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Wakefield Trinity Ladies test to the limit the York City Knights Ladies' defence during a Women's Super League second round clash at York St John University's Haxby Road Sports Hub. Wakefield, newcomers to the competition for the 2019 season, recorded their first victory at this level, scoring two tries to one in winning 10-6.
Match statistics:
Admission: free. Programme: £2 (eight pages). Attendance: 163. Scoring sequence: 0-6 (19mins); 0-10 (49mins); 6-10 (73 mins).
This left angle-limiter for the handlebar also took some deforming energy during the crash. It's a bend a few degrees further back than usual. The painting is also ruptured, which is a clear indicator of damage.
Generally, that speed is used for the expressways in the area, but it is also used for the areas full of office parks such as North First Street or Zanker Road (which is above) Also, the speed limit of 45 carries on further down to Los Esteros Road, which leads to the San Francisco Bay and eventually Alviso.
WCOR 6059 exits yard limits and enters the 25mph speed zone on its way north with an excursion train.
Widespread Panic played twice at ACL: once in the late afternoon and once at night. This was the first show, and I was just sitting on the dirty relaxing when I took it.
The hard-packed sand in Daytona allows people to drive on the beach, but local officials enforce a speed limit.
The Dulacca Block Limit sign taken with the Dulacca Hotel in the background during ther 23rd September 2009 severe dust storm. Many a railway man has relaxed in this 100 year old hotel.
Running until June 18th at Brookfield Place (181 Bay St. Toronto), be sure to check out Philip Beesley's interactive architectural installation "Sargasso" done as part of Luminato. Evolving beyond the limits of static architecture, Sargasso melds a sea of sensors and microcontrollers with an intricate mesh of modular acrylic arms and soft mylar forms into a living space that reacts to those within it.
L'ancienne carrière de La Troche (parc Eugène Chanlon, rue de Corbeville, en limite des communes d'Orsay, 91400, et de Palaiseau, 91120, Essonne) offre un front de taille de 5 mètres de haut pour 150 mètres de long, propice à l'escalade et à la varappe.
La sculpture réalisée sur une des faces du front de taille sert de point de repère sur le topoguide du site de La Troche téléchargeable sur un serveur dédié à l'escalade sur blocs en région parisienne.
Le forum de "Bleau.info" signale la réhabilitation du site d'escalade de la carrière de La Troche par Alain Perros et la réalisation d'un topoguide à jour au 16 juin 2008. Voir :
Capture d'écran réalisée à titre d'illustration le 19 août 2008.
Maurizio Cattelan was born in Padua, Italy, in 1960. Since the early 1990s Maurizio Cattelan has been internationally recognized for his humorous and ironic works which provoke and challenge the limits of contemporary value systems. Maurizio Cattelan’s retrospective, Sussurro, will be showcased at the Serralves Villa, a 1930s Art Deco house. The exhibition brings together a selection of works deeply connected to history, reflecting Cattelan's approach to art. In addition to the pieces displayed in the Villa, sculptures by the artist will be installed throughout the Serralves Park. Together, these settings offer a unique contextualization of both Maurizio Cattelan´s work and of Serralves Park and Villa.
Most of the works selected for Sussurro demonstrate Maurizio Cattelan’s interest in History: historical changes, historical trauma, and historical icons. The times of transition, these in-betweens, seem to captivate Cattelan. The hanging, elusive moment between childhood and adulthood, between life and death, between historical eras, between laughter and sobs, is the source of his iconography. He turns these moments into icons.
Maurizio Cattelan has conceived his work as a series of saynètes populated by a cast of characters ranging from, and raging with, historical figures, self-portraits, friends and acquaintances, a bestiary, children, to familiar objects, locations and images. A détournement… a family of misfits, including direct references to some of his ancestors: Joseph Beuys, Lucio Fontana, Giovanni Anselmo, Piero Manzoni, Mario Merz, Jannis Kounellis, Carlo Collodi, Walt Disney, Günter Grass, Volker Schlöndorff, Stephen King and Stanley Kubrick… and between all the lines, Andy Warhol, for his furtive relationship to public image, his status as an image-maker, his entrepreneurial and publisher scheme, and his obsession with death.
The saynètes demonstrate an understanding of space that is quasi-theatrical or cinematographic. Locations, as the Serralves Villa, are key; framing, angles and sightlines are never innocent, nor is Maurizio Cattelan; and the overall context is a defining perception of the work. Scenography and art directing are as important in his work as the historical or cultural references. His conception of space and the way we, as visitors, encounter the works, is fully informed by the legacy of conceptual and minimal art, the phenomenological approach to space and to the awareness of space. The way the objects are strategically positioned, oriented in a room, on a public square, affects and informs our apprehension and reading of the works.
Sussurro is to Serralves what Hieronymus Bosch’s Temptations of Saint Anthony is to the Museu Nacional de Arte Antiga in Lisbon. The Tentation de Lisbonne has now its symmetrical with the Tentation de Porto. Bosch’s painting is an exacerbated spectacle of human madness, the vision of a world spinning towards an end with the background of Biblical allegory of good and bad, the psychotic vision of decay where humans and animals dance towards their damnation on a scorched earth. With Bosch, grotesque and humor, mimicry and blasphemy are extracted from the world and expose, iconically, the complicity between humanity and corruption. Images are salvation.
Maurizio Cattelan breaks in a culture in which the question of the place, the role, the veracity of images is at the center of an endemic malaise and he provides answers with images that are themselves effractions imbued with a malaise. This malaise might be our laughter.
Maurizio Cattelan’s visual aphorisms are exercises in re-routing, hacking a broad database of images deeply embedded in history, culture, belief systems and in our taboos. Sussurro speaks out loudly for those who want, and may not want, to hear.
Produced by the Serralves Foundation – Museum of Contemporary Art Porto, the exhibition is curated by Philippe Vergne, the Museum Director and is coordinated by Giovana Gabriel.
Moscow is the capital and largest city of Russia, standing on the Moskva River in Central Russia. It has a population estimated at over 13 million residents within the city limits, over 19.1 million residents in the urban area, and over 21.5 million residents in its metropolitan area. The city covers an area of 2,511 square kilometers (970 mi2), while the urban area covers 5,891 square kilometers (2,275 mi2), and the metropolitan area covers over 26,000 square kilometers (10,000 mi2). Moscow is among the world's largest cities, being the most populous city entirely in Europe, the largest urban and metropolitan area in Europe, and the largest city by land area on the European continent.
First documented in 1147, Moscow became the capital of the Grand Principality of Moscow, which led the unification of the Russian lands in the 15th century and became the center of a unified state. Following the proclamation of the Tsardom of Russia in 1547, Moscow remained the political and economic center for most of its history. During the reign of Peter the Great, the Russian capital was moved to the newly founded city of Saint Petersburg in 1712, leading to a decline in Moscow's importance throughout the imperial period. Following the Russian Revolution and the establishment of the Russian SFSR, the capital was moved back to Moscow in 1918. The city later became the political center of the Soviet Union and experienced significant population growth throughout the Soviet period. In the aftermath of the dissolution of the Soviet Union, Moscow remained the capital city of the newly reconstituted Russian Federation and has experienced continued growth.
The northernmost and coldest megacity in the world, Moscow is governed as a federal city, where it serves as the political, economic, cultural, and scientific center of Russia and Eastern Europe. Moscow has one of the world's largest urban economies. Moscow has the second-highest number of billionaires of any city (tied with Hong Kong). The Moscow International Business Center is one of the largest financial centers in the world and features the majority of Europe's tallest skyscrapers. Moscow was the host city of the 1980 Summer Olympics and one of the host cities of the 2018 FIFA World Cup.
The city contains several UNESCO World Heritage Sites and is known for its display of Russian architecture, particularly in areas such as Red Square and buildings such as Saint Basil's Cathedral and the Moscow Kremlin, the latter of which is the seat of power of the Government of Russia. Moscow is home to Russian companies in different industries and is served by a comprehensive transit network, which includes four international airports, ten railway terminals, a tram system, a monorail system, and the Moscow Metro, which is the busiest metro system in Europe and one of the largest rapid transit systems in the world. The city has over 40 percent of its territory covered by greenery, making it one of the greenest cities in the world.
Back in the uni era, a Dr kept saying: SKY IS THE LIMIT.
I always loved it, and when I took this picture I remembered that!
O Canyon Fortaleza está situado a 23 Km de Cambará do Sul, no Parque Nacional da Serra Geral, com acesso pela CS-423.
O nome Fortaleza deve-se à configuração do terreno, talhado de tal forma que lembra as muralhas de um forte, com suas pontes e torres. Suas escarpas atingem, em alguns lugares, 900m de altura. A vegetação verde-escura que se vê agarrada às rochas, ao fundo, é constituída de colossais folhas chamadas de "abóboda do diabo", que chegam a medir 1,50 m de diâmetro.
O cânion se estende por cerca de 5.800 metros de comprimento, 2.000 metros de largura e uma profundidade de 600 metros. Para uma melhor visibilidade é necessário percorrer uma trilha de 1.700 metros no Morro Fortaleza. É possível observar cerca de 95% do cânion e as praias que fazem limite entre Rio Grande do Sul e Santa Catarina de cima do morro.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/771631183
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Broken head of stone gargoyle carved by cataphiles (urban cavers)
Catacombs of Paris (off-limit area), about 20 meters (60 feet) underground, under Paris city center.
This is a part of the 200 Km network of ancient tunnels not opened to the public, but regularly visited by trespassing urban cavers called "cataphiles". See more information in the album description.
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