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Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
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Los mallos de Riglos son unas formaciones geológicas consistentes en unas peñas de paredes verticales, llamadas mallos, situadas en la localidad española de Riglos, en la provincia de Huesca, unos 45 km al noroeste de Huesca capital, en las sierras del Prepirineo oscense. Alcanzan los 275 metros de altura máxima (espolón norte del Pisón) y se caracterizan por sus grandes paredes verticales o incluso desplomadas, muy apreciadas para la práctica de la escalada.
En noviembre de 2016, el Consejo de Aragón aprobó la declaración de monumento natural de los Mallos de Riglos, Agüero y Peña Rueba.
The Mallos de Riglos are geological formations consisting of vertical cliffs, called mallos, located in the Spanish town of Riglos, in the province of Huesca, about 45 km northwest of the city of Huesca, in the mountains of the Huesca Pre-Pyrenees. They reach a maximum height of 275 meters (northern spur of the Pisón) and are characterized by their large vertical or even overhanging walls, highly prized for climbing.
In November 2016, the Aragon Council approved the declaration of the Mallos de Riglos, Agüero, and Peña Rueba as natural monuments.
Fuente Wikipedia
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
As the aspen trees show off their peak colors, Meadow Creek continues to bring new life and new opportunities on a cool autumn afternoon - Frisco, CO
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Main hall interior, acoustic brickwork detail, ca. 1948
The University of Aarhus, which dates from 1931, is a unique and coherent university campus with consistent architecture, homogenous use of yellow brickwork and adaptation to the landscape. The university has won renown and praise as an integrated complex which unites the best aspects of functionalism with solid Danish traditions in form and materials.
The competition for the university was won by the architects Kay Fisker, C. F. Møller og Povl Stegmann in 1931. Stegman left the partnership in 1937, Fisker in 1942 and C. F. Møller Architects has been in charge of the continued architectural development and building design of the university until today.
The University of Aarhus, with its extensive park in central Aarhus, includes teaching rooms, offices, libraries, workshops and student accommodation. The university has a distinct homogeneous building style and utilises the natural contours of the landscape. The campus has emerged around a distinct moraine gorge and the buildings for the departments and faculties are placed on the slopes, from the main buildings alongside the ring road to the center of the city at Nørreport. All throughout the campus, the buildings are variations of the same clear-cut prismatic volume with pitched roofs, oriented orthogonally to form individual architectural clusters sharing the same vocabulary. The way the buildings emerge from the landscape makes them seem to grow from it, rather than being superimposed on the site.
The original scheme for the campus park was made by the famous Danish landscape architect C. Th. Sørensen. Until the death of C. Th. Sørensens in 1979 the development of the park areas were conducted in a close cooperation between C. Th. Sørensen, C. F. Møller and the local park authorities. Since 1979 C. F. Møller Architects - in cooperation with the staff at the university - has continued the intentions of the original scheme for the park, and today the park is a beautiful, green area and an immense contribution to both the university and the city in general.
In 2001, C. F. Møller Architects prepared a new masterplan for the long and short term development of the university. Although the university has been extended continuously for more than 75 years, the original masterplan and design principles have been maintained, and have proven a simple yet versatile tool to create a timeless and coherent architectural expression adaptable to changing programs. Today, the university is officially recognized as a Danish national architectural treasure and is internationally renowned as an excellent example of early modern university campus planning.
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Consistently one of the best sounding horns in Kansas City is atop WAMX 3852, and is obviously customized to fit onto the long hood with a low profile manifold.
Locomotive: WAMX 3852
3-31-13
Kansas City, KS
Consistent with the year so far another sunny day was predicted. Despite my previous negative upload it has been an incredible year for me in terms of rail photography. I had been saying to anyone that would listen (not that many) that this year was the sunniest I had ever known doing this hobby. Well, records show that it was the sunniest after all.
What was there to do today? Not a lot but I probably missed the best two, locally. Anyway, a tip-off from my good friend f22Shark encouraged me out for this.
Auld Lang Syne (I am sure the driver of this was trying a rendition with the horn on 66783 as it rang out tones thoughout it's journey through the park.
The loco may have looked like it was straight out of a bin but the consist was certainly worth including.
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HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
“The Dogs”, 110 Hanover Street, Edinburgh, EH2 1DR - Simple, consistent, fun – The Dogs has been feeding Edinburgh diners modern British fare for eight years with a certain aplomb. Up the steep staircase and into the bright, white-washed rooms, where quirky portraits of the owner’s dog inform the design throughout, the dining is casual but comfy. Recently the lunch menu has been lightened up to favour soups, sandwiches and some traditional choices such as fish and chips. The evening menu remains loyal to longstanding fans of the venue, including mixed fish or Irish mutton stews, pan-fried salmon with creamed leeks and the heart-stopping, 18 oz grilled ribeye steak with smoked garlic butter and dripping-fried chips (best to worry about the cholesterol tomorrow). Puddings are equally familiar and reliable, be it an orange posset or the rhubarb and ginger crumble with warm custard. It’s not fancy, but it isn’t trying to be, and it’s friendly and relaxing, which makes for a very pleasant meal.
High point: Really, really good steak and chips
Low point: Lunch is a bit low key these days
Notable dish: Ribeye steak with smoked garlic butter
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
The following info is taken from the ‘The Airplane Factory’ website:-
“Starting with flying the Sling 2 prototype around the world in 2009, The Airplane Factory (TAF) has consistently set higher milestones for itself through the years. The Sling 4, a four seat model of the original Sling, was first flown in 2011, and promptly flown around the world in the opposite direction, as one does with a prototype aircraft. In the same year, TAF decided to show the aviation community just how simple it is to build a kit Sling, by assembling a Sling 2 kit in 7 days, with 5 factory employees, and 5 people who had never touched a pair of pliers, no matter a rivet gun. The Africa Aerospace and Defence show, held at AFB Waterkloof this September, was the perfect setting for an even bigger challenge.
The Sling 4-4-40 challenge –
build a Sling 4 kit in 4 days with 40 factory staff,
all in the midst of a world class airshow, far from the factory.
The build was set to start on Wednesday 23 September, but the planning for this huge undertaking had taken weeks. The kit was packed at TAF’s home base of Tedderfield Airpark, including some preparation such as prebuilt fuel tanks due to the drying time of the sealant. Mounds of paperwork was completed to allow this build to happen on an active air force base, and logistics had to be arranged to have catering for the staff available throughout each day, transport of the kit and all tools, as well as the daily transport of both day and night shifts of factory workers from Tedderfield to Waterkloof.
At 09h00 on Wednesday, the build was started inside a fenced off area under gazebos in the general aviation area of the show. Fantastic progress was made on day 1, with the centre and rear fuselage being constructed and joined, the undercarriage assembled, and the engine wired and awaiting assembly. During the half hour handover period between the day and night shifts, there were up to 32 people working on the aircraft at once! The night shift exceeded all expectations. During their 14 hour shift, the undercarriage was installed, the engine was mounted, and the wings three-quarters built.
Day 2 started with an inspection of the aircraft by Mike Blyth, who then called the staff together to announce that the build was so far ahead of schedule, that there was no need for a night shift that night.
The build continued with instrument panel and engine wiring, ballistic parachute installation, and huge progress was made on the wings and empennage.
Day 3 saw the wings and empennage being mated with the fuselage. The cowlings and spats were fitted, all fluids filled, and the lights and avionics tested. Hordes of people watched the build from behind the crowd control fences, all giving great words of support, and urging the team on. The aircraft was wheeled out of its fenced confines for a celebratory team photo. James Pitman gave the team words of encouragement, and emphasised how it had taken Mike and himself four years to build the first Sling. At this point, it was discovered that even after completing reams of paperwork, writing countless motivational letters, submitting test flight action plans and flight plans and actually receiving confirmation that the initiative is fully supported, the planned test flight on Sunday had not been put into the programme.
With day 4 being the first day of the public airshow, the team was surrounded by onlookers at all times. Both local and international media were vying for interviews with the team at all times, and publicity for the company went through the roof. A final inspection was done, the aircraft fuelled, leather interior installed, decals applied, and all paperwork issued. With Andrew Pitman’s fantastic work, a slot was secured for an engine run that afternoon and for the test flight the following day. The Sling 4 was released from its cage again, and pulled through the crowd to show centre, where the key was turned and the engine burst to life to great cheers and applause from the crowds. A Sling 4 was born in 4 days!
The completed Sling 4 ZU-TES (a test registration assigned to the factory) was on static display on Sunday before the big moment. At arguably the biggest airshow on the African continent, James Pitman took to the skies before thousands of people to complete the first flight; the aircraft performed flawlessly.
Having a close look at ZU-TES, one will find that the quality of this aircraft is absolutely top notch. Throughout the build the team insisted that speed does not mean lack of quality, and this is definitely true considering that after returning to the factory for paint, this aircraft will be shipped to the USA to become the demonstrator aircraft for the US distributors in California.
Huge congratulations are in order for every one of the forty staff that contributed to this massive achievement, showing just how capable the South African aviation industry is.”
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).
PDF = wp.me/pbMWvy-5t
Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).
Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:
I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).
Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.
Fonte / source:
--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).
www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).
Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).
The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:
I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).
Fonte / text & foto / sources:
Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/
Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:
1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).
2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).
3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.
4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.
Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).
5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).
6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…
II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).
During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).
Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.
--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].
www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s
As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :
--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri
--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”
www.pont-ara.org/index.php?module=Pubblicazioni&func=...
--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).
--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).
www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...
--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).
www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...
--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab
For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].
--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).
www.academia.edu/29207218/Archaeological_Excavations_at_P...
III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).
Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:
--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =
www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....
“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”
In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =
1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...
‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’
An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:
'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'
Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).
The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:
"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.
Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):
--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].
The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR
Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF
Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV
Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.
Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:
--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF
--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF
For a review of the Traiano Exhibit (2017-18) and additional information, see:
Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF
IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).
Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”
Comment Former Senior Director with the MIBACT and Italian archaeologist,
personal communication to M. G.Conde (08 December 2011) (6).
Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.
I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?
For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:
--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1
--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map
sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.
(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5
--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of
Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu
--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.
www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB
Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv
--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).
--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).
--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).
books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...
--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =
www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...
--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq
And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:
--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...
--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX
Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.
Thank you Martin G. Conde
Washington DC, USA (20 March 2020).
A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.
Their various works on Rome can be accessed via a search on the following website:
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.
ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
rometheimperialfora19952010.wordpress.com/
Notes and Additional Information:
For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).
-- Forum of Trajan =
www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...
--- Temple of Trajan =
www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...
1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com
2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:
--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].
www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...
--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA
INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].
3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).
ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)
ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.
ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio
ORE 11,00/11,30 - PAUSA
ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.
ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.
ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)
ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.
ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano
ORE 16,20/16,50 PAUSA
ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.
ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano
ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.
4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).
Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH
--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q
5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.
Fonte | source:
— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).
6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].
7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).
www.flickr.com/photos/imperial_fora_of_rome/5374055767
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).
Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
A finales de la década del cuarenta, el O.K.B de Mikoyan trabajó en el I-350, veloz interceptor de ala en flecha de 60º, provisto del turborreactor Lyulka TR-3A/AL-5 de flujo axial. Esta aeronave mantuvo el armamento usado en los MiG-15 y MiG-17, consistente en un cañón de 37 mm y dos de 23 mm. Dos prototipos fueron proyectados, uno con el radar RP-1 Izumrud, y el otro con el radar Korshun. El avión, en su configuración de interceptor con el radar Izumrud, voló el 16 de junio de 1951, aunque el motor falló poco después de despegar; este proyecto fue cancelado en agosto de 1951.
En julio de 1951, el Consejo de Ministros de la URSS autorizó el desarrollo del nuevo caza interceptor como sustituto del MiG-17, lo que llevó al O.K.B de Mikoyan a un nuevo diseño. Por ello, se empezó por sacar las mejores características del I-350, usando una configuración bimotor, con un fuselaje ligero y ala en flecha. Mikoyan trabajaba en el MiG-17 SM-1/I-340, con dos motores AM-5F. Sus prestaciones fueron buenas, decidiendo usar estos motores en una célula experimental mejorada, denominada I-360; el desarrollo de este caza de escolta de largo alcance se inició en agosto de 1951, en torno al uso de los ya mencionados motores AM-5F, de 2.700 kg cada uno con postcombustión. El armamento del nuevo avión estaría conformado por dos cañones N-37D de 37 mm en cada ala. De esta manera, se construyeron dos prototipos para pruebas de vuelo y uno para ensayos estáticos.
El primer I-360 voló el 24 de mayo de 1952, con el piloto de pruebas G.A. Sedov a los controles. El 25 de junio del mismo año, el avión superó Mach 1 en vuelo nivelado. El segundo avión voló el 28 de septiembre, logrando prestaciones igualmente fenomenales. Posteriormente se introdujeron los muy mejorados motores Mikulin AM-9B/RD-9B, de 2.600 kg cada uno en seco y 3.250 kg con postcombustión. El nuevo diseño se denominó Izdeliye SM-9; tres fueron construidos, el primero de los cuales voló el 5 de febrero de 1954, con Sedov a los controles. Pequeños cambios se introdujeron y el tercer prototipo que llevó casi todas las características del avión de producción.
SERVICIO:
A mediados de febrero de 1954, la Fuerza Aérea Roja (WS) ordenó la producción en serie del modelo MiG-19. Los dos primeros aviones de producción se entregaron a la WS en junio de 1955, y en agosto del mismo año 48 de estos aviones volaron en el show aéreo de Tushino en Moscú. La OTAN le asignó el nombre código "Farmer". Este fue el primer avión operativo supersónico.
Paralelamente, Mikoyan desarrollaba un caza con motores Klimov VK-7 de flujo centrífugo. Este avión, proyectado con los mismos parámetros del SM-9, pasó a llamarse I-370. El avión consiguió volar el 16 de febrero de 1955, con el piloto de pruebas de Mikoyan, Fyodor I. Burtsev. Pero este proyecto terminó siendo solo un experimento, ya que para entonces los motores de flujo centrífugo simplemente eran historia.
En tanto, el MiG-19 de producción era un avión de ala media, cuya estructura estaba hecha principalmente de una aleación de aluminio; los controles de vuelo eran convencionales, con flaps dobles en cada ala; el combustible era almacenado en cuatro tanques en el fuselaje, pudiendo también llevar tanques externos de 760 L; los dos motores RD-9B iban instalados en el fuselaje. El tren era convencional del tipo triciclo, y al aterrizar se podía desplegar un paracaídas para acortar la carrera. El armamento, en el modelo inicial, era de tres cañones NR-23 de 23 mm, uno en la nariz y dos en las alas. El piloto contaba con un asiento eyectable convencional y la cabina llevaba equipos de radio, IFF, compás giromagnético, equipo de navegación y radar de alerta Sirena II.
MiG-19
MiG-19
Las prestaciones del MiG-19 Farmer eran excelentes, y según muchos, eran muy superiores a las de su contraparte occidental, el F-100 Super Sabre. A partir del ejemplar de serie número 500, en 1956, se introdujo estabilizadores de incidencia variable, motores RD-9B y tres cañones NR-30 de 30 mm, lo cual correspondía a la versión MiG-19S Farmer-C.
Cierto número de MiG-19S se convirtieron para reconocimiento, siendo denominados MiG-19R; estos estaban provistos de motor RD-9BF-1, con 10% más de potencia en seco, y un nuevo sistema de postcombustión, además de cámaras en lugar de cañones. Asimismo, se diseñaba una versión con radar de interceptor; el primero de tres prototipos SM-7 voló el 28 de agosto de 1954, con V.A. Nefyodov a los controles. Este modelo llevaba una nariz más larga, con el radar RP-1 Izumrud, mientras el cañón de nariz se suprimió y los cañones de las alas se mantuvieron. Este versión fue operativa como MiG-19P Farmer-B, formando parte de una serie de interceptores todo-tiempo desarrollados a partir del caza de superioridad aérea original. Podía llevar un contenedor con cohetes no guiados bajo cada ala, para combate aire-aire.
Posteriormente, algunos MiG-19P en servicio se modificaron para llevar los misiles aire-aire K-13/AA-2 Atoll; las últimas aeronaves de producción de este modelo fueron dotadas del radar mejorado RP-5 Izumrud, con mayor alcance y resolución. Ciarto número de MiG-19P fueron provistos de un sistema Gorizont-1, que recibía datos provenientes de estaciones en tierra acerca del objetivo; esta versión se designó MiG-19PG.
Entonces, los misiles aire-aire ya eran vistos como el futuro de los combates aire-aire, por lo cual se desarrolló una versión del MiG-19P con este tipo de armamento; tres aviones se modificaron, y se usaron como prototipos, siendo evaluados durante varios meses. El modelo resultante fue el MiG-19PM Farmer-D, que entró en servicio en 1957. Dispone de un radar Izumrud con dos antenas; la antena de exploración/control de tiro se situaba en el interior de un radomo cónico instalado en el tabique de separación de la toma de aire, mientras que la de telemetría se encontraba en un radomo de labio sobre la toma. Este modelo llevaba únicamente un cañón, además de soportes subalares para cohetes aire-aire de 212 mm o dos/cuatro contenedores para cohetes RO-57-8, además de misiles aire-aire K-5M/RS-2/AA-1 Alkali de guiado electromagnético. Unos pocos MiG-19P se adaptaron a este modelo, siendo redesignados MiG-19PML.
También se desarrolló una variante capaz de volar a una altitud extrema, con el objeto de no ser alcanzado por las defensas antiaéreas. Este modelo se basó en el MiG-19S, quitando algo de armamento, blindaje de cabina y otros elementos, y adaptando el motor RD-9BF. En 1956 esta versión fue producida, en número limitado, como MiG-19SV; uno de estos alcanzó una altitud récord de 20.740 m el 6 de diciembre de 1956, con N.I. Korovushkin a los controles.
Un modelo similar, el MiG-19SVK, fue evaluado en 1957, pero no tuvo éxito y la idea fue abandonada después. Los norteamericanos lograron un avión de esta naturaleza con el Lockheed U-2, de reconocimiento estratégico, que voló por vez primera sobre la URSS el 4 de julio de 1956. El O.K.B de Mikoyan continuó desarrollando el concepto, usando una célula convencional, pero provisto de un cohete de combustión líquida; esta variante se designó MiG-19SU.
Cierto número de MiG-19P fueron dotados de cohetes impulsor, pasando a llamarse MiG-19PU. Pero los interceptores de gran altitud no eran muy efectivos, siendo sustituidos por los misiles aire-tierra, como los V-75/SA-2. Un misil de este tipo derribó a un U-2 el 1 de mayo de 1960, mientras este efectuaba su misión de reconocimiento, con Francis Gary Powers a los controles.
A mediados de los cincuenta, el O.K.B de Mikoyan empezó a trabajar en el misil de crucero aire-tierra Kh-20/AS-3 Kangaroo, basado en la configuración del MiG-19. Durante las primeras pruebas, dos MiG-19 de los primeros modelos de producción fueron usados como "simuladores", siendo designados izdeliye SM-20. Uno de ellos llevaba piloto, pero el otro no estaba tripulado. Probaron los sistemas de guía y el lanzamiento desde el bombardero Tu-95 Bear. Otros dos MiG-19 se usaron en el desarrollo del misil K-10S/AS-2 Kipper, para el bombardero Tupolev Tu-16K; recibieron la designación izdeliye SM-K.
Unos pocos MiG-19S se usaron para probar el despegue desde distancia cero (ZEL), dotados de cohetes de combustión sólida; algunos se construyeron para el ZEL, estando provistos del cohete PRD-22, y designados izdeliye SM-30. En tanto, algunos aviones se convirtieron para usarse como drones (aviones no tripulados de reconocimiento), siendo designados MiG-19M.
Cuatro prototipos de caza diurno SM-12 volaron en 1957, estando dotados de la nariz del MiG-21, con una toma de aire pequeña, mejotas en la aviónica y dos turborreactores Sorokin R3-26. Un solo SM-12PM, variante de interceptor, voló en 1958; estaba provisto de una nariz similar a la del MiG-21, pero con un radar TsD-30; el cañón se mantuvo y se pueden instalar también dos misiles aire-aire AA-1 Alkali; este avión cuenta con dos turborreactores R3-26, así como una toma de aire variable. El SM-12PMU, similar al anterior, voló en 1958; este estaba provisto de un motor cohete líquido, diseñado originalmente para el MiG-19SU/PU. La serie de prototipos SM-12 se usó para diversas pruebas, siendo en general una serie de híbridos entre el MiG-19 y el MiG-21.
La producción soviética del MiG-19 alcanzó los 2.069 ejemplares. La compañía checa Vodochody construyó bajo licencia el MiG-19S durante 1958-1961, bajo la designación Avia S-105; produjo 103 ejemplares. Sólo la aviónica era de construcción checa, mientras el resto de los componentes del avión eran importados por la Unión Soviética. La República Popular China produjo bajo licencia el interceptor MiG-19P a partir de 1958; la producción fue realizada por Shenyang, y el primer avión ensamblado en China (mediante partes suministradas por soviéticos) voló en diciembre de 1958. El primer MiG-19P construido íntegramente por Shenyang (llamado J-6) voló en septiembre de 1959. La factoría Nanchang también produjo paralelamente el MiG-19PM, siendo estos aviones designados J-6B. El caza diurno MiG-19S fue producido por Shenyang a partir de 1961, y el primer avión, de construcción enteramente china, voló a finales de año (estos aviones mantuvieron la designación J-6).
Alrededor de 4.000 J-6 fueron producidos durante los ochenta, siendo exportados, bajo la designación F-6, a varios países, principalmente Pakistán. Debido a la producción china, el MiG-19 ha podido estar en servicio hasta la actualidad, en varias subvariantes:
* el J-6C, último modelo de producción del caza diurno, es similar al MiG-19S/ J-6, incluyendo cambios menores;
* el JZ-6, variante de reconocimiento con cámaras en la parte delantera del fuselaje;
* el J-6III es una versión mejorada del caza diurno J-6, con motores nuevos, cono de nariz en la toma de aire y alas más pequeñas para mayor maniobrabilidad;
* el J-6A o J-6IV, interceptor basado en las líneas del MiG-19PM, fue producido en números limitados;
* el JJ-6, entrenador biplaza, es el modelo más distintivo producido por China, siendo exportado como FT-6
El J-6 ha sido el principal avión caza diurno de las Fuerzas Aéreas del Ejército de la República Popular China (PLAAF). Un buen número de entrenadores FT-6 fue vendido a Pakistán; los pakistaníes dotaron a sus F-6 y FT-6 de asientos eyectables Martin Baker Mark 10L (cero-cero), así como de misiles aire-aire AIM-9 Sidewinder.
El 1 de junio de 1960, MiG-19 soviéticos derribaron un Boeing RB-47H, de reconocimiento electrónico, que sobrevolaba el norte de la URSS; cuatro de sus tripulantes murieron y dos fueron tomados prisioneros. Durante la Guerra de Vietnam, el F-6 fue suministrado a Vietnam del Norte. Los MiG-19 norvietnamitas efectuaron acciones aire-aire en 1972. El MiG-19 también entró en acción en Oriente Medio. Egipto recibió sus MiG-19 en 1958, y Siria en 1962. Los aviones egipcios efectuaron ataques a tierra contra fuerzas revolucionarias durante la guerra civil en Yemen, en los años sesenta. La primera acción aire-aire del MiG-19 en Medio Oriente tuvo lugar el 29 de noviembre de 1966, cuando unos MiG-19 egipcios se enfrentaron contra dos Mirage IIIC israelíes.
Irak recibió interceptores MiG-19S en los años sesenta, los cuales fueron revendidos posteriormente y unos pocos se conservaron. En 1983, durante la Guerra Irán-Irak, los iraquíes obtuvieron un lote de F-6 provenientes de Egipto; al mismo tiempo, Irán recibió cierta cantidad de F-6. Por ello, ambas naciones beligerantes disponían de un mismo modelo de avión; no obstante, no se registraron combates aire-aire MiG contra MiG.
La acción en combate más importante llevada a cabo por el MiG-19 tuvo lugar en diciembre de 1971, durante la Guerra Indo-pakistaní. Los F-6 pakistaníes derribaron diez aviones indios, perdiendo cuatro de los suyos. Tras efectuar acciones de diverso tipo durante otros conflictos, los F-6 pakistaníes fueron retirados de servicio en 2002.
Cuba recibe sus primeros MiG-19 en noviembre de 1961, siendo así el primer país de Latinoamérica en recibir aviones supersónicos. Su Fuerza Aérea Revolucionaria (FAR) recibe en total 12 MiG-19P, que entran en servicio en enero de 1962. Durante la Crisis de los misiles de Cuba de octubre de 1962, los MiG-19 cubanos participaron en misiones de intercepción de los aviones de reconocimiento de Fuerza Aérea de Estados Unidos que sobrevolaban la isla.
El F-6 fue usado también por naciones africanas. Tanzania empleó este modelo contra Uganda durante la guerra de 1978-1979, mientras Sudán también los usó en combate contra fuerzas separatistas. Asimismo, Somalia utilizó sus F-6 contra fuerzas rebeldes en Etiopía en los años ochenta.
DATOS TECNICOS:
Motor: (Shengyang J/F-6) dos turborreactores Shengyan Wopen-6F (Tumansky R-9BF-811), con postcombustión.
Pesos: vacío, 5.760 kg, máximo en despegue, 10.000 kg
Dimensiones: envergadura, 9,20 m; longitud, 12,60 m; altura, 3,88 m; área alar, 25 m²
Prestaciones: velocidad máxima, 1.540 k/h; techo de servicio, 17.900 m; alcance en combate, 685 km
Armamento: cohetes aire-aire de 212 mm, dos/cuatro contenedores para cohetes RO-57-8, cuatro misiles aire-aire K-5M (AA-1 "Alkali"), o cohetes no guiados ARS-160 o ARS-212M.
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
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HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
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I've always been fairly consistent with washing my face & brushing my teeth before bed, even during the times when I wasn't sleeping at home regularly. But over the last couple of years I've gotten pretty into other aspects of skincare as well, so now my nightly routine takes a little longer, as I use face wash, toner, serum, and face & eye cream. But it's to the point now where I feel 'lazy'/incomplete if I skip a step, so I usually do it all no matter how late I go to bed.
Free pizza at work! I think it was because of some competition between the stores that didn't involve me, but I still got to eat some artichoke heart & olive pizza, so thanks to the people whose hard work made that possible. When I got home I managed to throw in some laundry and put on a bit of makeup before Katie came by, and then we went to dinner at Jackalope. We each had a ginger apple cider and a sandwich (mine was fried chicken, hers was a beef dip), and then came back here to smoke weed & cuddle on the couch while we watched Road to Perdition, one of my all-time favourites, but something Katie hadn't seen since shortly after it came out. After she headed home I got ready for bed and then fell asleep unexpectedly, my phone in my hand with twitter open, while Jeff was still reading at the computer. 139/365.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
A stele (/ˈstiːli/ STEE-lee) is a stone or wooden slab, generally taller than it is wide, erected in the ancient world as a monument. Grave steles were often used for funerary or commemorative purposes. Stelae as slabs of stone would also be used as ancient Greek and Roman government notices or as boundary markers to mark borders or property lines.
The surface of the stele usually has text, ornamentation, or both. The ornamentation may be inscribed, carved in relief, or painted.
Traditional Western gravestones may technically be considered the modern equivalent of ancient stelae, though the term is very rarely applied in this way. Equally, stelae-like forms in non-Western cultures may be called by other terms, and the words "stele" and "stelae" are most consistently applied in archaeological contexts to objects from Europe, the ancient Near East and Egypt, China, and sometimes Pre-Columbian America.
HISTORY
Steles have also been used to publish laws and decrees, to record a ruler's exploits and honors, to mark sacred territories or mortgaged properties, as territorial markers, as the boundary steles of Akhenaton at Amarna, or to commemorate military victories. They were widely used in the Ancient Near East, Mesopotamia, Greece, Egypt, Somalia, Eritrea, Ethiopia, and, most likely independently, in China and elsewhere in the Far East, and, independently, by Mesoamerican civilisations, notably the Olmec and Maya.
The large number of steles, including inscriptions, surviving from ancient Egypt and in Central America constitute one of the largest and most significant sources of information on those civilisations, in particular Maya stelae. The most famous example of an inscribed stela leading to increased understanding is the Rosetta Stone, which led to the breakthrough allowing Egyptian hieroglyphs to be read. An informative stele of Tiglath-Pileser III is preserved in the British Museum. Two steles built into the walls of a church are major documents relating to the Etruscan language.
Standing stones (menhirs), set up without inscriptions from Libya in North Africa to Scotland, were monuments of pre-literate Megalithic cultures in the Late Stone Age. The Pictish stones of Scotland, often intricately carved, date from between the 6th and 9th centuries.
An obelisk is a specialized kind of stele. The Insular high crosses of Ireland and Britain are specialized steles. Totem poles of North and South America that are made out of stone may also be considered a specialized type of stele. Gravestones, typically with inscribed name and often with inscribed epitaph, are among the most common types of stele seen in Western culture.
Most recently, in the Memorial to the Murdered Jews of Europe in Berlin, the architect Peter Eisenman created a field of some 2,700 blank steles. The memorial is meant to be read not only as the field, but also as an erasure of data that refer to memory of the Holocaust.
EGYPT
Many steles have been used since the First Dynasty of Egypt. These vertical slabs of stone depict tombstones, religious usage, and boundaries.
URARTU
Urartian steles were freestanding stone obelisks that served a variety of purposes, sometimes they were located within temple complexes, or set within monumental rock-cut niches (such as the niche of the Rock of Van, discovered by Marr and Orbeli in 1916) or erected beside tombs. Others stood in isolated positions and, such as the Kelashin Stele, had a commemorative function or served as boundary markers. Although sometimes plain, most bore a cuneiform inscription that would detail the stele's function or the reasons for its erection. The steel from Van's "western niche" contained annals of the reign of Sarduri II, with events detailed yearly and with each year separated by the phrase "For the God Haldi I accomplished these deeds". Urartian steles are sometimes found reused as Christian Armenian gravestones or as spolia in Armenian churches - Maranci suggests this reuse was a deliberate desire to capitalize on the potency of the past. Some scholars have suggested Urartian steles may have influenced the development of the Armenian khachkar.
GREECE
Greek funerary markers, especially in Attica, had a long and evolutionary history in Athens. From public and extravagant processional funerals to different types of pottery used to store ashes after cremation, visibility has always been a large part of Ancient Greek funerary markers in Athens. Regarding stelai (Greek plural of stele), in the period of the Archaic style in Ancient Athens (600 BCE) stele often showed certain archetypes of figures, such as the male athlete. Generally their figures were singular, though there are instances of two or more figures from this time period. Moving into the 6th and 5th centuries BCE, Greek stelai declined and then rose in popularity again in Athens and evolved to show scenes with multiple figures, often of a family unit or a household scene. One such notable example is the Stele of Hegeso. Typically grave stelai are made of marble and carved in relief, and like most Ancient Greek sculpture they were vibrantly painted. For more examples of stelai, the Getty Museum's published Catalog of Greek Funerary Sculpture is a valuable resource
CHINA
Steles (Chinese: bēi 碑) have been the major medium of stone inscription in China since the Tang dynasty. Chinese steles are generally rectangular stone tablets upon which Chinese characters are carved intaglio with a funerary, commemorative, or edifying text. They can commemorate talented writers and officials, inscribe poems, portraits, or maps, and frequently contain the calligraphy of famous historical figures. In additional to their commemorative value, many Chinese steles are regarded as exemplars of traditional Chinese calligraphic scripts, especially the clerical script.
Chinese steles from before the Tang dynasty are rare: there are a handful from before the Qin dynasty, roughly a dozen from the Western Han, 160 from the Eastern Han, and several hundred from the Wei, Jin, Northern and Southern, and Sui dynasties. During the Han dynasty, tomb inscriptions (墓誌, mùzhì) containing biographical information on deceased people began to be written on stone tablets rather than wooden ones.
Erecting steles at tombs or temples eventually became a widespread social and religious phenomenon. Emperors found it necessary to promulgate laws, regulating the use of funerary steles by the population. The Ming dynasty laws, instituted in the 14th century by its founder the Hongwu Emperor, listed a number of stele types available as status symbols to various ranks of the nobility and officialdom: the top noblemen and mandarins were eligible for steles installed on top of a stone tortoise and crowned with hornless dragons, while the lower-level officials had to be satisfied with steles with plain rounded tops, standing on simple rectangular pedestals.
Steles are found at nearly every significant mountain and historical site in China. The First Emperor made five tours of his domain in the 3rd century BC and had Li Si make seven stone inscriptions commemorating and praising his work, of which fragments of two survive. One of the most famous mountain steles is the 13 m high stele at Mount Tai with the personal calligraphy of Emperor Xuanzong of Tang commemorating his imperial sacrifices there in 725.
A number of such stone monuments have preserved the origin and history of China's minority religious communities. The 8th-century Christians of Xi'an left behind the Nestorian Stele, which survived adverse events of the later history by being buried underground for several centuries. Steles created by the Kaifeng Jews in 1489, 1512, and 1663, have survived the repeated flooding of the Yellow River that destroyed their synagogue several times, to tell us something about their world. China's Muslim have a number of steles of considerable antiquity as well, often containing both Chinese and Arabic text.
Thousands of steles, surplus to the original requirements, and no longer associated with the person they were erected for or to, have been assembled in Xi'an's Stele Forest Museum, which is a popular tourist attraction. Elsewhere, many unwanted steles can also be found in selected places in Beijing, such as Dong Yue Miao, the Five Pagoda Temple, and the Bell Tower, again assembled to attract tourists and also as a means of solving the problem faced by local authorities of what to do with them. The long, wordy, and detailed inscriptions on these steles are almost impossible to read for most are lightly engraved on white marble in characters only an inch or so in size, thus being difficult to see since the slabs are often 3m or more tall.
There are more than 100,000 surviving stone inscriptions in China. However, only approximately 30,000 have been transcribed or had rubbings made, and fewer than those 30,000 have been formally studied.
MAYA STELAE
Maya stelae were fashioned by the Maya civilization of ancient Mesoamerica. They consist of tall sculpted stone shafts or slabs and are often associated with low circular stones referred to as altars, although their actual function is uncertain. Many stelae were sculpted in low relief, although plain monuments are found throughout the Maya region. The sculpting of these monuments spread throughout the Maya area during the Classic Period (250–900 AD), and these pairings of sculpted stelae and circular altars are considered a hallmark of Classic Maya civilization. The earliest dated stela to have been found in situ in the Maya lowlands was recovered from the great city of Tikal in Guatemala. During the Classic Period almost every Maya kingdom in the southern lowlands raised stelae in its ceremonial centre.
Stelae became closely associated with the concept of divine kingship and declined at the same time as this institution. The production of stelae by the Maya had its origin around 400 BC and continued through to the end of the Classic Period, around 900, although some monuments were reused in the Postclassic (c. 900–1521). The major city of Calakmul in Mexico raised the greatest number of stelae known from any Maya city, at least 166, although they are very poorly preserved.
Hundreds of stelae have been recorded in the Maya region, displaying a wide stylistic variation. Many are upright slabs of limestone sculpted on one or more faces, with available surfaces sculpted with figures carved in relief and with hieroglyphic text. Stelae in a few sites display a much more three-dimensional appearance where locally available stone permits, such as at Copán and Toniná. Plain stelae do not appear to have been painted nor overlaid with stucco decoration, but most Maya stelae were probably brightly painted in red, yellow, black, blue and other colours.
IELAND
Ogham stones are vertical grave and boundary markers, erected at hundreds of sites in Ireland throughout the first millennium AD, bearing inscriptions in the Primitive Irish language. They have been occasionally been described as "steles.
HORN OF AFRICA
The Horn of Africa contains many stelae. In the highlands of Ethiopia and Eritrea, the Axumites erected a number of large stelae, which served a religious purpose in pre-Christian times. One of these granite columns is the largest such structure in the world, standing at 90 feet.
Additionally, Tiya is one of nine megalithic pillar sites in the central Gurage Zone of Ethiopia. As of 1997, 118 stele were reported in the area. Along with the stelae in the Hadiya Zone, the structures are identified by local residents as Yegragn Dingay or "Gran's stone", in reference to Imam Ahmad ibn Ibrahim al-Ghazi (Ahmad "Gurey" or "Gran"), ruler of the Adal Sultanate.
The stelae at Tiya and other areas in central Ethiopia are similar to those on the route between Djibouti City and Loyada in Djibouti. In the latter area, there are a number of anthropomorphic and phallic stelae, which are associated with graves of rectangular shape flanked by vertical slabs. The Djibouti-Loyada stelae are of uncertain age, and some of them are adorned with a T-shaped symbol.
Near the ancient northwestern town of Amud in Somalia, whenever an old site had the prefix Aw in its name (such as the ruins of Aw Bare and Aw Bube), it denoted the final resting place of a local saint. Surveys by A.T. Curle in 1934 on several of these important ruined cities recovered various artefacts, such as pottery and coins, which point to a medieval period of activity at the tail end of the Adal Sultanate's reign. Among these settlements, Aw Barkhadle is surrounded by a number of ancient stelae. Burial sites near Burao likewise feature old stelae
WIKIPEDIA
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Heres the Full book of Stacey Salt.
Chapter 1 - Her teen years
Chapter 2 - From rich to super rich
Chapter 3 - Time with her parents
Chapter 4 - The greedy upgrade
Chapter 5- Veronica
Chapter 6 - The wishes of Veronica
Chapter 7 - Shiny in space
Chapter 8 - Planet Cyperubberon
Chapter 9 - The neon throne
Chapter 10 - The golden queen
Chapter 11 - War fleet of Cyperubberon
Chapter 1 - Her teen years
Stacey Salt's early life in Lustrousy, particularly her time at Glossme High School, established her behavioral patterns. She was described as having a high IQ but a bossy demeanor, consistently ensuring things went her way and becoming a "teacher's pet" without appearing bratty. Her romantic life in her late teens was characterized by a series of boyfriends. She consistently chose partners desired by other girls and, more importantly, those who possessed significant wealth. She would readily "upgrade" to a richer suitor, discarding previous partners without hesitation. This behavior highlights her transactional approach to relationships, where financial gain and social status are primary motivators.
Her preference for luxury extended to her fashion choices, with a particular fondness for shiny, shimmery, and glossy items, especially latex clothing, which she believed enhanced her attractiveness. A notable incident illustrating her character occurred in the Dome city of Orbin, where she met Kevin Kingston, a car business owner. Dressed in a skin-tight black latex catsuit, corset, over-the-knee boots, and carrying a shiny latex handbag, she approached him at a ball. Her direct question about whether he found her "hot" and her suggestion of seeing more of her later exemplify her bold and self-assured nature. This encounter culminated in her leaving with Kevin Kingston in a car reportedly worth $60 million, publicly abandoning her previous boyfriend, John, with the declaration that she had "upgraded." This event underscores her ruthless pursuit of wealth and her willingness to publicly discard relationships for financial advancement.
Chapter 2 - from rich to super rich
At 19, Stacey Salt attended a high-profile event, the "Glittery Ball of Latexonon City in the Land of Lustrousy," exclusive to the super-rich. Dressed in a distinctive red latex catsuit, layered with black latex stockings, boots, a tight mini-skirt, a zip-up top, a corset, and red latex gloves, her appearance was undeniably alluring. During this event, she initiated a relationship with Gavin Finley, leading her to end her previous relationship with Kevin Kingston.
Stacey's influence over Gavin Finley was significant. She leveraged her "shiny latex attractive look and voice" to persuade him to purchase Kevin Kingston's car business. Subsequently, when Gavin proposed marriage, offering her ownership of all his wealth, including his money, caves, and land, Stacey accepted. Their wedding was described as "fit for a queen," signifying the lavishness of their union. A year later, at the age of 20, Stacey gave birth to their daughter, Veronica Salt.
However, Stacey Salt's life post-marriage took a controversial turn. Two years after Veronica's birth, while Gavin Finley reportedly worked tirelessly to generate more income for Stacey's newly established gold and diamond jewelry company, Stacey engaged in extramarital affairs. During this period, she resided in a large mansion in Hunglix City, Glimmerland, employing maids to manage the household and care for Veronica, who was "spoiled rotten." At this time, Stacey developed nymphomania and became consumed by greed and a desire for sex and wealth, despite maintaining a "highest IQ." She would have sex with many men, one after another, and sometimes multiple men simultaneously. She would sometimes have sex all day long and sometimes into the night as well.
Chapter 3 - Time with her parents
When she was 22, she went to Rubyweath, Lustrousy, to see her parents, Lucy and Milo. Her parents were wealthy; her father, Milo, was a director who earned millions annually with his brother, Mario. Her mother, Lucy, was a best-selling author. When Stacey arrived, Milo was discussing his next major film with several men. As Stacey entered, wearing a stunning black and gold, skin-tight latex outfit, the men were captivated by her attractiveness. One man exclaimed, "Your daughter is so hot!" Milo responded that he heard that frequently. Milo came to visit her while Lucy took her to the living room as Milo returned to his friends. Lucy spoke of all the money she had acquired, stating that her beautiful daughter always gets what she wants. Lucy wanted to meet Stacey's daughter, Veronica, who was at home. Lucy asked when she would get to see her lucky husband. Stacey replied, "Not if I find an even richer one." Her mother warned her to be careful, saying, "I will truly hate the man who loves you." But Stacey giggled, saying, "Oh, Mother, you think I took him for love when I've always been the dominant one. I love money, as money gets me all the shiny, pretty things I want. You should know what I'm like by now." "Yes, sweetie, I do, but be careful," said her mother.
She walked into the other room, saying, "Hey, Daddy, what movie are you making? Maybe I can be a sexy girl in it?" She struck a sassy pose for the other men. Milo said they were doing a superhero movie but were also filming some TV commercials. She asked what TV commercials. One man listed, "A hairspray one, a new lip gloss, and four car commercials." Stacey exclaimed, "Oh, Papa, how could you not tell me?" She asked to be in them, stating that she wanted to be "super sexy hot" and that she loved modeling for TV commercials. She was pole dancing in a sexy red latex catsuit and over-the-knee boots for the hairspray advertisements. In the lip-gloss advertisement, she wore a shiny gold latex long dress, corset, long gloves, and boots. The car advertisements were very sexy. In one, she was on the hood of a car in a black latex catsuit, corset, and boots. In another, she wore a black latex mini-skirt, a top showing her cleavage, and black latex stockings. It was raining on her, and she was pouring a bucket of water down her top with a provocative look on her face. Another car advertisement featured a purple car, where she wore a pink latex schoolgirl outfit, held a lollipop, and had twin-tail hair. The last advertisement showcased a golden car, from which she emerged in a full gold latex outfit with a cape and a queen's crown, walking down a red carpet like a queen.
She approached her father during the shoot to inquire about her appearance in the outfits. He expressed discomfort, particularly with the suggestive car advertisements featuring the schoolgirl outfit. She told her father that she wanted 75% of the money earned. The others stated they could pay her up to 30%, but she negotiated for 40%, arguing that as a supermodel, her recognition would lead to increased viewership of advertisements and higher sales. She also mentioned, with a giggle, that some would be particularly interested in watching the car advertisements.
Chaper 4 - The greedy upgrade
The largest city in Variclex, Ultacash, was located in southern Orbin and governed by Mayor Connor Johnson. Rumor had it that Connor Johnson invited Gavin Finley to the Royal Ball in Dome City, Orbin. Stacey, known as "Shiny-Stacey" due to her fondness for latex, accompanied Gavin. The Mayor met Stacey and requested a dance. Gavin, aware of his wife's mercenary nature and Connor's superior wealth, land, and fame, grew apprehensive. Upon learning of Connor's influence and marital status, Stacey pursued him and divorced Gavin. Gavin stated that all his money and properties were to be hers. Consequently, she took possession of everything, disposed of Gavin, and reverted to her maiden name, Salt.
She spent a considerable amount of time in Ultacash City. Not all areas of the city appeared impressive from the outside, as it was dominated by towering skyscrapers. However, each skyscraper was owned by affluent individuals, and their interiors were luxurious. She would walk the streets of Ultacash City accompanied by six bodyguards, funded by Connor Johnson, for her protection. Everyone in the city recognized her, and many attempted to photograph her. She had her own limousine, but she enjoyed walking and shopping for latex and makeup, as well as showcasing her appearance.
When Veronica was 10 and Stacey was 28, Stacey ensured Veronica attended Shiny High, a prestigious school for latex enthusiasts in Glimmerland. Stacey was still dating Connor Johnson but wished to retain her birth name. At this time, she was known as the "Golden Girl," and her daughter was known as the "Shiny Latex Princess."
Chapter 5 - Veronica
Veronica was left with half of Stacey's money. Stacey wanted the best for her daughter, not out of love for Veronica, but because she loved fame and wanted her wealth to be newsworthy. Veronica also became a latex model and was very famous. When Veronica was 14, she controlled her school. She was known for being one of the prettiest girls in Shiny High. She showed off her money and flashy outfits. When Veronica was 15, during a school trip, she asked her teacher to take the class to Hunglix City. Being the teacher's pet, she asked to go into the palace to see Prince Casper. Veronica ruled the school, as no one dared to reprimand her, fearing lawsuits from her parents. She leveraged her charm and knew that boys were captivated by her. With millions of fans on social media, who consistently praised her beauty and expressed their admiration, she sought to dominate Prince Casper, who was 18 years old.
Prince Casper, seeing her catwalking up the red carpet, came to greet her. Casper was crushed by her stunning appearance and knelt before her. He said he would do anything she asked. He said, not thinking, as his lust for her blinded him, "I will give you anything you want to show my love for you." Veronica giggled. He gave her a sheet to sign, stating, "It's on paper, anything that you want." She took the pen, grinning, and signed her name. She then asked for his throne and a gold crown. The prince did as she asked. He was shocked by what she had asked for but was captivated by her beauty. Princess Casper was designated as the guardian of this magical cave, responsible for preventing the misuse of its powers. However, she was now the princess, and he had been uncrowned by her orders, losing all his land, including the Cave of Wishes.
The rest of her class, most of whom were unhappy to do so, bowed to her. The teacher then took them as Princess Veronica ordered. She made Casper show her the cave. Casper said, "The cave is a living entity of great power that holds the order of all things. It is only meant to be used in times of need." She replied, "Whatever, it's mine now." She walked into it alone; it was made of white crystal. A being spoke to her, saying, "You get one wish per day." Her first wish was, "I wish to be forever spoiled and showered with gifts every day." This wish led to people feeling compelled to buy her gifts and fulfill her requests. For instance, she approached a lottery winner who had won $26,000,000. Dressed in a latex outfit, she persuaded him to give her all the money. That night, she went out to show off in a few nightclubs in her city, as Prince Casper had no power over his land and his father, King Ali, was overseas. Veronica knew Casper would be in serious trouble for giving away the throne and caving, but Veronica did not care.
At this time, Stacey, aged 33, was overseas in Ultacash City, where she had opened a gold shop called Gold-Gloss. She learned from the news what her daughter had done, wishing she had done it herself sooner. She contemplated how much she could have gained had she attempted to take the Cave of Wishes. She considered that if her fifteen-year-old daughter took the throne on a school trip, she herself could have been Queen Stacey by now. However, she was very jealous of her daughter, who was not Princess Veronica. Her jealousy was so intense that she did not even call her to discuss it.
Chapter 6 - The wishes of Veronica
Stacey knew the rules of the cave: Veronica's wishes would multiply by three until she ran out of time in her life to make them. Stacey deemed her daughter young and unwise, believing she would make wishes that were nothing to fear. Veronica's next wish was "to have the hottest latex outfits." This wish manifested in her acquiring a vast collection of highly desirable latex clothing, all made for a perfect fit and with the highest shine. This enhanced her stunning beauty, making it even harder to refuse her. Her third wish... "I wish to have my entire palace, including all furniture and decor, made of the shiniest latex." This wish transformed her living environment into a latex-themed domain. She walked out of the Cave of Wishes into a shiny latex lair. She walked on a hot-pink latex carpet and sat on a hot-pink and black latex throne, commanding all to bow to her.
Stacey learned from the news that Veronica now possessed a shiny latex lair. However, Stacey owned numerous homes filled with shiny gold, and some with gold, silver, and gems. Stacey knew she could acquire all the shiny latex she desired if she wished. While Stacey was at a ball, showcasing her alluring, shiny outfits, many discussed Veronica. Some approached Stacey, suggesting she speak with her daughter, stating that with the magic cave, the more one takes, the less the world will have. Some mentioned that the weather in Hunglix had turned stormy and the grass around Veronica's palace had vanished. But Stacey said she is high-class, like her mother, and has the best maids and butlers to take care of her.
Chapter 7 - Shiny in space
As Veronica evolved into a queen and sorceress, Stacey acquired her own train, the "Quick-Gold," and a starship, "Star-Light-112." She traveled to Rubberoni, a starship port, with plans to conquer the city planet Cyperubberon with her beauty and establish herself as queen, abandoning her "bratty latex daughter." She aimed to make the kings of Cyperubberon worship her. She used her train to transport her latex clothing, gold, and money to the spaceport. Many from Shiny High, seeking to escape Veronica's rule, did not want to be under the power of an evil latex teen queen. Others, mostly men, joined Stacey's journey.
The starship, a mile long and resembling a seven-star hotel, was rubberized to accommodate Stacey's preference for latex and equipped with amenities such as swimming pools and bars. Stacey, who had become the second richest person on Variclex, controlled Connor Johnson's finances. However, she, like everyone else, observed her wealth diminishing due to Veronica's powers and the Cave of Wishes. Stacey also demanded a large supply of sex toys from Connor Johnson, which proved difficult to obtain as Veronica owned all sex toy factories. Veronica sent Stacey a taunting text saying, "Taking some toys, are we, while they're all my toys, giggles." This led Stacey to block her and initiate a hyper-jump.
Even in space, Stacey's nymphomania persisted, and she hosted constant "gangbang sex parties," enjoying herself to the maximum. Connor Johnson, though unhappy, remained with her, acknowledging she only dated him for his money, just as he only dated her for her sexiness. Connor attempted to save Gavin Finley, her ex-husband, who was not as fortunate. Stacey was pampered like a queen. She expressed regret that she had not taken the throne herself, had she known Prince Casper of Hunglix City would be so easily swayed by an attractive woman. She told Connor that if she had known Prince Casper was foolish enough to give the throne to a 15-year-old he had a crush on, she would have taken the throne and declared herself queen. Connor knew her plan was to take over Cyperubberon, as Stacey was the source of Veronica's greed. Stacey was behaving promiscuously, as all rules on her ship were her own. Despite being light-years away from Variclex, Stacey and the others noticed her gold was still disappearing on the ship, a testament to Veronica's growing influence.
Chapter 8 - Planet Cyperubberon
Still within the galaxy, T-666bx-LTX, but 169 light-years away from Variclex, which with hyperspeed took 169 days. Stacey's starship, "Star-Light-112," hovered in orbit over the planet Cyperubberon, which glowed with neon lights. She got excited, pushing her dildos deeper into her pussy, the other up her ass. She slid her hand over her latex body, saying, "A new world, and it's going to be all mine." She told her men, "When I'm there, you will open doors for me and do everything I wish... understood?" "Yes, there," they said. "Yes, what?" she said very dominantly. "Yes, my queen!" said the men. A call came into her ship saying, "Welcome to the Cyperubberon Spaceport. I'm Rin Tanaka, but you can call me Rubber-Rin. I'm a technician here to help with any maintenance. I've scanned your ship, the Star-Light-112. I see you have 58 people aboard. If you can hover down to the shipping port, I'd be happy to help." Stacey told Connor to bring the ship down. While doing so, she went to do her makeup to doll up a bit more. She had tons of latex outfits, but when she went to her money and gold room, it was almost all gone. She could see it teleporting away. She knew it was due to the greedy power of her daughter, Veronica, which made her very unhappy. She planned to be the richest in her new world.
Rin Tanaka watched them disembark from the ship. She was a nineteen-year-old woman with a soft voice, dressed in a pink latex catsuit, black latex long gloves, stockings, and a pink and black latex corset. Her jet-black hair was styled in twin tails, and she was accompanied by small robots. The neon lights illuminated her and her surroundings, making everything appear exceptionally shiny. She observed Stacey, who remarked, "Oh, you're pretty." Rin replied, "I know I am." She then addressed Stacey, stating, "I see you were the wealthiest lady of Variclex, also known here as VX7. It was said you had 890 billion." I see you lost it all, but it's okay. All who come here from Variclex arrive with no money, as Veronica has taken it all. However, money here is not gold or currency; it's all digital. Here's your digital money card, and all that you lost is on it. "What kind of home do you want, my lady?" Stacey wanted a large home. She used her card and acquired a palace. On the first day, she had 12 hover cars in various colors to match her outfits. She had all the best technology and AI robots to do all her housework. She could have had her men clean, but she wanted them to gangbang her every night. A doctor bot scanned her, and a doctor arrived. Upon seeing the numerous sex toys, he remarked, "My lady, you know we have a cure for nymphomania." She giggled, responding, "Why do you think I want to be cured from this wonderful illness? I love sex and lots of it. I've acquired all these sex toys and men to satisfy me as much as I want, and I've even got myself a sex machine bed to pleasure me while I sleep." The doctor inquired, "There's a cure if you change your mind." She giggled, stating she was a porn star.
A week later, she came to Rubber-Rin with sex toys. Rin was working on her starship. Seeing the dildos hanging, Rin said, "I love dildos too. Are you thinking of a job here?" Stacey said she was a super latex model. So, Rin listed her name on the hub as a super latex model. Stacey modeled for many latex shops and holo-ads and was the latex hottie for many music videos. She was on 8D billboards in the city and was very well known.
Chapter 9 - The neon throne
Cyperubberon was ruled by three kings and two queens. The Neon Throne, the high throne, was vacant. King Alpo, an AI bot, once occupied the Neon Throne, maintaining order across the planet, but now resided within the hub network. King Vincent, a 30-year-old human, was the only on-world ruler; the other four rulers resided on nearby planets. Stacey, having received money and sex toys from a top hacker who wished to meet her, allowed the hacker to come to her home. The hacker, an 18-year-old cyber-punk latex goth girl named Code-gold, entered Stacey's home. Code-gold admitted to having a crush on Stacey's daughter, Veronica. Stacey reacted with anger, stating, "My daughter has enslaved the world of Variclex." Code-gold responded, "I know she is so dominant; I wish to worship her. If you permit me, I can spoil her even more." Stacey refused, but Code-gold persisted, "I know you also wish to rule this world as a dominant and ambitious person. I can propose a deal. I will hack the hub and grant you access to the king, and in return, you will allow me to worship Veronica. She can whip me and be cruel to me; I find her incredibly attractive." Stacey inquired about Code-gold's plans for worshipping Veronica. Code-gold said, "Anything she wants, I will polish her latex, let her use me as a footrest; I would dig in her mines." Stacey said, "Whatever. As long as I can have this world. But if you can hack as well as you say, I not just want to sit on a throne; I want the entire world under my control so I can do and have whatever I want. If my daughter can rule a world, then I want to rule one too. I want this entire world, and as you're a bit of a bad 'good guy' wanting to help my evil daughter, then I'm sure you won't mind helping a selfish, greedy girl like me, too?" Code-gold said, "Yes, I'll make you queen, and I'll go and worship Latex Empress Veronica."
Code-gold hacked the Net Hub and gave Stacey the passkey to the Neon Halls. She discovered King Vincent had a crush on her, so she went to the halls. She acted alluringly as she approached the King. The King rose from his throne, saying, "I have watched you for a long time, and you are most likely the hottest model on this planet. I know your beautiful daughter Veronica rules your homeworld. Because of your beauty, I ask you to wed me and become my queen. What say you, my lady?" Stacey giggled and said she did not like following orders. The king then said, "I could never have guessed such beauty would do this. "I know you love money, and no one is richer than I. I have even made a shiny throne for you." So the king made her queen, but they were joint rulers. She was not happy about sharing, but she deemed it acceptable for the time being while she planned to rule him through her sexuality.
Chapter 10 - The golden queen
It was known throughout the planet that Stacey Salt was to be crowned queen. Many came to witness the coronation. Some worried, as they knew she was narcissistic and self-centered. They knew her story about the gold-digging rich men. The king was madly in love with her and wanted to spoil her. She had planned her coronation in advance. The city lit up, and beams of light shot into space. A platform ascended with her on it, dressed in a sexy, hot latex outfit with stunning hair and makeup, on a shiny, gold inflatable bed. Her pose was very seductive, and she was very aroused as she had powerful sex toys in her. She slid onto the latex bed, then catwalked to the new, shiny throne beside the king's. She sat, and an AI bot made of shiny gold approached with the crown. The bot announced, "We have a new queen, and she will be loved by all." The king then took the crown and placed it onto Stacey's head. A holographic form was presented for her to sign with her finger. She read the form, which stated, "If she wishes to be queen." Below was an unticked box that read, "For all rules to be made by the queen and not the king." She pressed that button when the king was not looking and said, "Sharpy, all done, take it away," to the bot. Queen Stacey of Cyperubberon wore a greedy grin as she ticked boxes that were not meant to be ticked. Her greed assured her that this would benefit her, but not the king.
After many wealthy individuals gathered at the royal ball, the common people departed. While Stacey chatted with others, the King read the holographic letter and discovered, to his shock, that she had checked the box allowing her to circumvent any rule she desired. The King requested to speak with her. He presented her with the letter, asking, "I think you made an error?" She replied that she had done it intentionally, as she wished him to be subservient to her and desired to rule as she pleased, stating, "You think I care about you and what you want? It seems you do not know how assertive I can be. And just so you know, I am going to be a very unconventional queen. It is now my palace, so I will do whatever I want." She walked away from the king as if he were a commoner.
That night, she returned to her palace. The King had arrived before her. She shouted at him, "Did I say you could come home before me? I am in charge, not you." He knelt on the floor, saying, "I am sorry. I came home to get things ready for you, my Queen." "Like what?" she said ungratefully. She went to the bedroom, and there was a shiny gold bed with latex, shiny gold bedding. She lay on the bed, fingering herself. The King stood by, saying, "Is it to your liking? I see you are horny. Do you want toys?" "Yes," she said. He rushed out. "Hurry up!" she shouted. He brought her many kinds of sex toys. She began inserting dildos into her pussy and anus. She looked at him, saying, "Don't just stand there; get more." After half an hour, the doorbell rang. The King answered the door, and there were 35 large men. He said, "This is the royal palace." She came into the hall with dildo pumps hanging out of her, saying, "I called them here; they are my sex friends. I wanted sex." The King let them in, saying, "I could have had sex if you had asked." She told him, "It's okay; their cocks are bigger than yours, and you will never keep up with my lust. But I want you to watch, as I'm a mean girl." They all gangbanged her all night long.
Chapter 11 - War fleet of Cyperubberon
As the new ruler of Cyperubberon, possessing absolute power to establish any rules she desired, a meeting was convened. She arrived, looking stunning, her latex outfit polished to a high shine. The meeting was held in the high orbit courts, within a dimly neon-lit room where all the most powerful individuals gathered. Queen Stacey made it clear that their purpose was to enhance her power, and if not, they could leave her meeting. None departed, and silence prevailed for a time. She then addressed the warlords, asking, "What do you have for me?" She said there were vast armories and spaceships that could travel anywhere within the cosmos, possessing great power to take on almost anything, except for magical entities. She looked at the bank owners and asked, "And you?"
"All the credits you wish, my Queen. You can impoverish the people, just as your daughter Veronica has done on the planet Variclex."
Stacey replied, "No, I'm not that kind of queen. Let the people of my world keep their money. However, ensure that I always have the most money and the most of everything I desire, as I am the queen. I want my people to be happy, to trust me, and to love me. And I also love myself," she said, looking into a mirror beside her. I will keep my world safe. In return, I will have all I wish, including unlimited sexual encounters in any desired manner, even in public or on my throne with others observing. I will possess the finest sex toys and the most alluring latex outfits. If I am content, I will ensure the happiness of my people. Some observed the king kneeling at her feet, restrained by a leash she held in one hand and a riding crop in the other.
She told the war fleet that she wished to rule over more worlds, believing that this would prevent war by uniting everyone. She mentioned the existence of powerful items on other planets and expressed her desire to acquire them if they were real. They asked what she meant by magical items, and she provided a list: magical powers, magic staffs, magical stones, power to open portals, and a wishing lamp. She stated that if there was another Cave of Wishes, she needed to reach it quickly, or somehow remove the Cave of Wishes from Veronica before Veronica's greed went too far. A few at the meeting asked what she would do with the Cave of Wishes. "You have to wait and find out," she said. She stood, saying, "Come along, slave," while pulling on the uncrowned king's leash, and walked out of the room, saying, "Get my war fleet ready."
More about Stacey
Name: Stacey Salt
Nick names: Shiny-Stacey and golden-girl
Her parents: Lucy and Mlio
Super rich relationships:Kevin Kingston - car business owner, Gavin Finley - gold and diamond jewelry cave owner, Connor Johnson - Mayor of Ultacash city
Ex husband: Gavin Finley
Daughter: Veronica
Multiverse: 0019
Galaxy: T-666bx-LTX
Planet: Variclex
Continent: Glimmerland
Lives: Hunglix city - but is away alot
Born in: Rubyweath town in Lustrousy
Height : 5,7
Age in image: 22
Hair colour: Brownish blonde
Eye colour: blue-Purple - but wears eye lenses in go with her outfits.
School: Glossme high-school
Favourite colours: red, and gold
Sexually: autosexual heterosexual,
Personality: self centered, selfish, greedy, mean, dominant, gold digger, narcissistic, naughty
Favourite fashion: Sexy shiny latex clothing,
Favourite clothing, blouses, tops, jackets, short-skirts, skin-tight catsuits, corsets, and high-heel boots.
hobbies: modeling, sex, and making more money
Lives: in a big mansion but is away alot
Obsessions: shiny things, gold, gems, and money, lots of sex, and sex toys, and domination
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
bauhaus building, dessau, germany, 1925-1926, architect: walter gropius
Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.
The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.
The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).
PDF = wp.me/pbMWvy-5t
Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).
Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:
I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).
Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.
Fonte / source:
--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).
www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).
Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).
The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:
I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).
Fonte / text & foto / sources:
Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/
Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:
1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).
2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).
3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.
4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.
Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).
5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).
6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…
II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).
During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).
Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.
--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].
www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s
As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :
--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri
--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”
www.pont-ara.org/index.php?module=Pubblicazioni&func=...
--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).
--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).
www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...
--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).
www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...
--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab
For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].
--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).
www.academia.edu/29207218/Archaeological_Excavations_at_P...
III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).
Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:
--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =
www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....
“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”
In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =
1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...
‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’
An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:
'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'
Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).
The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:
"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.
Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):
--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].
The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR
Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF
Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV
Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.
Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:
--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF
--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF
For a review of the Traiano Exhibit (2017-18) and additional information, see:
Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF
IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).
Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”
Comment Former Senior Director with the MIBACT and Italian archaeologist,
personal communication to M. G.Conde (08 December 2011) (6).
Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.
I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?
For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:
--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1
--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map
sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.
(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5
--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of
Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu
--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.
www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB
Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv
--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).
--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).
--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).
books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...
--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =
www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...
--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq
And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:
--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...
--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX
Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.
Thank you Martin G. Conde
Washington DC, USA (20 March 2020).
A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.
Their various works on Rome can be accessed via a search on the following website:
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.
ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
rometheimperialfora19952010.wordpress.com/
Notes and Additional Information:
For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).
-- Forum of Trajan =
www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...
--- Temple of Trajan =
www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...
1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com
2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:
--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].
www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...
--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA
INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].
3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).
ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)
ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.
ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio
ORE 11,00/11,30 - PAUSA
ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.
ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.
ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)
ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.
ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano
ORE 16,20/16,50 PAUSA
ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.
ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano
ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.
4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).
Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH
--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q
5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.
Fonte | source:
— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).
6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].
7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).
www.flickr.com/photos/imperial_fora_of_rome/5374055767
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).