Radha and Krishna Sculpture Painting by Praveen Achar, Art Solutions, Tirthahalli, Bengaluru displayed in the Chitra Santhe 25.

"The chief consort of Krishna, Radha is the goddess of love and motherhood. She is also considered the complete incarnation of Mahalakshmi. Radha is often depicted as a virtuous court lady, and is sometimes interpreted as symbolizing the human soul."

Lord Buddha in Meditation sculpture painting by Praveen Achar, Art Solutions, Tirthahalli displayed in the Chitra Santhe 25 in Bengaluru.

Radha and Krishna Sculpture Painting by Praveen Achar, Art Solutions, Tirthahalli

Displayed in the Chitra Santhe 25 in Bengaluru.

Modular art solutions for the green|spaces brand identity design.

green|spaces is a two-part initiative:

1. incentive funding for commercial projects to be built green, certified sustainable, and include high profile green features

2. a resource center for commercial and residential projects, showcasing the best eco-friendly materials and methods.

Brand Identity Design: Widgets & Stone; Creative Direction: Paul Rustand; Designer: Brad Dicharry; Writing: Caleb Ludwick;

✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Vth93H

-------------

“Escape” 60x40 #arts_help #artist #painting #art_solution #enamel #art #arts_gallery #abstract #markingpen #abstractart #arte #artoftheday #Art_Spotlight #instaartexplorer #Artdiscovered #artsharez

by @canowic_art on Instagram.

A Sustainability Thinking Inspiration Session in the Ars Electronica Deep Space 8k

Photo showing the new Deep Space EVOLUTION application "Earth from Space".

Photo: Ars Electronica Solutions / My Trinh Müller-Gardiner

Find out more about Ars Electronica Solutions: ars.electronica.art/solutions/en/

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing the multisensory representation of the many faces of a battle.

Photo: Ars Electronica Solutions - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing an interactive print as an introduction to samurai culture, philosophy and daily life.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

Rosenbauer highlight stage at the Interschutz 2022.

Ars Electronica Solutions developed software and multimedia content for the highlight stage in Rosenbauer City 2030 for Interschutz 2022 — the leading international trade fair for fire and disaster protection, rescue and safety.

Photo: Garamantis/Jules Döring

ars.electronica.art/solutions/de/

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

Modular art solutions for the green|spaces brand identity design.

green|spaces is a two-part initiative:

1. incentive funding for commercial projects to be built green, certified sustainable, and include high profile green features

2. a resource center for commercial and residential projects, showcasing the best eco-friendly materials and methods.

Brand Identity Design: Widgets & Stone; Creative Direction: Paul Rustand; Designer: Brad Dicharry; Writing: Caleb Ludwick;

Ars Electronica Solutions opens its doors for international guests

Ars Electronica Solutions will again be represented at this year’s Ars Electronica Festival with its own location in the Tabakfabrik Linz. In keeping with the festival theme “Welcome to Planet B – A different life is possible. But how? ” “, Ars Electronica Solutions will also be devoting itself entirely to the topic of “Sustainabilty Thinking.

On the one hand, in the form of an exciting panel discussion in the “Department of Disruptive Disciplines,” and on the other hand with artistic interventions in the Ars Electronica Solutions Media Studio in the Art Magazin in Haus Falk at the Tabakfabrik Linz.

Ars Electronica Solutions will also join forces with its longtime partners ESA (European Space Agency) and DLR (German Aerospace Center) in Ars Electronica Deep Space 8K for exciting, immersive presentations.

Image Credits: Tabakfabrik

ars.electronica.art/solutions/en/aes_beim_aefestival_2022/

La salle à manger, Breakfast is from a series of views inside contemporary interiors. Paul Signac valiantly sought art solutions in the scientific process, the precise observation of color tones in close proximity. And, moving away from the subjectivity of impressionism and the passing moment, he searched the small particles of color for truth. “To ensure optical mixture, the neoimpressionists were forced to use brushwork of a small scale so that, when standing back sufficiently, different elements could reconstitute the desired tint and not be perceived in isolation.” In genomics approaches, likewise, field epidemiologists must use alternative data sources or original techniques to capture the unique characteristics that tie together the epidemiologically related whole. Without these, the bits provided by the precise genomic tools would only create “industrial art,” a canvas without valuable content, aesthetics achieved, in Signac’s words, by “empirical formulae and dishonest or silly advice.”

Full text available at:

dx.doi.org/10.3201/eid1811.AC1811

A group photo of all the representatives from 15 austrian companies, including speakers and organisers.

Photo: Ars Electronica Solutions / My Trinh Müller-Gardiner

Find out more about Ars Electronica Solutions: ars.electronica.art/solutions/en/

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

Sander Olaf's Solo Exhibition

Friday, January 17, 2014

ArTicKs Gallery in Amsterdam, Netherlands

www.articksgallery.com/exhibitions/solaf-paintings/

SOLAF art solutions:

www.facebook.com/solafartsolutions

Photos by Mr Gig Creations

www.facebook.com/MrGigCreations

In the exhibition 2019, visitors learn interactively about the advancing digitalization, which extends into their own four walls and clarifies the conveniences and possible potential dangers of the smart home.

Photo: Ars Electronica Solutions / My Trinh Müller-Gardiner

ars.electronica.art/solutions/en/smart_home__wanderaustel...

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

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Photo showing an interactive docurama of the world of samurai in a historical context.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

History of organ Redoute

General Information

History as a multipurpose facility Reduty Publicly construction begins in 1901, when the city of Bratislava as one of the cultural centers of Austria-Hungarian Empire Teresian bought the former granary, built on the banks of the Danube in 1773 on the orders of Maria Theresa. After the demolition of the city granary built in the years 1913-1919 multifunctional building in neo-baroque style with elements of Rococo and Art Nouveau. The name itself implies Redoute object of linguistic terms for interpretation in French ("Redoute"- Ball, prom or dance hall, etc.) Public multipurpose building. This was originally the seat of several associations, trade as well as cultural organizations and served on a large scale public capital Bratislava on musical events, dance parties and performances and to provide similar services.

The seat of the Slovak Philharmonic has become Redoute up to the beginning of the 50th years for the period of post-war Czechoslovak Republic. The focus of its activities, the provision of general and particular cultural services to the public concentrating varied Concerts. This house featured artists (male) and artists (female) from Slovakia but also many foreign guests from all over the world. At that time (in 1956) was to Slovak Philharmonic concert hall organ built and placed under the window in the facade of the building facing the street Medená. It is about a 85 štvormanuálový registering body Rieger-Kloss. Organ is electro pneumatic traktúry and one sliding game table. The factory was built by the authority located in Krnov in the current Czech Republic. Its current condition is marked by particular problems of quality materials available in the post-war market of Czechoslovak Republic in the mid 50s. Apart from the fact that the architecture (design) of this monumental musical instrument became not only a symbol of the object Reduty but also the Slovak Philharmonic.

After the Velvet Revolution, the object Reduty gradually transformed to fit the multifunctional cultural facility with a rich European musical tradition and at the same time it was decided the reconstruction and completion of the building

Current Status

History of organ Redoute

+ Organ in the Concert Hall of the Slovak Philharmonic was built in 1956 by Ing. Veverku. vyrobený, made ​​by organ Krnov, Czechoslovakia;

+ Characteristics of organ type - Rieger-Kloss Organ Opus 3210; technical design consists of the following parts - 4 manuals and pedal, 84 registers sounding, about 6,000 pipes, electrical traktúra, bowling tube, and moving game table;

+ Appearance organ (ie prospectus, ie its front part is called fancy face organ) adapt its constructor works of art of the concert hall SF)

+ A successful (visual) art solution fits into the interior of the concert hall and accepting some creative themes linked to the overall interior decoration,

+ Adaptation of the technical solutions addressing the visual, the sound of the organ was very inconvenient, many pipes are deaf - and has broken above a disproportionately large - length, which is due to the technical structures and organs due to inadequate acoustics solution;

2 Current status and review of existing organs

· Current state of the organ is difficult for artistic production incapacitated, is permanently faulty and can not be efficiently modified or rebuilt,

· Internal structure has only a minimal amount of material and the addition of a smaller pipework is not applicable construction elsewhere,

· The historically - art website does not constitute the organ of no value,

· Its hilarious appearance - art rendition of the facade of the organ (its face), may be the subject of consideration in the design of new creative solutions to future body;

3 Description of the disposition of the existing organ in the Concert Hall of the Slovak Philharmonic

Switch (Absteller):

1 switch drum

2 The switch 16 ' Man. + 32 ' Ped.

3 Reed switch registers of

I. manual:

4 Principal 16'

5 Burdon 16'

6 Principal 8'

7 Hollow Flute 8'

8 Viola da gamba 8'

9 Octave 4'

10th Recorder Flute 4'

11th Supe roktáva 2'

12th Transverse flute 2'

13th Whistle sparkling 4x 4'

14th Mixture 8 -10X 1 1/3 - 4'

15th Trumpet 16'

16th Trumpet 8'

17th I / II

18th III / II

19th IV / II

II. Manual:

20th Kvintadéna 8'

21, Cover 8'

22, Principal 4'

23 Roh night 4'

24th Glucanase 2 2/ 3'

25th Octave 2'

26th 2 flute flat'

27th Superkvinta 1 1/ 3'

28th Superoktáva 1'

29th Mixture 6 - 8x 1' - 4'

30th Crooked horn 8'

31 String shelf 4'

32 III / I

33 IV / I

34th I tremolo

Switch (absteller):

35th Hand switch registers

36th Switch connectors from the Register

37th Sub switch (couplings)

38th Super switch (couplings)

39th Mixtur switch

40th Pedal switch

III. manual:

41 Pommer indoor 16'

42 Principal 8'

43 Dome Flute 8'

44th Salicional 8'

45th Cover Musick 8'

46th Vox coelestis 1 - 2x 8 + 8'

47th Octave 4'

48th Flute pipe 4'

49th Violina 4'

50th Fifth covered 2 2/3'

51 Kvintadecima 2'

52 2 flute forest'

53 Seskvialtera - 2 2/3' + 1 3/ 5'

54th Mixture 7 - 9x 1 1/3 - 4'

55th Dulcimer - 3 8/9 ' - 1 1/ 3'

56th Field Trumpet 8'

57th Vox humana 8'

58th Klarina 4'

59th Harp 8'

60th IV / III

61st III tremolo

IV. manual:

62 Roh Kamzíková 8'

63 Roh night indoor 8'

64th Fluttering flute 1 - 2 8' + 8'

65th Principal 4'

66th Flute radius 4'

67th Fifth pipe 2 2/3'

68th Octave 2'

69 Tonus Fabri 2 + 1'

70th Terciová Flute 1 3/ 5'

71 Flute Kvintová 1 1/3'

72 Swiss fife 1'

73 Mixture Nono's 8/9' - 2 2/5'

74th AKUTOL 4x 1/2' - 4'

75th Cimbál terciový 3x 1 /4 - 2'

76th Rankettregál 16'

77th Dulcian 8'

78th Shawm 4'

79th Bells big G - works

Pedal

80th Plinth 32'

81st Double Bass 32' + 16'

82 Principálbas 16'

83 Apertabas 16'

84th Subbas 16'

85th Burdonbas 16'

86th Fifth Big 10 2/3'

87th Octavebas 8'

88th Hollow Flute 8'

89th Kvintadéna pipe 8'

90th Cover 8'

91st Naza covered 5 1/3'

92nd Chorálbas 4'

93rd Pointed Flute 4'

94th Cink 2 + 1'

95th Pipe effervescent 4x 5 1/ 3'

96th Mixture 7-9 x 2-4'

97th Kontrapozón 32'

98th Dulcian 16'

99th Požoň 16'

100th Trumpet 8'

101 Klarina 4'

102 I / P

103 II / P

104th III / P

105th IV / P

4 available combinations

Rollers

III. and IV. in impoundments

Electric traktúry

Man C - c5 (manuals)

Before C - g1 (pedal)

4 Inadequate design parameters of the existing functional organ from a technical point of view

· Occupy too much space - for the system design,

· Pipe section realized the sound of difficult material (zinc) and hardly tunable material (lack priezvučnosť prospectus is inappropriate resonance, etc.),

· Many pipes are broken, have only a decorative function,

· Poor artistic appearance of the body organ pipes - inappropriate striebrenkový coat;

· Middle balkónovitý projection bodies (positive) is inappropriate, interferes with musical productions, in the future it will be necessary to imbed into the sides of the level, but to lose plasticity breakdown; prospectus shift back by 1 m;

www.filharmonia.sk/index.php?page=organ-history

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing an interactive polarization filter installation that allows visitors to explore hidden details in historical artworks of the Samurai period.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

Submitted by: Avishek Das

Country: India

Organisation: Creative Art Solution

Category: Amateur

Caption: Blind children are celebrating the bonding Festival Rakhi at a blind school of Kolkata which will keep their Bonding strong despite of all hurdles in their life.

--

Photo uploaded from the #MakeVisionCount Photo Competition website (photocomp.iapb.org)

This competition is held for World Sight Day 2017.

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing an impression from the press conference on the opening of the Samurai Museum Berlin.

Photo: Ars Electronica Solutions - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

Boost your style with yaksheetasri.com nail extensions, nail enhancement and nail art solutions. Our all services include gel, silk nail extensions, and specialized acrylic Chennai solutions, featuring the latest and the best in creative nail design and branded nail products available in the city. We are recognized as the best home nails spa Chennai - so get strong, beautiful nails that remain flawless for weeks on end from the best nail spa in Chennai, i.e. yaksheetasri.com.

If you have difficulty growing long, beautifully shaped nails, then nail extensions may be the perfect choice for you. Nail extensions are ideal for special occasions, such as weddings, because they add a perfectly formed nail of your desired length immediately, there is no time required for growing.

By Doni Jordan from Columbia, South Carolina

Title - @

Dream Theme - Equality

About:

From the day I registered for the Dream Rocket project I knew that I

wanted to create a panel that would symbolize equality for all.

Trained as a graphic designer, I have long had a passion for symbols, punctuation and typography. I chose one single ancient symbol, "@" which literally means "at"; but which I reinterpreted to mean "all inclusive."

I dream of a world which is all inclusive of others... one that accepts and celebrates our differences. The @ symbol is known and identified worldwide, also being "all inclusive. As I researched the meaning of the @ symbol, I learned that the Museum of Modem Art (MoMA) in New York City recently acquired the @ symbol into its Department of Architecture and Design collection. The museum "dreamed big"; and determined that "the physical possession of an object as a requirement for an acquisition is no longer necessary, and therefore it sets curators free to tag the world." Because the @ symbol is in the public realm, it is free to all so this communication tool has become the most priceless object in MOMA's collection. Knowing that I wanted to create a fiber art solution for the project, I selected a double-sided weather resistant fabric. The green fabric signifies growth and hope for the future. Black stitches were used to increase visibility while viewing the Saturn V rocket panel from below. Since I believe words are equally as important as symbols, I also included the title of the project, the city and state where it will be unveiled, the year and my name, hometown and state in the design of the panel. After completing the concept and design, EmbroidMe, a Columbia, SC based embroidery business, stitched the 2' x 2' panel. A normal embroidery logo project uses 8,000-10,000 stitches. The @ symbol for the Dream Rocket Project required 77,953 stitches, each stitch signifying the masses of people in our world. When I created the panel I had no knowledge that the Dr. Martin Luther King, Jr. Library in San Jose, CA would be one of the nationwide venues for displaying the panels prior to the unveiling of the project. However, when I learned that it was an option, I specifically decided to submit my panel to be included in the show. The timing represents a force bigger than me and confirms his (and my) belief in dreams.

Did you enjoy this project?

"Yes, In fact, I was so excited to participate in this project that I paid the fee for two friends to join in the fun."

-------------------------------------------

www.thedreamrocket.com

SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

www.southbankcentre.co.uk/whatson/say-it-through-breakdan...

Breakdancing was the subject of great disapproval during the former regime in Tunisia.

However, since the ousting of the president in 2011, B-Boys have taken back the streets with more determination to dance and express their passion.

Say it through Breakdancing is designed to take the breakdancing art form beyond the battle spirit.

The project works with a group of breakdancers from Morocco, Algeria, Tunisia and Libya, providing them with a platform to tell their own stories and explore their hopes and dreams at a time when the region is undergoing major social, political and economic change.

Say It Through Breakdancing aims to show a different side to the region and combat the stereotypes that the media tend to portray.

The project was developed by the British Council in partnership with Art Solution, led by Chouaib Brik from Tunisia, and Hakeem Onibudo from Impact Dance, UK. It also involves UK-based artist Ereson Catipon, aka B-Boy Mouse, and Tunisian beatmaker Saif Abid, aka Steve Abidove, and fashion designer Salah Barka. The project was fully supported in Tunisia by Mad’Art Carthage cultural centre.

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

Sander Olaf's Solo Exhibition

Friday, January 17, 2014

ArTicKs Gallery in Amsterdam, Netherlands

www.articksgallery.com/exhibitions/solaf-paintings/

SOLAF art solutions:

www.facebook.com/solafartsolutions

Photos by Mr Gig Creations

www.facebook.com/MrGigCreations

SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo shows green screen recordings as theater gauze projection on original Nō-theater stage.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

✰ This photo was featured on The Epic Global Showcase here: bit.ly/1X4Nugo

-------------

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‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

Rosenbauer highlight stage at the Interschutz 2022.

Ars Electronica Solutions developed software and multimedia content for the highlight stage in Rosenbauer City 2030 for Interschutz 2022 — the leading international trade fair for fire and disaster protection, rescue and safety.

Photo: Garamantis/Jules Döring

ars.electronica.art/solutions/de/

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

Rosenbauer highlight stage at the Interschutz 2022.

Ars Electronica Solutions developed software and multimedia content for the highlight stage in Rosenbauer City 2030 for Interschutz 2022 — the leading international trade fair for fire and disaster protection, rescue and safety.

Photo: Garamantis/Jules Döring

ars.electronica.art/solutions/de/

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing an interactive gigapixel image of a six-part folding screen.

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo showing an impression from the press conference on the opening of the Samurai Museum Berlin.

Photo: Ars Electronica Solutions - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

The Samurai Museum Berlin houses the largest collection of authentic samurai artifacts outside Japan. Visitors to Europe’s first museum of samurai art can immerse themselves in the legendary world of the Japanese warriors on 1,500 square meters. The culture and history of the samurai are told by more than 1,000 exhibits from the private collection of Peter Janssen. The exhibits are staged interactively with a multimedia format, using innovative technologies to take visitors on a breathtaking journey through time. The museum presentation conceived by Ars Electronica Solutions makes this distant era a playful experience.

Photo taken during the press conference on the opening of the Samurai Museum Berlin showing, from left to right: Michael Mondria (Managing Director Ars Electronica Solutions), Alexander Jöchl (Director of the Samurai Museum Berlin), Peter Jenssen (Collector and Founder of the Samurai Museum Berlin) and Prof. Eckhard Kremers (President of the NBTHK, The Society for Preservation of Japanese Art Swords).

Photo: Ars Electronica - MyTrinh Müller-Gardiner

ars.electronica.art/solutions/en/samurai-museum-berlin-er...

Sander Olaf's Solo Exhibition

Friday, January 17, 2014

ArTicKs Gallery in Amsterdam, Netherlands

www.articksgallery.com/exhibitions/solaf-paintings/

SOLAF art solutions:

www.facebook.com/solafartsolutions

Photos by Mr Gig Creations

www.facebook.com/MrGigCreations

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.

‘SOLUTIONS’

Opening event Wednesday 1 May 6-8pm

Continues until 18 May 2013

Christopher LG Hill, MAXIMUM RIM, Adelle Mills, Danae Valenza and Friends and Marcin Wojcik.

Bus Projects presents an exhibition of DIY art solutions.

For SOLUTIONS, a group of Melbourne artists will select, create and/or interpret freely distributed artworks and instructional pieces.

Taking the sharing of creative methods as the exhibition’s modus operandi, works will be either sourced online, newly conceived of and subsequently shared and distributable, or make use of open methods and technologies that can be freely distributed for future seekers of art solutions.

Danae Valenza

Using video, sound installation and performance with a process-driven aesthetic, Danae Valenza’s work often hinges on phono-social experiments, placing restrictions or subtle guidelines on situations to form generative actions and exercises. The resulting works create and document a broader scope of communication, which gives focus to the individual in a collective setting.

MAXIMUM RIM

MAXIMUM RIM is an ongoing collaboration between Antuong Nguyen and Warran Wright. Their practice includes installation, art direction, film and design.

Since 2011 MAXIMUM RIM have exhibited at Screen Space, Craft Victoria, Netherlands Institute of Media Arts and No Vacancy Gallery.

Christopher LG Hill

Ideas of freedom mediated through the self and others, and objects.

Languages of objects undulate between the objective and subjective in both a concrete and emotional way. A poetry of space and politics occurs within people and their surrounds, in humour and struggle. An embracing of anarchist principles within inter personal relationships materialises through free intellectual property, through publications, performance, object dialogs, interaction and web interfaces. debris and words float on floors and pages like a temporary mist. Multidirectional and multidiscipline operating within as a lived politic and art, active and in flux.

Practice outcomes have inhabited ; Buyip Trax (record label run with Joshua Petherick), ENDLESS LONELY PLANET (edtior), Y3K (2009-2011) (co directed with James Deutsher),Conical, Clubs Project inc, Y3K, Gambia Castle, Enjoy, Room 103, Uplands, TCB, TATE modern, Centre Ongoing, Chateau 2f, Rear View, Art Beat, Gertrude Contemporary, Heide, Discipline, Margaret Laurence Gallery, Mir11, West wing, Techno Park, Neon Parc, MCA, Hell, wBST, CCP, Joint Hassles, UN, Loose Projects, Gallery Of South Australia, ELP, NGV Studio, Utopian Slumps, Platform artists space, Window online, , Shepparton Art Gallery, Magasine, a Copenhagen Beach, The Narrows, UQ Art Museum, Palm Springs, David Pestorious, Seventh, and others.

Adelle Mills

Adelle Mills’s practice principally involves the production of group actions that are partly choreographed and partly improvised. Initially drawing up a compositional score, the performers are invited to respond and do so with some autonomy. Working with video, sculpture, people and place, Mills’s works attend to chance, direction and organisation to consider the agency of people and things within the same field of experience. Notions of social and material ‘difference and sameness’ are examined through performance video and spatial investigation.

Marcin Wojcik

Marcin Wojcik completed his Bachelor of Fine Art (Honours) in Sculpture at the Victorian College of the Arts in 2010. His work uses the theatricality of performance and its manifestation as roles, props and scenes to interrogate the themes of exploration, masculinity, adventure and adversity.