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Born in the United States in 1869 Marta Cunningham was the daughter of Judge Albert Baxter Cunningham and Martha Minerva Tharpe Cunningham. Marta was educated at the high school Convent of Notre Dame in Baltimore, Maryland until 1887. After high school she left America for Europe and trained as a singer at the singing school of Madame Mathilde Marchesi in the Rue Jouffroy, Paris.She also received vocal training in Geneva, Germany and in London.
Marta made her debut soloist performance at a Coronation Concert at the Crystal Palace in 1901, the year that King Edward VII succeeded the throne from Queen Victoria. She became a well-known soprano throughout her singing career, performing on tours with the Czech composer and conductor Rafael Jeronym Kubelík in 1902 and made a first concert tour to the United States in 1903. In 1904 Marta Cunningham performed with the Leeds Choir in the opera “Orfeo” by Claudio Monteverdi. In 1905 she toured with the violinist Florizel von Reuter, and with the Russian-British pianist Mark Hambourg and the Hungarian violinist and composer Franz von Vecsey in 1905-1906. During 1907-1909 she made a further tour of concerts to the United States. For two years prior to the outbreak of the Great War in August 1914 Marta arranged “Matinées Musicales” at Claridge's Hotel.
During the First World War Marta was living in London and was keen to help with the war effort. This saw her helping out in canteens and carrying out social work and helping wounded Servicemen.
After the war she is said to have made a visit in 1919 to a London hospital. She asked the nursing staff if there might be any Servicemen who were still confined there due to their wounds and she was very surprised to learn that there were several hundred such men at that hospital.
Indeed, many thousands of former Servicemen were confined to hospitals across the United Kingdom. Many of them were suffering not only from their physical wounds but were living with feelings of boredom, loneliness, anguish and frustration. Marta was determined to do something about it, and sought to ease their situation by way of providing them with entertainment and recreational activities.
In 1920 Marta Cunningham founded the “Not Forgotten” Association. It was her intention to ensure that these men living out of the public view in hospital would know that they were indeed “Not Forgotten”. Marta had connections in Royal circles and invited Her Royal Highness Princess Mary to be the first patron of the Association. Princess Mary was the daughter of the king, King George V and Queen Mary. During and after the war Princess Mary had also been keen to help the war wounded and their families. She had founded the Princess Mary Christmas Gift Fund in 1914, sending gifts to British soldiers on active service at Christmas in December 1914.
One of the trips arranged for patients to leave the confines of hospitals and convalescent homes by the “Not Forgotten” Association was an invitation to attend a party at Buckingham Palace, which became an annual event.
In March 1923 a short article appeared in the Australian “Queenslander” newspaper about the “Not Forgotten” Association party held in the riding room at Buckingham Palace with the Prince of Wales in attendance. Writing for the newspaper the Social Correspondent from London tells how the disabled and wounded ex-Servicemen “... pelted him [the Prince] with paper balls, enmeshed him in paper ribbons, and frosted him over with confetti ...” Three large cakes had been sent to the party by Princess Mary and, according to the correspondent, the Prince of Wales cut the cakes amid cheers from the men.
The traditional annual party is still held at Buckingham Palace each year as a Garden Party in the grounds of the Palace.
In 1929 Miss Marta Cunningham was awarded the C.B.E. (Commander of the Most Excellent Order of the British Empire) for her outstanding work for this charity.
She died in London in June 1937.
MoMA description:
Street, Dresden is Kirchner’s bold, discomfiting attempt to render the jarring experience of modern urban bustle. The scene radiates tension. Its packed pedestrians are locked in a constricting space; the plane of the sidewalk, in an unsettlingly intense pink (part of a palette of shrill and clashing colors), slopes steeply upward, and the exit to the rear is blocked by a trolley car. The street—Dresden’s fashionable Königstrasse—is crowded, even claustrophobically so, yet everyone seems alone. The women at right, one clutching her purse, the other her skirt, are holding themselves in, and their faces are expressionless, almost masklike. A little girl is dwarfed by her hat, one in a network of eddying, whorling shapes that entwine and enmesh the human figures.
Developing in parallel with the French Fauves, and influenced by them and by the Norwegian painter Edvard Munch, the German artists of Die Brücke (The Bridge), an association cofounded by Kirchner, explored the expressive possibilities of color, form, and composition in creating images of contemporary life. Street, Dresden is a bold expression of the intensity, dissonance, and anxiety of the modern city.
Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
MoMA (www.moma.org)
Lady Jane Franklin was very much a public figure at the time of writing this letter to Murray. She was enmeshed in a very public dispute with the Admiralty, who had offered her a widow's pesnsion on the presumed death of her husband, missing in the arctic since 1845. She wrote to the Times to turn the pension down in public. Here she is writing to Murray as part of her campaign to maintain her husband's profile in the public mind.
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
German postcard by ISV, no. M 2. Photo: Europa-Film / List.
Versatile German film and stage actress Ellen Schwiers (1930) often appeared as the dark, passionate woman, enmeshed in her own sensuality or another fate. During her 60 year-career she played in ca. 50 films and 150 television productions, but she also worked – and still works - as a stage actress, director and intendant.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
A quite remarkable exhibition, Antony Gormley's retrospective Blind Light at London's Hayward Gallery was accompanied by an equally stunning partner project entitled Event Horizon, where a number of Gormley's self-sculptures were dotted around London - some at ground level, most on the skyline, but all visible from the Hayward (on a good day). They forced us to look at the city, seeing what had perhaps never been seen, and rendering the massive on a very literally human scale.
Read more about it at the Southbank Centre website.
‘Under the Spider’ ("Pod pająkiem") – perhaps Kraków’s most bizarre building and Talowski’s personal residence. At the corner of Karmelicka and Batory streets, ‘Under the Spider’ was built in 1889 and features Talowski’s signature asymmetry and irregular stone and brick work, as well as special channels in the facade for woodbines and wild grapes to take hold and a winged dragon under an inscription of the architect’s name. Meeting at a forty-five degree angle the building possesses two peaked facades, the one which overlooks Karmelicka street being the site of Talowski’s most imaginative, if not eccentric stroke. At the summit of his home, Talowski placed a large porthole with a bronze web and attendant spider at its centre; directly below the porthole is a bronze sun and below that a sundial. The symbolism Talowski has woven here is lost on us; in fact the more we struggle to unravel it, the more we find ourselves enmeshed in its mystery...
Teodor Talowski (1857-1910), a graduate of the Viennese Viennese Technische Universität and the Lviv Polytechnic, is especially noteworthy among the Polish architects from the turn of the nineteenth century.
Talowski attended school in Krakow before moving to Vienna and then Lviv, where he completed a masters in architecture. In 1881 he returned to Krakow, becoming a professor at the Technical University, and produced the most definitive works of his career here at the close of the 19th century, before returning to Lviv in 1901.
Teodor Talowski was immensely prolific architect (700 projects, of which more than a hundred were implemented) was the author of numerous original and highly individual town houses in Krakow and Lvov, manor houses and palaces scattered throughout the whole of Galicia, and many churches. He designed public utility buildings and industrial architecture (like the handsome Brothers Hospitallers of St John's hospital in Kazimierz quarter in Krakow, and the recently retouched Lubicz railroad viaduct near Galeria Krakowska), sepulchres and sepulchral chapels and church interiors.
Generally defying stylistic categorisation, Talowski’s unconventional creations connected several architectural movements, incorporating elements of art nouveau, historicism, mannerism and modernism.
Three star clusters in the constellation Taurus. The large, colorful V-shaped group around the bright orange star (Aldebaran) in the lower left is the Hyades Cluster. The Hyades Cluster is the nearest open cluster to us in space. Aldebaran is not a member of the Hyades Cluster, but is a foreground star. To the right, the tight knot of blue-white stars is the Pleiades Cluster. These young blue stars are enmeshed in a faint nebula; the starlight reflects off the grains of an interstellar dust cloud through which the star cluster is moving. The area above the line between the Hyades and the Pleiades is part of a hotbed of star formation, the Taurus-Auriga complex. Just above the star Aldebaran is a small grouping of tiny stars with the uninspiring name of NGC 1647. This cluster lies much farther away than the Hyades and Pleiades clusters, and its light is dimmed by interstellar material along the line of sight to the cluster.
The Elfin Oak, in Kensington Gardens, located just by the Diana Playground dedicated to Princess Diana.
There are also links with the comedian Spike Milligan, who loved this tree and campaigned long and hard for its preservation.
Sadly, it is now enmeshed in a thick wire cage, to protect it from vandalism. It also, however, makes the figures very hard to see (not to mention photograph)
Copyright - All Rights Reserved - Black Diamond Images
Family : Moraceae
Central Queensland to Southern NSW.
Out in the open Ficus macrophylla has a relatively compact rounded crown but in rainforest situation it can reach an enormous size,up to 50m high and a stem diameter of up to 240cm. While it can be grown directly in the ground it often starts its life high up in the canopy gradually enmeshing the host as its roots follow the host tree to the ground.
It has glossy lustrous leaves and develops massive flanged and irregularly wide buttresses to support its huge volume in shallow, sometimes waterlogged, soils.
The fruit varies with maturity from green through orange to purple when ripe and is edible but quite dry to taste.The fruit can appear at any time but generally Feb-May.
Photographed in Sydney Botanic Gardens
IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI - Flick Group --> DATABASE INDEX
Copyright - All Rights Reserved - Black Diamond Images
Sunday August 22nd 2021 - Covid 19 Update
As we head into week 8 of lockdowns, of some description, in NSW, NSW has achieved the dubious distinction of recording an Australian record number of covid infections in one day. On Saturday August 21st 2021 NSW recorded 830 new cases.
We, in many parts of regional NSW, are as a consequence now enmeshed in what is beginning to look like indefinite lockdown mode and some commentators are saying we could remain in lockdown right up to Xmas and possibly beyond.
When the Delta variant of Covid 19 was first detected in the Eastern Suburbs of Sydney in mid-June 2021 Glady's Berejiklian's ideology, rhetoric and ego led her to reject the strategy that Victoria had successfully adopted in 2020 to go from 700 cases to zero in a few months.
The NSW Premier, 'we don't lockdown' Gladys Berejiklian' failed to act with the necessary urgency to immediately stop the virus spreading across Sydney.
Since then, a series of stages to lockdown have occurred selectively in various LGA's (Local Government Areas).
Some have unkindly called NSW's graduated lockdowns a 'mockdown' or 'lockdown lite' while others refer to it as a 'Claytons Lockdown'.
Undeniably the management of the situation in NSW has been a shambles and as I write speculation is intensifying re the possibility of new leadership in the state, so unfortunately termed by the Prime Minister, Scott Morrison, as the 'Gold Standard' state.
This honour bestowed on the Berejiklian government took no account of the Ruby Princess cruise ship debacle which ultimately distributed the virus across all states of Australia in March April and May of 2020.
Each day we listen to Berejiklian, Brad Hazzard (Health Minister) and a muzzled Chief Medical Officer, Kerry Chant, waffle on about how it's the publics fault, in particular insinuating its the fault of those 'uneducated types in the south western suburbs of Sydney'.
Berejiklian and Hazzard continue to make false claims as to the severity of their reluctant and belatedly imposed measures and each day we hear them deflecting responsibility to anyone else they can so as to avoid any responsibility for the daily exponential rise in cases of Covid 19 in NSW.
All the while Prime Minister Morrison, the master of spin and deflection, recognising that NSW is his only ally among the Australian states has openly sided defended Berejiklian and has sought to spin the notion that vaccine shots are the way out of the increasingly dire situation we find ourselves in.
This posturing is despite the fact that the Federal Government failed to order sufficient vaccines in the early stages of the pandemic, a fact that has undeniably led to a greater number of admissions to hospital and indeed ultimately more deaths across the country.
The Federal government has also argued against building specialised quarantine facilities, instead relying on leaky hotel quarantine.
The politicisation of the pandemic in Australia has also not helped with Morrison and Federal Treasurer Josh Frydenberg repeatedly making unstatesmanlike press statements attacking non LNP aligned Premiers and their responses to halting the spread of Covid in their states.
These comments now can be seen for their hypocrisy when Frydenberg and Morrison fail to hold NSW accountable to the same standards.
Berejiklian and Morrison, increasingly, are on a team ticket recommending that we can no longer aim for zero cases in the community and that 'we have to learn to live with the virus'. Their rhetoric in recent days is now constantly reinforcing the notion of accepting higher caseloads and even deaths as a consequence of the need to open up the economy.
Berejiklian in particular has been presenting this rosy picture of NSW being able to open up as soon as we reach the milestone of 70-80% of the NSW population double vaccinated.
If under 16's (currently almost totally unvaccinated) are considered, this figure actually equates in reality to just 56% of the population.
The other Australian states remain focussed on aiming for zero cases, knowing that it's going to be difficult, if not impossible to achieve that goal but they feel they have an obligation to protect their constituent's health, even if the politics of measures which seek to do so become increasingly unpopular as the mainstream media, and business interests calls to open up grow louder by the day.
'We are all in this together statements' by the Prime Minister have not helped to achieve consensus and a fight between the Federal Government, a rogue NSW government and all the other states appears to be looming as the states disagree with Morrison's interpretation of what agreements were reached in National Cabinet re the ground rules for opening up.
The NSW (and the Federal Government) have effectively given up on zero cases and are flagging that NSW will go it alone and open up when 70% vaccination of age 16+ is achieved.
The other states are stronger on a health based approach to opening up the economy believing it will depend on the number of infections as well as the percentage of the population who are vaccinated before they will open up their economies.
In response to these early statements by some state premiers the Federal Government's response is to threaten them with sanctions.
On the positive side NSW has, with the aid of preferential supply of vaccines stripped from other states, become the state most likely to achieve 70% double vaccination of citizens aged 16+. Optimistically this goal is hoped to be achieved by the end of September 2021.
As NSW moves closer to full vaccination of the adult population and as infection numbers go up, hesitancy has declined, however calls are growing very much louder to vaccinate under 16's as more and more cases of covid are diagnosed in younger children. Last week in NSW 200 children were diagnosed with Covid 19 yet the NSW Health Minister Brad Hazzard is making 'russian roulette' like plans to open schools in the next few weeks without any strategy in place to ensure that all students and teachers are fully vaccinated and safe before doing so.
With a federal election looming in 2022 the Morrison Federal Government will almost certainly seek to create a number of issues in order to wedge opposition parties, ones that we can be sure will be supported by the government's donors and mainstream media. Already Clive Palmer, a coal baron with hopes of opening up a new coal mine much bigger than the controversial Adani mine, has begun spending millions advertising in mainstream media to try to undermine opposition parties before the next election. Palmer has also, with the support of the Morrison Government brought legal action against the state of Western Australia who he argues don't have the constitutional power to impose statewide lockdowns.
Short of a war with China we can expect a ramping up of fear on a number of fronts as well as policy platforms designed to separate the government from their opposition.
One emerging dichotomy will be the question of whether lockdowns are sustainable or not and it's not hard to see that the government will exploit this argument given recent anti lockdown protests in several Australian cities.
.
It should not be underestimated that disagreements over strategy between the Feds/NSW (on the same ticket) and also the other states do have potential, if NSW's case load does not come down, to lead to those states closing their borders to NSW citizens and businesses.
Meanwhile more deaths are certain, not to mention rising suicide statistics as people fail to deal with the emotional costs of lockdowns.
There are no easy answers and as one challenge is met a new one presents.
The situation will not get better while ever there's no co-ordinated will between all the states to cooperatively develop a health based "living with Covid' strategy.
The current circumstance where we see NSW, and the Federal Government, lecturing and threatening the other states to adopt an economics-based strategy will only exacerbate the problems going forward.
If we ever needed leadership as a way out of Covid its now but the question remains, does that leadership exist. Alternatively, will our leadership see their covid exit strategy as a political opportunity to enforce ideology, take on board populist policies with the aim to divide and wedge opposition parties in an attempt to hold on to power.
NSW Statistics as at Saturday 21st August 2021
Last 24 hours - 137 new cases and 3 deaths
This week - 1,560 new infections
Last week - 1,346 infections
Total infections since Jan 2020 - 8,122
Total cases in one day - 830 (Highest case numbers in one day so far recorded in Australia.
55% of NSW population over 16 vaccinated with a single dose.
30% of population over 16 double vaccinated.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
The Lotus flower is highly significant for buddhists. The flower symbolises the fact that enlightenment (the flowering petals) rises out of a material base (the mud the roots are enmeshed in).
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Ayutthaya Historical Park, Phra Nakhon Si Ayutthaya, Thailand
Ayutthaya city is the capital of Ayutthaya province in Thailand. Located in the valley of the Chao Phraya River, the city was founded in 1350 by King U Thong, who went there to escape a smallpox outbreak in Lop Buri and proclaimed it the capital of his kingdom, often referred to as the Ayutthaya kingdom or Siam. Ayutthaya became the second Siamese capital after Sukhothai. It is estimated that Ayutthaya by the year 1600 CE had a population of about 300,000, with the population perhaps reaching 1,000,000 around 1700 CE, making it one of the world's largest cities at that time, when it was sometimes known as the "Venice of the East".
In 1767, the city was destroyed by the Burmese army, resulting in the collapse of the kingdom. The ruins of the old city are preserved in the Ayutthaya historical park, which is recognised internationally as a UNESCO World Heritage Site. The ruins, characterised by the prang (reliquary towers) and gigantic monasteries, give an idea of the city's past splendour. Modern Ayutthaya was refounded a few kilometres to the east.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
A skip bin in an awkward place near vehicle and foot traffic is draped with orange safety mesh to increase its visibility. This one is between the rear of the Adelaide Casino/Railway Station complex and the Adelaide Festival Centre.
Taken with iPhone 4S.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
City of Bristol Rowing Club. Autumn Head 17th November 2013
In a succesful attempt at avoiding another crew who had blocked a path through one arch Tethys managaged to become enmeshed in the bridge. In fairness they then rowed on to the finish
The Nichols House Museum occupies an 1804 Bulfinch townhouse, among the earliest of its kind on Beacon Hill. In 1885, Dr. Arthur Nichols and his wife Elizabeth purchased the house making it the backdrop against which their three daughters matured into designers, writers, and social activists. In 1930, Rose Standish Nichols (1872-1960) inherited the house and began laying the plans for its establishment as a museum.
The Nichols family treasured their home for its architectural significance and Beacon Hill location. The family enmeshed themselves within a nexus of writers, artists, politicians, intellectuals, and other esteemed Bostonians. The Museum’s period rooms reflect the Nichols family’s personal tastes as well as the overarching cultural values that defined the turn-of-the 20th century.
55 Mount Vernon Street and the adjoining row houses (51, 53 and 57) date to 1804 and are attributed to architect Charles Bulfinch (1763-1844).
(From Nichols House website)
Originally posted to the Guess Where London group on 03-03-10.
Attachment theory describes several behavioural systems, the function of which is to regulate human attachment, fear, exploration, care-giving, peer-affiliation and sex. Attachment is defined as any form of behaviour that results in a person attaining and retaining proximity to a differentiated other. The primary caregiver is the source of the infants stress regulation and, therefore, sense of safety and security. Attachment theory emphasises the role of the parent as mediator, reflector and moderator of the childs mind and the childs reliance on the parent to respond to their affective states in ways that are contingent to their internal experience, a process often referred to as secure base/safe haven functioning. Within the close parent-child relationship neural networks dedicated to feelings of safety and danger, attachment and the core sense of self are sculpted and shaped. These networks are conceptualised as internal working models of attachment.
Characteristic patterns of interaction operating within the familys caregiving-attachment system give rise to secure, insecure and disorganized patterns of attachment. These discrete patterns have been categorized using the Strange Situation research procedure, which observes the young childs behaviour when separated and reunited with his or her primary caregiver. Attachment patterns are represented in the childs internal working models of self-other relationships. Secure attachment is promoted by the interactive regulation of affect, which facilitates the recognition, labelling and evaluation of emotional and intentional states in the self and in others, a capacity known as reflective function or mentalization. The recognition of affects as having dynamic, transactional properties is the key to understanding behaviour in oneself and in another. The child comes to recognize his or her mental states as meaningful self-states via a process of parental affect mirroring and marking. Secure children are able to use sophisticated cognitive strategies to integrate and resolve their fear of separation and loss.
When the parent is unavailable, inconsistent or unpredictable, the infant develops one of two organized insecure patterns of attachment: avoidant or ambivalent-resistant. These defensive strategies involve either the deactivation or hyper-activation of the attachment system. Deactivation is characterized by avoidance of the caregiver and by emotional detachment. In effect, the avoidant child immobilizes the attachment system by excluding thoughts and feelings that normally activate the system. Hyper-activation is manifested by an enmeshed ambivalent preoccupation with the caregiver and with negative emotions, particularly anger. However, in common with the avoidant child, the ambivalent child appears to cognitively disconnect feelings from the situation that elicited the distress. Disorganised-disoriented attachment is discussed below.
Attachment research, then, demonstrates that discrete patterns of secure, insecure, and disorganized attachment have as their precursor a specific pattern of caregiver-infant interaction and their own behavioural sequelae. Repeated patterns of interpersonal experience are encoded in implicit-procedural memory and conceptualized as self-other working models of attachment. These mental models consist of generalized beliefs and expectations about relationships between the self and key attachment figures, not the least of which concerns ones worthiness to receive love and care from others.
In sum, the care-giving environment generally, and the infant-caregiver attachment relationship particularly, initiate the child along one of an array of potential developmental pathways. Disturbance of attachment is the outcome of a series of deviations that take the child increasingly further from adaptive functioning. Child abuse and cumulative developmental trauma violate the childs sense of trust, identity and agency and have pernicious and seminal influences on the developing personality. In essence, internal working models of early attachment relationships provide the templates for psychopathology in later life, which may include violent, destructive and self-destructive forms of behaviour. In attachment theory, the main purpose of defence is the regulation of emotions. The primary mechanisms for achieving this are distance regulation and the defensive exclusion of thoughts and feelings associated with attachment trauma.
Early trauma in the form of abuse, loss, neglect and severe parent-child misattunement compromises brain-mediated functions such as attachment, empathy and affect regulation. From an attachment theory perspective, patterns of attachment are encoded and stored as generalized relational patterns in the systems of implicit memory. These are conceptualized as cognitive-affective internal working models which are seen as mediating how we think and feel about ourselves, others and the relationships we develop. Although open to change and modification in the light of new attachment experiences, whether positive or negative, these non-conscious procedural models, scripts or schemas within which early stress and trauma are retained, tend to persevere and guide, appraise and predict attachment-related thoughts, feelings and behaviours throughout the life cycle via the implicit memory system. Psychopathology is seen as deriving from an accumulation of maladaptive interactional patterns that result in character traits and personality types and disorders.
Disorganised attachment may occur when the childs parent is both the source of fear and the only protective figure to whom to turn to resolve stress and anxiety. In such instances, neither proximity seeking nor proximity avoiding is a solution to the activation of the childs attachment and fear behavioural systems. If the trauma remains unresolved and is carried into adulthood, it leaves the individual vulnerable to affect dysregulation in interpersonal conflict situations that induce fear, hate, shame and rage. In such cases, alcohol and illicit drugs are often resorted to as a maladaptive means of suppressing dreaded psychobiological states and restoring a semblance of affective equilibrium.
Findings show that disorganised attachment developed in infancy shifts to controlling behaviour in the older child and adult, reflecting an internalized mental model of the self as unlovable, unworthy of care and support, and fearful of rejection, betrayal and abandonment. Disorganised attachment is associated with a predisposition to relational violence, to dissociative states and conduct disorders in children and adolescents, and to personality disorders in adults. This state of mind constitutes a primary risk factor for the development of borderline, anti-social and sociopathic personality disorders. The rate of such disorders in forensic settings is particularly high. Clinically, dissociated traumatic experience is unsymbolized by thought and language, being encapsulated within the personality as a separate, non-reflective reality which is cut off from authentic human relatedness. The information contained in implicit memory may be retrieved by state-dependent moods and situations. Dissociated archaic internal working models are then activated, influencing and distorting expectations of current events and relationships outside of conscious awareness, particularly in situations involving intense interpersonal stress. In such situations, the self is felt to be endangered, thereby increasing the risk of an angry and potentially violent reaction.
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Proposal for the Fourth Plinth
By Mark Leckey
Larger Squat Afar
Proposed Material: fiberglass laminate
I believe the proposal reflects how we now approach the world in the 21st century. Because of current technology, objects and artefacts are no longer these fixed, permanent things. Instead we look at any sculpture, object or image and ask, what can I do with that? How can I change it to suit my desires?'
Larger Squat Afar is an anagram of ‘Trafalgar Square’, and Mark Leckey’s chimera is itself an amalgam of elements lifted from all the statues found in the square. Details of James II, the water fountain, Admiral Jellicoe and the plinth itself are enmeshed into a single figure, which, while appearing absurd illustrates the compound history of both people and place. Fabricated using 3D laser scanning and printing technology, Larger Squat Afar embodies the power of the digital to overcome the physical and to fulfill the more monstrous capacities of the human imagination.
Leckey frequently looks to the mediated nature of public and private environments, in which imagery is employed to transcend the mundane. Collage and animation techniques are used in videos and sculptures, where the hidden is made explicit, desires are expressed and obscure personal narratives are revealed. It is digital platforms, above all else, that signal the contemporary for Leckey, where even the inanimate object can appear to communicate to us at will.
[GLA website]
The Fourth Plinth of Trafalgar Square, in its northwest corner, designed by Sir Charles Barry (1795-1860). It was originally intended to be the base for an equestrian statue of William IV, although it never happened due to funding problems.
In 1998 the Royal Academy of Arts began the Fourth Plinth Project with commissioning three consecutive works; in 2005 the scheme was reprised and has been running ever since.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Day 68/365
Therapy night. Which of course means... angel-card night. The whole angel-card thing is getting a little ridiculous. I'd like to ask the universe to tone it down a notch, except... it's actually sort of fascinating... to see God speak through a tiny deck of cards this way.
Tonight I drew the word Light.
And here is what the book has to say about the Light Card:
"Definition: What makes it possible to see; brightness; illumination; a brilliant person; to kindle; to inflame; to come to rest.
Acknowledge the Light that you are. Share that Light with the world. Activate your own inner light and be aware of its uniqueness.
When you draw this card, often new information may be revealed to you unexpectedly. Be aware and you may notice a change happening that will shed light on the situation. Feel illumination and enlightenment. Situations will become clear. move out of the darkness into the Light.
A light hearted person is a happy one. Allow the radiant energy that is within you to show you the way. Lighten up. You are surrounded by new energy to lighten your load. Call on it.
Trust that there is Light in the situation. Even if you don't understand your experiences at this time, know that the reasons will soon come to light. Become the Light. See the Light within you. Invoke it. Anchor it.
See the Light in others."
See the Light in yourself. This is something that we talked around a little bit tonight, but that really struck me once I got home and reread this passage. "Allow the radiant energy that is within you to show you the way." For the first time in many years, I feel like there is actually a lightness within me, a radiance, yes... even a contentment. And the more I take my cue from that piece of myself, the brighter my future becomes... the more progress I make in my present.
I used to function in a place of darkness- afraid, sad, lonely, anxious and depressed. I saw no light at the end of the tunnel... I was so enmeshed in my pain and sorrow... I couldn't even see the damn tunnel. But now, I feel lighter, feel happier at my baseline and it makes it that much easier to process and move forward when things do come up to block my path. This is not a perfected thing for me, so much of what I do is a work in progress and this is no exception. I think the other piece of this card is the idea of recognizing my value, my worth... the light that shines from me that other people so easily see that I don't always.
So in addition to acknowledging the progress i've made, the steps I've taken ... it's a reminder to keep seeing my light, recognizing the unique and remarkable being that is Me.
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
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Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
City of Bristol Rowing Club. Autumn Head 17th November 2013
In a succesful attempt at avoiding another crew who had blocked a path through one arch Tethys managaged to become enmeshed in the bridge. In fairness they then rowed on to the finish
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
Curated by the UTSOA Materials Lab.
Photographed by School of Architecture Visual Resources Collection Photography TA, Panchajanya Gudigar.
City of Bristol Rowing Club. Autumn Head 17th November 2013
In a succesful attempt at avoiding another crew who had blocked a path through one arch Tethys managaged to become enmeshed in the bridge. In fairness they then rowed on to the finish
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
© Marija Kobler / transmediale & CTM
A performance by Aline Benecke
Ausland territory for experimental music, performance and art
Lychener Str. 60, 10437 Berlin
picture this.... Orientalism at its best
The discourse of 'the other' has been in crisis since la différance. We have come to the recognition that our (old) patterns of thinking about 'the other,' and thus also 'the foreigner,' work through attributions and stipulations which do not do the plurality and heterogeneity of the world justice. Political, leftist discourse has ever since been enmeshed in an attempt to find language which suits the problems of the land we formerly colonized.I am, according to experience, described as a German with an immigrant background. I balk at this definition. How can that be? My foreignness -- in this case meaning my 'nongermanness' on account to my 'foreign blood' -- is pure fiction. As is my being a woman or being young or being an artist, incidentally.Back to foreignness: I grew up with the history of the French-colonial là-bas, but I was mainly in the mainland European ici. My experience of and with Algeria is supplemented by photography and myths of the Middle East and the Maghreb. I continue to forge this bridge . I have a substantial collection of foreign photography and stories like those from One thousand and One Nights with which I fabricate my western identity. Imagine... picture this... I am your storyteller. I offer you the finest in Orientalism, baby: stories of beautiful, veiled and lonely women gone mad, of homoerotic steam baths, of toes which have grown together, of women in the Algerian resistance movement. An evening about the power of the narratives which form our consciousness and which questions our gaze upon ________ (the foreign)."
Ride
Juliet Rowe
Showing: 4-21 September 2013
GALLERY 1
Juliet Rowe graduated from the Victorian College of the Arts in 2011 after completing her Bachelor of Fine Arts (honours) in Drawing. Her work blurs the lines of art, craft and design as she exploits a vast range of materials and techniques often in unorthodox ways. She has participated in shows at West Space, Seventh, Trocadero and Platform Contemporary and was apart of the 2011 Penthouse Mouse for Loreal Melbourne Fashion Week. (Growing up her family did not have a car and she does not yet know how to drive)
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
-----
Monotony
Agnes So, Amy May Stuart, Masato Takasaka.
Curated by Alison Lasek.
Showing: 4-21 September 2013
GALLERY 2
The title 'Monotony' is not to be taken too literally. The work of each of these three artists captures lyricism in the everyday and poetry of looking again. In the words of Gertrude Stein, “there is no such thing as repetition, only insistence”.
Agnes So tests the functionality of everyday objects in a series of choreographed performances. Recurrence grants multiple views and places the artist body into a position where it begins to replicate the role of the object itself.
Permanently on a treasure hunt, Amy May Stuart finds fascination in often overlooked aspects of lived experience. Collected images of handwritten ‘Cash Only’ signs draw attention to both their similarities and their differences.
Masato Takasaka revisits and reconfigures his own earlier artworks and returns to what’s in storage as an antidote to continual production. A bootleg recording of an exhibition of a bootleg recording of an exhibition opens this practice up, and reframes his work yet again, while simultaneously allowing things to break down just a little.
----
Within a Room
Kate Price
Showing: 4-21 September 2013
GALLERY 3
Price presents the viewer with a space of reflection. A pine framework lining the floor of the space is enmeshed with painted figurative and abstracted forms. This new flooring could be seen to appear as a point of construction that harbours remnants or residues of the people and activities that had once resided there. This project aims to highlight how a space is embedded with a history and how within this is a description of the symbiotic relationship that exists between the space itself and the people that lived, worked or passed through it.
Kate Price lives and works in Melbourne. In 2010 she successfully completed her Bachelor of Arts (Fine Art) degree at the RMIT and returned in 2012 to complete her Bachelor of Art (Fine Art) Honours. She has lived and worked in Utrecht, Holland both in 2010 and 2011 and has exhibited in both solo and group exhibitions in Melbourne and Utrecht, Holland.
This project is supported by an Australian Artists’ Grant. The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.