View allAll Photos Tagged immutable
your mission today,
should you choose to accept it:
sit under a tree,
back against the trunk.
attempt to empty your mind
of all thoughts, ideas, and worries.
slowly breathe in,
mindfully breathe out,
focussing only on:
the sound of the leaves
as they rustle in the wind.
the rush of the breeze
as it brushes your skin.
the sound of the birds
as their song fills your ears.
the smell of the earth
as it embraces its roots.
the feel of the soil
as it sifts through your hands.
the sight of the branches
bending and swaying
in effortless synchronicity.
be astonished
by its immutable perfection.
absorb its nature.
together,
we’re one and the same.
bt
05.16.2014
This fine mansion started life as a shooting lodge designed for the comfort of Lord Ribblesdale's murderously inclined guests. After the shooting lodge was upgraded to this residential standard several well known literary figures stayed here including Charles Kingsley whose "Water Babies" was said to have been inspired by the scenery around Malham. The Reverend Charles Kingsley's Water Babies is now out of favour but was a mainstay of the nursery library for a long time. Being a moral fable gilding the redemptive power of Christian faith it had a lot going for it when it was published in 1863. Kingsley is an interesting example (and a bit of a rare one) of a cleric who found no contradiction in reconciling Darwin's theory of evolution with his Christianity, he did not see a particular species as being immutable by divine ordination. Good Man.
The field centre and all around it are now in the possession of the National Trust.
Met up with some friends, some of which I had only "met" online, to see two unusual orchid spikes, with this unusual interflorance.
Very striking plants, and well worth the scramble to and back from their well-hidden location.
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Pelorism is the term, said to be first used by Charles Darwin, for the formation of 'peloric flowers'[1] which botanically is the abnormal production of radially symmetrical (actinomorphic) flowers in a species that usually produces bilaterally symmetrical (zygomorphic) flowers.[2] These flowers are spontaneous floral symmetry mutants. The term epanody is also applied to this phenomenon.[3] Bilaterally symmetrical (zygomorphic) flowers are known to have evolved several times from radially symmetrical (actinomorphic) flowers, these changes being linked to increasing specialisation in pollinators.
elorism has been of interest since a five-spurred variety of the common toad-flax (Linaria vulgaris L.) was first discovered in 1742 by a young Uppsala botanist on an island in the Stockholm archipelago and then in 1744 described by Carl Linnaeus. The mutant, spreading vegetatively, had five spurs rather than the usual one; however, the rest of the plant was normal. Linnaeus found that this variety was contrary to his concept that genera and species had universally arisen through an act of "original creation and remained unchanged since then". Linnaeus called this type of mutant a 'Peloria', the Greek for 'monster' or 'prodigy', because of the huge implications for the then current belief that species were immutable. He wrote that "This is certainly no less remarkable than if a cow were to give birth to a calf with a wolf's head." The peloric plant fascinated Linnaeus to the extent that he grew it at his summer residence in Hammarby and his explanation for it was that a toad-flax had been pollinated by another species.[5] Charles Darwin, Charles Victor Naudin, Johann Wolfgang von Goethe and Hugo de Vries amongst others analysed and wrote about.
Peloria derives from both new Latin and from the Greek word pelōros, meaning 'monstrous'
Industrials = IS
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The pseudo-Christian art inaugurated by the neo-paganism of the Renaissance seeks and realizes only man. The mysteries it should suggest are suffocated in a din of superficiality and inability, inevitable features of individualism; in any case it inflicts immense harm on society, above all by its ignorant hypocrisy.
How should it be otherwise, seeing that this art is only disguised paganism and takes no account in its formal language of the contemplative chastity and the immaterial beauty of the spirit of the Gospels?
How can one unreservedly call “sacred” an art which, forgetful of the quasisacramental character of holy images and forgetful, too, of the traditional rules of the crafts, holds up to the veneration of the faithful carnal and showy copies of nature and even portraits of concubines painted by libertines?
In the ancient Church, and in the Eastern Churches even down to our own times, icon painters prepared themselves for their work by fasting, by prayer, and by sacraments; to the inspiration which had fixed the immutable type of the image they added their own humble and pious inspirations; and they scrupulously respected the symbolism—always susceptible of an endless series of precious nuances—of the forms and colors. They drew their creative joy, not from inventing pretentious novelties, but from a loving recreation of the revealed prototypes, and this resulted in a spiritual and artistic perfection such as no individual genius could ever attain.
In the sixteenth century the Patriarch Nikon ordered the destruction of icons influenced by the Renaissance and threatened with excommunication those who painted or owned such paintings. After him the Patriarch Joachim required—in his last will and testament—that icons should always be painted according to ancient models and not “follow Latin or German models, which are invented according to the personal whim of the artist and corrupt the tradition of the Church.” Many texts of this kind could be cited.
[In India, tradition speaks of the painter Chitrakara who was cursed by a brahmin for having broken the rules in the composition of a painting for which he had received a commission.]
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
♪♬♩•*¨*•.¸¸Just done watching "Barely Lethal". Barely Lethal feints at being delightfully sentient, it never fully awakens to its satirical potential. Barely Lethal doesn't have a bad hook. Haughty high school queen bees have forever wrought havoc at the movies, but none have squared off with a rival trained to kill, a trait marking Megan Walsh (Hailee Steinfeld) as a potentially tantalizing protagonist. A film where Megan actually uses her counter ➺ insurgency skills to employ the assortment of teen ➳ beat clichés against themselves and lead a coup d'état of the genre's immutable structure. Instead, she sinks right into it, becoming the star in her very own formulaic teenage farce..¸¸.•*¨*•♩♬♪
➺ Home Sweet Home, My Humble Crib ➳ Champ20Ns Way.
ⓘⓩ♪♬♩d(^_^)b❤M¡J❤d(^_^)b♩♬♪ⓩⓨ™
Available for sale - History and Painting are damn liars, frauds, shams. As well they both express profound truths. If the fraud is performed deftly the recipient of either will become a complicit disciple and agree to turn a blind eye to the deceit, and perpetuate the lie with the inexorable law of inertia.
At best painting can be a fraud perpetrated to tell a deeper truth. At worst history can be a fraud perpetrated to comfort the conscience of the victor, or to further an unsavory agenda.
What is the truth of any person with their contradictions? That person might have an ever lengthening, convoluted path filled perhaps with situational justifications. Where can an observer find the brick immutable truth in the history or representation of a legend, a hero, a despot, killer of ones kin, a cruel or righteous person passed into mythic proportions? Who actually is to judge, to know - if even the subject, the historian, prejudiced bystander or casual viewer? Perhaps the observer is the judge, in turn being judged in perpetuity.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
By Tony Cragg
Tony Cragg (born 1949, UK) is one of the world’s foremost sculptors, constantly pushing to find new relations between people and the material world. In the 1980s, Cragg began to make sculptures suggestive of architecture...
These totemic piles of found objects and machined parts suggest an industrial counterpoint to the history of man-made achievements, while his other work nearby, Tools, made from sandstone, conveys the opposite, being hand wrought versions of mechanical aids, such as screwdrivers and mallets. Cragg sees no difference between the natural and the artificial, preferring to acknowledge the bridges between the two, the synthetic here acquiring figurative qualities in some of the bust-like tools, while his stacked turrets of spacers, washers and engine spares travel back through time to suggest archaeological accretions and geological strata.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Building a responsive design is easy. Making it performant takes more time and care. The biggest performance challenges lie with media. For many organizations, these challenges will force them to retool the way they handle images and video. In this session, we’ll look at the options for how to handle responsive image and video. We’ll talk about guidelines for implementing responsive media in your organization as well as the one immutable rule for responsive images.
The Akamai Edge Conference is an annual gathering of the industry revolutionaries who are committed to creating leading edge experiences, realizing the full potential of what is possible in a Faster Forward World.
Learn more at www.akamai.com/edge
Your child under the age of 12 has just been assigned to do a science project.
Hey! Guess what?!?! The very next piece of mail you will open will be your draft notice to report to primary school.
Your first assignment?
The same project. Lucky! : |
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
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This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
"Here", 2015
Slipcast porcelain
In this work I have posed questions to myself about place and immutability. We change, places change. How does one take account of time in relationship to location?
Price $600 SOLD
Logan Linn is a software engineer at Prismatic, a social news curation and content discovery app for web and mobile. He studied computer engineering and computer science at Virginia Tech.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
It could say they do not see anything, represent the mass, all concentrated in a light point. Also they could be observing an atrocious crime from its window, react equal, immutable. It could be a same person, multiplied within its head
Jeff Jonas, co-author of a new paper on Immutable Audit Logs, and
Amitai Etzioni, authr of "The Limits of Privacy" among many other notable works
I strongly suspect this is the Morrison's trolley recently seen on its side just above here. It is an immutable fact of life in Cwmbran that a trolley abandoned long enough near the canal will inexorably be drawn into it.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
expressing "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
After Andrea moved out (the first time), she texted us a pic of her in tears, as she finally went on her way. It was very emotional. But then she immediately texted us a pic of herself smiling, so we were wondering just how real the displays were. Or maybe both were. We'll never know. We sought various forms of help (private & government) for her after this, and even let her move in a second time, but it was all futile. Her trajectory was her own, and was pretty much immutable for as long as she kept going to constant parties, hanging out with people who kept putting drinks in her hand, coming home at 2-4AM every night, rarely sleeping, etc etc. Her fate wasn't going to change, and she wouldn't listen to our warnings. R.I.P. Andrea. I hope you found what you're looking for.
Andrea.
crying.
self-portrait.
Clint and Carolyn's house, Alexandria, Virginia.
June 4, 2016.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
It could say they do not see anything, represent the mass, all concentrated in a light point. Also they could be observing an atrocious crime from its window, react equal, immutable. It could be a same person, multiplied within its head
The "immutable servers" concept is a new approach to deployment. Instead of upgrading your servers, replace them with new ones. Likewise, instead of updating the code running on those servers, deploy it from scratch on new servers, and throw the old ones away.
Art at Parker Center
Sook Jin Jo, 2009. Parker Center, 150 N. Los Angeles Street near Parker Center.
Text from the plaque: There are three primary elements in this public art project: columns, bells, and ribbons. The numbers associated with these elements carry a unique meaning, from the nine columns (consisting of five larger and four smaller columns) to the 108 bells and ribbons suspended from the central trellis system. The number 5 references the five-member Board of Police Commissioners, and the number 4 references the four-star insignia of the Chief of Police. When added together, the numbers 5 and 4 create the number 9. Across various cultures, the number 9, as the highest single digit number, suggests perfection, immutable truth, and a triumph of stability and balance over volatility and disparity. The bells symbolize elements of renewal, peace, harmony, freedom, protection and spirituality. Each ribbon hanging from the bells is etched with text contributed by the community. As part of the Japanese-Buddhist culture, beginning on New Year's Eve and continuing into New Year's Day, it is tradition to ring bells 108 times to commemorate the passing of the old year and the coming of the new year, and of the 108 human desires that are thought to be the cause of human suffering, one desire is dispelled with each tolling of the bells.
By Cory Arcangel
Cory Arcangel (born 1978, USA) is a leading exponent of technology-based art, drawn to video games, software and online platforms for their ability to formulate new communities and traditions and, equally, for their rapid obsolescence.
These four projections depict elements of a hacked video game from the early 1990s, its modified cartridges and Nintendo consoles are also on display as the only other components of the work. This endless intro screen captures a foreboding Soviet fighter jet, partially frozen mid-bombing mission over a nameless Middle Eastern country, suspended next to a trio of scudding clouds and computer-blue skies.
Incorporating hacking as an artistic practice, Arcangel remains faithful to open source culture, making his working methods available online and thus superimposing a perpetual question-mark as to the value
of the art object.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
The indoor / outdoor chairs "Écloses" are characterized by their minimalist graphics style and balanced, between density of matter and subtlety of lines.
Object of contemplation, these sets are integrated in perfect harmony with their environment. Motionless, the chairs "Écloses" let pass on them the seasons. Also, the fineness of these pieces associated with the blackness of their dress returns us the feeling of an immutable fragility.
--
Les chaises Écloses indoor / outdoor sont caractérisées par leur style graphique minimaliste et équilibré, entre densité de la matière et subtilité des lignes.
Objet de contemplation, ces ensembles s’intègrent en parfaite harmonie à leur site. Immobiles, les chaises Écloses laissent indifféremment passer sur elles les saisons. Aussi, la finesse de ces pièces associée au noir de leur robe nous renvoient le sentiment d’une fragilité immuable.
By Haroon Mirza
A Chamber for Horwitz,
Sonakinatography Transcriptions in Surround Sound, 2015
Wall work: Channa Horwitz
Sonakinatography Composition III, 1996
Haroon Mirza (born 1977, UK) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. Transcribing a complex working drawing by LA-based artist Channa Horwitz (1932–2013), Mirza turns her notational sequences and matrices into a multi-coloured, sonic score. The electric noise of the currents that light the LEDs in one of the eight possible configurations and colour combinations, as marked by Horwitz, is simul-taneously translated via speakers to audible noise pulses in different octaves. Together, these acoustic, visual interpretations of the Horwitz data result in a choreographed, compositional concert, which is at once computer-programmed and man-made – both ‘live’ and historic.
A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound is a conceptual development of an earlier piece by Mirza, titled Adam, Eve, Others and a UFO (2013).
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 8
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
By Tony Cragg
Tony Cragg (born 1949, UK) is one of the world’s foremost sculptors, constantly pushing to find new relations between people and the material world. In the 1980s, Cragg began to make sculptures suggestive of architecture...
These totemic piles of found objects and machined parts suggest an industrial counterpoint to the history of man-made achievements, while his other work nearby, Tools, made from sandstone, conveys the opposite, being hand wrought versions of mechanical aids, such as screwdrivers and mallets. Cragg sees no difference between the natural and the artificial, preferring to acknowledge the bridges between the two, the synthetic here acquiring figurative qualities in some of the bust-like tools, while his stacked turrets of spacers, washers and engine spares travel back through time to suggest archaeological accretions and geological strata.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]