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Der Zerstörer Mölders war ein Kriegsschiff der Bundesmarine. Er wurde nach dem Luftwaffenoberst Werner Mölders benannt und als zweite Einheit der Klasse 103 (Lütjens-Klasse) in Dienst gestellt. Er ist heute Teil der Ausstellung des Deutschen Marinemuseums in Wilhelmshaven.
Auf der Helling der Bath Iron Works in Maine wurde am 12. April 1966 der Bau als DDG 29 begonnen. Die Taufe des Neubaus erfolgte am 13. April 1968 auf den Namen Mölders. Der Taufakt wurde durch die Mutter von Mölders, Anna Maria Mölders, vollzogen. Anschließend erfolgte der Stapellauf.
Der Zerstörer wurde am 20. September 1969 in Boston durch seinen ersten Kommandanten, Fregattenkapitän Günter Fromm, für das 1. Zerstörergeschwader in Kiel in Dienst gestellt. Der Zerstörer Mölders bekam bei der Indienststellung die Kennung D 186 und das Funkrufzeichen DBYC zugewiesen. Mit dem 1. Dezember 1981 wurde das Funkrufzeichen in DRAF geändert.
Von November 1977 bis April 1978 fand eine Modernisierung zur Klasse 103A statt. Der Umbau und die Ausrüstung zum Zerstörer der Klasse 103B erfolgte vom April 1982 bis zum Januar 1983. Anfang 1995 kamen dann die Starter für RIM-116 Rolling Airframe Missiles an Bord.
Die Mölders nahm an zahlreichen Übungen der NATO teil, unter anderem regelmäßig als Bestandteil der ständigen Einsatzverbände der NATO im Atlantik (STANAVFORLANT) und im Mittelmeer (STANAVFORMED).
In der Nacht des 15. Dezember 1987 kam es auf der Rückfahrt von einem Einsatz im Mittelmeer während der Durchfahrt durch den Ärmelkanal zu einem Großbrand. In der Kombüse brach ein Feuer aus.] Er breitete sich durch Kabelbahnen und Abluftschächte aus und war mit Bordmitteln nur schwer unter Kontrolle zu bekommen.
Mit Unterstützung der im Verband begleitenden Schiffe konnte das Feuer gegen Morgen von der Besatzung eingedämmt und gelöscht werden. Die Mölders konnte anschließend aus eigener Kraft ihren Heimathafen Kiel anlaufen.
1992 fing die Mölders ein deutsches Frachtschiff, beladen mit tschechoslowakischen T-72-Panzern, im Mittelmeer ab – die erste Aktion solcher Art für die deutsche Bundesmarine. In der Operation Sharp Guard war sie an der Durchsetzung des Embargos gegen die Bundesrepublik Jugoslawien beteiligt.
Nach 34 Dienstjahren wurde der Zerstörer Mölders am 28. Mai 2003 im Marinearsenal Wilhelmshaven außer Dienst gestellt, nachdem das Schiff bereits am 21. November 2002 außer Fahrbereitschaft genommen worden war. Nachdem die ex Mölders zunächst in die Wehrtechnische Studiensammlung Koblenz des Bundes aufgenommen worden war, kam sie anschließend als Dauerleihgabe zum Deutschen Marinemuseum in Wilhelmshaven. Seit dem 24. Juni 2005 ist sie als schwimmendes Museumsexponat der Öffentlichkeit zugänglich.
Quelle: Wikipedia
“The ultimate form of communications technology is language itself”
International Lawns, Field Trip No.15
Saturday 4 November 2017
Domo Baal, London
International Lawns present an exhibition installed in Domo Baal gallery, London, for one day only, 4 Nov 2017, with special guests Disinformation, presenting selections from the Colin Banks archive, and the Rural College of Art.
Disinformation is an art project whose work focusses on electricity, communications and language - exploring the creative potential of electronic messaging and laboratory technologies, investigating the psychology of perception of recorded and transmitted speech, and examining relationships between auditory signs and their visual representations. These interests converge in the fields of commercial telecommunications and corporate branding. The philosopher Marshall McLuhan characterised “advertising (as) the folk art of the 20th century”, while the design critic Stephen Bayley argues that “branding should be regarded as the contemporary equivalent of folk art”. The Disinformation project's own (somewhat tongue-in-cheek) branding is inspired by the philosopher’s notion of the “liar paradox”, while specific Disinformation artworks engage with brand entities such as the National Grid and London Underground. For Field Trip 15, Disinformation presents a carefully curated selection of branded telecommunications artefacts from the collection of the typographic designer Colin Banks. The book “Rorschach Audio - Art & Illusion for Sound” states that “the earliest form of sound recording technology was not a machine, but was written language”. Similarly, despite the emphasis that this exhibition places on branded telecommunications hardware, the display, alongside that hardware, of meticulously-crafted typographical and ideographic 'tools', helps emphasise the view that the ultimate form of communications technology is not so much these various forms of communications electronics, so much as language itself.
www.domobaal.com/exhibitions/99-17-international-lawns-fi...
“The ultimate form of communications technology is language itself”
International Lawns, Field Trip No.15
Saturday 4 November 2017
Domo Baal, London
International Lawns present an exhibition installed in Domo Baal gallery, London, for one day only, 4 Nov 2017, with special guests Disinformation, presenting selections from the Colin Banks archive, and the Rural College of Art.
Disinformation is an art project whose work focusses on electricity, communications and language - exploring the creative potential of electronic messaging and laboratory technologies, investigating the psychology of perception of recorded and transmitted speech, and examining relationships between auditory signs and their visual representations. These interests converge in the fields of commercial telecommunications and corporate branding. The philosopher Marshall McLuhan characterised “advertising (as) the folk art of the 20th century”, while the design critic Stephen Bayley argues that “branding should be regarded as the contemporary equivalent of folk art”. The Disinformation project's own (somewhat tongue-in-cheek) branding is inspired by the philosopher’s notion of the “liar paradox”, while specific Disinformation artworks engage with brand entities such as the National Grid and London Underground. For Field Trip 15, Disinformation presents a carefully curated selection of branded telecommunications artefacts from the collection of the typographic designer Colin Banks. The book “Rorschach Audio - Art & Illusion for Sound” states that “the earliest form of sound recording technology was not a machine, but was written language”. Similarly, despite the emphasis that this exhibition places on branded telecommunications hardware, the display, alongside that hardware, of meticulously-crafted typographical and ideographic 'tools', helps emphasise the view that the ultimate form of communications technology is not so much these various forms of communications electronics, so much as language itself.
www.domobaal.com/exhibitions/99-17-international-lawns-fi...
Dutch
De bedoeling was om laat op de middag nog te kijken naar paddenstoelen
Maar toen kwam deze amazone voorbij en liep een toevallige ontmoeting op een shoot uit.
Ben ik altijd voor in.
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Bandırma Marmara Denizinin güneyinde yeralmakta olup,doğusunda Karacabey,batısında Erdek,güneyinde Manyas ve Kuş Gölü bulunmaktadır.Ayrıca İstanbul,Bursa ve İzmir gibi Türkiye'nin üç büyük şehrin köşelerini teşkil ettiği üçgenin ortasında bulunmaktadır.Aynı adla anılan körfezde yer alan Bandırma önemli bir liman kentidir.İstanbul'a hızlı feribot ile 1.45 saat Bursa'ya otobüsle 1.30 saat ve İzmir'e de 3.30 saat uzaklıktadır.
Sanayisi her geçen gün gelişen ilçemizde gübre,madencilik,tarım,yem,gıda ve imalat sanayi alanlarında hizmet veren çok sayıda tesisler bulunmaktadır.
Ülkemizde üretilen kimyasal gübrenin %15'i, etlik civcivin %25'i,yumurtalık civcivin %20'si, Türkiye genelinde beyaz etin %22'si Bandırmada üretilmektedir. Bandırma kara ve deniz yollarının kesişme noktasında olduğu kadar bir demiryolu merkezidir.342 Km'lik Bandırma-İzmir arasında hergün bir yolcu treni,yük taşımacılığında ile 3 tren 3.000 ton/gün kapasite ile çalışmaktadır. Üniversite eğitimi konusunda da Bandırma önemli gelişmeler göstermiştir. 1993-1994 öğretim yılında Balıkesir Üniversitesine bağlı olarak hizmete giren Bandırma İktisadi ve İdari Bilimler Fakültesi ile Bandırma Meslek Yüksekokulu ve 1996-1997 öğretim yılında açılan Bandırma Sağlık Meslek Yüksekokulunda toplam 681 öğrenci yükseköğremini sürdürmektedir. Bandırma Limanı 3.000.000 ton/yıl kapasitesi ile Marmara Bölgesindeki Haydarpaşa Limanından sonra en büyük ikinci limandır.20.000 gros tona kadar 15 adet gemi aynı anda yanaşıp yükleme ve boşaltma yapabilmektedir...
Rıhtım uzunluğu : 2788 m - Liman Alanı : 246(*1000 m2)
Maximum Draftı: -12m - İşçi sayısı: 282
Gemi Kabul Kapasitesi: 4280(gemi/yıl)
Yük Elleçleme Kapasitesi: 2771(*1000 ton/yıl)
Rıhtım Kapasitesi: 7008(*1000 ton/yıl)
Konteyner Rıhtım ekipman kapasitesi:40(*1000 TEU/yıl)
Karışık Eşya Stoklama Kapasitesi: 2013(*1000 ton/yıl)
Konteyner Stoklama Kapasitesi:50(*1000 TEU/yıl)
Zondag 27 september 2009
De school is weer begonnen en wij zijn weer aan het werk. 't Is weer voorbij die mooie zomer... maar dat belet ons niet om nog wat na te zomeren. Het weer zit mee en we genieten er volop van! Na een hele vakantie van rondreizen, uitrusten in Sinaai, en plezier op kamp, was het blij weerzien (toch na een minuutje wennen!) tussen Ceres en Elena, Rieneke en Maya, en Nele en de juffen van Plons. Ceres was ook nog met Lauren op paardrijkamp in Lombardsijde geweest. Zo een hele week alleen weg, was ook de eerste keer, en het is goed meegevallen (behalve dat in draf rijden toch wat zeer doet aan de billen!). Karen kwam met Guus en Liza op bezoek naar Sinaai, samen met ook Erik&Tiny en de kinderen. En wij gingen naar Rienekes meter An&Peter (maar dat is niet Rienekes peter, dat was verwarrend!). Geheel onverwacht -- maar zeer welkom -- kwam onze goede vriend en priester Werner langs in Rijswijk tijdens een soort 14-daagse rondreis doorheen de Lage Landen. Hij woont nu al meer dan een jaar Oostenrijk waar het hem na enige aanpassingsprobleempjes nu gelukkig prima bevalt. Om ons vervolgens al goed voor te bereiden op de feestdagen, gingen we champagne proeven en onze voorraad opnieuw aanvullen in Reims. Maar niet zonder moeite: met 10 man plukten we eerst zo'n kleine 1000kg druiven op de wijngaard! Dat gaf ons meer appreciatie voor al het werk dat nodig is om het edele vocht te verkrijgen. Met Gunther gingen we er, naar goede jaarlijkse gewoonte, van drinken in het kasteel van Saffelaere. En naar even goede jaarlijkse gewoonte werden we vriendelijk ontvangen door de eigenaar Windey. We zouden eens de kinderen hiernaartoe moeten meenemen, want zij kennen de buitengevel als het Huis Anubis... In Nederland gingen we eens kijken naar de tentoonstelling rond 150 jaar Darwin in Naturalis in Leiden. Dat museum is op zich al de moeite door al de opgezette dieren en vogels en spinnen en dinosaurussen. En er zijn ook leuke spelletjes waar de kinderen zich mee kunnen amuseren. Charlotte kwam op sleepover en op Plons hadden we bbq die jammerlijk uitregende en -waaide. De familiedag van het KinderKankerFonds misten we voor het eerst sinds 2005, maar Jeroen en de andere kinderen zijn in onze gedachten. In Sinaai is onze Jeroeneboom flink gegroeid en hij staat mooi groen. Binnenkort zullen de blaadjes beginnen vallen...
Chilean artist Ene Ene, 2012K (Draf and Rizas), Uruguayan artist Alone, and Chilean artist Henruz collaborated on this mural featuring one of Ene Ene’s classic reptiles and the phrase "...Es de Boca" (It's About Boca).
The quote “visual reality is in itself a carefully constructed optical illusion” is taken from an article published on the website of the AXNS (Arts X Neuroscience) Collective, 18 May 2016. More detail was added in a companion piece which appears on the website of the “Rorschach Audio” research project, published 12 June 2016. The AXNS Collective have since ceased operation, so the article has been re-published on-line by Clot Magazine, 3 Oct 2022...
Feature in Clot Magazine – tinyurl.com/mr7vxmtk
rorschachaudio.com/2016/06/12/visual-reality-optical-illu...
The “Rorschach Audio” research project initially focussed on ambiguities and mechanisms of perception of sound, however, in the book “Rorschach Audio - Art & Illusion for Sound”, which was published in 2012, and elsewhere, the discourse is expanded to incorporate diverse phenomena of aural, visual and linguistic perception. The ideas about visual perception also relate to a kinetic art installation called “The Analysis of Beauty”, which was first exhibited at Kettle’s Yard gallery in Cambridge, in January 2000. The quote from the AXNS / Clot Magazine article expresses, in condensed form, ideas which were also articulated in the “Rorschach Audio” book – where the article states that “visual reality is in itself a carefully constructed optical illusion”, the way the book put it was as follows…
“If it may seem counterintuitive to suggest that the mind is really capable of imagining, or, even more dramatically, of actually inventing aspects of what we perceive as (and rely upon to be) reality, in fact such inventions are among the most fundamental aspects of visual experience, and again we are normally oblivious to vision’s imaginary aspects precisely because those inventions are in fact so convincing. A good example of this is that (as is well-known) the visual image transmitted into the eye, through the pupil, appears projected onto the retina at the back of the eye upside-down. This is also the case with images projected onto the insides of photographic cameras and the camera-obscura. In the case of our visual system however, it is the mind alone which re-inverts that upside-down image, so that we perceive our visual world as being the right way up. Such corrected images may therefore be considered in one sense to be forms of illusion...” (page 170)
“The aspect of the blind-spot phenomenon that is most interesting here, is not the obvious physiological truism, that the visual system passively fails to perceive a particular point, but first the fact that the mind actively creates images which it uses to fill-in the missing information, and second the fact that we perceive these illusory fill-ins not only as amusing visual novelties and experimental anomalies, but as necessary elements of everyday reality. The ramifications of this last aspect are profound – not so much from the point of view of “proving” that reality (or at least some aspect of reality) is comprised of illusions, but more from the point of view of showing how some illusions have been evolved to help us to construct and to navigate reality accurately...” (page 173)
The same ideas were also explored in an article by Joe Banks for an artist publication called “The Starry Rubric Set”, produced by Wysing Arts Centre and An Endless Supply in Feb 2012, which states that…
“The blind-spot experiment is well-known, however, beyond the physiological truism that a section of the retina is insensitive to visual information, what's less well understood is that the images the mind places over blind-spots are illusions that we experience not only as experimental anomalies or visual novelties, but as part of everyday visual reality.”
Finally an article in Shoppinghour magazine, issue 10, Spring 2013, states that...
“An easier way to show that normal perception is partly illusory, is to point out that the sense-data projected into the eyes consists of two images and is optically upside-down - it is the mind that fuses these images into a single perception and which inverts them so they can be of practical use. A simple demonstration can be used to show that the mind copies-and-pastes information to fill-in blind-spots on the retina, to help us construct and navigate everyday reality. Likewise, as soon as our attention is drawn to certain visual obstructions, we notice them - glasses and our own noses for instance; so, as with blind-spots, normally the mind edits-out such obstructions, to create the perception of an uninterrupted visual field, which is itself partly an illusion.”
rorschachaudio.com/2015/11/28/shoppinghour-audio-rorschach/
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
This is offal, called 'draf', it is the by-products of brewing used especially for stock feeds. There was a young farmer there, with his tractor and trailor.
On our last visit to 'THE' (BEST) BEER country in the world, Belgium, we had the fabulous opportunity to photograph in 'De Dolle Brouwers', a Microbrewery based in Esen in the province of West Flanders. The name means, literally, "the mad brewers" and this attitude is reflected in their whimsical graphics and adventurous brewing style.
"A microbrewery is a small brewery with a limited production capacity which, of necessity, produces labour intensive hand-crafted beers."
Artisanasal, because they still use the traditional methods and prime, natural and local ingredients, the grain, the hops...
The building housing the brewery is believed to date from 1835 and has a long brewing history since its inception by local doctor Louis Nevejan, having become the Costenoble brewery in approximately 1882 and remaining in that family for three generations. It was defunct when purchased by the brothers Herteleer and restored to function as a brewery in 1980. The brewer bought his machines from a no longer in use distillary in Scotland. Everything was freshly painted and neat, it was an interesting experience. A story to come, this is just the beginning...
Their main beer is Oerbier (9% ), meaning "original beer", this was the brewery's first product. It bears the motto "Nat en Straf", meaning "wet and strong". Addition of lactobacillus gives the beer a somewhat tart taste when aged. Hopped with Poperinge-grown Goldings.
And Stille Nacht (12%) Meaning "Silent Night". The brewery also releases annual "Reserva" and "Special Reserva" versions which are wood-aged and have an enhanced sour quality.
Beer in Belgium varies from the popular pale lager to lambic beer and Flemish red. Belgian beer-brewing's origins go back to the Middle Ages. There are approximately 125 breweries in the country, ranging from international giants to microbreweries. In Europe, only Germany, France and the United Kingdom are home to more breweries. Belgian breweries produce about 800 standard beers. When special one-off beers are included, the total number of Belgian beer brands is approximately 8,700. Belgians drink 93 litres of beer a year on average! Belgium, where a centuries-old tradition of artisan beer and cask ale production had never died out...
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Edeling (vervolgd).
Die haat’lyk by haar, wyl zy het meest van al
Die vrye Keur waardeerd; dit droevig ongeval,
’t Geen ons nu dreigd, zal haast onz’ tegenstreven tergen,
Zo ik Heer Trouwhart maar durf zo veel moeite vergen.
Trouwhart.
Zo ver myn kleine magt u kan behulpsaam zyn,
Durf ik u van myn dienst verseek’ren: ‘k sou in schyn
Uw Vriend dan wesen, zo ‘k u ’t minste dorft ontseggen,
Te meer, daar gy u hart voor my komt open leggen.
Ik reken ’t my tot eer, zo ik u dienst kan doen.
Edeling
Kan ik myn leven, u die heusheid wel vergoen!
Daar ik my vind zo diep in uwe gunst verbonden,
‘k Heb vaak uw dienst beproeft, dog nimmer onder wonden
Die, by gebrek van magt, te lonen naar waardy,
Die vriendschap die my staag…
Trouwhart
Ik bid u laten wy
Die komplimenten, als onnodigheden staken,
Zal tyd zyn dat wy voort, naar Quinquenpoix geraken,
Om met meer sekerheid te vorderen ons werk.
Edeling.
Vaar wel dan schone Zon! Vaar wel myn lief! Ei sterk
U in uw droefheid, met de hoop van deez’ vlagen,
Die ons, nu de avond schenkt, de blydschap te sien dagen,
Als weer het morgen ligt uit de Ooster kimmen straald,
En onxe min, door list, regtvaardig se gepraald.
Klarice.
Vaar wel myn lief! Ik hoop de Hemel sal ons geven,
Dat wy vereenigd naar onz’ wens eens mogen leven,
Wees tog voorsigtig in uw wandel en gedrag,
Want so myn Vader maar het minste straaltje sag
Van list, of van bedroog, wal al myn hoop verlooren,
En ik sag niets dan sorg en leed voor ons beschoren.
Trouwhart
Me Juffrouw, onse list is al te wel beleid,
Om ooit ontdekt te zyn door iemants schranderheid.
Klarice.
‘k Hoop dat het zo mag zyn tot onse min haar voordeel,
Edeling
Vaar wel, myn Engelin! Verlaat u op ons oordeel,
’t Geen met omsigtigheid gepaard, eer lang de min
Zal stellen op ’t altaar, daar wy vereend van sin
Een hart, voor eeuwiglyk door suiv’re liefde paren,
In spyten weer wil van alle Actie handelaren.
Einde van ’t Eerste Bedryf.
TWEEDE BEDRYF.
EERSTE TONEEL.
Edeling, Trouwhart, Hoopryk.
Edeling.
’t Schynt hier nog vroeg te syn in Quinquenpoix.
Hoopryk.
Dat’s waar;
Dog ik verseker u vertoeseen weinig maar,
Dat het haast naar uw sin u vol genoeg sal wesen.
Trouwhart.
Ja voor ons oogmerk ligt maar al te vol, sou ‘k vresen.
Hoopryk.
Dat heeft geen nood, so wy maar letten op ons werk,
Hoe volder dat he it, hoe dat hy minder merk
Kan nemen op ons doen; maar laat vooral niet blyken.
Indien gy toelegt om hem listig uit te stryken,
Dat wy elkanderen bekent zyn, als alleen
Door d’Actiehandeling; so heeft hy minder reên
Om wantrouw in syn hart te voeden, dat onz’ handel
Alleen in list bestaat; en gy Heer Windvang te bespiên,
En zyn verlies of winst naauwkeurig naar te sien,
Ik sal my onderwyl by Edeling vervoegen,
Myn Acties hem goed koop verkopen, so kan hy
Niet denken, dat hy word door onz’ bedriegery
Bedrogen, en als ik van Edeling ben gescheiden
Voeg u dan aan zyn zy, dan moet gy met u beiden
Het overig van ’t spel voltooijen, maar ge heen,
Daar komt Wingarenm met Heer Snoever, herwaarts treên.
TWEEDE TONEEL
Snoever, Wingaren, Trouwhart, Hoopryk, Pieter.
SNoever. Ma foi het is so, ‘k heb net honderd duisend gulden
Op Rotterdam alleen gewonnen.
Wingaren.
Zonder schulden?
Snoever.
Wat schulden? Wie heeft schuld die maar in Acties doet?
Column 2
Snoever. (vervolgd).
Die handeling maakt alle onse agterstellen goed.
Maar welk een Compagnie soud gy de beste houwen,
Wing.
‘k Kan daar myn sentiment niet droogmonds af ontsouwen.
Geef eerst een pyp toebak met een kop Koffi.
Pieter.
Goed Myn Heer.
Wingaren.
Wel so ik u myn mening seggen moet,
‘k Zou onder alle die van Utrecht ’t besten agten.
Snoever.
Dan stryd uw sentiment heel ver van myn gedagten,
Maar reden van uw saak.
Wingaren.
De reden waarom dat
Ik Utrecht bovenal de andere Steden schat,
Is wel voornaam’lyk om zyn schone situatie,
En so wy door den tyd eens sien die operatie,
Die ons ’t Project belooft, sal Amsterdam voortaan,
Haast in de schaduw van ’t florerend Utrecht staan.
Hoe sal het ad’lyk Stigt het hoofd dan boven steken,
Wanneer zyn vloot sal door het vaste land heen breken,
Wyl de uitgegrave Vaart haar vrye pas verleend,
Tot daar de Zuider-zee sig met den Eems vereend.
Wat sal ’t vermaak’lyk zyn om van de groene somen
Des buiten wals, de vloot op ’t kabb’len van de stromen,
Te sien, heel swaar gelaân, aankomen naar de stad,
Dan sie ik Amsterdam wel haast beroofd van schat,
Van Zeevaart, en al ’t geen het nu beroemd kan maken,
Wat sal ’t daar makk’lyk zyn om in ’t fout te raken
Van ’t binnelandse meir, om regel regt, regt aan,
Met een zuidoosten wind voort Texel uit te gaan;
Geen Pampus sal ons daar verhind’ren of beletten,
De voorgenome reis niet aanstonds voort te setten,
Door ’t laag verloop van ’t Ty; neen ’t sal daar anders gaan,
Daar sal men ieder uur de vloten vol gelaân
Met d’alderersten schat van ’t oosten en van ’t westen
Hun kkabels vast sien slaan aan de overoude vesten
Der Bisschopp’lyke stad, daar is een Compagnie,
Daar ‘k so veel sekerheid als wel in dese sie;
Nu weet gy myn besluit. Wat syn nu uw gedagten,
En welk een stad soud gy nnog boven Utrecht agten?
Snoever.
Ik, Rotterdam, dat blykt ook dat beter is
Als Utrecht,
Wing.
En waarom;
Snoev.
Daar is de Zevaart wis,
Daar hoefd men eerst geen vaart te graven, om de schepen,
Ruim seven meilen ver dwars door het land te slepen,
Want ’t is vier uuren eêr men tot den Eems geraakt,
En dan nog drie, eêr men de Zuiderzee genaakt.
Daar moet men aan den Eems nog eerst een haven maken,
De kust verdiepen, en meêr diergelyke saken;
Daar die van Rotterdam hoe swaar, hoe vol gelaan,
Terstond syn uit de Maas tot in den Oceaan.
Dies so ons Amsterdam ooit voor een stad sal wyken,
Het sal voor Rotterdam alleen zyn vlaggen stryken.
’t Is vry wat veiliger het geen men reeds besit,
Als dat men hebben sal; Ja Utrecht kan zyn wit
Niet treffen, want die vaart en haven, met elkand’ren,
Zal ’t Fonds der Compagnie haast in Nul verand’ren.
Hoopryk.
Gy twist wie ’t besten is of Rotterdam, of ’t Stigt,
En ik agt Wesep ’t best.
Snoever.
Die Acties zyn te ligt.
’t Zyn Varkens Acties, laat die Compagnie tog wand’len,
alwaar me alleen in draf en swynen denkt te hand’len.
Hoopryk.
En daarom sou ik die verkiesen.
Wing.
En wat reen?
Hoopryk.
Die Actiehandel is voor Christenen alleen,
Geen Smous of Jood sal daar de hand aan durven steken.
Snoever.
Dat ’s mis getast.
Wingaren.
Voor my, ‘k sou dat ook tegenspreken.
Hoopryk.
Dan soud gy denken dat een Jood, die Actie nog
Zou durven hand’len, dat geloof ik niet.
Wingaren.
Ja tog
Wis sal een Smous so wel als gy die durven kopen,
En ligtelyk nog eer.
Hoopryk.
Dat sou ik geensints hopen,
Want in die Compagnie sie ‘k myn fortuin gemaakt.
Trouwhart.
Of met so menig een ligt op den dyk geraakt.
DERDE TONEEL.
Edeling, Wingaren, Trouwhart, Snoever, Hoopryk,
Waaghals, Pieter.
Edeling.
Uw Dienaar Heeren,
Wingaren, tegen Snoever.
Wat komt Edeling hier soeken!
Snoever.
Zaagt gy hier hem nooit meêr?
Wingaren.
Ô Neen! want al zyn vloeken
En
Column 1
ZEVENDE TONEEL.
Edeling, Trouwhart, Hoopryk, Pieter.
Pieter.
Die Akkergraven; schoon der niemand is greaakt;
Die hebben Quinquenpoix al vry wat schoon gemaakt.
Trouwhart.
Dat ‘s waar; maar Edeling zou ‘t naar u dunk nu lukken,
Om Windvang zyne Bruid door dese list te ontrukken?
Edeling.
If twyffel geenzins, want haar Vader heeft van woord
Tot woord, al ons gedoen en koopmanschap gehoord;
En ‘t scheen dat hy daar in niet weinig had behagen
Daar Windvang in de vlugt so deer’lyk had geslagen.
Hoopryk.
Dat ondersteund uw zaak, te meêr, wyl Gelderland
En Dort; daar Windvang al zyn hoop heeft aan verpand,
Reed zyn tot niet geraakt, dus sou ik ook geloven,
Dat gy hem op dien voet Klarice sult ontroven.
Edeling.
Wyl ‘t hier tog is gedaan, bid ik u, ga met my
Naar ‘t Hof van Holland, daar zyn wy hier digte by,
En laat ons op ‘t succes eens van myn liefde drinken,
En op den ondergang van d’Actiehandel klinken.
Hoopryk.
Het eerste keur ik goed, maar ‘t laast’ staat my niet aan.
Edeling.
Wel doe dan ‘t geen gy met uw voordeel vind geraân.
Eind van ‘t Tweede Bedryf.
DERDE BEDRYF.
EERSTE TONEEL
Windvang, Katryn.
Windvang.
KAtryn, kan ik myn Heer Wingaren weleens spreken?
Katryn.
Die ‘s nog niet by der handt, maar wat komt u gebreken?
Kan ik de boodschap doen?
Windvang
Niet al te wel Katryn.
Maar meisje hoor eens hier.
Katryn.
Wel wat zal ‘t nu weêr zyn?
Windvang
Ik zal ‘t u seggen; sagt, wil niet zo haastig wesen.
Heb jei jou leven wel Komedien gelesen?
Katryn.
Wel seker, sou ik niet?
Windvang.
Dan weet je wel
Dat meest minnâry is de inhoud van een spel?
Katryn.
Wat komt dat hier te pas?
Windvang.
Alsagt, heb wat patientie,
‘k Zal ‘t u seggen, maar geef dan wat audiëntie.
Je weet een Spel bestaat het meest in minnary,
Daar vaak een Minnaar tragt om zyne weêrparty
De bruid te ontdraaijen, daar hy al zyn hoop op bouwde;
Nu, by de Minnares is veeltyds een Vertrouwde,
Die haar geheimen weet en ondersteund met raad,
Dies twyffel ik geensints, of zyt in deez’ staat
Nu ook Vertrouwde van Klarice, en haar gedagten
Zyn u bekent, wijl ik ‘t onmogelijk sou agten.
Dat gy niet weten soud wat zy dat gy verkiest,
En of Heer edeling, of ik haar gunst verliest.
Katryn.
Is dat nu ‘t heel verhaal, waarom dat ik patientie
Moest oeff’nen, en aan u eerst geven audientie?
Gy vraagt my iets, dat ik nog nimmer heb verstaan.
Maar zo gy ‘t weten wilt, so spreek Klarice aan,
Die sal u ligt in ‘t kort wel duidelyk doen horen,
Of zy Heer edeling, of u heeft uitverkoren.
Windvang.
‘k Weet haar verkiezing wel, maar ‘k weet ook dat de zin.
Van haaren Vader stryd met ‘t oogmerk van haar min;
Dies wenste ik maar alleen van u eens regte te weten,
Of zy haar dogters pligt so ruuk’loos sou vergeten
En minnen Edeling, dan of zy naar zyn wil
My wederom bemind.
Katryn.
Myn Heer, in dit geschil
Geloof ik, dat haar keur naar Edeling sou keren;
Dog vraag my niet, de tyd sal u die saak wel leren.
Windvang.
Zy sou dien Lantersant dan nog beminnen? Ja
In weêrwil van myn min en ‘s Vaders ongenaâ.
Katryn, weet gy geen raad om hare min te breken?
Och! wou je een woordje maar voor my ten besten spreken!
Wie weet of ik daar door myn oogwit niet bekwam.
Column 2
Windvang (vervolgd).
Dan gaf ik u…
Katryn.
Wattog?
Windvang.
Twee Actie op Edam.
Katryn.
Je kunt jou Acties in Quinquenpoix verkopen;
Ik ben Vertroude, en ik sou myn pligt verlopen;
Op Windvangs raad, om wind? Neen Koopman van Eool,
‘k Vind geen behagen in jou schyn schone Actiekool.
Myn Heer, so gy ooit hebt Komediën gelezen,
Zo weet gy wel dat Vertrouwde, trouw moet wezen,
En noit bedriegen tot haar voordeel of gewin,
Die geen, die haar ‘t geheim betrouwd van hare min.
Ook was ‘t nutter mmet een Kamelon te trouwen,
Als met myn Juffrouw, want die kunje makk’lyk houwen
Man vind, die u het hoofd reeds so heeft opgevuld,
Dat gy eerlang uw beurs bedroefd beklagen sult.
Windvang.
Wel stoute Meid! Wat heb jei van de wind te seggen!
Katryn.
Niets, als datge als die storm van Acties eens gaat leggen,
Belaân van geld, gelijk een Nagtuil van verstand,
Een dooltogt doen sult naar het warme Peperland,
Want dat is de uitvlugt meest van die hun gelt verspillen,
Het zy met Acties, of met diergelijke grillen.
Windvang.
Zwyg Onbedagte! Want gy weet niet wat gy zegt.
Katryn.
En gy niet wat gy doet, dat is nog ruim zo slegt.
Windvang.
Het lust my nu niet meêr mijn hoofd met u te breken;
Zeg aan uw Heer dat ik hem dadelijk sal spreken;
Maar denk dan dat ik ook my van uw onbescheid
By hem beklagen sal.
Katryn.
Een kleine zwarigheid.
TWEEDE TONEEL
Katryn, alleen.
GA Koopman van Papier, die intrest zoekt te halen,
By Vodden, Draf, en Kool, de Wind zal u betalen;
Klarice is niet voor u, want gy op winst geset,
Liet haar om Quinquenpoix des nagts alleen in ‘t bed
Uw trouw vervloeken, want gy schuuwd de Zonnestralen,
En meind Mevrouw Diaan om winst by haar te halen.
‘k Zie daar voor haar gelijk alreê een and’re Ster.
DERDE TONEEL
Edeling, Katryn.
Edeling.
KAtryn, waar is uw Heer?
Katryn.
Myn Heer is nu niet ver;
Meêr van het Laaz’rus huis, of ’t eintje van zyn leven,
Want gist’ren avond heeft hy klare blyk gegeven,
Dat hy verstoord is op Herr Windvang, en dat is
Een blyk van dolligheid of van zyn dood, naar ‘k gis;
Een ‘t geen my aldermeest doet voor die rampen vresen
Dus schynt hy naar my dunkt, geheel getransformeerd,
En meêr herschapen als ooit Naso heeft geleerd.
Want hy is nu van gek in wyshervormd.
Edeling.
De reden
Van die verand’ring, is my lligtelyk te ontleden,
Door ‘t geen ‘er gist’ren is in Quinquenpoix geschied,
Waar door ik ligt mijn wens nog desen dag geniet;
Maar ’k sal die reden aan Klarice self ontvouwen,
Versoek of ik nu de eer mag hebben haar te aanschouwen.
Katryn.
‘t Is wel mijn Heer, ik sal ‘t haar seggen, dat gy wagt
Om haar te zien.
VIERDE TONEEN.
Edeling, alleen.
GA heen, wyl ik nietsliever tragt
Dan haar te aanschouwen, die my ‘t meeste kan behagen.
Nu hoop ik sal de Zon van mijn geluk eens dagen,
En Windvang deer’lijk in zyn hoop te loor gesteld,
Zig zien op eenentyd ontbloot van Bruid en Geld,
Zyn Windnegotie nog vervloeken, wyl veel menssen
Die Actiehandelaars ontelb’re rampen wenssen,
En zig verheugen in hun deerelyken staat,
Al-
This paper model is a T-28, a Soviet multi-turreted tank that was among the world's first medium tanks, the papercraft is created by Draf, and the scale is in 1:25.
The prototype was completed in 1931, and production began in late 1932. It was an infantry support tank intended to break through...
www.papercraftsquare.com/wwii-soviet-multi-turreted-tank-...
This might have been the most difficult photoshoot ever.... ! Very fast moving subjects, very variable lighting conditions (the sun shining through the trees created bright spots next to dark shadows), a very noisy background (crowd), etc.. The autofocus on the 28-300 wasn't fast enough sometimes,and although the D700 did admirably, I couldn't help thinking how great it would have been if I had had a D4 at this occasion.... !
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
Hard to choose square or rectangular.. I think square..
By panning even the cilia of this horse is visible when they came along at high speed in short distance
Dutch Ondanks het weinige licht en hoge snelheid stelt de D7000 goed scherp als je een bewegend onderwerp met "panning" volgt. De wimpers van het paard zijn nog zichtbaar, dat viel dus dik mee.
Toch alles goed moeten instellen bij zo'n spontaan gebeuren als dit.
ISO 1250 vanwege het late licht en ondanks de snelle bewegingen
van ruiter en paard toch maar 1/100 sec als belichting
Dan moet je heel secuur meetrekken willen de gaatjes in het tuig nog zichtbaar blijven,
Dit zou de D200, die ook mee was, weer net niet gehaald hebben.
12R_5751XPCCCvierk2N
Voltige is zoiets als acrobatiek op een bewegend paard - dit in tegenstelling tot het paardvoltige als turnonderdeel, waarbij op het turntoestel paard wordt geturnd. Het paard loopt voltes aan een lange lijn, de longe, in stap, draf of in galop en heeft een speciale voltigeersingel om zijn buik, die is voorzien van handvatten en beugels aan de zijkanten om aan/ in te hangen. De meestgebruikte paardengang tijdens het voltigeren is een rustige galop.
Een voltigeur is in de paardensport iemand die in een vloeiende beweging op het galopperende paard springt en turnoefeningen doet. Het is bij voltige heel belangrijk dat de voltigeur zich aanpast aan het paard en niet andersom. De oefeningen moeten zodanig uitgevoerd worden dat het paard er geen last van heeft. Een goede techniek is daarbij onontbeerlijk.
Het tuig bestaat uit een dek, een veerkrachtige onderlegger, een voltigesingel plus een hoofdstel met hulpteugels en een longe. De voltigesingel is voorzien van lussen waaraan de voltigeurs zich kunnen vasthouden. De voltigeurs dragen nauwsluitende sportkleding en turnschoenen. Bij wedstrijden wordt de kleding uniform gehouden. De longeur gebruikt een lange voltigezweep om het paard aanwijzingen te geven.
Voltigeren kan men zowel individueel als met een team doen. Een team bestaat uit vier, zes of zeven voltigeurs. Er mag met maximaal drie personen op één paard gevoltigeerd worden, minimaal twee daarvan dienen contact met het paard te houden. Er bestaan ook duovoltigeurs en solovoltigeurs. Een vrije oefening of kür mag voor een solovoltigeur maximaal één minuut duren, voor een team maximaal vijf minuten.
Voltige als acrobatiek te paard is al zeer oud, getuige prehistorische rotstekeningen die het uitbeelden. Het is sinds eeuwen een veelvoorkomend showelement in het circus. Lange tijd werd het gedaan als militaire training en ter opleiding van jonge ruiters. Een ruitervolk dat bekendstaat vanwege haar spectaculaire stunts op dit gebied zijn de Kozakken.
Sinds de jaren 1950 heeft het voltigeren zich ontwikkeld tot een zelfstandige tak van sport. In Nederland wordt het voltigeren gecoördineerd door de Voltige vereniging van de KNHS. Er worden wereldkampioenschappen, Europese- en nationale kampioenschappen voor voltige georganiseerd. Voltige is echter geen olympische sport.
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
Old Kingston Academy, Kingston, N.Y. Cor. John and Crown, as old landmark of Revolutionary Tiomes. 2560th Anniversary 1658-1908. Source of theis image: www.fohk.org/gallery/vintage-postcards/
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image taken from a 1893 photograph
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image in public domain
locator: RD 05 FOHK-199
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
This has been an interesting project for me. I have watched Dacquiri’s progress for a number of years, since 2011 in fact. I wasn’t a huge fan of white faces and blue eyes at the time, but it was his presence that struck me first and that first impression stuck. I really do think it’s true that ‘no good horse is a bad colour’.
So what can I tell you about this guy? Well, Dacquiri, a Dutch warmblood, was purchased as a long yearling as a future Dressage prospect. In his owner’s words, ‘We wanted to buy a yearling knowing that it is a gamble, but we wanted to have a horse that we could have before the training began so that we could get to know his personality.
When I went to look at the yearlings with my trainer to get some video, I was overwhelmed! As I walked by Dacquiri the first time I said, "Absolutely not", no chestnut and 4 white socks and blue eyes, no way! I was a bay person all the way. We video'd the yearlings in sets of two. Dacquiri was one of a set, and I was trying to look at a "bay"! Dacquiri was a bit of a camera hog and kept running in front of the horse that I was trying to look at…that was my first message that I did not get! We got our videos and set off home.
Then it was time to ask/beg my husband for a horse. I decided that I would let him pick the horse. We had bred, raised and showed cutting horses for many years and he had/has quite an eye for talent, and he is color blind so he is not influenced by color. He spend may hours standing on the sidelines of many dressage shows asking us which horses had the movement that we liked and he very quickly picked up what "in our opinion" was a great moving "Dressage" horse. So, he viewed the videos and promptly said "if it is the movement that you are looking for, it is Dacquiri" and I responded, "but he is red and has 4 white socks and blue eyes!" So, I looked at the videos again and saw what he was saying, and realized that maybe Dacquiri was saying "pick me" as he would not let me see the other horse as every time they turned another direction in the turnout, Dacquiri was blocking the view of the other horse.
I put my trust in my husband and my trainer as she really liked him too. So we came home with the red one with all the white and blue eyes! He is 7 years old now and has exceeded all our expectations in his Dressage work! He is extremely athletic and an incredible mover! My dressage trainer, Stacee Collier, has done a wonderful job starting, training and showing him. He will be showing PSG this year. Craig and I feel very blessed to have the opportunity to own such an incredible horse.’
It has been a privilege to follow Dacquiri’s progress and to work on his portrait. I’m convinced that I will have to draw him again before too long as he is changing, improving and growing in himself all the time. I think we are have only seen the tip of the iceberg with this horse; and that tip has been something well worth seeing. I'm fascinated by those eyes now too!
As usual, information on commissions can be found here:
Limited edition prints of Dacquiri's portrait can be purchased here:
House of Mikola Golovan, Lutsk © Bernard Grua 2012
Mikola Golovan is the owner, sculptor and builder of this house. It is the work of a life. We have to hope Mikola Golovan will be able to complete it. I have no doubts this amazing creation will become a National Landmark of Ukraine. In the future, groups of travellers will come to Lutsk, first, to see and to try to understand all what it represents. As of today, from the terrace, we could notice that between the house and the Styr River young people consider the bank as the most romantic place of the city. Before sunset, it is where they like to meet and, sometimes, to start a romance…
The architect who designed the draf is Metelnicky
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
A flyer advertising a series of demonstrations in Washington, D.C. Dec. 4-9, 1967 for “Stop the Draft Week.”
The protests were part of a nationwide effort that week that resulted in demonstrations and civil disobedience in dozens of cities across the U.S.
The largest crowds were in Oakland, Ca. where two months previously protesters had blockaded troop trains. This time protesters sat-in in front of buses attempting to carry draftees to an induction center.
Locally demonstrators rallied at St. Stephens Church, marched on the Selective Service headquarters and marched to the State Department. An event at the Ambassador Theater was also held.
The Washington, D.C. demonstrations were sponsored by D.C. chapter of The Resistance, a nationwide draft resistance group; the Washington Mobilization Committee Against the War in Vietnam, the umbrella group for anti-Vietnam War opposition; and the Student Mobilization Committee to End the War in Vietnam, a Socialist Workers Party-influenced student group.
For a PDF of this 8 ½ x 11 one-sided flyer, see washingtonspark.files.wordpress.com/2019/12/stop-the-draf...
For more information and related images, see www.flickr.com/gp/washington_area_spark/9706d3
Donated by Robert “Bob” Simpson
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk
Ben Cain
Solo exhibition at Tenderpixel
Figure Finger Figure Finger Figure Figure Finger
PV Thursday, 4 June
5 June to 4 July 2015
Ben Cain’s practice unfolds across many levels, including sculptures, installations, videos, performances, language based works, publications, interactions and interventions. His multi-faceted approach, which is often brought together in installations, captures the viewer through an encounter with space and objects, their material, size, colour and pattern, and eventually hypnotic repetition. The work also points at the memory or trace of an object – and a first hand, tactile experience of handling it. Highlighting the spectator's role in the development of subject and object, oscillating in between the physical and the imagined, and enquiring into the connections between seeing and doing, his work opens up a space in between these dualities. Rather than locating himself only within one side of these terms, Cain chooses to claim the ‘and’ that rests in-between. This and is comprised not of oppositions, but a philosophy of relations.
Taking the approach of thinking through making, and bringing something to life, Cain’s work often refers to tools, the use of tools and the act of making. Foregrounding processes of production through objects that allude to their own fabrication and manufacturing, he unpicks how activity, work, production and reflection are deeply intertwined.
In his solo exhibition Cain presents a new body of work, building on his previous research into enacting the potential use of material objects — both in a physical and an interpretative sense.
The exhibition focuses on a very simple instance (or a basic idea of an object), and from there it investigates its infinite possibilities, both practical and abstract. Acting as the ground of interplay between saying and doing, language and movement, the videos in Figure Finger Figure Finger Figure Figure Finger depict minute and automatic hand gestures, and a combination of a primary physiological or sensory experience of grip and touch. These ideas also resonate in the installation and placement of poles around the gallery space, functioning both as barrier and an apparatus or instrument for an ambiguous past series of actions, highlighted by colourful fingerprints. An overarching theme in the exhibition is the interchangeable nature of the stick and the hand (arm), body and object, the animate and inanimate. By acknowledging or introducing the presence of people, movement and interaction (and its often political aspect), the work becomes discursive and activated.
Ben Cain (b 1975 Leeds UK) lives and works in London. He holds a BA in Interactive arts (First Class Hons.) from Manchester Metropolitan University, and optioned his MA from MA Jan van Eyck Akademie, Post Graduate Centre for Art, Design and Theory, Maastricht, NL. He is Lecturer on BA Fine Art (XD Pathway) at Central Saint Martins, and Senior Lecturer teaching on BA (Hons) and MA Fine Art at The Sir John Cass Faculty of Art, Architecture and Design, London Metropolitan University.
Recent exhibitions and projects include Open Source, London; RadioCity, audio performance and archive with Tina Gverović, Tate Britain, London (2015); A Stage Before, solo show at Supplement Gallery, London; performance as part of My Vocabulary Did This to Me, South London Gallery, London; performance with Jesse Ash as part of A Stuttering Exhibition, Centre Rhénan d'Art Contemporain, Altkirch CH; The City is Dead, Long Live The City, Dubrovnik HR; 54. Annale: Great Undoing, Porec HR; Turnovers, Museum of Contemporary Art Belgrade RS & Tate Modern Project Space, London; Down Time, The Tetley, Leeds UK; Art Sheffield 13, Sheffield UK (all 2014); A House of Leaves, Third Movement, DRAF, London; Sound Spill, 1500 Broadway, New York US; Words to be Spoken Aloud, Turner Contemporary, Margate UK (all 2013); Work in the Dark, Manifesta 9, Genk BE; Busan Biennale, Busan KR (both 2012); The Other Workshop, Herbert Reed Gallery, Canterbury UK (2011), Untitled (in progress), solo exhibition at Supplement Gallery, London; The Same Old Objects Keep Reappearing, Tu SMo, Museum of Modern Art, Pula HR, (both 2010) and The Making of the Means, Wiels, Brussels BE (2009). ben-cain.blogspot.co.uk