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:

www.alibannister.com/

Limited edition prints of Dacquiri's portrait can be purchased here:

www.alibannister.com/cart/dacquiri-p-143.php

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

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

Photo Taken In New Jersey

Drafting Table with adjustable angle top and leg height built for artist.

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

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

This might have been the most difficult photoshoot ever.... ! Little room to manouvre, Very fast moving subjects (1/640s), very variable lighting conditions (the sun shining through the trees created bright spots next to dark shadows, auto iso ranging from 200-6400 because of this, manual mode not an option), a very noisy background (crowd, trees, buildings), 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.... !

Jonge hengsten, Zijtaart.

kemence kéményhuzat teszt 01.

Chimney draft.

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

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 is the pattern I used as a base to draf my 70's dress pattern. To read more you can check my blog.

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

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

Visit this location at Mirromere in Second Life

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)

e-wonosobo – Masa jabatan Rektor Universitas Sains Al Quran (Unsiq) Prof.Dr Zamaksyari Dhlofir bakal selesai tahun ini. Untuk proses penggantian, hari ini (20/6) rencananya akan dihelat Rapat Senat Pemilihan Rektor baru untuk jabatan 2013-2017. Empat nama sudah mendaftar, namun dari hasil survey Mahasiswa Drs. KH. Mukhotob Hamzah, MM paling dikehendaki mahasiswa untuk menempati jabatan Rektor pada masa mendatang.

Menurut Ketua Rapat Senat Pemilihan Rektor Abdul Kholiq, rapat senat akan digelar pada 20 Juni (hari ini) rencananya dihelat di Hotel Surya Asia. Dalam rapat tersebut akan dihadiri 29 anggota senat meliputi pucuk pimpinan Unsiq meliputi perwakilan dari rektorat, fakultas hingga program studi.

“ pemilihan akan dilakukan secara langsung oleh anggota senat,”katanya.

Kholiq menegaskan, untuk proses pemilihan, sesuai dengan prosedur para calon harus mendaftar. Hingga pendaftaran ditutup sudah ada empat nama yang mendaftar yakni Mukhotob Hamzah, Drs. Mahfudz, MA, Drs. Z. Sukawi, MA, Drs. Samsul Munir, MA keempat calon merupakan pimpinan rektorat dan Fakultas di perguruan tinggi berbasis pesantren itu.

“sudah ada empat calon yang mendaftar,”katanya.

Dari keempat calon itu, kata Kholiq, Rapat Senat akan melakukan pemilihan, setelah itu maksimal dua nama akan dipilih dan diajukan ke Pembina Pengurus Yayasan Pendidikan Ilmu-Ilmu Al Quran (YPIIQ), dan akan dipilih satu orang yang akan menempati jabatan rector Unsiq pada empat tahun mendatang.

“senat harus mengajukan minimal dua nama maksimal tiga nama, untuk proses penentuan siapa yang akan menjadi rector merupakan wewenang Pembina yayasan, namun tetap harus mempertimbangkan hasil pemilihan senat,”katanya.

Menyikapi rencana pemilihan rektor oleh Senat Unsiq, Badan Eksekutif Mahasiswa (BEM) Unsiq pada dua pekan terakhir telah melakukan survey dengan cara membagi kuisioner kepada para mahasiswa. Menurut Alfan Nurngain Ketua Penelitian, bahwa metode penelitian, menggunakan kusioner yang dibagikan sebanyak 350 atau 10 % dari asumsi jumlah mahasiswa regular yang berjumlah 3.500 mahasiswa. Responden adalah mahasiswa UNSIQ yang terdiri dari 7 (tujuh) fakulktas yang ada di UNSIQ

“ dalam draf kuisioner kami mengajukan 20 pertanyaan, mengenai harapan Unsiq Ke depan sekaligus figur yang layak menempati jabatan rektor agar harapan mahasiswa mampu direalisasikan,”katanya.

Hasilnya, dari 350 kuisioner, terkumpul 250 mahsiswa yang mengembalikan lembar kuisioner. Hasilnya, ada empat nama yang mendapatkan poling tertinggi. Diantaranya Muchotob Hamzah mendapatkan poling sebanyak 147 suara, kemudian Zaenal Sukawi 14 suara, Nurul Mubin ,12 suara dan Machfud sebanyak 10 suara. Sisanya terbagi kepada beberapa nama dengan jumlah suara dibawah angka 10.

“ Melihat hasil survey, mahasiswa menghendaki Muchotob Hamzah sebagai Rektor Unsiq periode empat tahun mendatang,”pungkasnya. (rase)

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

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Carob peulen

Behoorlijk giftig in grotere hoeveelheden

De johannesbroodboom (Ceratonia siliqua) is een plant uit de vlinderbloemenfamilie (Leguminosae). De soort komt voornamelijk voor in het Middellands Zeegebied. De plant staat bekend om de hoge voedingswaarde van de peulen, die johannesbrood worden genoemd.

De naam johannesbrood verwijst naar de profeet Johannes de Doper. Deze profeet zou tijdens zijn verblijf in de woestijn grotendeels van sprinkhanen hebben geleefd. Diverse kenners zijn echter van mening dat deze 'sprinkhanen' in feite de peulen van de johannesbroodboom waren. In het Engels heet de boom dan ook wel locust tree (sprinkhaanboom) en de peulen locust beans (sprinkhaanbonen). Het toeval wil dat de johannesbroodboom in werkelijkheid één van de weinige bomen is die zelfs niet door sprinkhnen wordt bezocht, mogelijk omdat de taaie leerachtige bladeren veel looistoffen bevatten. Ook het varkensafval (de 'draf' of de 'schillen') dat de 'verloren zoon' in de bekende bijbelse gelijkenis wenste te eten, zou betrekking hebben op resten van johannesbroodpeulen.

Een ander veelgebruikt product van de johannesbroodboom is het johannesbroodpitmeel, ook wel carob genoemd. Dit is een wit tot geelwit, haast reukloos poeder dat wordt verkregen door het malen van kiemende zaden van de johannesbroodboom. Het wordt als verdikkingsmiddel (emulgator) gebruikt in de voedingsindustrie. Een veelgebruikte toepassing is het indikken van babyvoeding met johannesbroodpitmeel om problemen met reflux (spugen) bij zuigelingen te voorkomen. Het johannesbroodpitmeel komt voor op de lijst van toegelaten voedingsadditieven van de Europese Unie onder E-nummer E410.

Omdat het gewicht van de zaden van deze boom vrijwel constant is - te weten 0,2 g - werden zij gebruikt als gewichtjes bij precisiemetingen (van bijvoorbeeld goud). Het woord karaat zou afgeleid kunnen zijn van het Oudgriekse woord keration = vrucht van de johannesbroodboom.

Carob was eaten in Ancient Egypt. It was also a common sweetener and was used in the hieroglyph for "sweet" (nedjem). Dried carob fruit is traditionally eaten on the Jewish holiday of Tu Bishvat. Carob juice drinks are traditionally drunk during the Islamic month of Ramadan. Also it is believed to be an aphrodisiac.

On the islands of Malta and Gozo a syrup (ġulepp tal-ħarrub) is made out of carob pods. This is a traditional medicine for coughs and sore throat. A traditional sweet, eaten during Lent and Good Friday, is also made from carob pods in Malta. However, carob pods were mainly used as animal fodder in the Maltese Islands, apart from times of famine or war when they formed part of the diet of many Maltese.

In the Iberian Peninsula carob pods were used mainly as animal fodder, especially to feed donkeys.

Carob pods were an important source of sugar before sugarcane and sugar beets became widely available

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.... !

Autor:Draf

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

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)

Speed. I love the "High speed" version below.

I think that more photoghaphers think the same.

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.

12R_5738XP1CC

One of the winning horses.

www.renbaanduindigt.nl/

River Waal - Loevestein castle / Holland

Cor Ros (Voorzitter draverijvereniging)

Jan Koomen

Dick Dam

Fokke de Vries

Op de achtergrond gezien tussen Cor Ros en Jan Koomen staat Jan Koeten.

Jótékonysági hangverseny a vácrátóti templom udvarán létrehozandó játszótér javára

IV Gala Drag Queen Vinarós 2011. Carnaval de Vinarós.

Süd-Frankreich Narbonne

Cardell Full Figured Fashion Show Jan 2018