i jedno od najutjecajnijih djela 20. stoljeća.
Picasso je tijekom života stvorio više od 20.000 umjetničkih djela u različitim tehnikama i stilovima, uvijek iznova mijenjajući svoj pristup. Veći dio života proveo je u Francuskoj, gdje je i preminuo 1973. godine. Njegov utjecaj na modernu umjetnost je nemjerljiv – razbio je stare kanone, otvorio nove putove umjetničkog izraza i ostavio nasljeđe koje je oblikovalo generacije umjetnika.
Pablo Picasso (1881–1973) 20150707 S 2447 Prag 11700 MusCZPragueWaxMuseumAI
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Festival de wereld van Witte de With, Rotterdam 2010
De Tiller Girls zijn terug! Dit dansgezelschap maakte begin 20e eeuw internationaal furore met hun spectaculaire en gewaagde ‘Chorus-line dance’. De dans hypnotiseerde haar toeschouwers door de uiterst strakke choreografie waarbij de rij sexy benen eindeloos hoog de lucht in gaat. Honderd jaar na dato presenteert V2_ tijdens De Wereld van Witte de With een dansvoorstelling van kunstenaar Louis-Philippe Demers geïnspireerd op dit uniek stukje dansgeschiedenis. In Demers’ wervelende show zijn de Tiller Girls vervangen door twaalf robots die een Chorus-line dance uitvoeren. Haal de smokings en de avondjurken uit de kast want zoiets heeft u nog nooit gezien!
Don't miss it – the Tiller Girls are back! This famous dance troupe caused an international sensation at the beginning of the 20th century with its spectacular, daring chorus line dance. The dance has a hypnotic effect on viewers thanks to its extremely tight choreography, in which a line of sexy legs rises endlessly up, up, up into the air.
A century after the original Tiller Girls conquered the world, V2_ presents artist Louis-Philippe Demers’ performance inspired by this unique piece of dance history during De Wereld van Witte de With. In Demers’ sparkling show, the Tiller Girls will be replaced by a dozen robots who will perform the chorus line dance. The public is welcome to attend. Get out your tuxedos and evening dresses, because you've never seen anything like this!
Louis-Philippe Demers makes large-scale robotic environments and interactive media artworks. He was Professor at the HfG/ZKM and currently is at the Interaction and Entertainment Research Centre at the NTU (Singapore).
Philip Schulze is a media artist, composer and improviser. Schulze develops site-specific visual and auditory experiences and collaborative action spaces. He is responsible for Real-Time Audio Design.
Armin Purkrabek is a stage designer, researcher and media artist. Purkrabek develops futuristic scenographies thru digital/analogue art experiments. He is responsible for Real-Time Video/Lights Design.
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Blood Swept Lands and Seas of Red
The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.
Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war.
- See more at: www.hrp.org.uk/TowerOfLondon/stories/firstworldwar/TheTow...
#Mehndi #Eevent #Executive #Class #a2zmarquee Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor#Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
#Mehndi #Event #a2z_Events_Solutions #Marquee #Fun_stuff #Selfie_props #Selfi_booth #Hanging_garden
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'Blood Swept Lands and Seas of Red' is an installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper.
Fully unveiled on 5 August 2014, 100 years since the first full day of Britain's involvement in the war, the last poppy will be installed on 11 November.
By then there will be 888,246 poppies, each representing a British or Colonial military fatality during the war.
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Tower of London, Remembers The First World War, an installation by ceramic artist Paul Cummins, setting by stage designer Tom Piper, Tower Poppies.
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Giovanni Paolo Panini was born in Piacenza where he first trained under a stage designer. He later moved to Rome to study drawing and began specializing in decorations. In 1716, Panini was painting depictions of Rome’s ancient and modern monuments. Not long after, he began receiving recognition, joining the Congregazione dei Virtuosi al Pantheon and the Accademia di San Luca. He eventually taught at the latter and became the principal. Beginning in the 1720’s. Panini painted frescoes for important clients including the pope. He also taught at the Academie de France in Rome where he influenced Jean-Honore Fragonard.
Tower of London Remembers.
To mark the centenary anniversary of the First World War the Tower of London is creating an evolving art installation "Blood Swept Lands and Seas of Red". Formed of 888,246 ceramic poppies by artist Paul Cummins, with setting by stage designer Tom Piper, each poppy represents a British military fatality during the war. The installation was officially unveiled on 5 August 2014, one hundred years since the first full day of Britain's involvement in the First World War and will be in place until 11 November 2014.
On 24 August I helped to build a just a little more of the installation by constructing and planting a batch of poppies. I believe it is now (as in these photos) about a quarter completed. Each poppy is a life lost - when it is completed maybe it will help to demonstrate the scale of those numbers which we really cannot imagine.
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RAMON AREVALO OBUSAN, dancer, choreographer, stage designer and artistic drector, has achieved phenomenal success in the Philippine dance and cultural work. Also known as researcher, archivist and documentary filmmaker, Obusan has broadened and deepened our understanding of our cultural life and expressions.
Aside from his own numerous productions on stage and in the streets, directing pageants and festivals at home and abroad, Obusan has influenced other dance artists and researchers worldwide. Through the Ramon Obusan Folkloric Group (ROFG), he has effected cultural and diplomatic exchanges utilizing the multifarious aspects and dimensions of art of dance.
His group’s performances abroad have enriched and strengthened our ties with the contemporary world, especially with Europe, the Americas (particularly Mexico), the Middle East, Asia and the Pacific. -His acumen as scholar- artist, virtually the one in folk dance in our midst today, gains redoubtable respect for himself and the Filipino citizens.
His repertoire for ROFG is ever vitalized by Obusan’s intensive and extensive research in Philippine culture. At the same time, he sustains a continuing equitable relationship with the people, including children, living in their communities. Recognizing them as artists themselves, he encourages them to participate in his group’s performances.
Beyond the often formulaic panoramic survey of the Philippine rituals, dances, and music, he sometimes chooses a unified thematic construct that gives a total picture of our variegated cultural expressions, and the writes- as in his early Kayaw and the more current Vamos a Belen- an image of continuity and communality portraying us a nation.
Obusan’s obsession in harnessing the potentials of dance in Philippine society today is unparalleled as he unreservedly and incessantly creates a living reflection of ourselves, showing us who we are.
(Text taken from Ramon A. Obusan's National Artist citation given on June 9, 2006 at the Malacañan Palace)
For this year's Zero-in, Museo Pambata features “Sayaw!”. See various indigenous dance costumes from the collection of National Artist Ramon Obusan. Dance the tinikling, and make music with the different musical instruments such as the anklung, gabbang and gangsa. All on display at Museo Pambata until October 16.
MUSEO PAMBATA
Roxas Boulevard, corner South Drive, Manila
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V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
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“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
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Blood swept lands and seas of red
An installation by ceramic artist Paul Cummings, Setting by Stage designer Tom Piper
5 August - 11 November 2014
#TowerPoppies
For 114 Pictures, #18: special
#Walima #Event #Sialkot
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Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0324-4921459 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #Barat #MehndiDecor #Barat_decoration #Flower_decoration #DClassyClicks #DClassyClicksbya2zevents #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #hoteldecor #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
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V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
Neuschwanstein Castle is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau in southwest Bavaria, Germany. The palace was commissioned by Ludwig II of Bavaria as a retreat and as an homage to Richard Wagner. The building design was drafted by the stage designer Christian Jank. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th-century technical achievements. Among other things it had a battery-powered bell system for the servants and telephone lines. Further novelties for the era were running warm water and toilets with automatic flushing. The kitchen equipment included a Rumford oven that turned the skewer with its heat and so automatically adjusted the turning speed.
The palace was opened to the paying public immediately after his death in 1886.
The palace was the inspiration for Disneyland's Sleeping Beauty Castle.
#Mehndi Sabzazar IT Lahore Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
#Grand_Opening_Ceremony #Hayat #Familia #Molfix #Papia #PC_Hotel_Lahore
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Statua ( In rete metallica ) di Edoardo Tresoldi
Statue (made of wire mesh) by Edoardo Tresoldi
Siponto Manfredonia Foggia Puglia Italia © 2016 All rights reserved by Michele Masiero
FotoSketcher: lively
Nikon coolpix p 7100
Il Parco archeologico di Siponto, è situato a pochi chilometri dalla città di Manfredonia in Puglia.
Nell’area archeologica accanto alla chiesa di Santa Maria Maggiore di origine medievale, sono presenti i resti di una basilica paleocristiana del IV sec. d.C. a tre navate con abside centrale e pavimento a mosaico. Al fine di valorizzare tutta l’area archeologica, che comprende anche il restauro del complesso della chiesa di San Leonardo posto nelle vicinanze, e preservare i resti archeologici della basilica paleocristiana, il ministero dei beni culturali e la sopraintendenza archeologica della Puglia utilizzando fondi europei , ha approvato e finanziato il progetto dello scultore lombardo Edoardo Tresoldi.
L’opera d’arte a carattere permanente di Edoardo Tresoldi, ricostruisce sui resti archeologici della basilica
paleocristiana , i volumi in scala reale della basilica stessa sino ad una altezza di 14 metri ,utilizzando reti in metallo galvanizzato trasparenti. L’Opera d’arte,unica al mondo, ha richiesto l’utilizzo di sette tonnellate di rete metallica leggera e trasparente , e un lavoro protrattosi per circa tre mesi di una equipe di una trentina di persone tra cui archeologi, ingegneri e architetti e il gruppo di giovani creativi che collaborano con Tresoldi da diversi anni.
Edoardo Tresoldi
Scultore, pittore e scenografo, Edoardo Tresoldi ha un approccio artistico e di ricerca creativa e libera. Studia design e arti visive all'istituto d'arte di Monza. Nel 2009 si trasferisce a Roma e inizia a lavorare come pittore di scena per vari progetti cinematografici. La scenografia diventa un laboratorio di sperimentazione. Dal 2013 realizza sculture ed installazioni in rete metallica. Edoardo ha 28 anni, è di Cambiago, in provincia di Milano ed è considerato uno dei talenti della street art italiana. Si fa aiutare da una squadra in cui l’età media è 25 anni e anche i responsabili di Sovrintendenze ed Ente Paesaggistici, hanno riconosciuto il valore delle sue opere. A lui sono state affidati luoghi importanti, come le installazioni alla Vigna di Leonardo a Milano e alla Basilica di Siponto a Manfredonia.
.The Archaeological Park of Siponto, is located a few kilometers from the town of Manfredonia in the Puglia region. In the archaeological site next to the church of Santa Maria Maggiore of medieval origin, there are the remains of a paleoChristian basilica of the fourth century. after Christ, with three naves and central apse and mosaic floor. In order to enhance the whole archaeological area, which also includes the restoration of the complex of the church of San Leonardo nearby, and preserve the archaeological remains of an early Christian basilica, the Ministry of Cultural Heritage and the archaeological superintendence of Puglia using European funds, have approved and funded the project the Lombard sculptor Edoardo Tresoldi. The work of art, unique in the world, a permanent nature by Edoardo Tresoldi, reconstructs on the archaeological ruins of the paleoChristian basilica, the full-scale real volumes of the basilica itself up to a height of 14 meters, using wire mesh galvanized transparent.The Art work required the use of seven tons of transparent metal mesh, and a job that lasted for about three months in a team of thirty people including archaeologists, engineers and architects and the group of young creatives that cooperate with Tresoldi from several years.
Edoardo Tresoldi
Sculptor, painter and stage designer, Edoardo Tresoldi has an artistic and creative research approach and free. He has studied design and visual arts at the Institute of Art of Monza. In 2009 he moved to Rome and began working as a scene painter for various film projects. The scenery becomes a testing laboratory. From 2013 makes sculptures and installations made of wire mesh. Edoardo is 28 years old, is born at Cambasio, in the province of Milan and is considered one of the talents of the Italian street art. It was helped by a team where the average age is 25 years. To him they were
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Follow us on Instagram @a2zevents and @DclassyClicks
Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869
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