B L O G

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Uploaded on May 28, 2006. My mother, Martha Jane, died 5 years ago today. I was not able to afford to keep my promise to take her ashes back to Texas and bury them with my father's ashes, until October of 2001. But I did do what I said. Six years before my Mom died, my father died, also in May. He wanted his ashes buried at the foot of his grandparent's graves. He didn't get his very exact wish, but pretty close. My mother and I did not like that his grave was unmarked for 6 years. I asked my mother when her time came, where did she want to be buried? She hedged a bit, about maybe the church in Kerrville, Texas, or maybe up in Washington State. Finally she admitted that she really wanted to have her ashes with my father's ashes. They were so tightly enmeshed for 56 years that it seemed appropriate to have them together again. I promised my mother, that not only would I bury her ashes with Dad's ashes, but I would get the best marker I could afford for both of them. It was interesting that she went completely over to his side of the family, as my father did. Her remains rest with my Dad, HIS parents, HIS grandparents, and a cousin, and some brothers of my Dad's that died over 100 years ago, before he was born. One reason I didn't put her maiden name on the headstone, was that she really kind of gave up on that side. Don't get me wrong. She has given me a lot of pictures, and stories, and history about her side of the family. She just didn't socialize very much with them.

It was quite a trip, a real adventure, stoic and funny, and scenic and thought provoking. Insightful too. Historical and genealogical as well. So much! Five thousand and sixty miles in 10 days. Good weather almost all the time.

There is much more to this story, and I do want to write more, one part will be called "The Shovel and the Banana". I ended up finally writing it on November 17, 2006, and calling it "The Banana & the Shovel", and posting it here on Flickr.

I want to tell about the "Stardust". I want to give some idea of how cold and cruel and warm and sentimental, and utterly devoid of feelings, and pretty, and neglectful, unreasonable, and sweet she could be. She would not defend me from false accusations my father made about me, even in front of a dinner party crowd, or should I say especially in front of a dinner party crowd. She would much rather not argue with my Dad, so she left the impression that I was a liar. These things stung and hurt so badly over the years, but as she approached eighty years old, she got nicer. My father was too ill to go on a trip with us: so I flew from Oregon to Texas, picked my mother up in Houston, and she and I had our first trip as adults to go somewhere, just the two of us. My mother became a true companion, a Mom, and fun and cooperative and nice. I urge anyone who has read this far, do not wait until you are 80 to be nice to your children! We had some hurtful occasions the last 6 years of her life, but mostly we had the kinds of times I had wanted forever. We talked and laughed. My mother is the one who finally showed some faith in me about my photography, and said she wanted to to be able to put pictures on Ebay like other people did (I used to do Ebay a lot!). She bought me a Sony Mavica FD-71, my first digital camera, and I thought it was absolutely wonderful. I could take a picture and put the disk in my computer and upload in very little time. I found a place I could get diskettes for about 2 cents a picture. She was proud of a photo show I had, and my notecards I made up by hand with laser prints of my work. I was successful on Ebay. We just had a mutually supportive relationship. She still drank a lot (both of my folks were alcoholic) but not much at all when we traveled together. My father would hardly ever allow my mother to go anywhere with me, unless he came along too. If he weren't interested, she couldn't go. If I went to try clothes on when I was a young girl and teenager, he had to be sitting right outside of the waiting room with her. Seldom could I ask her any mother/daughter type advice or little jokes. I went to one play with her in my entire life. So I treasure the last 6 years of her life, and I am glad I could be there with her in the hospital when she died. She died in Washington State, and I went up there from Oregon on a bus. I did not have a car at the time. The bus let me off in a scary part of town, and it was after midnight, and my brother was late picking me up. It wasn't really even a station you could go into at that hour, and sit, or use vending machines, or use a restroom. I just stood out by the street while the passengers from the bus gradually left the scene. Soon it was just me and the seamier side of life. I was so scared, not to mention wondering if I would make it there before my mother died. My brother picked me up and made light of me being scared, and said he wasn't that late, blah blah. I wanted to go directly to the hospital, but he insisted that we go back to his and his wife's apartment and stay the night, and then go up the 30 someodd mile drive. I didn't have 10 cents to get home on. My brother had paid my bus ticket. At first I thought he did it for me, but as the days went by, I think he did it because he could not take dealing with my mother dying by himself or with just his wife there. He needed me to be there. My mother had an older Lincoln, a great big tank of a car, but it ran, and when we went to see her the next day, he shoved a title toward her, and said, Mom, sign this! Dee Dee (that is my nickname) needs a car! and you don't! My Mom signed, the last thing she ever wrote in her life. She died a few hours later. My brother had one hand and I had the other. My sister-in-law was at the foot of her bed. My other brother, we couldn't locate to have him be there.

There is more here, about her room and her death, and the nurses, and the doctor and the flowers floating in the trees, and a lock of hair, etc. I'll add stuff as I feel I can.

I was able to drive back to Oregon to my home, in her old car. It wasn't great, but it was a whole lot better than nothing. I had to use it one more time to go back up to Washington State and pick up my mother's ashes. Her old Lincoln lasted long enough until I got a settlement and was able to buy a new truck.The new truck was what I used to drive back to Texas, with the container of ashes in the back seat. I sold the Lincoln for about what I had spent on repairs on it.

One thing my mother did like when my brothers and I were little, was to go on what she called "junkets". Dad would have to work or something, and she had different days off sometimes; so she would drive us places like the Mystery Spot near Santa Cruz, or the Winchester House in San Jose. Things like that. She got "junket" fever from her grandfather, who I have mentioned several places on my site, Kaye W. Dawson. I believe she passed it on to me, and I have passed it on to my daughter as well, who most likely will pass it to Anna Leigh.

(556f100901momdadheadstoneresamadj)

"G" is for GROVES, my maiden name

Uploaded on May 28, 2006. My mother, Martha Jane, died 5 years ago today. I was not able to afford to keep my promise to take her ashes back to Texas and bury them with my father's ashes, until October of 2001. But I did do what I promised. Six years before my Mom died, my father died, also in May. He wanted his ashes buried at the foot of his grandparents' graves. He didn't get his very exact wish, but pretty close. My mother and I did not like that his grave was unmarked for 6 years. I asked my mother when her time came, where did she want to be buried? She hedged a bit, about maybe the church in Kerrville, Texas, or maybe up in Washington State. Finally she admitted that she really wanted to have her ashes with my father's ashes. They were so tightly enmeshed for 56 years that it seemed appropriate to have them together again. I promised my mother, that not only would I bury her ashes with Dad's ashes, but I would get the best marker I could afford for both of them. It was interesting that she went completely over to his side of the family, as my father did. One reason I didn't put her maiden name on the headstone, was that she really kind of gave up on that side. Don't get me wrong; she has given me a lot of pictures, and stories, and history about her side of the family. She just didn't socialize very much with them. She wasn't really allowed to socialize with much of anybody actually. When they social-climbed she could be friendly at charity balls and such. She could be as nice as pie to my Dad's side of the family, but never could she just go out, like for lunch or shopping with just her sister-in-law, my favorite Aunt Dorothy.

It was quite a trip, a real adventure, stoic and funny, and scenic and thought provoking. Insightful too. Historical and genealogical as well. So much! Five thousand and sixty miles in 10 days. Good weather almost all the time.

There is much more to this story, and I do want to write more, one part will be called "The Shovel and the Banana".

I want to tell about the "Stardust". I want to give some idea of how cold and cruel and warm and sentimental, and utterly devoid of feelings, and pretty, and neglectful, unreasonable, and sweet she could be. She would not defend me from false accusations my father made about me, even in front of a dinner party crowd, or should I say especially in front of a dinner party crowd. She would much rather not argue with my Dad, so she left the impression that I was a liar. These things stung and hurt so badly over the years, but as she approached eighty years old, she and my father was too ill to go on a trip with us, my mother became a true companion, a Mom, and fun and cooperative and nice. I urge anyone who has read this far, do not wait until you are 80 to be nice to your children! We had some hurtful occasions the last 6 years of her life, but mostly we had the kinds of times I had wanted forever. We talked and laughed. My mother is the one who finally showed some faith in me about my photography, and said she wanted me to to be able to put pictures on E-bay like other people did (I used to do E-bay a lot!). She bought me a Sony Mavica FD-71, my first digital camera, and I thought it was absolutely wonderful. I could take a picture and put the disk in my computer and upload in very little time. I found a place I could get diskettes for about 2 cents a picture. She was proud of a photo show I had, and my note-cards I made up by hand with laser prints of my work. I was successful on E-bay. We just had a mutually supportive relationship. She still drank a lot (both of my folks were alcoholic) but not much at all when we traveled together. My father would hardly ever allow my mother to go anywhere with me, unless he came along too. If he wasn't interested, she couldn't go. If I went to try clothes on when I was a young girl and teenager, he had to be sitting right outside of the waiting room with her. Seldom could I ask her any mother/daughter type advice or little jokes. I went to one play with her in my entire life. So I treasure the last 6 years of her life, and I am glad I could be there with her in the hospital when she died.

One thing she did like when my brothers and I were little, was to go on what she called "junkets". Dad would have to work or something, and she had different days off sometimes; so she would drive us places like the Mystery Spot near Santa Cruz, or the Winchester House in San Jose. Things like that. She got "junket" fever from her grandfather, who I have mentioned several places on my site, Kaye W. Dawson. I believe she passed it on to me, and my daughter as well.

I have a question about the mini-series, Lonesome Dove. I cannot remember which one died first, Gus or Call, and the other one promised to bury him in Texas. He took his body all the way from Montana to Texas. I felt a little bit like that (not as rough a journey, but still a journey nonetheless), taking my promise seriously and going from Corvallis, Oregon to a small town in Texas.

Also, I am reminding myself, and any of you reading this can remind me, to write a tiny little story about the Denver Airport, on the way back to Texas.

****************************amended version from the similar picture, but with the entire headstone shown. I corrected one, but not the other; so each picture started out with the same story, but one or the other got some variations along the way. I want to try to keep it straight.

Uploaded on May 28, 2006. My mother, Martha Jane, died 5 years ago today. I was not able to afford to keep my promise to take her ashes back to Texas and bury them with my father's ashes, until October of 2001. But I did do what I promised. Six years before my Mom died, my father died, also in May. He wanted his ashes buried at the foot of his grandparent's graves. He didn't get his very exact wish, but pretty close. My mother and I did not like that his grave was unmarked for 6 years. I asked my mother when her time came, where did she want to be buried? She hedged a bit, about maybe the church in Kerrville, Texas, or maybe up in Washington State. Finally she admitted that she really wanted to have her ashes with my father's ashes. They were so tightly enmeshed for 56 years that it seemed appropriate to have them together again. I promised my mother, that not only would I bury her ashes with Dad's ashes, but I would get the best marker I could afford for both of them. It was interesting that she went completely over to his side of the family, as my father did. Her remains rest with my Dad, HIS parents, HIS grandparents, and a cousin, and some brothers of my Dad's that died over 100 years ago, before he was born. One reason I didn't put her maiden name on the headstone, was that she really kind of gave up on that side. Don't get me wrong. she has given me a lot of pictures, and stories, and history about her side of the family. She just didn't socialize very much with them.

It was quite a trip, a real adventure, stoic and funny, and scenic and thought provoking. Insightful too. Historical and genealogical as well. So much! Five thousand and sixty miles in 10 days. Good weather almost all the time.

There is much more to this story, and I do want to write more, one part will be called "The Banana & the Shovel". I want to tell about the "Stardust". I want to give some idea of how cold and cruel and warm and sentimental, and utterly devoid of feelings, and pretty, and neglectful, unreasonable, and sweet she could be. She would not defend me from false accusations my father made about me, even in front of a dinner party crowd, or should I say especially in front of a dinner party crowd. She would much rather not argue with my Dad, so she left the impression that I was a liar. These things stung and hurt so badly over the years, but as she approached eighty years old, she got nicer. My father was too ill to go on a trip with us; so I flew from Oregon to Texas, picked my mother up in Houston, and she and I had our first trip as adults to go somewhere, just the two of us. My mother became a true companion, a Mom, and fun and cooperative and nice. I urge anyone who has read this far, do not wait until you are 80 to be nice to your children! We had some hurtful occasions the last 6 years of her life, but mostly we had the kinds of times I had wanted forever. We talked and laughed. My mother is the one who finally showed some faith in me about my photography, and said she wanted me to to be able to put pictures on E-bay like other people did (I used to do E-bay a lot!). She bought me a Sony Mavica FD-71, my first digital camera, and I thought it was absolutely wonderful. I could take a picture and put the disk in my computer and upload in very little time. I found a place I could get diskettes for about 2 cents a picture. She was proud of a photo show I had, and my note-cards I made up by hand with laser prints of my work. I was successful on E-bay. We just had a mutually supportive relationship. She still drank a lot (both of my folks were alcoholic) but not much at all when we traveled together. My father would hardly ever allow my mother to go anywhere with me, unless he came along too. If he wasn't interested, she couldn't go. If I went to try clothes on when I was a young girl and teenager, he had to be sitting right outside of the waiting room with her. Seldom could I ask her any mother/daughter type advice or little jokes. I went to one play with her in my entire life. So I treasure the last 6 years of her life, and I am glad I could be there with her in the hospital when she died. She died in Washington State, and I went up there from Oregon on a bus. I did not have a car at the time. The bus let me off in a scary part of town, and it was after midnight, and my brother was late picking me up. It wasn't really even a station you could go into at that hour, and sit, or use vending machines, or use a restroom. I just stood out by the street while the passengers from the bus gradually left the scene. Soon it was just me and the seamier side of life. I was so scared, not to mention wondering if I would make it there before my mother died. My brother picked me up and made light of me being scared, and said he wasn't that late, blah blah. I wanted to go directly to the hospital, but he insisted that we go back to he and his wife's apartment and stay the night, and then go up the 30 some odd mile drive the next day. I didn't have 10 cents to get home on. My brother had paid my bus ticket. At first I thought he did it for me, but as the days went by, I think he did it because he could not take dealing with my mother dying by himself or with just his wife there. He needed me to be there. My mother had an older Lincoln, a great big tank of a car, but it ran, and when we went to see her the next day, he shoved the title toward her, and said, Mom, sign this! Dee Dee (that was my nickname) needs a car! and you don't! My Mom signed, the last thing she ever wrote in her life. She died a few hours later. My brother held one hand and I held the other. My sister-in-law was at the foot of her bed. As for my other brother, we couldn't locate to have him be there.

There is more here, about her room and her death, and the nurses, and the doctor and the flowers floating in the trees, and a lock of hair, etc. I'll add stuff as I feel I can.

I was able to drive back to Oregon to my home, in her old car. It wasn't great, but it was a whole lot better than nothing. I had to use it one more time to go back up to Washington State and pick up my mother's ashes. Her old Lincoln lasted long enough until I got a settlement and was able to buy a new truck.The new truck was what I used to drive back to Texas, with the container of ashes in the back seat. I sold the Lincoln for about what I had spent on repairs on it.

One thing my mother did like when my brothers and I were little, was to go on what she called "junkets". Dad would have to work or something, and she had different days off sometimes; so she would drive us places like the Mystery Spot near Santa Cruz, or the Winchester House in San Jose. Things like that. She got "junket" fever from her grandfather, who I have mentioned several places on my site, Kaye W. Dawson. I believe she passed it on to me, and I have passed it on to my daughter as well, who most likely will pass it to Anna Leigh.

*****************************************************************************

Tenuous Link:

STEWART >> MARTHA

******************************************************************************

www.youtube.com/watch?v=EPjv_r9WzoQ

Johnny Mathis & Ray Charles - Somewhere Over The Raibow

Sonia & Alain enmeshed and united

Enjoy the music

Hug

:-)

g

One theme that's been extremely prevalent in my life in the last week or so is that of forgiveness; when should it be given and when should it be withheld? Is there even a 'should'? I've consequently been reflecting on the ways my own attitude to forgiveness has changed over my lifetime; I realise when I think about it that really, it's always been a prevalent theme.

As a child, I had a relatively easy time forgiving others and an impossible time forgiving myself - transgressions made by child-me still stick in my mind as ready examples of my failings! For example: one afternoon in Year 2 (when I would have been 5 or 6) all the chairs in the classroom were arranged to face the TV for an educational program, meaning they weren't in their usual places. I sat in one, but it soon emerged that it had been previously used by another boy, who got incredibly upset and yelled at the boy he believed had 'stolen' his chair. I wanted to own up so badly, so that the wrongly-accused boy wouldn't get in trouble, but my shyness wouldn't let me speak out.

I felt terrible about that for years! Sick when I recalled it!

But on the other hand, the children who called me names and refused to play with me, who ran away when I came near, I would always forgive on those rare occasions when their mum invited me to their birthday parties, or when they deigned to play with me, and even when I was a little bit older, say Year 5 or 6, and they were still ostracising me and making me so unhappy that I would fantasise about horrible things happening to them, I was always trying to see the good in them and excuse their behaviour.

Later in life of course the cruelty of children is even easier to forgive, because success is the best revenge - and I don't think I'd have been nearly as successful at finding happiness and a sense of self, and more important, confidence and extrovert control, were it not for the challenge their treatment of me tacitly set me. I would say (and I'm pretty sure at least some of the people who know me would agree!) that I'm not someone who's remotely intimidated by the prospect of engaging with other people, and I'm unusually comfortable around strangers. I find people incredibly easy to get on with, and I really really LIKE people.

I don't think I would feel so confident and comfortable in my skin and in the world if I hadn't spent so much time on the outside looking in and watching what makes people tick so that I could be like them. And learning about them necessarily means finding the route to forgiving them, because most hurts caused are not about you; they're not about me, when I hurt. They're the unhappy byproduct of someone else's unhappy life, and it's hard to grudge someone unhappiness.

But at the same time, things have changed; my tolerance for fools has dropped exponentially with age. It's as though the more time runs out of my expected tenure on life, the less of it I want to waste - and I have become more judgemental about what counts as waste! Ten years ago I would never have called a person a poor use of my time, but now if someone continues to hurt me or let me down, while I try to forgive them, I also forget them. I think the longer I have known someone, the more transgressions I'll allow them before I give up on them, implying that I somehow value the time already invested, though in my conscious thought it feels like a demonstration of loyalty.

I don't really like about myself that I have learned to condemn. Other people seem to be far more accepting of it as a trait in themselves but there's still a part of me that feels like I don't have a right to judge anyone. But I suppose I need to accept better that I can still judge how an action makes me feel, and whether or not that's something worth addressing.

Worryingly though, I notice I've become far more accepting of my own inadequacies and follies, and barely even need to forgive myself - forgiveness and acceptance are a foregone conclusion for all my actions! While it would be wonderful if I could imagine that this was because my own code of conduct had become so rigidly enmeshed in my way of life that it's impossible for me to stray, I'm disappointingly aware that that's not the case; or if it is, then my code has relaxed a lot over the years! I'm pretty sure my code involves always giving everyone a second chance.

Then again, maybe that isn't a wise way to live. Perhaps what I perceive as growing self-interest over time could also be perceived as the development of wisdom? I'm not sure how I feel about this as a way of being; I think I want to remember to think kinder thoughts again.

The sea always makes me feel peaceful; it's one of the main appeals for me of living in Brighton, as I'm sure many of those who have moved here later in life would agree. There's something beautiful in watching the waves ebb in and out dragging their foam across the shingle, listening to their breath. I took time on my lunch break today to visit the sea to de-stress and let go of jangling thoughts. It's the worst time of year for swallowing yourself in thoughts - I hope all my friends remember to look after themselves and their mental health in this potentially challenging month!

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

Boscastle flood of 2004

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

Carioca Fletch (1984) #7

Fletch’s trip to Brazil wasn’t exactly planned. But it’s Carnival time in Rio and he has plenty of money, thanks to a little arrangement made stateside. And it took him no time to hook up with the luscious Laura Soares. Fletch is beginning to relax, just a little.

Carioca Fletch

But between the American widow who seems to be following Fletch and the Brazilian widow who’s fingered Fletch as her long-dead husband, he suddenly doesn’t have much time to enjoy the present or even get a wink of sleep.

Carioca Fletch

A thirty-year-old unsolved murder, a more recent suicide, an inconvenient heart attack–somehow Fletch is connected to all of them and one of those connections might just shorten his own life. From Rio to Bahia and back again, at the height of Carnival, Fletch has to keep moving or get stopped cold.

******************************************************************************

Exerpts

Page 30

Down the sidewalk to the right , stepping warily around the samba band sweating in canary yellow shorts, through the dancers, came a North American woman, clearly from the United States, clearly newly arrived. In a light green silk dress moving on her body as she moved, green high-heeled shoes, wearing sunglasses and stupidly carrying her purse like a symbol of rank dangling from her forearm: the California empress.

Page 32

“Fletcher ! what is the matter with you? Why are you suddenly under the table?”

“That woman in green passing by. Don’t look now.”

The heads of the pixies looked back and forth from Fletch to Laura intelligently, as if they understood.

“So? What about her?”

“She probably thinks I murdered her husband.”

Page 117

“I think I have.”

“robbed twice?”

“not a record.”

“baptized,” he said

Page 118

“So I went out myself. I went for a walk. Right along here.” She indicated the avenida beyond the hedge. “Sat in a café, had a drink, watched the people, listened to the drums. Walked further , to another café, had a drink. Couldn’t pay the bill. My purse was gone.”

“Yes.” In his saying just”yes,” Fletch heard an echo of Otavio Cavalcanti. Yes. Of course. What is there to understand?

“My wallet was gone. All my cash. My credit cards. “ Tears now were in both her eyes. “My passport.”

“It happened to everyone I have heard of,” he said

Page 119

”My necklace was gone!” She seemed astounded. “A diamond pin I was wearing on my dress!”

“Yes.”

“What bothers me most is that pictures of Alan in my wallet are gone.” Of Alan and Julia.” Julia was her young daughter. “No matter what you may think, I wanted those pictures of Alan, They’re irreplaceable.”

Tears rolled down her cheeks.

Fletch said: “Yes.”

She reached for a purse that wasn’t there. “Damn! I don’t even have a hankerchief.”

Fletch shrugged his bare shoulders. “I don’t even have a sleeve.”

Page 121

She sniffed.

“I explained to the waiter as best I could that I couldn’t pay him. I’d been robbed. That I would come back and pay him today.” Joan Collins Stanwyck sniffed again” I swear,Fletch, all during my walk, nobody even touched me. No one bumped into me. How did they get my necklace< The pin off my dress? There wasn’t even a tear in my dress? I felt nothing!”

“The future of Brazil ,” said Fletch, “is in surgery.”

“I went back to my hotel.”

“And your room had been burglarized.”

Page 122

“How did you know?”

“You said you had been robbed twice.”

“Everything!” she said. “Everything except my clothes. My jewel case, my traveler’s checks.”

“Everything.”

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Goodreads reviews

Reviews average reviews 373 reviews 3.46 stars

Alex Teixeira's review 4 stars

Oct 03, 09

I was still in high school when I read the first Fletch book. It was 1982. The first Fletch novel was released in 1974.

I used to read a lot of mysteries back then and one day stumbled upon Fletch, I was hooked, that's all the mystery I wanted to read during that time (peppered in with some fantasy, science fiction and literary books, too).

I read all the Fletch books up to the last one, "Fletch Too", in 1986. This one was particularly fun for me, because I was born in Rio and have been back many times since on vacation.

I have fond memories of reading these mysteries, I thought the books were funny and fun.

Worth checking out if you like light mysteries, humor, and fun.

Jon Burekuri rated it 4 stars

As a fan of the wisecracking journalist, Irwin Fletcher, portrayed by Chevy Chase in two films from the 1980s, I really went into this book expecting a goofy story. What I found was a much more serious, yet entertaining, mystery novel. Set in Rio during Carnival, the story follows Fletch as he is unwittingly enmeshed in a forty-seven year old (as in, it happened that long ago) murder mystery. Taking him from the wealthy hotels of the elite to the slums of Rio, Fletch's adventure is highly entertaining and worth the read.

Andy rated it • 4 star

Another great Fletch mystery. Many people complain that there is too much Brazil and not enough Fletch, and compared to other Fletch books, that is true. However, the book is so well written that I really don't mind Fletch taking a back seat to Brazil. If you like Mcdonald's writing style, you'll like Carioca Fletch. Don't believe all of the negative reviews on amazon.

It was the city’s tallest, most expensive building with the world’s largest banking chamber when 50 Martin Place opened in 1928 as the head office for the Government Savings Bank of NSW. It has since been transformed as the global headquarters of Macquarie Bank.

From the street, the building’s distinctive Beaux-Arts facade proudly showcases a solid red granite base, topped with four soaring Ionic columns and pilasters clad in pink-glazed ceramic tiles. Twelve storeys in height, it was crowned originally with a two-storey attic and, unusually, a rooftop rifle range.

At ground level, the grand hall and banking chamber are lavishly detailed in a neoclassical style, featuring marble and scagliola (a form of plaster) on massive stylised columns. The stunning adaptive re-use of the building by award-winning architects Johnson Pilton Walker (JPW) in 2014 sees old and new enmeshing beautifully.

Inside the atrium are two futuristic, circular glass lifts, winners of the Elevator World Project of the Year. These are paired with an extraordinary eight-storey-high installation by artist Nike Savvas, Colours are the Country, which can be seen during the lift journey.

Facts:

Built

1925–1928

Architect

HE Ross and H Ruskin Rowe, Ross & Rowe

Additional architects

2012–14 – Johnson Pilton Walker (lead architect) – alterations and additions. Tanner Kibble Denton Architects – heritage architect. Clive Wilkinson Architects and BVN – interiors

Awards

2015 - NSW Architecture Award, Commercial Architecture

National Trust Award for best adaptive reuse

Elevator World Project of the Year

A new two-storey steel-framed glass dome lightly straddles the atrium. Designed as a ‘fifth facade’, it can be viewed from neighbouring buildings as a shimmering lantern. 50 Martin Place is Australia’s largest six-star Green Star heritage building, and in 2015 was the winner of Australia’s major national commercial architecture award, the Sir Arthur G Stephenson Award for Commercial Architecture.

Hunt Runs Oct 15th - Nov 15th. Hint: "Does purple fog come after purple rain?"

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STREET, SAMUEL, businessman, jp, militia officer, and office holder; b. 14 March 1775 in Farmington, Conn., eldest son of Nehemiah Street and Thankful Moody; m. 5 Sept. 1811 Abigail Hyde Ransom, and they had one son and five daughters; d. 21 Aug. 1844 in Port Robinson, Upper Canada.

Samuel Street was a shrewd, well-located merchant who, by devoting himself to business, managed to become one of the wealthiest men in Upper Canada by the time of his death. In 1787 he had come to live with his uncle, Samuel Street*, at Chippawa (Ont.), after his father had been murdered at Cold Springs, N.Y. No doubt his uncle’s membership in the Niagara peninsula’s early mercantile community benefited the aspiration of Samuel Street Jr, as he became known, and ensured him a successful start in business along the Niagara River. He was entitled to 200 acres as the son of a loyalist, but a petition sent by his uncle in October 1796 secured for him an additional 400 acres, thus placing him on a “footing with others of his description.” During this period he trained in his uncle’s forwarding business at Niagara (Niagara-on-the-Lake). The first evidence of his own mercantile activity came in 1797, when he and Thomas Dickson*, either on their own or possibly on behalf of Thomas Clark*, received a shipment of skins, handkerchiefs, and gunpowder from Charles Wilson of Niagara Falls.

Street formed a partnership with Clark, an important merchant-forwarder at Queenston, by May 1798 but the association ended the following year. By 1803 Street was involved in milling operations at Niagara Falls. In August of that year he was clerk at the Bridgewater Mills at Chippawa, then operated as a leasehold by Robert Randal* and James Durand*; the following year Street and Durand formed a partnership. Its duration is uncertain but about 1808 or 1809 Street entered into a second association with Clark, creating a business concern which would become one of Upper Canada’s largest and would last until the latter’s death in 1835. Street’s activities were so often those of Clark and Street that it is difficult to be sure when he is on his own. Even in personality the partners seem to be identical people whom the contemporary record rarely characterizes as individuals. From Street’s correspondence it is evident that because of health problems (possibly arthritis), he rarely set foot beyond the Niagara Falls area, leaving Clark to travel about the province on business. The partnership initially revolved around two milling complexes: the Falls Mills, purchased by Clark in 1805 from John Burch and sold to Street two years later, and the nearby Bridgewater Mills. These were acquired from Durand in 1810, according to Clark, who secured the crown patent on the property in 1815 . Randal contested Clark and Street’s title to the property, but it was a futile effort, his claims quickly becoming enmeshed with a lengthy political assault upon the Niagara élite, including Street.

The location of the milling complexes, at the upper terminus of the Niagara portage road, was largely responsible for the success of Clark and Street in collecting wheat and flour from interior settlements. Flour processed at their mills was trans-shipped over the portage road to Queenston, and then shipped to Prescott for forwarding to Montreal and Quebec, where the Upper Canadian contribution to wheat and flour exports was rising sharply. In the absence of complete and consecutive account-books, it is difficult to estimate the long-term profitability of the firm’s milling operations and flour sales. In 1808, 2,079 barrels of various grades of flour were sold at Quebec for approximately £4,400 to John Mure* and others. Clark’s personal account-books for the period 1 January to 30 June 1810 record the firm’s profit from flour sales at Montreal and Quebec as £11,461 15s. 6d. Both milling complexes, which Sir George Prevost* described in 1814 as the “most useful and valuable in the country,” were burned by the Americans in July 1814. The firm’s good fortune in having Clark appointed one of the commissioners for the assessment and payment of war losses in the Niagara District enabled it to recover much of its losses. Payment of most of the compensation on the Bridgewater property was delayed until 1833, however, as a result of actions taken by Robert Randal. Though only the Falls Mills were rebuilt (eventually to be turned into a woollen mill), Clark and Street nevertheless retained a monopoly on milling at Niagara Falls, according to former Niagara merchant James Crooks* in November 1814.

The success of the partners’ mills provided them with a large source of capital which they utilized skilfully. With only a limited amount of capital available through loans from banking facilities, Street became one of the largest money-lenders and financiers in Upper Canada. The method by which money was lent, as well as the amount, varied from person to person. Borrowers ranged from William Haun, a Bertie Township farmer who asked for a loan of £25 in 1829 to purchase seed grain, to members of the important political, ecclesiastical, and commercial circles in Upper Canada. Attorneys general William Henry Draper* and Christopher Alexander Hagerman, legislative councillor Adam Fergusson*, London District treasurer John Harris, Joseph Bitterman Spragge of the Surveyor General’s Office, Bishop John Strachan*, William Hamilton Merritt*, James Crooks, and Captain Hugh Richardson* were among those who owed Clark and Street anywhere from £100 to £15,000. Even at an interest of six per cent – the maximum allowed by British law – it is not surprising to see how the firm became wealthy. Moreover, Street had little sympathy for tardy debtors, who were dealt with strictly. John Callahan, a Welland Canal worker who owed Street but £6, was jailed for failure to repay. However, discretion was warranted with individuals such as John Strachan, who still owed money to Street’s estate in 1862.

The profits made from milling and money-lending were further invested in stocks, debentures, transportation schemes, and land. By the 1820s Street’s wealth began to show itself outwardly. On 22 Aug. 1824 he put up a £5,000 bond as security for Receiver General John Henry Dunn*. Next to the provincial government, Street was the largest stockholder in the Bank of Upper Canada in 1830 and probably the largest shareholder in the Gore Bank; as well, he held shares in the Bank of Montreal and a substantial number in the Commercial Bank of the Midland District. He possessed at least £3,500 worth of five-year provincial debentures, and owned debentures issued by both the Gore and the Wellington districts. In the business of transportation, he held at least £8,000 worth of Welland Canal Company stock, in addition to stock in the Erie and Ontario Railroad Company, Guelph and Dundas road, Stoney Creek and Hamilton road, Cobourg Harbour Company, Port Hope Harbour and Wharf Company, and Grand River Navigation Company. In 1844 the share of Street’s estate which went to his son, Thomas Clark Street*, included stocks, bonds, debentures, and debts owed worth approximately £44,390. Street was a director in a number of the enterprises in which he held stock.

In building his portfolio, Street availed himself of the opportunities that were often drawn to his attention by people close to the source. Thus, in 1841, with the aid of William Hamilton Merritt, he was able to purchase a large number of shares in the Welland Canal Company that were to be redeemed for provincial debentures. The government’s offer was a lucrative one, since the back-interest owing on the stocks was also to be credited in debentures once tolls collected on the canal surpassed £30,000. With Street’s capital and Merritt’s acquaintance with the stockholders, the two embarked on a purchasing spree. The success of the scheme rested on Merritt’s buying stocks which could be got for less than their par value or on which a large amount of back-interest was owed. On paper, the debentures to be issued in exchange would represent a substantial gain over the initial outlay when the debentures were resold. The rate of interest to be given on the debentures was at first fixed at two per cent. However, when Merritt heard of impending legislation that would raise that amount to six per cent, he secretly advised Street to hold the debentures already purchased until the bill was passed, in 1843, and, in the mean time, to purchase all the stock he could. Street did not live to profit from this scheme, which is nevertheless a revealing example of how his fortune was amassed.

Few Upper Canadians could have matched the efforts of Thomas Clark and Samuel Street as land speculators. Street owned land, or had a mortgage on land, in virtually every district of the province. His methods of accumulating land again demonstrate his means of succeeding as a pioneer merchant. Farms were accumulated through default on mortgages, bonds, or promissory notes. Maintaining agents in areas such as the Grand River valley enabled him to purchase the best lots under the most favourable circumstances. Moreover, in land matters as in stocks and debentures Clark and Street utilized the efforts of informed people, among them John Harris, the London District treasurer. Clark and Street advanced Harris money for use by the London District for works such as the district jail and court-house in 1829. In return, Harris provided Clark and Street with favours regarding land they held or wanted to sell. Furthermore, he reported to them on tax-delinquent lands that would become available at sheriff’s sales throughout the district. Clark and Street often sent agents, among them William and Walter Dickson, to buy such lands for them. The Dicksons would meet with Harris and travel to the sales, crediting purchases against the money the district owed Clark and Street. At tax sales in 1831 the firm purchased some 3,436 acres in the London District. In December 1839 Clark and Street deposited some £450 to meet the balance of purchases at tax sales, demonstrating that they could buy more than they lent.

A large speculator in loyalist land rights, Street was able to obtain locations with the help of John Radenhurst and Joseph Bitterman Spragge, clerks in the Surveyor General’s Office. Both men were accused of suspicious practices involving the location and patenting of loyalist lands. Coincidentally Spragge was personally indebted to Street for £284, though there is no direct evidence of impropriety on Street’s part. No doubt both clerks gave their full cooperation in any land dealings in which Street required assistance.

In a manner similar to their vigorous collection of money owed by debtors, Clark and Street were relentless in disputes over land they had purchased or sold. Their rate of success in suits involving land was high. Aside from their strong legal and political connections – they often consulted men of such stature as Attorney General Henry John Boulton* – they also took the trouble to appear in court or, if necessary, to pay the expenses of witnesses prepared to testify on their behalf.

It is difficult to estimate the total amount of land owned by Street. In 1832 a group of investors who included Clark and Street, William Allan*, and William Forsyth purchased, along with 407 acres at Niagara Falls, the Pavilion Hotel, which was designed to become a model tourist resort known as “City of the Falls.” The project eventually failed but the property was probably a profitable investment. Street acquired in 1832 a large number of town lots at Dunnville, at the junction with the Grand River of the feeder ditch to the Welland Canal. Added to his ownership of part of the hinterland of the Grand River, his directorship in the Grand River Navigation Company, and his substantial holding of Welland Canal stock, the Dunnville purchases neatly completed a monopoly in the development of that area. In 1839 he made one of his larger purchases, 14,777 acres in Sarnia Township. Five years later the share of his estate that went to his son included 15,680 acres throughout southwestern and central Upper Canada.

As a prominent member of the Upper Canadian financial community, Street was often solicited to act as an agent for various business concerns. Clark and Street acted in 1826 on behalf of Forsyth, Richardson and Company of Montreal in transactions involving Niagara merchants and millers. In the fall of 1836 Street was empowered to act for Robert Gillespie* in financial and land matters, subject to an agent’s fee of 10 per cent at least in land dealings. Gillespie, a partner in a Montreal firm, was Thomas Clark’s brother-in-law and owned significant tracts of land in the Western District. In estate matters Street was called upon to act as the executor for important Niagara figures, to settle accounts, and to disperse lands. Estates, as was the case with those of John and William Crooks, brothers of James, were frequently complicated and took a number of years to sort out. Often, in instances of prior involvement with the deceased, including the Crooks brothers, Street’s participation in the settlement of their estates may well have been for reasons of self-interest.

Unlike his partner, Thomas Clark, who served as a legislative councillor, Street shied away from politics. He held local appointments not uncommon for a person of his stature – magistrate from 1796 and deputy-registrar – but seems to have stayed clear of direct political involvement. Street’s magisterial opposition to Robert Gourlay*, however, led Gourlay to name him, a Connecticut native, as “heir direct of the blue-laws” ascribed to New Haven’s Puritan government in the 17th century. As well, Gourlay assailed the “wretched dependence” of Clark and Street on government patronage, particularly under Francis Gore*. No doubt Street’s time was consumed with business, but even there, as in the case of the dispute over the Bridgewater Mills, Clark and Street were the focus of reform ire.

Street seemed conscious of his standing in the Niagara community. At one time or another he was a secretary of the Niagara Bible Society, to which he supplied free bibles, a member of the Niagara Turf Club, a life member of the Niagara District Agricultural Society (on account of a “liberal donation”), and a member of the Canada Emigration Association. He also took an active role in military affairs, becoming a captain in the 3rd Lincoln Militia in September 1812, lieutenant-colonel in April 1822, and colonel in 1839.

Yet, no matter how deeply one explores Street’s interests, it is difficult to escape the notion that his life focused on his business. His “incessant industry and attention to business” enabled him to become “the wealthiest individual in the Niagara District,” according to his obituary in the St. Catharines Journal. It also noted that he had been in the “habit of exacting the last penny of interest,” which does not seem as harsh a judgement of his character as that of a Thomas Lundy, who had accused Street in 1824 of selling flour to the Americans during their occupation of Fort George (Niagara-on-the-Lake) in 1813.

Street died at Port Robinson, on the Welland Canal, on 21 Aug. 1844. His fortune was left to his son, who managed to increase his share, and to his four surviving daughters, who married prominent personages, including Thomas Brock Fuller*, later the first Anglican bishop of Niagara, and Josiah Burr Plumb*, a future speaker of Canada’s Senate. (Dictionary of Canadian Biography)

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I shot the streets at Dadar literally littered with flowers and mango leaves for Dasshera puja.Poor families making garlands to be bought by people to appease the Gods.. requesting the Gods for Peace and Prosperity calm in the city that we all love and fondly call it Amchi Mumbai..A city that has blessed us all in bad times good times and in all seasons.

Mumbai is a cauldron of calm , I have had many offers to shift professionally to Bangalore and Pune , but I just cant think of relocating my made in Mumbai soul..the power of Mumbai has its hold on me far too deeply..I am enslaved to the warmth , the love that I get from this city , this city of loved ones friends and well wishers.

So I shoot this city , despite my ill health, despite all my problems that have enmeshed me badly..I shoot to share, to show you through my camera eye the world that appears to me vividly , ritualistically culturally ..yet it all becomes a single spread weft and warp of godliness depending on how you see it..

Yes Mumbai is a neighborhood , Arti at your end and Azan at my end synchronizing the spirituality of our diverse souls.. so many other religiosity living as bricks in a single wall holding a edifice that is the heritage of our children s children.

I wonder apprehensively had I not taken up photography , what would have been the condition of my inner soul , maybe a vast wasteland that gave birth to blogs ..Prior to this I never wrote anything , but I was a good letter writer no poems nothing..

Photography made me an incorrigible Blogger , barefeet blogger of Mumbai..

About Dasshera

en.wikipedia.org/wiki/Vijayadashami

Vijayadashami (Bengali: বিজয়াদশমী, Kannada: ವಿಜಯದಶಮಿ, Malayalam: വിജയദശമി, Marathi: विजयादशमी, Nepali :विजया दशमी, Tamil: விஜயதசமி, Telugu: విజయదశమి) also known as Dasara (also written Dussehra) Bengali: দশেরা, Kannada: ದಸರ, Malayalam: ദസറ, Marathi: दसरा, Telugu: దసరా) and Dashain (in Nepali), is a festival celebrated in varying forms across Nepal and India. It is celebrated on the tenth day of the bright fortnight (Shukla Paksha) of the Hindu autumn month of Ashvin or Ashwayuja, and is the grand culmination of the 10-day annual Navaratri (Sanskrit: नवरात्रि, 'nine nights') festival. It is the largest festival of Nepal, and celebrated by Hindu and non-Hindu Nepalis alike.

Vijaya Dashami also known as Dasara, Dashahara, Navaratri, Durgotdsav... is one of the very important & fascinating festivals of India, which is celebrated in the lunar month of Ashwin (usually in September or October) from the Shukla Paksha Pratipada (the next of the New moon day of Bhadrapada) to the Dashami or the tenth day of Ashwin.

In India harvest season begins at this time and as mother earth is the source of all food the Mother Goddess is invoked to start afresh the new harvest season and to reactivate the vigor and fertility of the soil by doing religious performances and rituals which invoke cosmic forces for the rejuvenation of the soil.

On the day of Dasha-Hara, statues of the Goddess Durga are submerged in the river waters. These statues are made with the clay & the pooja is performed with turmeric and other pooja items, which are powerful disinfectants and are mixed in the river waters. This makes water useful for the farmers & yields better crops.

Chatrapati Shivaji Maharaj, the founder of the Hindawi (Hindu) Swarajya - Maratha Empire used to always worship Lord Shiva & Goddess Durga in the form of goddess Bhawani before any military expedition. Goddess Bhavani had blessed Shivaji Maharaj with her own sword called “Bhavani Talwar” on this blessed day.

Buses, trucks and huge machines in factories are all decorated and as Dasha-Hara is also treated as Vishwakarma Divas - the National Labor Day of India.

Veda Vyasa is considered as the foremost Guru and Vijayadasami is also celebrated as Vyasa puja.

Dasha-Hara is the festival of Victory of Good over Evil.

The history of Dussehra is an ancient one and derives its origin from a number of popular legends found in the scriptures.

[edit] Victory of Prabhu Ramachandra over Ravana

On this day in the Treta Yug, Shri Ram (7th incarnation of Vishnu), killed the great demon Ravan who had abducted Ram's wife Sita to his kingdom of Lanka. Ram, along, with his brother Lakshman follower Hanuman, and an army of monkeys fought a great battle to rescue his wife Sita. The war against Ravan lasted for ten days.

Rama had performed "Chandi Hom” and invoked the blessings of Durga to kill Ravana. Durga blessed Rama with the secret to kill Ravana. Ravana was defeated in his own kingdom of Lanka by Rama & the vanarsena. Rama with Sita & Laxman returned victorious to his kingdom of Ayodhya on the Ashwin Shukla dashami. This victory of Rama is since then celebrated as “Vijaya Dashami”.

So also prior to the defeat of Ravana, when Rambhakt Shri Hanuman went to Lanka to search Sita, he found her on the day of Ashvin shukla dashami.

During these 10 days of Dasha-Hara, huge idols of Ravana, Kumbhakarna (brother of Ravana) & Meghanad (son of Ravana) are erected and are set on fire by the enthusiastic youth at the sun set.

After Dasha-Hara, the hot weather of the summer ends, especially in North India and as the winter starts, the cold weather becomes breeding ground for many kinds of infections. Hence burning huge Ravana statues filled with the crackers containing phosphorous purifies the atmosphere. At the same time the temples perform Chandi Homa or Durga Homa which also helps in purifying the atmosphere.

Many houses also perform Aditya Homa as a Shanti Yagna and recite Sundara Kanda of Srimad Ramayana for 9 days. All these Yagna Performances are to create powerful agents into the atmosphere surrounding the house so as to keep the household environment clean & healthy.

The purpose of performing these homas is also to kill & sacrifice the 10 bad qualities, which are represented by ten heads of Ravana as follows:

(1) Kama vasana (Lust), (2) Krodha (Anger), (3) Moha (delusoion), (4) Lobha (Greed), (5) Mada (Over Pride), (6) Matsara (Jealousy), (7) Manas (Mind), (8) Buddhi (Intellect), (9) Chitta (will) & (10) Ahankara (Ego).

Some houses perform Yagnas 3 times daily along with sandhya vandana, called as Aahavaneeya Agni, Grahapatya Agni, Dakshina Agni. In addition to this, the Aditya Homa is performed with the Maha Surya Mantras and the Aruna Prapathaka of the Yajurveda. The effect of these mantras is to keep the heart, brain and digestive functions of the body in balance. The imbalances in these occur in the absence of adequate sunlight in the winter months.

[edit] Victory of Durga Mata over Mahishasur

Some of the Aasuras (Demons) were very powerful and ambitious, and continually tried to defeat Gods and capture the Heaven. One such Aasura called Mahishasur, who looked like a buffalo, grew very powerful & created havoc on the earth. Under his leadership the Aasuras even defeated the Devas (Gods), all of whom were powerless including Brahma, Vishnu etc... Finally, when the world was getting crushed under Mahishasura's tyranny, the Devas came together & contributed their individual energy to form “Shakti” a single mass of incandescent energy to fight & kill Mahishasur.

A very powerful band of lightening dazzled from the mouths of Brahma, Vishnu & Mahesh (Shiva) and a beautiful, magnificent, radiant young virgin with ten hands appeared. All the Gods gave their special weapons to her. This Shakti coalesced in the form of Goddess Durga.

Durga with weapons in her ten hands, riding on Lion, who assisted her in the fight, took on Mahishasur. The battle raged for nine days and nights. Finally on the tenth day of Ashwin shukla paksha, the evil demon Mahishasur was defeated & killed by Durga.

Hence Dasha-Hara is also known as Navaratra or Durgotsava and is a celebration of victory of Goddess Durga. Durga as Consort of Lord Shiva represents two forms of female energy - one mild & protective and the other fierce & destructive.

[edit] Home Coming of Durga Mata

Daksha, the Lord of the Earth, and his wife, Menaka, had a daughter called Sati. Uma, right from her childhood, started worshipping Lord Shiva as her would-be-husband. Lord Shiva, being pleased with the worship of Sati, came to marry her. Daksha was against their marriage but could not prevent it to happen. A little time later, Daksha arranged a `yagna` where everyone except Lord Shiva was invited. Sati, feeling ashamed of her father`s behaviour and shocked by the attitude metted towards her husband, killed herself. There was no end to his anguish when Lord Shiva came to know about this. He lifted the body of Sati on his shoulders and started dancing madly. With the supreme power dancing with wrath, the World was on the verge of destruction.

Then Lord Narayana came forward as a saviour and used his `Chakra` to cut Sati`s body into pieces. Those pieces started falling off from the shoulder of the dancing Shiva into different parts of the World. Shiva was finally pacified when the last piece fell off from his shoulder. Lord Narayana, however, revived Sati to new life. The places where the pieces had fallen are known as the `Shakti Piths` or energy pits. Kalighat in Kolkata, Kamakshya near Guwahati and Vaishnav Devi in Jammu are three of these places.

In her next birth Sati was born as Parvati/ Shaila-Putri(First form of Durga), the daughter of Himalaya. Lord Narayana asked Shiva to forgive Daksha. Ever since peace was restored, Durga, with her children, Kartikeya, Ganesh and her two `sakhis` - Jaya and Vijaya, comes to visit her parents each year during the season of `Sharatkal` or autumn when Durga-Puja is celebrated. Thus the other name of Durga-puja is `Sharodotshob`.

[edit] End of Agnyatwas of Pandavas

In Dwapar Yuga, after Pandavas lost to Kauravas in the game of Dice, they had to proceed to 12 years of “Vanawas” (exile to forest) followed by one year of Agnyatawas. Pandavas spent 12 years in forest and hid their weapons in a hole on a “Shami” tree before entering the Kingdom of Virat to complete the last one year of Agnyatwas. After the completion of that year on Vijayadashmi they took the weapons from the Shami tree, declared their true identity & defeated Kauravas, who had attacked King Virat to steal his cattle wealth.

Since that day the exchange of Shami leaves on Dassera day became symbols of good, will and victory. Hence on Dasha-Hara Shami Tree & the weapons are worshipped.

[edit] Kautsa's Gurudakshina

Kautsa, the young son of Devdatt, a Brahmin, was living in the city of Paithan. After completing education from Rishi Varatantu, he insisted on his guru accepting Guru Dakshina (present).

But Guru said, "Kautsa, to give 'dakshina' in return for learning wisdom is not proper. Graduation of the disciple makes the guru happy, and this is the real Guru Dakshina."

Kautsa was not satisfied. He still felt it was his duty to give his guru something. Finally the guru said, "Alright, if you insist on giving me dakshina, so give me 140 million gold coins, 10 million for each of the 14 sciences I have taught you."

Kautsa went to king Raghu. Raghuraja was an ancestor of Lord Rama, famous for his generosity. But just at that time he had emptied all his coffers on the Brahmins, after performing the Vishvajit sacrifice. He asked Kautsa to give him three days' time. Raghuraja immediately left to get the gold coins from Indra. Indra summoned Kuber, the god of wealth. Indra told Kuber, "Make a rain of gold coins fall on the "Shanu" and "Aapati" trees round Raghuraja's city of Ayodhya."

The rain of gold coins began to fall. King Raghu gave all the coins to Kautsa, and Kautsa hastened to offer the coins to Varatantu Rishi. Guru had asked only 140 millions, so he gave the rest back to Kautsa. Kautsa was not interested in money. In those days honor was considered more valuable than wealth. He asked the king to take the remaining gold coins back. But the king refused to take them back as kings do not take back the daan (gift).

Finally Kautsa distributed the gold coins to the people of Ayodhya on the day of Ashwin shukla dashami. In remembrance of this event the custom is kept of looting the leaves of the "Aapati" trees, and people present each other these leaves as "sone(gold).

[edit] Simollanghan – crossing the border - War Season

In ancient times kings used the feast of Dasha-Hara to cross the frontier and fight against their neighboring kingdoms. This border crossing is known as "simollanghan". Thus Dasha-Hara also marks the beginning of the war season.

This is a street in Lucknow UP India which connects Bada Imambara ,Chota Imambara and Hussainabad.. one end takes you to the older quarters of Chowk and Nakhas.

Chowk was once renowned for its beautiful dancing girls called Tawaifs , this intoxication of dance was known as Mujra.. households were lost on the beauty of a Tawaif.. a cultured prostitute , it was Adab and Tehzeeb,, etiquette, manners and deportment.

The Nawabs of Oudh I am told by an old wizened man in the Pata Nala area where I was born, were passionately crazy about this leisurely pastime...

the other was love for little boys too, .. fortunes were spent on finding a nice doe eyed little boy who would be the apple of his owners pride.

And jealousies, the tenderness of these little souls in their feminine charms and guile.

The Nawabs loved pigeons or flying pigeons , this was known as Kabutarbazi.. racing pigeon from the roofs of their Havelis.. rare species of pigeons like Shirazis, Fantails, and other imported varieties.

Kite flying was a hobby that was in their blue blood called Patang bazi..kite fights,the razored thread and the delicacy of cutting the string of your opponents kite.

Poetry , nazm, ghazal, the Marsiyas of Mir Aneez, Mir Taki Mir, Mir Dabir...and part of my moms ancestry. my maternal grandfather Daroga Nabban Saab an eminent poet.. my Dads being a race called Moghal Pathans .. converted to Shiaism.

The solemnity of Moharram , the Tazias , the Matams Lucknow was a Shia stonghold even today’s Moharram the Martyrdom of Imam Hussain the Grandson Of The Holy Prophet is celebrated in old time charm., all this happens in Nawabi Nostalgia of Lucknow.

I was born in Lucknow my Dad Mohomed Shakir a very good looking guy , with looks that could kill was settled in Bombay .. he was to marry my Moms step sister whom he had not seen, as he was the only child my paternal grandmother was blackmailed into showing the bride to be, in arranged marriages the husband sees the face of his bride on the wedding night.

A plan was made my grandmother Khurshed Baji , who hid my Dad in a toilet and told him that he could see his bride from an opening.. instead of the bride my Mother only 14 years old ,playfully walked into the courtyard my Dad was hit by a bolt of lightning.. thus ended up marrying her.. my Moms step sister Huzoor Jahan quite elderly was heartbroken and locked herself up .. my Dad consummated the bridal vow and flew away to Bombay as he was having a relationship with an Anglo Indian lady presumably my Dads bosses wife..I think much of my English figure of speech I owe to her..

How it came into me God alone knows,.. the Christian bit too.

I was born in the same year 10th December 1953 in Lucknow never saw my Dad., some folks escorted my mom to Bombay and caught hold of the Casonova and the rest is history,

Dad left the bosses wife and the job.. the earlier days were in penury and living in a leaking shed on a cemetery in Kurla... where human pyres were lit

After that that things took a better turn Dad got a break and he was a Master Cutter and Outfitter and we came to live at Colaba with the old time famous actor Nawab Kashmiris family.. the Nawabs daughter Akthar Baji enrolled me in a school run by European teachers,, Private European School ..opposite Usha Sadan , the principal were Mrs E Lester, Miss Marjorie. Miss June... all deceased. The school was an extension of John the Baptist Methodist Church,.

And my parents are dead and gone, my wife is from Lucknow..

I am a self made man.. Drop out and all... I am enmeshed to the Indianess of America.. revolving my life to the Medicine Wheel...

He is great who can do what he wishes; he is wise who wishes to do what.

Summary

Memories reach out and are not meant to hurt

as hidden words unhidden in meanings you blurt

they come as they flow as they splurt

placed on a pedestal they fall

kiss dirt ...

Life is not to good , I am lucky that Jalal is seeing the city of his birth, through the pages of my past as I once wrote it at Buzznet as body post, deleted , yet vibrantly alive.

What hurts is comments, sometimes the comment placed as a bouquet on the dead body of your post, brings you, your body post to life.

At Buzznet much of the comments is aphrodisiacally abbreviative,to comment you need more prowess than the post you are going to comment on, sometimes a comment becomes a body post.This will be understood by those who have once been in love in their life .

My summaries are not for the living read or unliving dead.

What hurt me is though my posts are coming back to lIfe , I miss the comments, sharp razor edged comments, naughty comments , haughty comments, potty comments, in short I would give Buzznet support my soul to get back those comments..Yes some chapters in Life you cannot UNDO ..

I am not the Shia Thugno1, Photographerno1, Commentator no1, but yes I am Firoze Shakir a substance that does not wash easily, the dust of my longings, the lust of my belongings clings to me as water clings to ice...

I start a new series at Flickr Moharam in Hussain tekri Jaorah, the exorcism, possession penance...

I copied my entire Shia poetry here.

My eunuch poetry too I am copying ..

I am enjoying the solitary laid back confinement at Fickr two years US $47.

My first paid upgrade ..but I can move my posts to Bloggerspot or Wordpress in a matter of a second.

I wish it could move to my homesite , but that is sheer impossible it is photo gallery.

My son Asif Shakir has all my pictures as back up...

I have yet not been able to connect to Tom UNDOYOULIKEIT ,,,so if any one of you is connected to him, do tell him I miss my American Photo Guru ..

Om Mani Padme Hun..

And Jamieshaef

Obqupunx 13 the man who cannot be named @gmail.com a bogus email Id he stamped and tatooed on my discomfitured dehyderated disillusioned demystified detoxified designer no1 Ass.

This latest collection of flickr wonder kicks off with an image from Romann Ramshorn, whose black-and-white work really has to be seen. If you haven't visited his stream yet, you'll be adding him as a contact when you have, especially if you like bnw photography. Thank you to dora sans raison for pointing me in Romann's direction.

Other fine black-and-white work includes image #4 by Lior Patel - just a lucky shot, he says!

culturalvisions has much good bnw nude imagery amongst his stream, but it was particularly image #5 that impressed me on my last visit.

Jana Stolzer - image #7 - is simply one of the best there is on flickr, and there won't often be one of these mosaics that does not include one of her images.

The caress in #31 is such a delicately photographed, lit and processed image, it really deserves many more than the two comments it so far (at time of posting) has.

Agnieszka's image #34 is a wonderfully thought-provoking bnw, and the preceding photo is a classic and again comes from a stream that I have only discovered during the past week.

I don't think there's a Gary Isaacs image in this latest mosaic, but it was Gary's favorites pages hat sent me to the breathtakingly brilliant work of katiachusheva, represented here by four images. #13 through to #16.

As for the remaining colour and sepia images I just loved image #12 the instant I saw it. VORFAS - images #8, #9 and #21- gets better all the time; image #24 from 3amfromkyoto is just colour magic; #23 a lovely colour family protrait from Salvatore Falcone and #28 comes from the most imaginatively entertaining and charmingly inventive streams around. If you haven't discovered oladios yet, go there now.

The contributions from Quizz, another photographer hardly likely to be absent from these mosaics, include one of her finest self-portraits (#27) and (#2) a moment of sepia romance and gallantry.

1. Süleymaniye, 2. Untitled, 3. the embrace, 4. Untitled, 5. Two Generations, 6. Just a dream..., 7. Untitled, 8. Untitled, 9. Untitled, 10. Forgotten path / Camino olvidado, 11. Burning Brightly, 12. INDIA/, 13. a_1114972419_nadiadnes5, 14. Van Georg, 15. ..., 16. ..., 17. until we meet again, 18. enmesh, 19. Ho Stream Oxbow selinipia tone, 20. old letters lecture, 21. Untitled, 22. imagination, № 16. (predator), 23. Before and after me, 24. . Floral Spectral Anomalies And The Human Condition .1 ., 25. imagination, № 15. (lightning), 26. Seamstress Sorceress, 27. I like longing, 28. The results are always perfect, 29. My Child, 30. BAGO, 31. Picture 266bh, 32. Lipstick and Light, 33. Travelers, England, 34. any case, 35. . The Apple Harvest III ., 36. What Is Winter?

Created with fd's Flickr Toys.

The Thinker was replaced outside MacLaren Centre in Barrie with new work.

The original concept of the artist was Dante sitting looking into the gates of Hell.

To me, the replacement piece shown below in a link is spiritless.

By Bob Bruton, Barrie Examiner

Thursday, September 15, 2016 3:53:20 EDT P

The Thinker might no longer be brooding outside Barrie's MacLaren Art Centre.

It's board of directors has plans to replace the August Rodin bronze reproduction with a more contemporary statue in time for Canada's 150th birthday – July 1, 2017 – Kosso Eloul's 'Shlosha'.

www.flickr.com/photos/32760542@N07/14740558141/in/photoli...

www.flickr.com/photos/32760542@N07/14763592583/in/datepos...

“It's contemporary work, in stainless steel, and it's a more modernist work, so it fits with the architecture of our contemporary wing,” said Carolyn Bell Farrell, the Maclaren's executive director.

“It's going to be fresh, it's going to be exciting,” said Coun. Mike McCann, who sits on the board as city council's representative, along with Coun. Arif Khan.

“It's going to integrate very well in the downtown core.”

Bell Farrell said the MacLaren submitted an application Tuesday to Ontario's Trillium Foundation to secure funds to make this happen. She expects to know by January.

The replacement still requires board approval.

The Eloul piece is in the MacLaren's permanent collection, and has been stored in Toronto for 10 years.

“It's time to revitalize our outdoors,” Bell Farrell said of the Mulcaster Street site. “And we want something that's also contemporary Canadian art that reflects our mandate, and something that could be revitalizing the whole sculpture garden, and becomes a really wonderful kind of legacy project for the 150th anniversary of Canada.”

Eloul (1920-1995) was born in what's now Russia and first came to Montreal in 1964, before settling in Toronto.

He's known for his minimalist rectangular box-shaped pieces made from stainless steel, and his sculptures grace public spaces in many Canadian cities.

Rodin (1840-1917) was a French sculptor, illustrator, graphic artist and painter; he's considered to be the founder of impressionist style in the art of sculpture.

McCann was asked why The Thinker would be replaced with any other sculpture.

“It's probably the most popular statue we have in Barrie, or at least at the MacLaren,” the Ward 10 councillor admitted. “I guess having a change is the direction the MacLaren wants to go, and they want to bring an exciting piece to the downtown and change is sometimes good.”

“It's (the Thinker is) a contemporary reproduction of a period piece,” said Bell Farrell, “Rodin bronzes we have had on loan, and the plans are to return them to their owners, from a private collection in Toronto.”

The bronze reproduction of The Thinker which sits in front of the MacLaren is part of a collection of Rodin replicas that are part of the art centre's controversial past.

In mid-2000, a deal to acquire more than 500 Auguste Rodin bronzes and some sculptures - involving registered charity Ideas Canada Foundation - was hatched.

A display of the Rodins was considered a significant achievement for the MacLaren, and there were hopes it could be a major revenue generator for the art centre.

But the deal fell apart because those donating the money to buy the Rodins were denied tax breaks by Revenue Canada.

This led to major financial hardship for the MacLaren, which was moving from its Toronto Street facility to the revamped Carnegie building - where its annual operating budget would increase to $3 million from $500,000.

In 2006 the city agreed to throw the MacLaren a financial lifeline, assuming the annual operating costs of the Mulcaster Street building. This is approximately $200,000 to $225,000 a year.

The MacLaren also receives an annual cultural grant from the city; in 2016 it was $133,000.

The MacLaren does not pay rent on the city-owned building.

On the city’s financial statements, there is an 'allowance for doubtful accounts' set up against the full amount of the MacLaren Art Centre loan of $3.9 million. The allowance for doubtful accounts is required from an accounting perspective.

bbruton@postmedia.comThe Thinker in rehab

James Adams

From Wednesday's Globe and Mail

Published Wednesday, Feb. 14, 2007 12:00AM EST

Last updated Friday, Mar. 13, 2009 9:07PM EDT

He's one of the most famous (and most parodied) figures in the history of art and now he's pondering the future in all his naked glory on a street corner in Barrie, Ont.

Last month,, officials with the MacLaren Art Centre in Barrie, a lakeside city of 150,000 about 100 kilometres north of Toronto, unveiled a large bronze reproduction of The Thinker, Auguste Rodin's masterpiece of manly, moody meditation, the original plaster version of which was created in 1880, 37 years before Rodin's death. The Barrie bronze, which is believed to have been cast in 1999, stands more than two metres tall, plinth included, and weighs more than 540 kilograms.

The unveiling marked a homecoming of sorts for the dark behemoth, which has not been displayed in public for close to five years, and a controversial one at that. Indeed, for many, The Thinker probably will serve, at least for a time, as a painful reminder of a bold, multimillion-dollar art deal gone bad -- so bad, in fact, that it almost destroyed the gallery on whose corner it now sits.

The unveiling is part of a rehabilitation effort by John Lister, who became the MacLaren's director in late 2005. He is hoping that sheer public exposure of The Thinker and some of the 23 other Rodin reproductions owned by the MacLaren will help to dispel the aroma of negativity that has hung over the gallery for more than five years. Already a large Eve stands in the rotunda at Barrie City Hall, kitty-corner from The Thinker, and more recently two local businesses agreed to display smaller Rodins on their premises, in exchange for donations to the MacLaren.

"We've spent a lot of time distracted by and dealing with the Rodin issue. This is a sign we're moving on," Lister said. "We're an art gallery with an arts mission. Let's just enjoy it."

This may prove easier said than done. After all, starting in the fall of 2001, The Thinker, now at the southeast corner of Mulcaster and Collier streets, spent almost six months in the rotunda of Toronto's Royal Ontario Museum functioning as a mascot of sorts for From Plaster to Bronze, a MacLaren-organized exhibition of 40 plasters and 28 bronzes attributed to Rodin. It was an exhibition whose repercussions continue to be felt a half-decade later, not the least of which is an ongoing fraud investigation that Barrie police and the RCMP launched almost 10 months ago.

What made the ROM show controversial was the now-famous spat it generated between the MacLaren, a decidedly modest gallery not even 20 years old at the time, and the Musée Rodin, the mighty Paris-based, state-funded repository of the sculptor's most significant works. The Musée has been a two-fisted arbiter of all things Rodin since its creation in 1919, and here, in une petite ville anglaise in what used to called New France, was this itty-bitty art centre announcing its intention to create one of the biggest, if not the biggest, collection of Rodins outside Paris. Zut alors!

The Barrie plasters, the Musée argued, were "inauthentic," "too far from the master's [Rodin's]hand" and, in many instances, likely duplicates (as opposed to first-generation plasters) manufactured decades after Rodin's death. There were even intimations that several of the plasters were outright fakes.

The charges rocked the MacLaren's world. The Barrie gallery, after all, was the planned recipient of the majority of the works at the ROM, and as part of that plan, the ROM exhibition had been conceived as only the first stop in what was supposed to be a long-running, profile-raising international tour.

Just a year earlier, the gallery had become enmeshed in a complicated transaction linking Canadian investors, seeking big breaks on income tax through the donation of high-valued art to registered charities, with Gruppo Mondiale Est, an Italian firm that had agreed to sell the investors 52 Rodin plasters -- many of them purportedly made during the artist's lifetime (1840-1917) -- that Gruppo claimed to have obtained from Rodin's "preferred foundry" after the foundry declared bankruptcy in 1993.

(In sculpture, a plaster is to a finished bronze what a film negative is to a photographic print. It's the plaster mould that, through a complicated foundry procedure known as lost-wax casting, allows the sculptor and his assistants to make multiple copies out of molten bronze. Which is why, for instance, in the last 20 or so years of his life, Rodin permitted more than 300 bronzes of varying sizes of one of his most famous works, The Kiss, to be cast and sold worldwide.)

These plasters -- and their potential as the basis for a series of bronze casts -- were to be the foundation of something called ArtCity, a scheme to turn the MacLaren into a major public institution and unprepossessing Barrie into an international tourist draw -- "a vibrant, evolving outdoor museum" -- renowned for its presentation of great sculpture past and present.

A key element in the scheme was the planned production of more than 500 Rodin bronzes -- editions of 10, possibly even 12, cast from 51 plasters, including such famous pieces as The Age of Spring and Eternal Spring. Some of the bronzes, which the MacLaren expected to receive in 2003 from an Italian manufacturer, would be kept by the art centre. But the majority were to be sold to institutions and individual collectors worldwide for mega-dollars, thereby helping the MacLaren pay, among other expenses, the almost $3-million it had borrowed from the Barrie civic government for a capital expansion started in the late 1990s.

But the MacLaren never took delivery of the 500-plus bronzes and still hasn't -- even though, after transferring $5-million (U.S.) in 2000 and 2001 to the Italian manufacturer, it received papers granting it title to them, and even though at one point in the deal that was supposed to result in delivery, more than $150-million in tax-leveraged funding was bouncing around various accounts in Canada, the United States, Europe, the Caribbean and Britain.

Negotiations to resolve the matter collapsed in late 2003, with the result that last spring Lister and Jim Fairhead, then the chair of the MacLaren board, finally decided to "turn the issue over to the police because we believe we've been defrauded." (The manufacturer says it never received full payment for its services and as a result, whatever bronzes it did cast have since been melted down.)

Once the ROM exhibition closed in mid-March, 2002 -- it was considered a box-office failure -- no other institution dared pick it up in the face of the Musée Rodin's sang et tonnerre. In fact, a tour never will happen, because last year the 17 or 18 Canadians who had hoped to donate 34 plasters in exchange for tax relief were told that the MacLaren no longer wished to take the art into its permanent collection. The MacLaren has since asked the donors to take possession of their plasters, which the gallery has been storing on their behalf in a Toronto facility. To date, only two of the 34 plasters have been reclaimed, and these by an unidentified Barrie collector.

Twenty-eight of the remaining 32 plasters are the property of a group of 10 prominent Canadian businessmen, fronted by Toronto investment banker Robert Foster, who, with a handful of associates, was a significant supporter of the ArtCity concept in its earliest days. It was, in fact, the Foster group that, in late 2000, donated The Thinker and the majority of the other 23 bronzes (for tax relief estimated at more than $2.2-million) that are now the legacy of the MacLaren's ill-fated foray into the international art market.

But you won't find any donors' names -- besides Foster, the original cadre included Rolling Stones/U2 tour manager Michael Cohl, pollster Martin Goldfarb, Mad Catz Interactive founder Pat Brigham and Canada 3000 founder John Lecky (now deceased) -- on the temporary plaque at the base of The Thinker. Will they be there when the permanent marker is affixed this spring? "That's a good question," Lister said recently. He plans to ask, "but my guess is they'll say no."

For its part, the MacLaren seems intent on not overplaying the significance of The Thinker. In press materials issued to coincide with the unveiling, the art centre notes that the sculpture was estimated to be worth $1-million "at the time it was donated," and cast as "part of a larger independent commercial edition that was never completed." But, it adds, the Musée Rodin -- which the MacLaren calls "the legal heir to Rodin's works" -- "has not recognized the bronze castings," including that of The Thinker, since it's generally agreed they were "sourced" from the plasters the Musée aggressively disparaged in 2001.

------------------

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

www.emergencyrooms.org/biennalist.html

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

-----------------the 32nd Bienal de São Paulo concept and artists ---

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

--------other biennale --

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

------------------

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

www.emergencyrooms.org/biennalist.html

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

-----------------the 32nd Bienal de São Paulo concept and artists ---

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

--------other biennale --

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

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Due to the continual withdrawal of so many Railway Post Office (RPO) trains, the Post Office Department decided to experiment with the distribution of mail on large buses, equipped somewhat like RPO cars. On February 10, 1941, experimental service started on the Washington, DC & Harrisonburg, Virginia HPO. It was a success from the start, but, due to World War II, expansion of this service was delayed for several years. After the war, the service increased rapidly, with more than 130 routes established between 1948 and 1955. As this service was somewhat enmeshed with the RPO service, its value decreased when RPOs were abolished. The last service of this type to operate in the U.S. was the Cleveland, Ohio, & Cincinnati, Ohio HPO, which was discontinued in 1974.

From: en.wikipedia.org/wiki/Highway_Post_Office

This bus can be found at the Virginia Museum of Transportation: vmt.org/

German postcard by Kolibri-Verlag, Wanne-Eickel, no. 2143. Photo: Real / Rank Film / Gabriele. Ellen Schwiers in Skandal um Dr. Vlimmen/Dr. Vlimmen (Arthur Maria Rabenalt, 1956).

Last Friday, 26 April 2019, German film and stage actress Ellen Schwiers passed away at the age of 88. The versatile actress 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 as a stage actress, director and intendant.

Ellen Schwiers was born in 1930, in Stettin, Germany (now Szczecin, Poland). She was the daughter of stage actor Lutz Schwiers. Her brother, Holger Schwiers, was also an actor. Ellen was trained to be a baker and a gardener, and before her breakthrough as an actress, she worked as a prompt. Her father gave her acting classes and she made her first stage appearance at the Stadttheater in Koblenz. Engagements in München (Munich), Frankfurt a.M., Göttingen and Zürich followed. In 1949 she made her film debut in the romance Heimliches Rendezvous/Secret Rendezvous (Kurt Hoffmann, 1949). In the following sixty years she would play dozens of film roles. She had her breakthrough in the cinema in the mid-1950s. She then appeared in box office hits like the war drama 08/15–2. Teil/ 08/15 Part 2 (Paul May, 1955), Anastasia – Die letzte Zarentochter/Anastasia: The Czar's Last Daughter (Falk Harnack, 1956) with Lilli Palmer, Skandal um Dr. Vlimmen/Scandal Around Dr. Vlimmen (Arthur Maria Rabenalt, 1956) and the Oscar nominated comedy Helden/Arms and the Man (Franz Peter Wirth, 1958) with O.W. Fischer and Lilo Pulver. In France, she appeared opposite Fernandel in the classic comedy La vache et le prisonnier/The Cow and I (Henri Verneuil, 1959). She was offered a seven-year-contract by a major Hollywood studio, but she rejected to move to Los Angeles due to her family. She was married to film producer Peter Jacob (the ex of Leni Riefenstahl) from 1952 till his death in 1992. They had two children, actress Katerina Jacob (born in 1958) and actor Daniel Jacob. Daniel died tragically from a tumor in 1985, only 21 years old.

Ellen Schwiers often played problematic, seductive women, who stir up the well-ordered community like in Das Erbe von Björndal/ Heritage of Bjorndal (Gustav Ucicky, 1960), the Krimi Der letzte Zeuge/The Last Witness (Wolfgang Staudte, 1960), Frau Irene Besser/Mrs Irene Besser (John Olden, 1960), and Der Satan mit den roten Haaren/Red-haired Satan (Alfons Stummer, 1964). One of her best parts was Buhlschaft in the film adaptation of Hugo von Hofmannsthal’s Jedermann/Everyman (Gottfried Reinhardt, 1961) opposite Walter Reyer. When the German film industry got in a crisis during the the 1960s, she started to focus on television, and appeared in such hit series as Derrick and Tatort. On stage she starred as Lady Macbeth in Shakespeare’s Macbeth (1972) or Lysistrata in Hochhuth’s Lysistrata und die Nato (1974). During the 1970s, she appeared in the international productions Novecento/1900 (Bernardo Bertolucci, 1976) with Robert de Niro, Gérard Depardieu and Donald Sutherland, and Fedora (Billy Wilder, 1978) with William Holden, Marthe Keller and Hildegard Knef. In 1982 Ellen Schwiers founded the Tourneetheater Ensemble together with her husband and her daughter. In 1989 she was awarded the Bundesverdienstkreuz. Today she is still managing this ensemble, for which she also directs plays. Her last feature film was Scarmour (Sikander Goldau, 1997). She regularly appears on German television. Recent TV-films were the thriller Mord am Meer/Murder at the Lake (Matti Geschonneck, 2005), the tragi-comedy Mein Vater und ich/My Father and I (Rolf Silber, 2005) with Dietmar Schönherr, and Eine Liebe in Königsberg/A Love in Königsberg (Peter Kahane, 2006). Later she appeared in the popular crime series SOKO 5113. Ellen Schwiers passed away in Berg on Lake Starnberg. She was the grandmother of actress Josephine Jacob.

Sources: Stephanie D'heil (Steffi-Line.de), Prisma, Wikipedia and IMDb.

Ernst Ludwig Kirchner

German, 1880–1938

Street, Dresden

1908 (reworked 1919; dated on painting 1907)

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.

In 1905, painter and printmaker Ernst Ludwig Kirchner, along with Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff—all untrained in the visual arts—founded the artists’ group Die Brücke, or “The Bridge,” a moment that is now considered the birth of German Expressionism. Impelled, in Kirchner’s words, to express themselves “directly and authentically,”1 they rejected academic art as stultifying and searched for means to make work that possessed a sense of immediacy and spontaneity. They culled inspiration from the emotionally expressive works of Vincent van Gogh and Edvard Munch; Oceanic and African art they encountered at ethnographic museums; and German Gothic and Renaissance art, which led them to enthusiastically embrace the woodcut, a print medium through which they pioneered their signature style, characterized by simplified forms, radical flattening, and vivid, non-naturalistic colors.

The Brücke artists craved to “bring life and art into harmony,”2 upending conventions in both to cultivate what they considered a more instinctual and natural way of being—a reaction shared with a larger German youth movement against new realities of urbanization and conservative imperial German society. In their communal studio, decorated with non-Western art and erotic images, they made life-drawings from nude models in unselfconscious, informal poses. They spent summers together with their girlfriends on lakes near Dresden, allowing nudity and free love to reign, and conjuring this bohemian existence in their works. Kirchner’s woodcut of four nudes moving tranquilly in a rhythmic frieze, Bathers Throwing Reeds (1909), typifies this period, embodying Brücke’s utopic vision of a world untouched by encroaching industrialization and other alienating forces of modern life.

Once Kirchner moved to Berlin, in 1911, and after Brücke disbanded, in 1913, he found a subject in Berlin itself, newly established as a cosmopolitan metropolis. He captured its hectic pace, chaotic intersections, and crowded sidewalks, focusing in particular on streetwalkers in his monumental series of 11 paintings known as Berlin Street Scenes. Among them is Street, Berlin (1913), in which two finely dressed prostitutes with mask-like faces command the center of the street as indistinguishable men lurk in their wake. Kirchner found in prostitutes an apt symbol for Berlin, where anything could be bought and the potential for intrigue or danger was folded into the experience of moving with the ever growing, anonymous crowds pulsing through the city.

At the outbreak of World War I, Kirchner volunteered for service, but he soon experienced a physical and mental breakdown and was discharged. After convalescing in sanatoriums near Davos, he spent the rest of his life in the area, portraying its rural scenery, mountains, and villagers in his work. He also began to experiment with abstraction, reflecting his goal for “the participation of present-day German art in the international modern sense of style.”3 But the Nazis deemed Kirchner’s art “un-German,” and in 1937, as part of their Degenerate Art campaign—waged against works of modern art, which they seized by the thousands from museums and private collections—they removed more than 600 of his paintings from public collections. The following year, he took his own life.

Postcard from Sutr, "The postcard is from my sister who was travelling with her boyfriend and his mother, who are from Sweden. She lives there now. The postcard describes the usual rigmarole of enmeshed family life in Malaysia. You forget how normal it all seems and how jarring their behaviours are on your return. "

Friday, 18 May 2007.

-P&C"

------------------------------------------------------------------------------------------

13 kilometeres north of Kuala Lumpur, Malaysia lies a 400 million year old limestone hill where lies a series of caves and cave temples complex. Batu Caves takes the name from the Sugain Baut (Batu River). The caves were used as shelters by the indigenous Temuan people. A pattern emerging with these postcard sites is that these sites often become famous after being recorded by colonial authorities.

Pillai was an Indian Trader who founded the Sri Mahamariaman Temple in Kuala Lumpa, was inspired by the Batu cave's entrance and decided to create a temple of dedication to Lord Muruga there.

The story of Lord Muruga is described in Skanda Purana. Lord Murugan is a popular deity amongst Hindu Tamils and is also known as the God of War or Skanda. He was a young, handsome, fire-eating and spear-throwing deity. Lord Murugan is considered to be the manifestation of handsomeness, robust youthfulness, masculinity, fragrance and unmatched valour - all symbolising the abode of happiness. Muruga has no beginning or end. he was not born nor can die. He has been described as being analogus to the sun, always shining brightly somewhere in the world, even when part of the world is cast in darkness.

He lived on forested hills and of course fond of pursuits typical to that of a handsome war god - hunting, fighting and had an appetite for blood sacrifice. According to legend, Murga rose from Lord Shiva's Third Eye to protect gods who were subjected to extreme torture and cruelty by the demon Surapadma. The gods appealed to Lord Siva who brought forth Murga, an element of Himself, and yet distinct from himself, who would alone be able to slay Surapadman and his clan. Many of the shrines in the Batu Caves relate the story of Lord Murugan's victory over the demon Soorapadman.

The Batu Caves consists of three main caves, the largest, the Cathedral/Temple Cave has high ceilings and features ornate Hindu Shrines. For visitors and those making the pilgrimage they must first climb a flight of 272 steps. It was in the Temple Cave, Pillai installed a consecrated statue of Sri Subramania Swamy. The tallest statue of Murugan, is located outside the Batu Caves. The statue, rising to an ominous height of 42.7 m and stands beaming in the sunlight covered in 300 litres of gold paint brought in from Thailand.

The Batu Caves becomes the focal point of the annual Thaipusam festival and attracts approximately 1.5 million Hindu devottees worldwide. The processsion is an 8 hour religious ceremony begining at Sri mahamariamman Temple in KL and leading to the Batu Caves. Milk is offered to Lord Murga by devottees either by hand or in clay pots.

The limestone hills is also home to numberous macaque monkeys which visitors sometimes feed. They have posed a biting hazard to tourists and have become quite territorial. Below the Temple Cave lies a two kilometre network of untouched cavens known as the Dark Cave. Over thousands of years, stalagmites rise from the floor and stalactites drip from the ceilings to form intricate flow stones, cave pearls and scallops. The caves are home to some unique species including the Liphistiidae spiders and Eonycteris and Rousettus fruit bats.

Reference:

murugan.org/ayyar_1.htm

www.lotussculpture.com/muruganwargod.htm

en.wikipedia.org/wiki/Batu_Caves

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

"upside-down and backwards, completely unburied"

www.frieze.com/issue/article/like_a_rolling_stone

Like a Rolling Stone

Sam Durant

Sam Durant’s work is self-effacing. It never talks about itself, and it enquires only of others. Like arriving late for a drink in the pub, I try to find a point at which to join in the conversation. A friend puts on an LP in the background: ‘Check the record, check the record, check the guy’s track record, check the record, check the guy’s rock record’, sings Mark E. Smith on The Fall’s clattering Big New Prinz (1988). I decide to take Smith’s advice and check the records, the registered historical facts. With the lifetime of rock and soul music in Durant’s work, records seem as good a place as any to enter the conversation. But on joining in, I discover that here music is ultrasound - bouncing off people and places in order to traverse social histories. The audience is just an echo chamber reverberating his core ideas. All there is to see of the artist himself is a blur. The wooden, plastic, paper, fibreglass, glue and pencil manifestations of his thoughts are what lie in the wake of a quicksilver messenger who takes history out of the past and into the present.

Like all histories, Durant’s work is essentially a rolling dialogue between then and now. But if we’re talking conversations, the dizzying vortices of elastic interconnected-ness Durant creates are more like the cosmic epiphanies of the 4 a.m. stoned conversation than the careful parries of academic debate. Like some renegade historian let loose in the library after dark, he weaves a lattice connecting the faded glories of Modernism with the tarnished moments of rock music, and dredges the idealism of civil rights era protest for its darker undercurrents. If you try to describe the referential nature of Durant’s work, however, you sound like a hippy overcome by some discovery of universal karma.

Start with Upside Down and Backwards/Completely Unburied (1999). The Rolling Stones’ ‘Gimme Shelter’ (1969) swaggers arrogantly from speakers surrounding a model of Robert Smithson’s Partially Buried Woodshed (1970). Smithson’s work was commissioned for the Kent State University campus, Ohio, in 1970. Four months after it was built a student was killed by National Guardsmen during anti-Vietnam protests, and the sculpture retroactively became a monument, of sorts, to the killing. One year earlier three people died at the Stones’ notorious Altamont festival in California, sounding the death knell for 1960s idealism, as the cliché goes. Neil Young wrote ‘Ohio’ (1970) as a tribute to the Kent State massacre. Which takes us to Reflected Upside Down and Backwards (1999), in which two models of Smithson’s woodshed are stacked one on top of the other. The model on the floor is clean and untouched, but its twin is burnt and charred. Nestled in the lower model are two CD players connected to four surrounding speakers arranged to face inwards towards the models. They emit a cacophonous blast of music but if you carefully pick apart the tangled strands of sound, you can hear Neil Young’s ‘Hey, Hey, My, My, Out of the Blue’ (1978) and Nirvana’s ‘All Apologies’ (1993). Kurt Cobain quoted Young’s line ‘It’s better to burn out than to fade away’ in his suicide note. Another line from the song, ‘There’s more to the picture/than meets the eye’, clues us in to the idea that Durant’s work lies elsewhere, amid the layers of our collective social memory, rather than in the objects themselves. A whole set of Durant drawings, such as a detourned diagram from Rosalind Krauss’s famous essay ‘Sculpture in the Expanded Field’ (1979), pulls the Stones, Smithson and Cobain together in order to stain hermetic histories of Modernism with the influences of popular culture and protest.

Proposal for Monument at Altamont Raceway, Tracy, CA (1999) in turn connects the Stones to the disillusionment of 1960s idealism but also links their dubious appropriation of black culture to Proposal for Monument, Friendship Park, Jacksonville, FL (2000?1). Here allusions to the racial conflicts of the Deep South enmesh themselves within the references to lynchings and black popular music that appear more explicitly in Upside Down/Pastoral Scene (2002). With its roots reaching into both earth and sky, and speakers playing music ranging from Billie Holiday’s ‘Strange Fruit’ (1938) to Public Enemy’s ‘Fear of a Black Planet’ (1990), Upside Down/Pastoral Scene presents us with mirrors and trees, bringing us back to reflecting on Smithson again, perhaps the one figure at the root of Durant’s system. Earlier this year that system stretched its tendrils into Europe with the work Echoplex Joseph Beuys Ideas/Crash, Fat, Felt, Amerika, Politics, Recovery, Monument (2003), which invoked another charismatic artist concerned with the political potential and social responsibilities of art. Speaking of which, go back to Proposal for Monument, Friendship Park, Jacksonville, FL, and you’ll find Durant referencing the Japanese-American sculptor Isamu Noguchi, a figure whose life thread connects Constantin Brancusi, Martha Graham, Buckminster Fuller, Robert Moses and Louis Kahn. You’ll also find that the genre of 1970s Southern Rock touched on in the piece (Friendship Park was where bands such as Lynyrd Skynyrd used to jam together) can be linked to ‘Southern Man’ (1970), a song by Neil Young. In this referential helter-skelter your head spins like Spiral Jetty - connections sink and surface in rapid succession. ‘My memory’, as Smithson wrote, ‘becomes a wilderness of elsewheres.’

Criticism is a zone of elsewheres - light flaring off the myriad surfaces a work presents us for contemplation. Perhaps Durant’s practice is a truly critical one, but critical in the way Stuart Morgan suggested: a world of ‘half-truths’, instances in which you experience ‘some sudden awareness of a pattern which was previously only intuited, a flash of similarity between what is inside and what is out’. 2 You see a piece of work and, like it or not, your history begins to map itself out on to the object of its own accord. You may understand what that Frank Stella abstract is supposed to mean, but you sure as hell can’t shake off the fact that it reminds you of a nasty curtain fabric at your parents home in the 1970s.

Like returning to reread an old book, you could say viewing Durant’s feedback systems is an almost entropic experience. Smithson described entropy as a ‘sand box divided in half, with black sand on one side and white sand on the other. We take a child and have him run hundreds of times clockwise in the box until the sand gets mixed and begins to turn grey; after that we have him run anti-clockwise; but the result will not be a restoration of the original division but a greater degree of greyness ...’. The processes that construct our lives are irreversible. Objects grow meaning like stones gather moss. They have no autonomy. Untangling one Durant piece from another becomes impossible. The world is just, as the title of one drawing named after another Smithson work suggests, ‘a heap of language’ (Heap of Language/Soul on Ice 2001).

Reading a language, however, begs questions of literacy and legibility. Do we have here a matrix of literate reference points in danger of referencing itself out of the picture? Aren’t there only so many times you can fold something in on itself before it implodes? The egotistical display of knowledge inherent in the sloppy artist’s hip allusions is absent from Durant’s practice. The planes of reference he stacks like a house of cards are made mutually dependent in order to spark wild tangential connections off each other. His work generates levels of association at the speed of light. It isn’t just about someone else’s idea of entropy, it is entropic itself. It’s work made from the inside out. A set of posters that form part of Proposal for Monument in Friendship Park, Jacksonville, FL makes this explicit. ‘Free Sunday Jam with Isamu Noguchi Ideas’, declares one statement in front of a rainbow haze. It goes on to quote Noguchi: ‘Every rock gains enormous weight, and that is why the whole garden may be said to be a sculpture whose roots are joined way below.’ Ideas are jammed with the awareness that one melody or rhythm cannot always be understood without the support of another.

Like the protest culture he speaks of, Durant’s work is polyphonic. Multiple voices testify to how the times they are a-changing. The perception of American culture by the rest of the world has altered since the 1960s, since the heady days of civil rights sit-ins and anti-war love-ins. Not that US culture is some easily graspable discrete concept - going back to Smith- son’s analogy, its grains are as much a part of the sands of the ‘old world’ as the ‘old world’s’ are of its.

The Stones strut their way around the woodshed and Jagger wails ‘war, children, it’s just a shot away, it’s just a kiss away’. Durant understands history is nothing but people. People are the problem. People are the solution.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Károly Keresi

Yes. This is happening. A beautiful painting (possible photograph) of a woman is mixed with a cartoon mouth and some madness enmeshing her head. The work comes for an artist named nerVous and it's plastered on top of wheat pastes which dictate: EAT DRINK SMOKE FUCK LIVE. The original wheat pasts are by an artist named Wil. Planned or not, i feel this makes for a wonderful collaboration.

Here's another work by nerVous: www.flickr.com/photos/49926514@N05/8405761672/

Other works by Wil: melroseandfairfax.blogspot.com/search/label/Wil

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Photo taken Nov 5th, 2015 on the 101st anniversary of the arrival of Shigetaka's present honoring the Alamo heroes. Notes about the gift-bearer, widely-respected Japanese author and traveler Shiga Shigetaka follow.

Just two days before Christmas 2015, Japanese Emperor Akihito turned 82 years old and he used the occasion to urge his countrymen to consider Japan's role in WW II.

“With each passing year, we will have more and more Japanese who have never experienced war, but I believe having thorough knowledge about the last war and reflecting deeply on it is most important for the future of Japan,” he said.

I applaud the Emperor's efforts to keep the lessons of war on the minds of a younger generation. There is a natural tendency to shun the subject or treat it superficially and move on to something else. The trick is how to approach the subject in such a way that will help us move forward. This is why it is especially important to consider not only the micro-aggressions that led to the war - the baby steps that many found perfectly acceptable - but also the things that Japan got right - the enlightened leaders who had the right vision but whose lessons were drowned out by the drumbeat to war.

The fact is Japan and the world at large - despite the good intentions of many - have failed to come to grips with the disastrous turn-of-events resulting in the Axis powers. We must acknowledge those leaders whose wisdom was cast aside in the Axis power's mistaken march to war and genocide. In doing so we hope to create an effective partnership built on a solid foundation. One such enlightened Japanese writer and statesman was Shiga Shigetaka. He was a professor at Waseda University who once studied at Hokkaido Agricultural College, a forerunner of Sapporo University. A former Union colonel under Abraham Lincoln, William Smith Clark was one Shiga's teachers there. Clark helped raise a New England style barn, and in addition to his regular classes, he volunteered to teach military drills and Bible study.

One of Shiga's lifelong friends and fellow HAC student Kanzo Uchimura became a Christian and this fact stirred Shiga but not to the point of becoming a Christian. Shiga was critical of all religion though Shiga's thoughts may have returned from time to time to the question of the role of the spirit if for no other reason than for the fact he was born on Christmas Day, 1863.

Shiga was impressed by the scientific developments coming from England in the person of Charles Darwin. Shiga was so energized by Darwin's ideas he joined the Japanese Navy and sailed on The Beagle - a Japanese vessel named in honor of Darwin's voyage. If the Japanese wished to avoid the fate of the Asian tribes that faced marginalization, he argued that Japan must welcome and encourage continuous change and improvements. Shigetaka's championing of Darwin's ideas paired seamlessly with Japan's own inclination towards refinement and set the tone for Japan's commitment to continuous improvement (renzoku kaizen) through research and implementation.

He was a frequent guest speaker to Japanese communities abroad and awarded the title of "honorary correspondent" by the Royal Geographical Society. November 5th of this year marked the 101st anniversary of Shiga's gift of a stone monument to the Alamo. Shiga made three stones bearing a poem he wrote uniting and celebrating the spirit of heroism of both East and West.

I celebrated the occasion by visiting the monument and buying a round of drinks at a local Japanese restaurant nearest to the Shrine of Texas Liberty. The Japanese customers asked what motivated me to buy them drinks. They were surprised when I told them the story. They knew of William Clark's stay in Japan (for about eight months); a bronze statue of him can be found in Sapporo bearing his famous parting words, "Boys be ambitious!" But they had never heard of Shiga Shigetaka despite the fame he enjoyed in his lifetime as a prolific writer, traveler, commentator, and magazine editor.

Shiga's first job out of college was not with the Japanese Navy. He was a junior high teacher dreaming of the right opportunity to come along. He was at a party of government workers which was unusually sober. It seems the Prefecture Governor was in attendance and everyone was on pins and needles to the point nobody was even talking. Shiga got up and offered the governor a drink. The story goes that the governor was so offended by being approached by a nobody that Shiga was immediately fired, fortuitously paving the way for his next assignment aboard The Beagle.

I am a tad skeptical of this great story for the reason that Shiga wasn't exactly a nobody - he was the son of a samurai. But then again at this point in history the role of the samurai was in serious question. When Shiga was precisely five years old (in fact it was the day after his fifth birthday) an important event happened that would have a great impact on his family and Japan: A samurai who aspired to topple the Meiji government was beheaded. His name was Kumoi Tatsuo. As with many samurai who died young, he left a death poem which Shiga would famously critique.

Shiga carved out a decidedly different life for himself than the death-embracing Kumoi. And his advice to a young writer is almost autobiographical in describing the kind of life which he led and held up as an example for others, "(A)bove all, you must aim to be a great man in maturity and, without becoming content with temporary honor, work hard from this moment, striving to leave a name imperishable for a thousand years in the history of English literature. Tatsuo (Kumoi) has left nothing for the history of Japan, let alone for the history of the world. It is merely that because his poems are inept (particularly through the Chinese way of thinking)."

Where Kumoi and others resigned themselves to an early Death, Shiga aspired to Life. Sadly his health failed him and he passed away at 65. At this time Hitler rose to power by appealing to church leaders that his plan for Jews was a fulfillment of Biblical prophecy. Reason gave way to scapegoating. Emotionalism trumped logic. With Shiga's gift in honor of the Alamo heroes he set Japan on a course he wished East and West would follow: the path of mutual respect, admiration, and friendship.

If Shiga had lived to see his 82nd birthday, the emperor's current age, he would have seen Japan through 1945, the same year WW II ended. Yet it is conceivable Shiga would never have witnessed Japan's alliance with Nazi Germany in WW II. For Shiga's legacy suggests he and his generation of enlightened intellectuals would never have approved it. This is all the more reason to celebrate Akihito's birthday pronouncement and on Christmas, to also remember Shigetaka Shiga! Through a long life we help the next generation remember those things which were passed on to us. With this is mind, I offer a toast to Emperor Akihito on his birthday and wish him the very best in health and circumstances!

There are those who may wonder how I could toast the son of the man whose father was at the epicenter of militarist Japan or how I could compare a "conservative nationalist" like Shiga Shigetaka to Christ? To answer the former, I would argue that the sins of the father should not get passed to the son. As to the latter question I would point to an excellent biography of Shiga Shigetaka by Masako Gavin. Gavin noted that while Shigetaka would often cop a conservative stance (as a journalistic device in an editorial face-off between two opinion-makers) his stand-alone criticism of religious conservatism made him an "reformed enlightener" who made prodigious efforts to keep Japan not only out of conflict with the United States and England but as firm partners.

In his gifted stone to the Alamo, the poem he wrote on it on it is in Chinese and of the two Asian legends he interwines with the names of Alamo defenders one is Chinese and the other Japanese. Shiga was among Japan's three most gifted Chinese literati. His next stop after the Alamo was Chihuahua, Mexico having already visited Washington D.C. Whichever country he visited his message was one of peaceful coexistence and mutual respect while his speeches to his brethren living abroad were encouraging, frank, and heartfelt: Faced with difficulties such as alcoholism and prostitution in Japanese Hawaiian communities he supported education and noted that if the Portuguese could succeed in Hawaii, there was no reason they couldn't either.

Alert: This is nothing short of an astonishing development. The four letters linked below between Noguchi and Tagore dramatically illustrate the very moment at which Shigetaka's vision of Japanese international engagement by way of mutual respect and admiration came to a crushing end. The Japanese student whom Shigetaka implored to aspire to greater heights than samurai/poet Kumoi Tatsuo was none other than Yone Noguchi.

Noguchi spent many years abroad and when he returned he struggled with justifying his country's increased militarism as Japan's foray into China in the 1930s brought more tragedies to light than successes. Noguchi lacked not only the charisma of Shigetaka but also his wisdom, something even his English skills could not make up for. Shigetaka spent a lifetime encouraging Japanese emigration and mentoring Japanese expats to help them assimilate to their host country's language and increase sensitivity to their host country's cultural heroes.

The gift to the Alamo was not only a present to the citizens of San Antonio but to the poor Japanese sugar cane harvesters in Hawaii or Brazil; it was a gift to citizens of the world that they should have a means to adapt and change and survive without resorting to the sword and instilling fear and distrust when in foreign lands. Shigetaka's advice was practical, moral, he held a high regard for the missionaries who sacrificed their own health to work with lepers. In contrast Noguchi's overseas experience was esoteric, far less scientific or pragmatic and this made him more susceptible to the appeal of propaganda.

Missing the guiding hand of his intellectual mentor Shigetaka who had died years earlier, Noguchi sought out advice and support for Japan's war in China from the Bengali Rabindranath Tagore with whom he had a personal friendship and in whom the Japanese bestowed a considerable degree of respect. Tagore's blunt criticism of Japan in China and her alliance with Italy and Germany stunned Noguchi.

The psychological blow to him was as devastating as if he had been hit by a bullet train. Instead of causing him to rethink his position Noguchi clung ever more tightly to his vision of a Japanese militarism that would bring peace for 500 years using the sword of war. It is clear the death of Shigetaka had left a huge vacuum in Japanese politics from which it was unable to recover.

Shigetaka was spoken of as "the son of a samurai" during his lifetime. It is clear somewhere along the way the son of a samurai had become the wise father of a nation. Yone Noguchi's appeal to Tagore was in many ways Japan's reaching out for her missing father - Shigetaka. It wasn't until Tagore's harsh response that Noguchi must have understood Japan was too far enmeshed to change course and he completely and willingly succumbed to Japan's alliance with Germany putting the nail in the coffin to Shigetaka's vision of diplomacy.

Seduced by Nationalism: Yone Noguchi's 'Terrible Mistake'. Debating the China-Japan War With Tagore

japanfocus.org/-Zeljko-Cipris/2577/article.html

Taken on Day Trip to Schynige Platte

Stieler Joseph Karl

Amalia of Oldenburg (born 21 December 1818 in Oldenburg, died 20 May 1875 in Bamberg) was the consort of King Otto of Greece (1815-1867). Born the daughter of Paul Friedrich August, Grand Duke of Oldenburg and Princess Adelheid of Anhalt-Bernburg-Schaumburg-Hoym, she married King Otto on 22 November 1836, in Oldenburg.

Fashion influence

When she arrived in Greece as a Queen consort in 1837 she had an immediate impact on social life and fashion. She realized that her attire ought to emulate that of her new people, and so she created a romantic folksy court dress, which became a national Greek costume still known as the Amalia dress.

It follows the Biedermeier style, with a kaftan (καβαδι) top over which is worn a richly embroidered jacket. It was completed with a cap or fez, traditionally worn by married women, or with the kalpaki (a toque) of the unmarried woman, to which was added the black veil for going to church.

This dress became the usual attire of all Christian townswomen in both Ottoman Empire-occupied and liberated Balkan lands as far north as Belgrade.

In the early years of the new monarchy, Queen Amalia, with her beauty and vivaciousness brought a spirit of smart fashion and progress to the impoverished country. She laboured actively towards social improvement and the creation of gardens in Athens, and at first won the hearts of the Greeks with her refreshing beauty. The city of Amalias and the village of Amaliapolis were named for the Queen.

As King Otto and his Bavarian advisers became more enmeshed in political struggles with Greek political forces, the Queen became more politically involved, also. She became the target of harsh attacks when she became involved in politics - and her image suffered further as she proved unable to provide an heir. She also remained a Protestant, in an almost universally Orthodox country, throughout her husband's reign.

n February, 1861, a University student named Aristeidis Dosios unsuccessfully attempted to assassinate the Queen. He was sentenced to death, but the Queen intervened, and he was pardoned and sentenced to life imprisonment. He was hailed as a hero for his attempt by certain factions, but the attempt also provoked spontaneous feelings of sympathy towards the royal couple among the people. Just over a year later, while the royal couple were on a visit to the Peloponnese, an uprising in Athens took place. The Great Powers, who had supported Otto urged them not resist and Otto's reign was at an end. They left Greece aboard a British warship, with the Greek royal regalia that they had brought with them.

King Otto and Queen Amalia spent the rest of their years in exile, home in Bavaria. They decided to speak in Greek each day between 6 and 8 o'clock to remember their time in Greece.[citation needed]

Queen Amalia died in Bamberg in 1875 and was buried in Munich beside the King.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

The word Kundalini is a familiar one to all students of Yoga, as it is well known as the power, in the form of a coiled serpent, residing in Muladhara Chakra, the first of the seven Chakras, the other six being Svadhishthana, Manipuraka, Anahata, Visuddha, Ajna and Sahasrara, in order.

All Sadhanas in the form of Japa, meditation, Kirtan and prayer as well as all development of virtues, and observance of austerities like truth, non-violence and continence are at best calculated only to awaken this serpent-power and make it to pass through all the succeeding Chakras beginning from Svadhishthana to Sahasrara, the latter otherwise called as the thousand-petalled lotus, the seat of Sadasiva or the Parabrahman or the Absolute separated from whom the Kundalini or the Shakti lies at the Muladhara, and to unite with whom the Kundalini passes through all the Chakras, as explained above, conferring liberation on the aspirant who assiduously practises Yoga or the technique of uniting her with her Lord and gets success also in his effort.

In worldly-minded people, given to enjoyment of sensual and sexual pleasures, this Kundalini power is sleeping because of the absence of any stimulus in the form of spiritual practices, as the power generated through such practices alone awakens that serpent-power, and not any other power derived through the possession of worldly riches and affluence. When the aspirant seriously practises all the disciplines as enjoined in the Shastras, and as instructed by the preceptor, in whom the Kundalini would have already been awakened and reached its abode or Sadasiva, acquiring which blessed achievement alone a person becomes entitled to act as a Guru or spiritual preceptor, guiding and helping others also to achieve the same end, the veils or layers enmeshing Kundalini begin to be cleared and finally are torn asunder and the serpent-power is pushed or driven, as it were upwards.

Supersensual visions appear before the mental eye of the aspirant, new worlds with indescribable wonders and charms unfold themselves before the Yogi, planes after planes reveal their existence and grandeur to the practitioner and the Yogi gets divine knowledge, power and bliss, in increasing degrees, when Kundalini passes through Chakra after Chakra, making them to bloom in all their glory which before the touch of Kundalini, do not give out their powers, emanating their divine light and fragrance and reveal the divine secrets and phenomena, which lie concealed from the eyes of worldly-minded people who would refuse to believe of their existence even.

When the Kundalini ascends one Chakra or Yogic centre, the Yogi also ascends one step or rung upward in the Yogic ladder; one more page, the next page, he reads in the divine book; the more the Kundalini travels upwards, the Yogi also advances towards the goal or spiritual perfection in relation to it. When the Kundalini reaches the sixth centre or the Ajna Chakra, the Yogi gets the vision of Personal God or Saguna Brahman, and when the serpent-power reaches the last, the top centre, or Sahasrara Chakra, or the Thousand-petalled lotus, the Yogi loses his individuality in the ocean of Sat-Chit-Ananda or the Existence-Knowledge-Bliss Absolute and becomes one with the Lord or Supreme Soul. He is no longer an ordinary man, not even a simple Yogi, but a fully illumined sage, having conquered the eternal and unlimited divine kingdom, a hero having won the battle against illusion, a Mukta or liberated one having crossed the ocean of ignorance or the transmigratory existence, and a superman having the authority and capacity to save the other struggling souls of the relative world. Scriptures hail him most, in the maximum possible glorifying way, and his achievement. Celestial beings envy him, not excluding the Trinity even, viz., Brahma, Vishnu and Siva.

www.dlshq.org/download/kundalini.htm

Gu ru 'phrin las གུ་རུ་འཕྲིན་ལས། (格日成立 Gerichengli). 2022. Good Boys Never Cry སྟག་ཤར་རའི་མིག་ཆུ་གསེར།. Asian Highlands Perspectives 61.

archive.org/details/ahp-61-good-boys-never-cry

Good Boys Never Cry སྟག་ཤར་རའི་མིག་ཆུ་གསེར། by Gu ru 'phrin las གུ་རུ་འཕྲིན་ལས། (格日成立 Gerichengli) is a collection of stories grappling with worlds separated by time and space but all joined by Tibetans of pastoral backgrounds facing challenges ranging from starvation and flashfloods in pre-modern times in tribal communities; horsemen with rifles chasing yak rustlers; pastoral women enmeshed in endless chores, marriage arrangements, spousal abuse, challenges, disappointments, and childrearing; university student life in urban settings; entrepreneur experiences in cosmopolitan Shenzhen; relationships beyond hetero; vibrant descriptions of bars, gyms, cafés; and the theater of city streets. The author's insightful creativity observes commonplace life and occurrences in inner and external worlds contextualized and expressed in remarkable literature. The stories of this collection are rooted in a nomadic tribe experiencing a rapid social transition from mobile pastoralism to a partially sedentary way of life where black yak-hair tents are replaced with permanent housing and manufactured tents. A new mundane emerges with motorcycles and automobiles replacing walking and horse- and yakback riding and smartphones and television, further defining a newfangled normal. The details of the circumstances of these collective memories and experiences are fresh enough to be vividly described, especially by a writer with a lived Tibetan pastoralist background such as Gu ru. His important Remembering Tomorrow and its collective memories of Tibetans in herding groups raised in black yak-hair tents testify to his background and qualifications to authentically portray Tibetan pastoral life. --Gengqiu Gelai (Konchok Gelek, Dkon mchog dge legs དཀོན་མཆོག་དགེ་ལེགས།) University of Zurich

When we want to learn about a community of people, i.e., their life and culture, we frequently turn to documentary films and written accounts in academic and popular readings as sources of knowledge. In the case of Tibetans, it is more challenging to locate and access short stories, especially in English, to learn about the community and its history and people. Good Boys Never Cry by Gu ru 'phrin las perfectly exemplifies the fluidity, porousness, and interplay between fictional narratives and life stories. Although framed as fictional accounts, Gu ru informs us that these stories are inspired by his memories and observations of people and their lives in his home community and beyond. Most of the selections in this anthology deliberately lead us into a calm, peaceful rural life, heightened by his up-close examination of quotidian, everyday details that were once familiar yet now removed from the author and potential Tibetan readers whose social reality continues to transform rapidly. The past held memorable fun moments the author must have felt in invoking nostalgia. He predicts and expects his potential readers to savor these moments as he does. Still, other stories narrate sorrow and pain in community life - death, violence, illness, poverty, feuding, divorce, compulsory education, unemployment, and gendered inequality. Who is to blame when Shangri-La is not all it seems to be? Who is to offer a verdict? -Rin chen rdo rje རིན་ཆེན་རྡོ་རྗེ། Lanzhou University

Good Boys Never Cry illustrates the sourness, sweetness, bitterness, and spiciness of daily life in Amdo's pastoral hinterlands in its chronicling of life in a Tibetan community, spotlighting unique local realities. The Tibetan Plateau is renowned for its magnificent natural and cultural landscapes with an extreme climate challenging life, particularly for herders who spend much time outdoors. While livelihoods may seem as simple as tending, herding, selling, and slaughtering livestock, suffering is far more pronounced than in many elsewheres. Pastoral communities are marred by natural disasters, transportation accidents, tribal conflicts, honor fighting, alcoholism, illnesses, and tragedies. Women bear the bulk of all burdens, rising early to hobble and milk female yaks and to collect and dry fresh yak dung for cooking and heating fuel. Dreading rumors, they obey their parents in everything, enduring the abuse of drunken spouses, the stigma of tradition, lovers' betrayals, the burden of fatherless children, arranged marriages, undesired divorce, and unequal relationships. Today, as the stories show, traditional communities are altering, and tribal bonds are on the verge of shattering. People are engulfed in an ocean of information bombarded by TikTok livestreams and instant messaging applications such as WeChat. These new technologies facilitate novel patterns of romantic relationships and behaviors of youth born and raised in traditional pastoral communities but educated in China's major cities, where they speak Chinese, frequent gyms and cafés like city boys and girls, and watch Game of Thrones on their tablets. Gu ru 'phrin las' Good Boys Never Cry is a must-read of an enthralling constellation of diverse stories defying a single theme. -Nyangchakja (སྙིང་ལྕགས་རྒྱལ། Snying lcags rgyal) SOAS University of London

Good Boys Never Cry, Gu ru 'phrin las' much-awaited sequel to Remembering Tomorrow, is a valuable contribution to better understanding Tibetan life focused on first-hand accounts and personal life stories of various narrators. Revealing complex nomad community life and local patterns of thought and behavior, it succeeds magnificently in revealing aspects of communal living that have remained intact for over a millennium and are now undergoing dramatic changes amid the rapid social and economic changes characterizing China. Essential reading in Tibetan Studies, Himalayan Anthropology, and Women's Studies.

-Dpal ldan bkra shis དཔལ་ལྡན་བཀྲ་ཤིས། Humboldt University zu Berlin

Good Boys Never Cry is a collection of detailed, intimately observed narratives informed by Gu ru 'phrin las' life in an Amdo Tibetan pastoral setting - and beyond. Morality, integrity, and betrayal are emphasized in multiple stories, as are gender differences, domestic violence, and complex childrearing environments. Indispensable reading for better understanding Tibetan life and culture, particularly during rapid cultural and social transitions. -Sangs rgyas bkra shis སངས་རྒྱས་བཀྲ་ཤིས། University of Colorado Boulder

Gu ru 'phrin las' Good Boys Never Cry is a valuable, intensely informed collection of stories providing readers with rare insight into the actualities of Tibetan herding life and challenges encountered in experiencing modern formal education in metropolitan environments. This life becomes very real with yak enclosures, hobbling yaks, milking, riding horses and yaks, driving yaks out of family enclosures into the mountains in the morning and back in the evening, collecting fresh yak dung, children and their games, husbands maltreating wives, women's low social status, marriages, births, child-raising, love, theft, animosity and quarrels between tribes, clothing, religion, folk songs, daily life, the Plateau climate, flowers, birds, animals, and herders moving camps. Requisite reading for learning more about life on the Plateau. -Limusishiden (Li Dechun李得春) Qinghai University Affiliated Hospital

Good Boys Never Cry, a collection of twenty-one attention-grabbing stories reflecting Tibetan pastoral life, captures traditional and modern intersections and their consequences in Tibetan society. Born and raised in a traditional Plateau pastoral family, Gu ru phrin las' formal education and lived experiences amid powerful social and cultural transformations sharpen observations and reflections on his community's changes and conflicts. Tibetan women's social status and roles and the changes in education and employment in towns and cities are central to several stories, suggesting that well-educated and financially independent Tibetan women have more control over their lives.The stories portray richly detailed traditional herding life illustrating social hierarchy; concepts of family and family structure; marriage systems; child-raising; expressions of affection and discipline; and values of kindness, loyalty, and diligence before transitioning to modernization and the multiplicity of all that it brings to pastoral communities with changes and challenges, e.g., brick houses in towns and fabric tents replacing yak-hair tents, choosing the monkhood or public schools for sons, and so on. Gu ru begins with "A Pregnant Boy," reflecting the early childhood of a grandfather in his eighties, who often recounts memories of early times, including a period of extreme malnutrition (explaining the title). In vividly bringing locals' historical recollections to contemporary life, this narrative illustrates cultural ties between the past and present, creating a shared understanding between generations. The collection ends with "The Painting," presented as a script focusing on a Tibetan female university student pursuing an art degree in painting and her turbulent, tentative romantic liaisons. Reading Good Boys Never Cry with Guru's earlier Remembering Tomorrow is a splendid, at times unsettling overview of Plateau pastoral life and the interior worlds of those who live there. Highly recommended. -Lhamodrolma ལྷ་མོ་སྒྲོལ་མ།

Good Boys Never Cry reflects Gu ru 'phrin las' observations, experiences, and creative literary energies. An important voice from the pastoral community in which he was born and reared, twenty-one narratives offer authentic, vibrant links to Tibetan pastoral life in its joys, sorrows, and turbulent transitions during the early twenty-first century, enriching the contemporary Himalayan story-scape.

-Tshe dpal rdo rje ཚེ་དཔལ་རྡོ་རྗེ། Qinghai Minzu University

Good Boys Never Cry, Gu ru 'phrin las' second collection of narratives, presents stories depicting many aspects of my life because, in part, we are from the same region and share the same natal culture. Splash marks on the narrator's sister's robe from fetching Yellow River water, telling folktales and deciphering riddles, a child born and placed on dried sheepskin, catching birds with a plastic basin propped up by a string tied to a short stick, using wool ash to stop bleeding from a dog bite, and a lottery system to select children to attend school all resonate powerfully with my childhood memories. As time in the stories progresses chronologically, nomads become small-town residents, e.g., one drives a secondhand blue ISUZU truck instead of riding yaks and horses, and confusion over identity - nomad or town worker? Such details transport me to my past, remind me of the present, and lead to profound contemplation of the future. This important text of authentic Tibetan pastoral life and its challenges and uncertain future in the twenty-first century is indispensable reading.

-Rig grol རིག་གྲོལ། Qinghai Normal University

Good Boys Never Cry is the second collection of short stories (plus one script) by young Tibetan writer Gu ru 'phrin las. Remembering Tomorrow, his first book, narrates the lives and memories of older Tibetans, such as his parents and grandmother. Good Boys Never Cry features the lives of young Tibetans in China, some told in the first person, living in pastoral areas and beyond in about 2010. Importantly, local natural disasters such as flooding and social issues related to abuse, rumors, and misjudgments offer valuable raw materials to those interested in Tibetan culture and social studies. -Tshe dbang rdo rje ཚེ་དབང་རྡོ་རྗེ། (Caixiangduojie 才项多杰) Qinghai Normal University

Gu ru 'phrin las' life experiences provide plentiful resources to write about Tibetan herders' life. Good Boys Never Cry, his second collection of stories (after Remembering Tomorrow), uses plain but vivid language to describe the daily lives of ordinary men, women, and children on the Plateau and rich ethnographic information. Nomad yak tents, grassland childhoods, herding yaks and sheep, maturing, romance, marriage and responsibilities, disputes over grasslands, and more, form a permanent context for the author. In this new collection, he also includes stories of individual herders abandoning traditional pastoral lives and attempting to make a living in towns and young Tibetans attending universities in cities. Between the lines, readers feel the author's nostalgia for childhood life and concern about urbanization that brings inevitable change to the distinct culture that nourishes him. This wonderful book is an important resource for understanding Tibetans experiencing rapid change. -Kelsang Norbu (Gesang Nuobu, Skal bzang nor bu སྐལ་བཟང་ནོར་བུ།)

Guru 'phrin las writes brilliantly from the perspective of a local observer and participant in Tibetan traditional pastoral family life increasingly influenced by modernity. On the surface, it is painful to read about nomadic families in the Mgo log Tibetan area. At a deeper level, readers are confronted with choices and fates the stories' characters must confront, strengthening and broadening perspectives on the realities of traditional pastoral families transitioning to more modern lifestyles. -Li Jianfu 李建富 (Libu Lakhi, Zla ba bstan 'dzin ཟླ་བ་བསྟན་འཛིན།) Qinghai Normal University

Gu ru 'phrin las' Good Boys Never Cry is a fine collection of beautifully written stories providing incisive, richly detailed accounts of Tibetan social, cultural, and economic transformations (re)shaping Tibetan pastoralist lives and livelihoods in Amdo on the northeastern Tibetan Plateau. Gender inequality, men abusing their wives, the social status of Tibetan women, family reputation, and arranged marriage are among the critical social issues the stories powerfully engage. Detailed thick description gives entrée to the lives of ordinary Tibetan herders at a time and space, providing valuable first-hand accounts authentically depicting encounters between tradition and modernity. -Duojie Zhaxi རྡོ་རྗེ་བཀྲ་ཤིས། Qinghai Minzu University

Good Boys Never Cry is a continuation of unfinished accounts in Gu ru 'phrin las' Remembering Tomorrow. I strongly recommend reading both books together since the focus is on a nostalgic memory of Tibetan nomadic life's recent past. Arguably, authentic nomadic life on the Tibetan Plateau and elsewhere is diminishing fast since settled life has gradually become a new "lifestyle" for nomads. Questions now become: If nomadic life, often embodying idealized Tibetan mobility, freedom, spirituality, happiness, and masculinity, withdraws from the historical stage, what will the "Tibetan spirit" be? What will make Tibetans Tibetan? If social change is inevitable in pastoral and Tibetan regions, what are the chances of Tibetan cultural continuity? These questions weigh heavily on the minds of many Tibetans and, possibly, the author's mind. The last two decades have witnessed growing anxieties about Tibetan culture survival and continuity in various sectors of Tibetan society (nomads, peasants, monks/lamas, intellectuals, cadres, businesspeople, college students, and so on). This explains burgeoning "ordinary" Tibetan memory projects centered on an irreversible past and nostalgic sentiments during this period. I say "ordinary" Tibetan memory because (auto-)biographical writing is no longer limited to the elites (religious and political figures), as found in the Tibetan literary tradition of namtar or sacred biography. Good Boys Never Cry and Remembering Tomorrow exemplify "ordinary" Tibetan memory. With this context in mind, readers may gain fresh or different perspectives on the messages conveyed in the books and their significance. -Tenzin Jinba བསྟན་འཛིན་སྦྱིན་པ།, National University of Singapore

JARVIS, SAMUEL PETERS, militia officer, office holder, and lawyer; b. 15 Nov. 1792 in Newark (Niagara-on-the-Lake), Upper Canada, eldest surviving son of William Jarvis* and Hannah Peters*; m. 1 Oct. 1818 Mary Boyles Powell, daughter of Chief Justice William Dummer Powell*, in York (Toronto), and they had five sons and four daughters; d. 6 Sept. 1857 in Toronto.

Samuel Peters Jarvis enjoyed an initial advantage in the emerging colonial society of Upper Canada. His father, who had gained the patronage of Lieutenant Governor John Graves Simcoe*, was the first provincial secretary and registrar, and, while the Jarvis family was not wealthy, it did enjoy the comparative luxury of three servants to minister to household needs. Young Jarvis was educated along with many of his peers by the Reverend John Strachan* at his Cornwall grammar school. In 1810 he was articled to Attorney General William Firth*, but his law studies in York were interrupted by the War of 1812. He joined Captain Stephen Heward’s flank company in the 3rd York Militia which assisted Major-General Isaac Brock* at the capture of Detroit in August 1812 and at Queenston Heights in October. After that battle he acted as one of the pallbearers for Lieutenant-Colonel John Macdonell* (Greenfield) when he was interred with Brock at Fort George (Niagara-on-the-Lake). Jarvis later saw action in the engagements at Stoney Creek and Lundy’s Lane. He also obtained several minor administrative posts during the war: in January 1814 he was commissioned to act as assistant secretary and registrar to his father, and that December, in the absence of John Powell, he was made clerk of the Legislative Council.

Jarvis was called to the bar in 1815. Two years later he was appointed clerk of the crown in chancery, an administrative post in the House of Assembly which he was to hold for the next 20 years. His real ambition, however, was to follow in his father’s footsteps as provincial secretary and registrar, a position which he seemed to feel should be his by right of succession as the eldest Jarvis male. Circumstances and his own personality thwarted that ambition. Jarvis possessed a fiery temperament and an impetuous nature combined with a strong sense of family and personal honour. Such traits involved him in a number of incidents, most of which came to nothing. In 1817, however, the feud which had simmered for a decade between the Ridout and Jarvis families came to a head when Samuel quarrelled with 18-year-old John Ridout, a son of Surveyor General Thomas Ridout*. On 12 July Jarvis and Ridout, accompanied by their seconds Henry John Boulton* and James Edward Small*, confronted each other just north of the town of York, and Ridout was killed. The duel badly split the local élite: the Ridouts certainly never forgave Jarvis for his part in the affair. The timing of the duel was also unfortunate for the development of his career, since his father died that August while Samuel was in jail awaiting trial. Although the courts exonerated him in the fall, his position at the centre of controversy temporarily ruined his chances for preferment. Duncan Cameron was appointed to the coveted secretaryship, though Jarvis briefly filled the position in Cameron’s absence. He also succeeded Cameron as civil and private secretary to the acting lieutenant governor, Samuel Smith*, and served in that capacity until August 1818.

During the summer of 1818 Jarvis moved to Queenston and pursued an active career in law there and later in Niagara. In 1824 he returned to York where, nearly a decade after the fatal duel, he again became enmeshed in a cause célèbre. On 8 June 1826, in response to the vitriolic and sometimes personal attacks of the Colonial Advocate, a group of tory young bloods invaded William Lyon Mackenzie*’s shop, damaging the interior and scattering his printing type. Mackenzie, who had been facing bankruptcy, received damages of £625 in the ensuing trial, and the award was collected by subscription from disgruntled senior members of the “family compact” and from York lawyer Samuel Peters Jarvis, now almost 34 years old, who on that June evening had led the group of young men in their late teens and early twenties. His hot temper and misplaced sense of pride had once again led to his involvement in a questionable affair with negative consequences for the cause he espoused. Despite this second blot on his public character he obtained the position of deputy provincial secretary and registrar through an involved rearrangement of government posts in 1827. The following year Lieutenant Governor Sir Peregrine Maitland pointed out in a memorandum to his successor, Sir John Colborne*, that although Jarvis’s “very imprudent Act” had had “an effect injurious to the Government,” Maitland did not feel that his past actions should interfere with his chances for advancement.

Jarvis occupied the position of deputy secretary until 1839, but he was not destined to succeed to the secretaryship itself. Instead, he had to content himself with the post of chief superintendent of Indian affairs for Upper Canada, to which Lieutenant Governor Sir Francis Bond Head* had on short notice seconded him in June 1837 when it had become evident that the Indian Department’s aged incumbent, James Givins*, was growing senile. With the outbreak of the rebellion of 1837–38 a few months later, Jarvis was active in defending the established order and in hunting down suspected rebels. In December 1837 he raised and commanded a unit of militia volunteers named the Queen’s Rangers and at the end of the month he witnessed Andrew Drew* and his men setting fire to the rebel steamer Caroline at Navy Island. On his return from Niagara early the following year he acted as commandant of the Toronto garrison and in March was president of the court martial which tried the American Patriot, Thomas Jefferson Sutherland. That September, Provincial Secretary Duncan Cameron died. Jarvis’s frustration must have been great when Lieutenant Governor Sir George Arthur refused to recognize his services or consider his pleas about the temporariness of his Indian Department position. The provincial secretaryship was granted to Richard Alexander Tucker*, the former chief justice of Newfoundland, who had recently arrived in Upper Canada; Jarvis remained chief superintendent of Indian affairs.

During Jarvis’s term of office (1837–45) no government department was to be examined so closely or so often as Indian affairs. The first inquiry took place in 1839. Sir George Arthur commissioned Judge James Buchanan Macaulay to take over the inquiry begun by Tucker and act as a one-man board of investigation. Macaulay thought the department’s chief problem was attracting “persons sufficiently diligent, active and zealous” to supervise its programs. His report of April 1839 was followed in January 1840 by a second one, composed as part of a general examination of all departments of the government which had been carried out by several committees. The Indian Department was reviewed by committee no. 4, whose three members, Macaulay, Vice-Chancellor Robert Sympson Jameson, and William Hepburn, a former clerk in the department under Givins, congratulated Jarvis for the vigour with which he carried out his official duties. The chief superintendent appeared to have passed his first two tests with flying colours. These appearances, however, were deceptive: Jarvis was a close friend of Macaulay’s, whose views were reflected in both reports. A third investigation was to have very different results.

In 1842 Governor Sir Charles Bagot* established a three-man royal commission to inquire into the structure of the Indian Department in the new province of Canada. Its first report, delivered in January 1844, was directly responsible for Jarvis’s being stripped of his official rank in all but name that May and for his forced retirement the following year. Chaired by Rawson William Rawson, the governor’s civil secretary, the commission found the department’s administration chaotic and the chief superintendent incompetent and possibly dishonest. Indian Department accounts could not explain the whereabouts of more than £4,000, a sum which was later adjusted to an amount in excess of £9,000 and then again revised downwards. Jarvis’s attempts to defend himself only resulted in new evidence being gathered against him. In contrast to the two previous inquiries, the commission found him evasive and uncooperative, a view that would be shared by Rawson’s successor as civil secretary, James Macaulay Higginson*, who assumed responsibility for the Indian Department on 15 May 1844.

What had happened to the man who seemed to be a model administrator as late as 1840? It would be attractively simple to see Jarvis as merely a larcenous official who was found out. A more adequate explanation is that he was unfamiliar with mid-19th-century accounting techniques. He maintained both his private and his official department accounts at the Bank of Upper Canada, of which he was also a director, and juggled money back and forth between the two in the gentlemanly, informal, and confused manner of an earlier period. The Indian Department’s bookkeeping had always been problematic: Jarvis was simply unfortunate enough to be the first chief superintendent asked to provide such a detailed accounting. In this regard he was utterly dependent upon his chief clerk, George Vardon, who may have had reasons of his own for wishing to see Jarvis discredited.

As chief superintendent, Jarvis was subjected to strains that would have been intolerable even for an individual whose competence was unquestionable. His official position embroiled him in the affairs of the Grand River Navigation Company, the interests of which were often antithetical to those of the Six Nations Indians on the Grand River Reserve. Indeed, he was president of the company in 1843–44, precisely at the time he was being forced to defend himself against the findings of the Bagot commission. Jarvis, who found the Indian Department confusing enough, was ill equipped to deal with all these matters simultaneously.

The office of chief superintendent was abolished on 1 July 1845 and Jarvis retired from the Indian Department in disgrace. He continued the attempt to clear himself of charges of peculation but seems never to have been successful. On the other hand, the government seems never to have forced him to restore the missing funds for which it claimed he was responsible, an indication that the issue of his corrupt behaviour was not as clear as it had first appeared to be. Right up until his death Jarvis was still trying to untangle his complex financial affairs. In order to pay off some of his debts he had hired John George Howard* during the summer of 1845 to subdivide for public sale the 100-acre park lot east of Yonge Street which he had received from his father in 1816. Two years later Hazelburn, the house he had built there for his family 23 years before, was torn down to make way for the street which still bears Jarvis’s name. Yet despite his precarious financial position his last years were spent pursuing the activities of a socially well-connected, semi-retired man of private means: fishing trips to the Gaspé, hunting in the Bruce Peninsula, grand tours of Great Britain and the Continent. In the middle 1850s his health declined; he died in 1857 and was survived by his wife and seven of his children. His eldest son, Samuel Peters Jarvis Jr, had a distinguished career in the British army; other descendants took their places in the professional and business life of Toronto.

Samuel Peters Jarvis, attempting the life of an 18th-century tory squire, had become an anachronism. The mid 19th century with its growing emphasis on commerce and industry – and proper bookkeeping and procedures – was an age which he never fully understood. Along with his outdated attitudes went a mediocre intelligence that spelled disaster for him as an administrator. These factors were sufficiently powerful to neutralize the advantages he had enjoyed at the beginning of his career, so that he was left on the fringes of power in the small Upper Canadian community. In Jarvis’s life can be seen a partial answer to the question of what became of the “family compact.”

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

Boscastle flood of 2004

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

Boscastle flood of 2004

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

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.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

DARLING, FRANK, architect; b. 17 Feb. 1850 in Scarborough Township, Upper Canada, son of William Stewart Darling, a Church of England clergyman, and Jane Parsons; d. unmarried 19 May 1923 in Toronto.

The eldest son of the rector of Scarborough and later of the Church of the Holy Trinity in Toronto, Frank Darling was educated at Upper Canada College in Toronto and Trinity College School in Weston (Toronto). In 1866, after a short time as a bank teller, he joined the architectural office of Thomas Gundry and Henry Langley* as an apprentice. In late 1869 or early 1870 he left Toronto to train in London with one of the greatest architects of the age, George Edmund Street. Before returning in 1873, he also worked briefly with Arthur William Blomfield. This British experience had a profound effect on Darling. From Street he learned that the principles of Gothic architecture could form the basis of modern design. From Street’s students Richard Norman Shaw, William Eden Nesfield, and Philip Speakman Webb he saw how historical forms could be skilfully adapted to meet the needs of contemporary life.

Darling began private practice in Toronto in 1873, when he entered into partnership with Henry Macdougall. His first commissions came from the city’s Anglicans, and included the churches of St Matthias (1873-74), St Thomas (1874), and St Luke (1881) as well as the convocation hall (1877) and chapel (1884) of Trinity College. This early work was mostly executed in brick in a manner reminiscent of Street, Shaw, and Nesfield. Other projects show Darling in a continuing state of artistic experimentation: the Home for Incurables (1879-81) is an exercise in Shaw’s eclecticism and the Victoria Hospital for Sick Children (1889) reveals the influence of American Henry Hobson Richardson.

In 1880 Darling, who was then in partnership with Samuel George Curry (a Port Hope native), had submitted a design modelled on Street’s plan for the Law Courts in London to the competition for Ontario’s new parliament buildings. Although Darling placed first, delays and back-room deals meant that his plan would never be built [see Kivas Tully*]. The competition nonetheless brought him recognition and, in 1885, the chance to do something new: a branch in Toronto for the Bank of Montreal. Its obtusely angled site at the corner of Front and Yonge was difficult, but he responded with a masterful essay in the newly fashionable classical mode, in which a carefully ornamented stone façade introduced a stunning glass-domed hall [see Joseph McCausland*]. Functional and stylish, the bank was a success for Darling. In it he anticipated the taste for monumental public architecture that would sweep North America in the first decades of the 20th century.

After 1885, Darling’s commissions, besides the hospital, included the Toronto Club (1888) and additions to Trinity College. In 1892 he took into partnership an associate from the hospital project, the British-trained John Andrew Pearson*, who would work with him for the rest of his career. The years of Darling’s greatest achievement began in 1898, when he was retained by the Canadian Bank of Commerce to design branches in Winnipeg and Toronto. Like its competitors, the Commerce found architecture an effective vehicle for self-promotion. Darling subsequently designed dozens of branches for the Commerce, as well as for the Metropolitan, Sterling, Dominion, Union, and Nova Scotia banks. Most of the Commerce buildings featured façades of stone and brick and were grandly classical in the manner of the English baroque or the French École des Beaux-Arts. They ranged from impressive structures with giant columns and massive stone entablatures, as in Montreal (1903-8), Vancouver (1906-8), and Winnipeg (1910-12), to handsome pavilions scaled to the needs of small towns and city neighbourhoods. Particularly charming were a series of prefabricated frame branches in frontier towns across the west that had been produced, shipped, and erected by the British Columbia Mills, Timber and Trading Company [see John Hendry*]. Darling’s work for the Commerce brought social and financial success and offers of patronage, especially from a small circle of powerful Toronto businessmen. Besides George Albertus Cox* and Byron Edmund Walker, both presidents of the Commerce, this group included a childhood friend, Dominion president Edmund Boyd Osler, as well as meat packer Joseph Wesley Flavelle*, for whom he designed a house at Queen’s Park (1901-2). Among his other important projects from this period were Convocation Hall at the University of Toronto (1904-7), the Royal Ontario Museum (1909-14), the Toronto General Hospital (1909-13), the Winnipeg Grain and Produce Exchange (1909-10), new buildings for Dalhousie University in Halifax (1912-15), and the headquarters of Sun Life Assurance in Montreal (1916-18).

The scale of this production had an enormous impact on the look of Canada’s towns and cities. At a time when many businessmen preferred to hire American architects for high-profile commissions, Darling’s bank architecture became recognizable for its balance of English and North American trends. For many buildings he modulated his characteristically classical language to suit specific conditions, as in his frequent use of Romanesque motifs on the campus of the University of Toronto. His accomplished, thoughtful approach to design, artistic confidence, and high standard of execution won him the admiration of his peers. He was made a member of the Royal Canadian Academy of Arts in 1886, president of the Ontario Association of Architects in 1895, and a director of the Toronto Guild of Civic Art in 1907. Darling claimed to abhor professional infighting, but, as president of the OAA, he became enmeshed in the association’s unsuccessful efforts to secure compulsory registration, a step not all architects supported. He nevertheless remained a popular figure, known increasingly for his bold projects. Named to the federal planning commission for Ottawa and Hull in 1913, he was awarded the gold medal of the Royal Institute of British Architects two years later (the only Canadian architect so recognized) and honorary doctorates from the University of Toronto (1916) and Dalhousie (1922). Darling’s professionalism generated equal respect among his clients. In his ongoing work for Dalhousie, which included Shirreff Hall (1920-21) [see Jennie Grahl Hunter Shirreff], Darling, in the estimate of university historian P. B. Waite, was “ingenious, flexible, sensitive to local conditions, and best of all, willing to listen to suggestions.” A close friend, architect C. Barry Cleveland, maintained that he stood “for absolutely straight and upright dealing.”

Darling combined a quiet charm with refined tastes. According to one biographer, “He had a good-natured tolerance, and on occasion he was master of the mordant phrase. A poor story-teller, but a good listener, geniality and wit went hand in hand with him, more especially when he could be provoked into exercising his ability as an architectural critic.” His collection of etchings and prints was strong in 17th-century French portraiture; his architectural library represented 20th-century modernists and landscapists as well as earlier revivalists. He was an enthusiastic golfer and clubman, and a conservative in politics. A lifelong bachelor, he was decidedly loyal to his family and friends; his widowed mother lived with him for several years before her death in 1909, and he took a particular interest in his nieces and nephews. In his will, Darling, who deeply regretted his inability to speak French and German, left a sum for a great-nephew’s education, especially in the “modern languages.” Valued at more than $183,000, his estate would be distributed largely among his relatives, his servants and chauffeur, and J. A. Pearson. Provision was also made for the continued residential and financial needs of an old Scarborough acquaintance and her separated daughter. After eight months of poor health due to heart trouble, Darling died in May 1923 at his home at 11 Walmer Road. He was buried in the family plot at St John’s, Norway (Toronto).

Darling had avoided controversy and written little. Others championed his architecture. Critic and professor Percy Erskine Nobbs* saw in his work support for his own belief that Canadian architecture could develop a distinctive voice only by charting a middle ground between the architectural cultures of Britain and the United States, with careful attention to local needs. This approach had been Darling’s modus operandi. At a time of rapid architectural change, his ability to combine ideas, materials, and techniques from London, New York, and Chicago into a unified whole (without copying) was exceptional. Buildings such as his Bank of Nova Scotia in Winnipeg (1907-8) display a hybrid quality that was expressive of the complex patterns of Canadian intellectual and cultural life in the years leading up to World War I. The new houses of parliament in Ottawa (1916-27), designed by Pearson and Jean-Omer Marchand*, reflect in their spirit of progressive traditionalism, blend of references, and balance of old and new the substantial impact of Darling and his office. By adapting the fashions of the day to the wishes of his clients, he had helped shape an independent voice for Canadian architecture and lay the foundation for the creative exploration of Canadian themes by such architects as John MacIntosh Lyle* in the 1920s.

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This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

www.emergencyrooms.org/biennalist.html

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

-----------------the 32nd Bienal de São Paulo concept and artists ---

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

--------other biennale --

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

NOV 2,2019-APR 5,2020

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).