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Two U.S. Air Force Rockwell B-1B "Lancers" assigned to 37th Expeditionary Bomb Squadron, deployed from Ellsworth Air Force Base, South Dakota, fly alongside two Koku Jieitai (Japan Air Self-Defense Force) F-15s over the vicinity of the East China Sea, Sept. 9, 2017. Following the end of the operation, one B-1B flew to Misawa Air Base, Japan, to be a static display for the Misawa Air Festival, while the other B-1B returned to Andersen AFB, Guam. The integration of our aerial platforms with our allied nations advance and strengthen the long-standing military-to-military relationships in the Indo-Asia-Pacific region.
RAF Regiment Forward Air Controllers (FACs) from the Air Land Integration Cell (ALIC), Based at RAF Honington (Suffolk), guide a Typhoon from 6 Squadron onto their target at the Cape Wrath practice range in Scotland.
6 Squadron was training to use Typhoon in the air-to-ground strike role, building on their ability to use it in the air-to-air air defence role.
For the RAF regiment, the exercise formed part of ALIC FAC training for both Operation HERRICK (Afghanistan) and contingency operations. RAF Regt personnel provided Laser designation and target ‘talk-ons’ ensuring that the inert Paveway II weapons successfully struck their targets.
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© Crown Copyright 2013
Photographer: RAF
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Dina Contella, operations integration manager for NASA's International Space Station Program Office, monitors the countdown of the launch of a SpaceX Falcon 9 rocket carrying the company's Dragon spacecraft on NASA’s SpaceX Crew-6 mission with NASA astronauts Stephen Bowen and Warren "Woody" Hoburg, UAE (United Arab Emirates) astronaut Sultan Alneyadi, and Roscosmos cosmonaut Andrey Fedyaev onboard, Wednesday, March 1, 2023, in firing room four of the Rocco A. Petrone Launch Control Center at NASA’s Kennedy Space Center in Florida. NASA’s SpaceX Crew-6 mission is the sixth crew rotation mission of the SpaceX Dragon spacecraft and Falcon 9 rocket to the International Space Station as part of the agency’s Commercial Crew Program. Bowen, Hoburg, Alneyadi, and Fedyaev launched at 12:34 a.m. EST on March 2, from Launch Complex 39A at the Kennedy Space Center. Photo Credit: (NASA/Joel Kowsky)
..ecco il mio tentativo di mostrare la IFN intorno a questo celeberrimo duo di galassie nell'Orsa maggiore, M81 e M82, sono riuscito a sommare in due serate 48 frames 800 iso di cui 5 di 10 minuti ottenuti da Fontecorniale 550 mt. e i rimanenti 43 da 5 minuti dal cielo di casa a Lucrezia con Eos 40D su FS60 CB con riduttore di focale autoguida PHD Guiding dithering su AZEQ6 GT SW processing PixInsight 1.8 elaborazione PS CS5 Topaz labs (Detail3 Desnoise5)..
il risultato lo ritengo abbastanza soddisfacente anche se la IFN è percettibile solo dai cieli di montagna,mi accontento
January 23, 2021 - "Knowlton Hall, dedicated in 2004, is a state-of-the-art facility for the School of Architecture. The School’s new home is based on the integration of elements: inside and out, students and faculty, old and new, school and university, art and technology. Each of the three disciplines of architecture, landscape architecture, and city and regional planning are mixed. The design reflects the school’s mission of excellence in education, innovation in design and planning, and the stewardship of quality environment.Knowlton Hall marks an important entrance to campus and forms a nucleus of professional schools along with the College of Engineering and Fisher College of Business. The 165,000-square-foot facility houses all classrooms, facilities, and offices for KSA’s three disciplines. Students learn in the six classrooms, four seminar spaces, 350-seat auditorium, outdoor classroom spaces, and 500 studio spaces available to them. The building also featuresgallery space for exhibitions, central review space for critiques of student work, a materials/fabrication lab, an experimental garden space, a 30,000-volume library, two computer laboratories, a digital image library, and a café.Knowlton Hall was designed by Mack Scogin Merril Elam Architects of Atlanta, with Wandel & Schnell of Columbus (now WSA Studio). Landscape Architecture was designed by Michael Van Valkenburgh and Associates, New York and Cambridge." Previous text from the following website: architizer.com/projects/knowlton-school-of-architecture/
Copyright © Gio's Gallery Photography.
This photo may not be used in any form without prior permission. All rights reserved.
After the telescope and sunshield were joined, technicians did a careful inspection of the entire James Webb Space Telescope observatory, before moving on to electronically connect all of its various interfaces.
Here's a recent video about the recent successful assembly of Webb into its final form, which occurred in August:https://youtu.be/Trh9ohPo-cE
Image credit: Northrop Grumman
Taken along the summit rim trail of Mount Vesuvius. Looking at a portion of the interior of the Gran Cono crater.
When I was a child, my father spent hours, with Chicago Motor Club maps spread out before him, planning a family trip to the Pacific Northwest and the Cascade Range. In his own childhood he'd been to Crater Lake in Oregon and for good reason thought it the most beautiful place on Earth.
While in my early years we did get to many splendid places in the West, including the Yellowstone Caldera and the Canadian Rockies, we never quite made it all the way to the Cascade peaks that form the magnificent (and dangerous) continental volcanic arc a little inboard from the subducting Juan de Fuca Plate. As a matter of fact, I didn't get to them by myself until my middle adulthood, long after I'd been to the tops of Vesuvius, Etna, and Stromboli.
Of that Italian triad, Vesuvius was my first ascent. And it was the first place I'd ever visited that seemed to be chronologically unhitched from the landscape below and around it.
Whether they're currently erupting or not, the world's great volcanic summits invest one with the feeling that the planet itself is still very young and forming. It's an eerie thing to suddenly find oneself in an early chapter of the Earth's creation—the Hadean, perhaps, or the dawn of the Eoarchean, some 4 Ga before the birth of our species.
That makes it all the more ironic that the geology here is actually remarkably young. This fact is made abundantly clear in one of my main sources for this series, "Volcanic Evolution of the Somma-Vesuvius Complex (Italy)," Sbrana et al., Journal of Maps, January 2020.
If I'm interpreting one of that article's illustrations correctly, the upper portion of the crater wall shown in the photo above was almost all produced in the 1944 eruption, during the Allies' torturous advance up the Italian peninsula. Only the lowest quarter of the visible strata are older; and they just date to the period 1913-1930.
Incidentally, notice that I used the term strata for rock units that are obviously igneous. If you're someone who's taken a single geology course, perhaps as a 100-level science elective in college, you probably think that strata (synonymous with layers and beds) are the sole intellectual property of sedimentary rocks.
So it appears I'm violating a basic understanding uttered by countless Earth-science instructors. But it turns out that what they told you is something I call a beginner's truth—an educatively helpful fact that is partly abrogated as one gains additional experience.
It's true that a nice set of stacked beds is an excellent way to identify sedimentary rocks. But in composite volcanoes like Vesuvius, also known as stratovolcanoes for good reason, you'll see striking patterns of alternating layers, too. In this case, though, they're not made of sandstone, limestone, or some other clastic or chemically precipitated type. Instead, they're a succession of tephra (ash, lapilli, pumice, and other ejected particles) and lava flows that poured onto the surface while still in a liquid state.
In Part 1 of this set, I discussed the petrology and predominant rock types of Vesuvius' more recently erupted material. But in this post, instead of focusing on the arcanities of tephrite, phonolite, and their intergradations, let's just identify what beds are lava and which are the tephra.
Fortunately, this is one of the best places in the world to see the inner structure of a stratovolcano: the crater is about 500 m (1,640 ft) wide and 300 m (984 ft) deep. And its almost-vertical walls are nothing less than the opened pages of a geology textbook.
First of all, the sunlit, reddish-brown material blanketing the rim is mostly tephra. When you actually walk on it, it has a crunchy, granular to dusty texture.
Farther down the wall, in the shade, the tephra takes on a darker aspect. In contrast, the lava strata are lighter-toned and more massive (thicker). See how many different layers you can actually count. Each bed represents its own geologic story worthy of remembrance.
The other photos and descriptions of this series can be found in my Integrative Natural History of Mount Vesuvius & the Gulf of Naples album.
even different lives lived by a countless individuals...is unified in one spirit...for peace in Humanity...
A Northrop Grumman Antares rocket is seen as it is rolled out of the Horizontal Integration Facility to launch Pad-0A, Tuesday, Oct. 29, 2019, at NASA's Wallops Flight Facility in Virginia. Northrop Grumman’s 12th contracted cargo resupply mission with NASA to the International Space Station will deliver about 8,200 pounds of science and research, crew supplies and vehicle hardware to the orbital laboratory and its crew. Launch is scheduled for 9:59 a.m. EDT Saturday, Nov. 2. Photo Credit: (NASA/Bill Ingalls)
Das ist Integration:
Mustafa, neben mir: "Ich ess ja auch schon mal Schweinefleisch."
Nachbar: "Mustafa - du bist doch Moslem?"
Mustafa: "Ich bin Deutscher."
Leica MP
Leica Summilux 35mm f/1.4 II
Fuji Neopan 400
Tetenal Ultrafin Plus 1+4
7 min 30 sec 20°C
Scan from negative film
The Intermediate eXperimental Vehicle (IXV) flight model during integration at Thales Alenia Space, Torino, Italy, on 12 February 2014.
It will be launched by ESA in 2014 on Vega, Europe’s new small launcher, into a suborbital path. It will reenter the atmosphere as if from a low-orbit mission, testing new European reentry technologies during its hypersonic and supersonic flight phases.
Credit: ESA–S. Corvaja, 2014
jsc2017e043848 (April 14, 2017) --- In the Integration Facility at the Baikonur Cosmodrome in Kazakhstan, Expedition 51 crewmember Jack Fischer of NASA enters the Soyuz MS-04 spacecraft April 14 during a final training session. Fischer and Fyodor Yurchikhin of the Russian Federal Space Agency (Roscosmos) will launch April 20 on the Soyuz MS-04 spacecraft for a four and a half month mission on the International Space Station. Credit: NASA/Gagarin Cosmonaut Training Center/Andrey Shelepin
More than 250 friends and supporters joined EHMC Foundation for “Be Integrative,” a spectacular evening reception to benefit The Center for Integrative Medicine at EHMC.
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Building Resilience, Integrating Gender Women, Natural Resources and Climate Change in Afghanistan
2017 © Noorullah Azizi UN Environment
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
acryl on ripped cardboard
integrating duct tape tracks
labels
scratches
cracks etc.
A3 format & smaller
irregular edges
Fusion with my artworks is possible in the projection gallery. I was looking not only to make you think and let your imagination fly free, but at the same time to play with your own shadows, integrating yourself to them creating new stories and I think I have achieved it. Thanks to all of you who have attended in December there is a new collection on the way :)
Gallery projections immensities collection
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La fusión con mis obras de arte es posible en la galería de proyección. Buscaba no solo hacerte pensar y dejar volar tu imaginación, sino a la vez jugar con tus propias sombras, integrándote a ellas creando nuevas historias y creo que lo he logrado. Gracias a todos los que habéis asistido,en diciembre hay una nueva colección en camino :)