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FuturPointe Dance – Guy Thorne and N’Jelle Gage
GUY THORNE is the co-founder, artistic director, choreographer and dancer at FuturPointe Dance. As artistic director, he has primary responsibility for the development and execution of the company’s artistic vision. Thorne’s current choreographic work explores the confluence of folklore as well as popular and contemporary dance forms infused with his short film and multi-media creations.
Mr. Thorne recently collaborated with 2013 McArthur Genius Award recipient Carrie Mae Weems on A Story Within A Story, which is a multi- media performance about social identity and visual imagery – with video by Weems, music by Gregory Wanamaker, choreography by Guy Thorne, and additional direction from Kimberley Bouchard. A Story Within a Story was presented at the Lougheed Festival of the Arts at SUNY-Potsdam.
Thorne also teaches for FuturPointe Dance educational programs as well as in master classes and residencies at colleges/universities and for youth in k-12 school outreach programs. Thorne was on the dance faculty at SUNY – Potsdam where he taught ballet, modern dance, and Caribbean urban and folkloric dance. In 2012, he was a Jubilation Foundation fellow. Guy used his Jubilation grant to introduce Rochester area children (ages 5 to 13) to Jonkanoo, a West African and Caribbean performing art that combines costume-making, singing, dancing and drumming.
Thorne has over 15 years of professional experience and has toured extensively and taught master classes throughout the world including in Italy, Germany, Hawaii, France, the United Kingdom and Austria. He received critical acclaim on several occasions from critics in the New York Times and from other major publications. Thorne has danced at world-class venues such as the Ted Shawn Theater at Jacob’s Pillow, Joyce Theater, and The Lincoln and Kennedy Centers, among others. Dance Theatre Production from the Edna Manley College of Visual and Performing Arts. He moved to the United States as a scholarship student at Dance Theater of Harlem in New York City before becoming a principal dancer with Garth Fagan Dance for 7 years. Thorne holds a BFA in Dance from SUNY-Brockport.
N’JELLE GAGE-THORNE FuturPointe Dance co-founder, president and choreographer N’Jelle Gage is an international dancer and educator that has worked extensively throughout the United States, Africa, Central America and the Caribbean. Although the directors of FuturPointe Dance run the company as a collaborative team, in addition to dancing and setting work on the company – Gage is specifically responsible for its administrative leadership.
N’Jelle Gage also teaches master classes in Caribbean contemporary dance techniques (Tecnica Cubana, L’Antech TM, Reggae ballet, Jamaican urban jazz) at college residencies, festivals, the Draper Center for Dance Education in New York State, and studios across the country.
In 2001, she directed and choreographed for Caribbean Performing Arts Ensemble in Florida and gained expertise from her work in music video production and ad campaigns with renowned international artists including Sean Paul, Mutabaruka, Damian Marley and Third World. She also worked as a cultural consultant for film in the United Kingdom.
Gage’s training began in classical ballet where she was the protégé of Norma Spence and performed as a soloist with Jamaica’s first amateur ballet company. During her early teens, she studied with acclaimed Polish ballerina Nina Novak at Academia Ballet Clasico in Caracas, Venezuela. She also studied with in Jamaica with Tatjana Sedunova, the artistic director of the Lithuanian Opera and Ballet Theater.
In 1991, N’Jelle was introduced to the work of Dr. L’Antoinette Stines and at 15 years old she became a professional dancer with Stines’ Avant garde modern dance company; performing in 16 international cities as a dancer with L’Acadco.
Her studies continued with the renowned Cuban ballet and contemporary dance faculty at Instituto Superior/Escuela Nacional de Artes in Havana where she studied modern technique and folklore/Orisha dance. She concluded her studies in Havana, Cuba with an internship with Danza Contemporanea de Cuba in 2000 and graduated with a teaching and performance degree.
Kurdish emigres protest Paris murders at Turkish & French embassies : London 11.01.2013
On 11.01.2013 Kurdish emigres in London protested at the Turkish embassy and then marched to the nearby French embassy to protest about the shocking mass murder on 09.01.2013 in Paris of three female Kurdish political activists including PKK co-founder Sakine Cansiz in what French police believe to be an execution a targeted assassination. The bodies of the three women - Brussels-based Kurdistan National Congress’ (KNK) Paris representative Fidan Doan, political activist Leyla Söylemez and Kurdish Worker's Party (PKK) co-founder and Women's Movement organiser Sakine Cansız - were discovered behind several combination-locked doors in the Information Center of Kurdistan in Paris on Wednesday by friends who had been trying since the previous evening to contact the women and who had broken into the centre after discovering bloodstains on the outer doors.
Very shortly after French police were called to the scene (and with what many claim to be suspicious haste), Huseyin Celik, the deputy chairman of Turkey’s ruling party claimed that the murders were the result of “an internal feud” within the PKK. Celik did not offer any evidence to substantiate his assertion, yet also went on to suggest that the slayings were an attempt to derail the peace talks which have been taking place in the notorious high security prison on mralı Island between PKK founder Abdullah Öcalan - sentenced to death for treason against the Turkish state in 1999 but whose sentence was commuted to life imprisonment when Turkey was forced to abolish the death sentence as part of it's application to join the EU - and the Turkish government.
The PKK have waged an often violent war against the Turkish government for the last 34 years as part of their campaign to establish an autonomous Kurdish enclave in South-East Turkey. Kurds make up almost 20% of the Turkish population, yet are forbidden by law to even speak their own language and have suffered greatly under Turkish suppression. Since the insurrection began in 1978 it is estimated that over 40,000 people on both sides have lost their lives in violent actions perpetrated in this conflict, and even though the PKK has been proscribed as a terrorist organisation by the USA, the EU, NATO, Syria and others, the cause of Kurdish nationalism enjoys a huge level of support in the region. Turkish authorities have been concerned about PKK fighters entering Turkey from the autonomous Kurdish enclave in Northern Syria.
Kurdish populations are present in Turkey, Syria, Iraq and Iran, and have experienced many decades of suppression by their respective states as the Kurds attempt to loosely re-establish their traditional Kurdistan, eradicated during the Ottoman reign, and it is against this long background of armed struggle that has seen large numbers of ethnic Kurds fleeing to Europe to find sanctuary. The Kurdish people I spoke to in Haringey last night said that they no longer feel safe anywhere in Europe after this execution which they lay firmly at the door of what they describe as the "dark, ultra-nationalistic shadow government" operating behind the scenes in Turkey who are violently opposed to any form of settlement or discussion with the Kurds.
Huddled around tables in the large hall adorned with photographs of fallen comrades and a large centrepiece display of their political figurehead, Abdullah Öcalan, the Kurds were subdued and in a measured, reflective mood. During the day it had been established by French police that the women had all been shot in the head through the throat using weapons with suppressors (silncers), and it is initially thought that there was possibly more than one gunman. There was no sign of forced entry to the building, so it seems that they were known to at least one of the women - two of whom were slaughtered as they were organising suitcases for their journeys back to Belgium and Germany.
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It was while Sir James was away in prison that his father signed away his lands to Campbell of Calder (aka Cawdor), with whom he had formed some sort of alliance (and to whose daughter Sir James was married). It is believed that Calder deliberately ingratiated himself with Angus MacDonald, and then equally deliberately gave him bad advice, knowing that he was likely to be the ultimate beneficiary. If so, it was a clever and ultimately successful ploy!
Sir James married Margaret Campbell of Calder, and although there are references to a proposed divorce in the year 1621, after Sir James' return from abroad, they seem to have been a devoted couple. “He frequently refers to Margaret in his letters, and she at his trial in 1607, exerted herself vigorously to get Mr. John Russell, Advocate, to appear for her husband, going to him personally, and making protest at his declinature. Sir James had to defend himself, notwithstanding a warrant by the Lords of Secret Council allowing Counsel to appear for him; and to his eternal disgrace, and contrary to universal custom and etiquette of the bar, the said Mr. John Russell refused to appear. Sir James was found guilty and sentenced to death. The sentence was not carried into effect, and Sir James who had already been confined for upwards of two years, first in Blackness and afterwards in Edinburgh, lingered in prison until 1615.”
While in prison, he wrote numerous letters, many of which still survive, to try to garner support for his cause from the rich and powerful, and promising to give Dunyvaig Castle to anyone that would support him, so long as the castle did not end up in the hands of the Campbells!
In 1610 a great rebellion of the Clan Donald took place, which was to last until 1615. The castle of Dunivaig, having been occupied for the previous three years by the Bishop of the Isle’s garrison, was recaptured by Angus Oig MacDonald, one of Sir James MacDonald’s younger brothers. The bishop tried, but failed to recover it.
“Sir James MacDonald, after one attempt to escape, which failed in consequence of his being kept in irons, whereby he fell and was injured, finally escaped in May, 1615. Information had been conveyed to him that the time was favourable for his re-appearance, and he having also heard that the King had secretly given the Earl of Argyll power to carry out the old sentence (of execution), made a determined and successful attempt to escape.”
Once free and on the run, Sir James naturally headed for the western isles, which, despite the best efforts of the combined forces of the Earls of Tullibardine and Huntly to apprehend him, he duly managed to reach, whereupon he raised the Islesmen in rebellion once again.
Landing in Islay, Sir James MacDonald quickly succeeded in recapturing Dunivaig Castle, “partly by a stratagem”. (Whether his brother Angus Oig had lost it in the meantime, or whether the separate capture of the castle by the two brothers was actually the same event, I don’t know. The latter I suspect.) Taking up residence there, he set about the task of expelling the followers of Campbell of Cawdor that had settled on the island. Knowing that his enemies had more friends in high places than he, he also petitioned the king and government to allow him and his followers to remain on their ancient lands on Islay. His pleas had no apparent effect and the Privy Council ordered Archibald, 7th Earl of Argyll, to mobilise his Campbells and undertake the recapture of Islay.
Fearing that Dunyvaig would not be tenable, Sir James greatly strengthened the old castle on the isle of Loch Gorm by building an earthen rampart to protect it from artillery, as well as another strength called Dunand (which would appear to be the ancient rock-top fort of Dun Athad, on the south coast of The Oa).
When at length the Campbells landed on Islay, Sir James Macdonald was speedily driven out by the superior forces arrayed against him, and his followers mercilessly pursued and hunted down. Sir James’ brother Angus, who had remained behind in command of Dunyvaig, faced with artillery brought in by the Campbells, surrendered the castle in July 1615, on the promise that his life would be spared. On marching out however, the Campbells seized him anyway, tried him and hung from the castle walls! While Sir James managed to escape to Spain, his castles and lands were all delivered over once again, and this time finally, to the keeping of Sir John Campbell of Cawdor.
It would rather appear that Sir James' appeals to the King, formerly referred to, were never forwarded. After several years exile, and perhaps after the king had been informed of the true state of affairs back in 1615, he was recalled by King James from Spain, received into favour, and a handsome pension given him. He was however, never allowed to return to Scotland again, and his history from 1616 until his death in 1626, remains obscure.
“Leaving no legitimate male issue, the house of Dunivaig and the Glens become extinct, and the representation of the family was claimed by the Earl of Antrim, who desired to acquire both Islay and Kintyre.”
Taliban Execution - Three Northern Alliance soldiers fire simultaneously into a Taliban soldier who had been captured while attempting to resist their advance toward Kabul, Afghanistan. A small number of hardline Taliban soldiers chose to stay on the front line and fight the Northern Alliance, and those who didn't escape were killed immediately. The man yelling in the background was encouraging the soldiers in their actions.
This photo (image had been modified) released by the Texas Department of Criminal Justice shows death row inmate Karl Eugene Chamberlain who is scheduled for execution at the Texas prison in Huntsville, Wednesday, June 11, 2008. In a ruling late Monday, June 9, the state's highest criminal court refused to stop the scheduled execution of Chamberlain, for the rape-slaying of a woman in Dallas in 1991. (AP Photo/Texas Department of Criminal Justice)
Jun 11, 9:21 PM EDT
Texas executes 1st inmate since injection lull
By MICHAEL GRACZYK
Associated Press Writer
AP Photo
Views on the Death Penalty: A Global Perspective
Death Penalty by State
Documents
Nebraska Supreme Court's Ruling on the Electric Chair (02/08/08)
Latest News:
Texas executes 1st inmate since injection lull.
Mo. governor candidate's legal work draws scrutiny
SC man who killed 3 social workers executed.
Mexico asks World Court to stay executions in US.
HUNTSVILLE, Texas (AP) -- A remorseful convicted killer was executed Wednesday night for raping and killing a Dallas woman 17 years ago, the first prisoner in nine months to be put to death in the nation's most active capital punishment state.
Karl Eugene Chamberlain, with a smile on his face, told relatives of his victim, Felecia Prechtl that he wished he "could die more than once."
Chamberlain lived upstairs in the same apartment complex as his victim.
In 1991, he knocked on Prechtl's door and asked to borrow some sugar. After she filled the request, he returned with a rifle and the roll of duct tape, attacked the single mother and shot her in the head. Her son, then 5, found her body.
Chamberlain denied any knowledge of the crime when questioned by police the day of the slaying. He was arrested five years later after his fingerprint was matched to a print on the roll of duct tape. When he was arrested, he confessed.
Chamberlain's execution was the first in Texas since September. Executions throughout the country were on hold after the Supreme Court agreed in September to consider a challenge from two Kentucky prisoners who questioned the constitutionality of lethal injection procedures. When the court upheld the method in April, the de facto moratorium was lifted and executions resumed.
There were 26 executions in Texas last year, far more than any other state.
Before he was executed, Chamberlain stared directly at Prechtl's son, parents and brother as they stood just a few feet away, looking through a glass window.
"We are here to honor the life of Felecia Prechtl, a woman I didn't even know, and celebrate my death," he said. "I am so terribly sorry. I wish I could die more than once."
"I love you. God have mercy on us all," he said as the drugs began taking effect. Still grinning, he blurted out: "Please do not hate anybody because ..." He was unable to finish as he slipped into unconsciousness.
Ina Prechtl, who lost her daughter, said after watching Chamberlain die: "One question I ask myself every day, why does it take so long for justice to be served?"
Kilmainham Gaol was built in 1796 as a replacement for an older prison. It has a sorrowful past with deplorable conditions. It is the place of imprisonment and subsequent execution of the leaders of the 1916 Easter Rising. This yard is where these executions were carried out.
Neighbors respond to the state execution of Alex Pretti
THE SITUATION IN MINEAPOLIS
I thought it would be useful to offer you some first-hand perspective of what’s happening here as I don’t think people who are watching from afar quite understand what is unfolding, how it feels, and what it means.
In Minneapolis we are living under a fascist assault, and most of our institutions appear to be failing us, including the law, the government, our elected leaders, and the media.
There are masked, highly armed men roaming our city in unmarked cars terrorizing us, assaulting us, kidnapping us, and now killing us. They have attacked my friends’ kids’ school, teargassing students, staff, and community members. Many of my non-white friends are carrying their passports with them at all times now. A friend of mine was assaulted, kidnapped and illegally detained for about 9 hours. Here is her account:
youtu.be/Inn-sfiMcyE?si=G69LrIXMJ2Trrt_l
There is no due process, there is zero regard for the law, there is no regard for safety of anyone, and so far there has been no institutional check on their violence and intimidation. People are disappearing with no way to find out where they were taken. The police are nowhere to be seen, so the lawlessness is becoming increasingly brazen.
They are also joined by outside provocateurs and agitators. One image that got a lot of play in the media was a man burning an American flag. What is less known is that he was masked, no one knows who he is, and he left immediately after creating the spectacle. Some protestors followed him asking who he was or where he was from but he refused to respond and left the scene.
No one is helping us, so we are having to do it ourselves. We have people who are too scared to leave their homes so thousands of us are quickly mobilizing to join neighborhood chats and resource sharing to get groceries and supplies to families that need them. We are keeping eyes on ICE activities and alerting our neighbors of their presence whenever and wherever we can. We are organizing peaceful protests and trying to demand accountability from our leaders. The people responding are not far-left agitators or extremists. These are neighbors from every walk of life who are stepping in where our institutions are failing us, documenting the hundreds of crimes being inflicted on us daily, sharing information in real time, sharing food, and resources. And yes, we are pissed, and sometimes things get heated, but the David/Goliath dynamics here cannot be overstated.
I don’t use the term fascism lightly or carelessly. I really hope people can understand crystal clear the implications of what is happening.
The other day Mayor Frey told a reporter that yes, legally the police could and should arrest the people doing this to us. But, he said there are more of them and they have more guns. Let that sink in. The people who are supposed to be keeping us safe, who took an oath to defend us and the constitution, who are supposedly trained and armed and paid to do just that, appear to be either too scared, or indifferent, so it has fallen upon us to keep our neighbors safe, and to fight for our rights.
If this administration is allowed to so brazenly trample our civil liberties in such a public and spectacular way, with zero accountability, and zero checks on their power, then the game’s up. This is a constitutional crisis. This administration has said it doesn’t care about the constitution and is daring constitutional institutions to do something about it and they are not.
We are all terrified. But here in Minnesota we are standing up for each other, for our safety, our rights, and our lives, and praying our institutions may come around and decide to join us. It is incredibly inspiring to watch the community come together for mutual aid, defense and support. And seeing it makes me so so hopeful. Do not feel defeated. Organize your own community and understand the way we make it out of this is together. Find the people who have been fighting fascism for decades, learn from them, plug into those networks, build power, and don’t let fear lead to inaction because that is how they win.
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#venicebiennale
#documentakassel #documenta #d13 #documenta13
#manet #edouardmanet
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
Stockholm's executioner once lived and worked on this street (says Fredo). It may look charming, but many people died here.
I debated uploading this image, mainly because I like the idea but not the execution. I want to retry it and do better, but I decided to upload this one because it is my D50's "shutter actuation birthday". It turned 10,000 this past weekend!
Shot with the 35-70 (which may be replaced very soon) w/ extension tubes under direct sunlight. The image in the water drop is the back of my house (well, part of it). Also had to do a bit of cloning to remove a very out-of-place leaf, but I'll leave you all to guess where it was done.
Must be viewed large in order to appreciate the detail inside the water drop!
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
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(From Wikipedia, edited):
When originally designed by Lanyon, the prison did not contain a gallows. Executions were carried out in public-view until 1901, when an execution chamber was constructed within the prison walls. It was used until the last of the hangings in 1961. Seventeen prisoners were executed in the prison, the last being Robert McGladdery, who was hanged in 1961 for the murder of Pearl Gamble. The condemned lived in a large cell (large enough for two guards to live in as well). The bodies of the executed were buried within the prison grounds in unconsecrated ground. The graves were un-marked, which was actually part of the death sentence ... to be buried in an un-marked grave. However, apparently some Guards took pity, and carved the initials of some of the prisoners on the wall behind their graves, still visible today. The execution of Tom Williams, a member of the IRA, took place on 2 September 1942. Williams, nineteen years old, was hanged for the murder of an RUC officer. The hangman in charge was Thomas Pierrepoint, the gaol's most regular hangman, who carried out six executions in the gaol between 1928 and 1942. Williams was one of the two prisoners of the seventeen executed whose remains were re-interred and buried elsewhere.
Douggy Carpool: hey how r u doin
Kaycee Nightfire: ok
Douggy Carpool: wat u doin out there
Kaycee Nightfire: shooting a bear
Guess I'm not going to Disney World anytime soon .....
Marble, AD 70-80
After Nero’s death, his images were defaced or destroyed in an act of damnatio memoriae, the offcial suppression of his memory. Others were removed and reworked into the portraits of later emperors. This marble portrait of Vespasian, made for insertion into a full-length statue, was re-carved from a likeness of Nero. It retains Nero’s deep-set eyes. Small traces also remain in the surface of the marble at the back of the neck. They show that a longer section of hair, characteristic of Nero’s coiffure, was removed.
[British Museum]
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum
this painting is part of a series I am working on exploring what it means to be a Catholic in the North of Ireland.
Thanks to Barry Cullen Ballyfermot Parade for his Link to his you tube to mark the 100 Anniversary of Joe Hill's Execution at Salt lake City and to Jim Larkin's oration at Joe Hill's funeral 1915. Narrated by Joe Duffy Claddagh Green
I knelt to take this shot of a cross that commemorates the execution (by firing squad) of one of the leaders of the 1916 Easter Uprising in Kilmainham Gaol (Jail) in Dublin. As I did, a woman tripped over the base of that flagpole and fell.
Exécution sans jugement sous les rois Maures de Grenade (Execution without judgement under the Moorish Kings of Grenada)
1870
By Henri Regnault (1843 - 1871)
Oil on canvas, H. 3.02 ; L. 1.46 m
musée d'Orsay, Paris, France
Regnault’s grand canvas still unsettles many visitors to the Musée d’Orsay. Whereas other nearby paintings in the museum have long since lost their avant-garde capacity to disturb viewers’ expectations, Regnault’s canvas has retained its shock value. One major reason for this response is not so much the bloody scene in the foreground as the viewer’s position vis-à-vis this macabre subject. As Linda Nochlin has pointed out, when the canvas is hung at the correct height, the decapitated corpse rests at the viewer’s own eye level.
The Rebels Return Wood Sculptures. Wat Tyler Park, Basildon, Essex.
Full size high quality images available on request.
Knight Elkcrown's squire won a fair battle. But no blood was to be spilled, said the bailiff, and the losing squire's life got spared.
This Glacial erratic in Jordbro has an interesting history. For centuries it was used as a place of execution. It has seen many decapitations and hangings. The last person to die here was Anders Gustav Pettersson, who murdered his boss, Fredrik Jaedren, the brutal owner of the old estate Näringsberg. I recently read a book about about the murder story.
I shot this with The Nifty Fifty. It is three photos stitched together.
WWE Unmatched Fury Bret the Hitman Hart
Crowd is actual araneta colliseum crowd of the 2006 Smackdown survivor series tour.
in Long Island Sound, north of Sands Point, New York; the granite stone tower was built in 1850 and the keepers house in 1868.
Den of Imagination - Your Miniature Painting Service
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