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Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.
The Musical Ride was developed from a desire by early members of the North-West Mounted Police to display their riding ability and entertain both themselves and the local community. Considering that the original Mounted Police members had a British military background, it was inevitable that the series of figures they performed were traditional cavalry drill movements. These movements formed the basis of the Musical Ride. Although legend has it that the first Musical Ride was performed as early as 1876, the first officially recorded Musical Ride was performed in Regina under Inspector William George Matthews in 1887. The Musical Ride, consisting of twenty men, was put on public display for the first time in 1901. Over the years the popularity of the Ride has grown and it has become a familiar sight throughout most of the world.
Today's Musical Ride Members of the Musical Ride are first and foremost police officers who, after at least two years of active police work, volunteer for duty with the Musical Ride. Most members are non-riders prior to their equestrian training with the RCMP; however, once they complete the courses of instruction, they not only become riders but ambassadors of goodwill. Working through a unique medium, they promote the RCMP's image throughout Canada and the world. RCMP members only remain with the Musical Ride for three years which ensures an annual rotation of approximately one third (33%) of the riders.
Today, in keeping with tradition, the Musical Ride is performed by a full troop of thirty-two riders and horses, plus the member in charge. The Musical Ride consists of the execution of a variety of intricate figures and cavalry drill choreographed to music. Demanding utmost control, timing and coordination, these movements are formed by individual horses and riders, in two's, four's and eight's at the trot and at the canter. Months of training, practice and many kilometres/miles around the riding school make horse and rider one. The horses must not only appear in the Musical Ride, but on Parliament Hill, in parades, special events and have the ability to travel and adapt to different environments, not to mention, hours of petting and photo-taking that the horses must patiently endure.
One of the more familiar Musical Ride formations is the "Dome," once featured on the back of the Canadian fifty-dollar bill. The highlight of the Musical Ride is, without a doubt, the CHARGE when lances, with their red and white pennons, are lowered and the riders and their mounts launch into the gallop. The conclusion of the performance is the March Past performed to the strains of the RCMP's Regimental March where the Musical Ride traditionally salutes the guest of honour.
The RCMP Musical Ride tours throughout Canada, as well as international venues, performing at approximately forty to fifty locations a year between the months of May and October. Thirty-six riders, thirty-six horses, a farrier, a technical production manager and three NCOs travel with the Musical Ride.
Camera: Minolta XD-11; Lens: Helios 44-2 58mm f/2; Film: Ilford FP4+ 125;
Developed in Rodinal (1+50) @ 21C for 13:49.
This is a test of the FPP C41 developing kit comparing age and temperature. All 4 photos were taken with Minolta X Series SLR cameras with the same 50mm 1.4 lens. Film is fresh Fujifilm Superia 200. 3.5 minute develop, 6.5 minute blix.
Top left - Old chemicals @105F that have developed 25+ rolls (kit recommends 12-15)
Top Right - Fresh batch of chemicals @105F
Bottom Left - Fresh chemicals @85F
Bottom Right - Fresh chemicals @120F
Red milkweed beetle playing dead. I walked past this same spot about two minutes later and this individual was walking on the leaf.
Lens was a Tokina 100mm macro on a 2x teleconverter.
Taken with a Ricoh 500 GX camera in week 74 of my 52 film cameras in 52 weeks project. This camera is unusual in having the ability to do double or multiple exposures, this is a double exposure with the camera rotated by 90 degrees between exposures.
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
The first year is documented in this book:
Developing fruits can abrade against adjacent branches to create the typical "alligator skin" symptom
BAGRAM AIRFIELD, Afghanistan -An ISAF soldiers hands an Afghan girl a teddy bear, notebook and crayons during a visit to a hospital. (Photo by Capt. Thomas Cieslak)
GRASS Electroencephalograph Model 8-10C Grass Instrument Co., Quincy, Mass., U.S.A.
Founded by Albert Grass who developed the first commercially successful electroencephalograph (EEG)
Company is still in business Grass Technologies
Electroencephalography (EEG) is a non-invasive method to record electrical activity of the brain in your scalp
Outbuildings
Komoora, near Yass, NSW, Australia
Photographed with a Koni-Omegaflex M with 135mm f3.5 Hexanon using Fuji Pro 160S, 220 format color negative film exp. July 2006. Shot hand held at f11.— Light metering through a Nikon D80.—Developed in Caffenol-C for 16mins @ 20ºC/68ºF.—Scanned with Epson Perfection V700, using Silverfast Negafix setting for Fuji Pro160S.—Postprocessing in Photoshop CS3 (straigthening and curves only)
© Dirk HR Spennemann 2010
All Rights Reserved
Museums & Galleries NSW new site launched Friday, 27 September 2013.
Strategy and user experience by Pure and Applied, design by Toben and build by Interaction Consortium.
HPD students need to go through on complete cycle of the Design Process.
Today they were divided up into three groups. Each group considered Lighting, Seating or Kitchenware respectively. These photos depict what they came up with after a strict time allocation of 20 minutes.
Each member of the class must now generate a Brief over the weekend. This is to be available for discussion on Monday. This will in turn establish just what angle they will come at in order to develop their own unique solution.
The Chevron Bead House Project, A beautification project
June 1, 2008 MBAD/ABA African Bead Museum Community began creating “The Chevron Bead House”. The project developed as follows: Virgil Patton suggested that we remove the steps and secure the building. Curtis Bundles, project manger and he help paint the sign, Efe Bes provided drumming and helps with other things and Andre helped everyday with physical labor. Michelle, Genevieve and Kahlil constructed the path, helps paint the sign and provided other assistance. Felicia is director of the garden program and she also worked with the construction of the pathway. Mutope played a major role, in that he helped with painting and many other things.
The Chevron Bead house symbolizes the energy, power, philosophy etc. that Africans had invested in the use of iron, mirrors and wood for protecting the people, the community and keeping the land fertile. The house has hundreds of pieces of mirrors, rusting iron, paint on rusting iron and old decaying wood that changes with the weather. If the sun is bright, the house is bright. If the weather is cloudy, the house is cloudy.
If the wind is blowing the Chevron Bead House makes sounds. If sun rays are beaming the Bead House radiates heat. The Bead House is constantly changing: the iron is rusting, and the paint is fading. The Bead House lives because it reflects the environment it’s in. The small pieces of mirrors make the Bead House appear to have some kind of electric device attached to it and at night the light show begins.
Chevron We painted on the Bead House different views of one of the oldest and most collected beads known to collectors. The chevron bead has been mistakenly identified as one invented by the Venetian people, but it was illustrated on the wall of ancient Egypt years before. We painted the Symbol for Nyama; the dot inside of a circle representing the sun upon which Nyama laid her egg and gave birth to the universe. We painted the Ancestor symbol (a dot) on the house to remind us of those who came before us. The dot is the symbol for our ancestors. We painted the Spiro symbol to represent the idea everything in the universe is connected and we included the symbol of Nsoroma that my ancestors used to remind us of our children.
The Mirror Mirrors were used throughout Africa as a tool to communicate with Nyama, for all kinds of reasons.
Traditionally any pieces of mirrors can be used for protection agencies someone trying to do harm. The mirror is and was used though out Africa as a tool to communicate with the ancestors, for all kinds of reason. It was used in the N’kisi Sculptures eyes and to cover the medicine that was place in the cavity of the navel. The mirror over the navel has many possible interpretations. It may scare a way or capture Nyama. It may represent a passage way to the Nyama’s world.
The, magician or healer would also have looked in the mirror to find the image of Nyama. The mirrors were used collectively to protect the community, and attack bad intentions .The mirror over the navel has many possible interpretations, it may represent a passage way to the world of ancestor. The, magician or healer would also have looked in the mirror to find the image of the Nyama. The mirrors were used collectively to protect the community, and attack bad intentions.
Dabls MBAD/ABA African Bead Museum © By DABLS 2008
Minolta Weathermatic-A 110 Waterproof Camera
26mm f3.5 Lens
Lomography Color Tiger 200
Developed by The Darkroom - Enhanced Scan
developed with Compard Digibase C-41, scanned with Pentax K30 + Schneider Componon S, Silky Pix, gimp, FixFoto
Certificates distribution ceremony held of Developing Critical Mass
for Educational Reform in Chitral
CHITRAL: Since its inception in 2003, the Aga Khan University’s
Professional Development Centre in Chitral (AKU-PDCC) has been
offering a variety of high quality innovative programs for building
the capacity of schools and key stakeholders in Chitral, other parts
of Pakistan, and Afghanistan. Over 2600 teachers, head teachers, and
education managers have thus far attended various Certificate and
short courses offered by this institution. PDCC. has also developed a
number of schools as model in multi-grade teaching and ECED. Its
faculty have engaged in research and published a number of articles
and book chapters in various national and international journals and
books. PDCC has recently won a very competitive research grant award
from Higher Education of Pakistan to study the role of civil society
institutions in promoting cultural diversity and pluralism in Chitral.
A colorful ceremony was organized at PDCC to celebrate the successful
completion of two Certificate Courses in ‘Educational Leadership and
management’ and ‘Primary Education’. A total of 39 head teachers and
teachers graduated from these two courses. 22 out of 39 were from
government schools. Executive District Officer primary and elementary
schools Muhammad Siraj was chief guest on the occasion while there
ceremony was presided over by Sultan Mehmood Regional Program
Manager Hashoo Foundation. The ceremony was attended by
educationists, leaders of the civil society institutions, and teachers
community.
Speaking at the ceremony, Dr. Mir Afzal Tajik, Head Outreach AKU-IED
and Head PDCC highlighted key issues and hurdles in the way of
improving the quality of education in the district. He also
highlighted how these courses have helped the graduates to address
these issues and thus bring about positive changes in their schools.
He urged that bringing about positive changes in schools is possible
but the head teachers and teachers have to initiate the change. The
purpose of these courses was to develop the ‘change agents’ needed to
initiate and lead the change.
Siraj Muhammad, EDO Education Chitral, thanked AKU-PDCC for its
continuous efforts to enhance the capacity of schools and to develop
leadership and change agents for schools in Chitral. He urged the
graduates to implement what they have learnt in the courses and
assured them of his full support. He particularly thanked PDCC
leadership for their cooperation with the government education. He
also advised the graduates that they should work with full enthusiasm
and diligence.
Sultan Mehmood and others also lauded AKU-PDCC for its valuable
contributions to capacity building of key stakeholders in Chitral.
Mrs. Commandant Chitral Scouts while talking on the occasion expressed
her great sorrow on trend of cheating. She said that mostly graduate
and post graduates students could not speak transparently and they are
very poor in general knowledge. Although they have degrees but no
knowledge it means that they use unfair-means in examinations or warm
palm of Board and university staff. She said that during recruitment
of Chitral scouts some 31 candidates were pulled out from test hall
because of involving in cheating. She said that our head teaches and
teachers can bring positive changes. She appreciated decision of
provincial government to bound government schools teaches to enroll
their children in Govt. schools not in private one so as to couscous
about the future of their own children and they will teach honestly to
their students. At last Certificates were distributed amongst the
graduates.
G.H. Farooqi C/O Manager bank Islami Main branch Chitral phone No
0943-320737, 0943-316052, 0943-414418 , 03025989602, 03337069572,
03159698446, 03469002167
email: gulhamad@gmail.com
Developed from the earlier Six-20 Kodak, this camera retains the art-deco chrome pin-stripes and black enamel of the earlier model, but now features a simplified strut mechanism and a folding eye-level frame finder to augment the brilliant waist-level viewfinder. This particular example has an f/6.3 10.5cm K.S. Anastigmat lens in a three-speed No.0.V. shutter.
produced between : 1933 - 1937
lens : Various
shutter : Various
film type : 620
picture size : 6 x 9 cm
ABERDEEN PROVING GROUND, Md. -- U.S. Army research and development centers are collaborating to design new ammunition packaging that could yield significant cost savings and improve battlefield capability, officials said.
Two organizations within the U.S. Army Research, Development and Engineering Command -- the Armament Research, Development and Engineering Center and Natick Soldier Research, Development and Engineering Center -- are developing a packaging system for 5.56-millimeter ammunition as an alternative to fabric bandoleers.
The new system is being developed for the Project Director Joint Services in support of the Program Manager for Maneuver Ammunition Systems. It could save considerable cost by using lightweight and inexpensive plastic packaging materials with a design that will allow for automated packing at the ammunition manufacturing plant, said Dan Klein, an engineer with ARDEC’s Packaging Division who serves as the program lead.
To read more:
Photography is a great passion and the use of film is the highlight of it. This is the photograph of the equipment necessary in order to develop black and white film.
The Rise
Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.
The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.
Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.
The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.
By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.
Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.
Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.
Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.
All the while, business continued to boom at Regency Square, perhaps more so than ever.
The Fall
There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”
In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.
At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.
Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.
A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.
Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.
The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.
It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.
Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.
In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.
Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.
By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.
The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.
By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.
When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.
In early spring small maple flowers are transformed in a matter of days into winged seeds. I caught this maple tree in the action as its tiny red ovaries began to enlarge into seeds.
Maple flowers lack petals but they provide wonderful color when they are massed on the tree, reminiscent of the color maples provide in the winter.
Please join me in my blog “Botany Without Borders: Where Design Meets Science”
Developed by Horsch and Telth Systems as a fast response interceptor. It later grew an infamous reputation during the Sector 12 crisis where two squadrons of Hobgoblins were able to hold off the massive invasion force sent from Korba. One pilot in particular shot down three hundred and one Korbian ships, earning him the coveted Trillium cross.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Developed in Raw Photo Processor with P160NC output profile
Virtually "printed" with "Kodak Endura Glossy Paper" profile and grain effect applied in Dehancer plugin for Adobe Photoshop
Final color tweaks made in Adobe Photoshop
Center Gallery
111 Ellis
Wichita, KS
Exhibition: Final Friday, March 26
2010 NATIONAL PHOTOGRAPHY FELLOWSHIP COMPETITION - "DEVELOPED WORK"
Visiting Juror: Natasha Egan, Associate Director, Museum of Contemporary Photography, Chicago, Illinois
Opening Reception: Final Friday, March 26, 7 - 10 p.m.
Exhibition Dates: March 26 - April 23, 2010
Gallery Hours: Friday 12 - 6 p.m. & Saturday 12 - 2 p.m.
$ 500 Fellowship recipient: Larry Robinson, Iowa City, IA.
Exhibiting Artists: Zach Abubeker, Chicago, IL; Roger Boulay. Albuquerque, NM; Jennifer Colten, St. Louis, MO; Mary Farmilant, Chicago, IL; Pete Herzfeld, Washington, DC and Eric White, New York, NY.
Work featured on the Center Gallery website, Honorable Mentions: Ray Klimick, Athens, OH; Brook Reynolds, Charlotte, NC; Rylan Steele, Columbus, GA and Amanda Pfister, St. Louis, MO.
Juror Statement: It’s always a pleasure to serve as a juror for such national exhibitions like the Center Galley’s Developed Work exhibition for the 2010 National Photography Fellowship Competition. The process of looking at each submission opens my eyes to a variety of exciting trends developing in the field of photography. The photographic styles ranged from portraiture to landscape, abstract to sculptural, and conceptual to dreamlike. Overall the dominant theme was a introspect view of the United States’ social political landscape. The seven artists I chose to include in this exhibition reveal the diversity in photographic theme and style seen throughout all the entries.
Larry Robinson’s work cleverly stood out in the submissions with its wit, absurdity and pop culture references. The juxtaposition between the projected images of food in the installations with their contrasting domestic or natural environments speaks humorously to America’s infatuation with food. Roger Boulay’s photographs of sculptural stacks of magazines speak beautifully to America’s consumption of media. Jennifer Colten’s eerie surveillance-like video stills of uninhabited places tap into the more anxiety prone culture Americans have developed since the September 11th attacks. Eric White’s examines the border between Mexico and the United States with particular focus on the security fences, surveillance stations and checkpoints. Through portraiture, still-life and landscape, Zach Abubecker observes Ethiopian immigration in the United States raising issues of assimilation and cultural identity. Mary Farmilant’s striking interiors of abandoned hospital spaces perhaps act as a depiction of the current demise of the heath care system. And lastly, Pete White conflates death notice photographs with weather reports in an attempt to illustrate the social political tension generated by death.
The caliber of the work submitted was stellar and I would like to recognize the following artists that I was unable to include in this exhibition: Brook Reynolds for her pictures of closed gas stations; Rylan Steele for his interior office pictures, and Amanda Pfister for her typography of closed car dealership throughout the United States.
Natasha Egan
Associate Director and Curator
Museum of Contemporary Photography
Columbia College Chicago
For more information regarding Center Gallery and the 2010 National Photography Fellowship Competition - "Developed Work" exhibition, please contact: www.centergalleryonline.com