View allAll Photos Tagged openwork
Gold openwork hollow bead of spider in web with the body as a male portrait head. Moche, 300 AD - 390 AD. Tomb of the Old Lord of Sipan (Tomb 3), Sipan, Peru. From the Museo Tumbas Reales de Sipan, Lambayeque, Peru.
Special Exhibit, Golden Kingdoms: Luxury and Legacy in the Ancient Americas. Metropolitan Museum of Art, New York, New York, USA. Copyright 2018, James A. Ferguson.
Expo Azzedine Alaïa, Thierry Mugler - 1980-1990 deux décennies de connivences artistiques | Fondation Azzedine Alaïa, Paris
Gauche/Left: Azzedine Alaïa, Prêt-à-porter Printemps/Eté 2007
Robe en coton blanc cannelé, décor de jours
Dress in fluted white cotton, decorated with openworks seams
Droite/Right: Thierry Mugler, Prêt-à-porter, vers 1992
Veste en toile de lin blanche, décors de jours échelle.
White linen jacket decorated with ladder helmstitch.
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Having settled in Paris since 1956, Azzedine Alaïa owes his training to women, friends, and clients more than to any school of apprenticeship. In their desire for a sophisticated and discreet wardrobe, he supported them (...and) earned a reputation as a master tailor, heir to an academic tradition that places him in direct lineage to Cristóbal Balenciaga and Madeleine Vionnet.
His expertise and technical virtuosity are not only coveted by the elegant women of the moment. Couturiers and fashion designers know they can count on him to refine certain complex designs or lend a hand with a collection that needs to be completed. This was the case for Yves Saint Laurent. It was also the case for Thierry Mugler, whom Alaïa met in 1979 and with whom he formed a close friendship.
For his fall-winter 1979-80 collection, Mugler invited Alaïa to create the series of tuxedos for his show. (...) This collaboration encouraged Alaïa to become a designer himself. Thierry Mugler strongly encouraged him and showed him support that would prove to be both crucial and unwavering. (...) In 1982, at the request of the American department store Bergdorf Goodman, Alaïa presented a show in New York. It was Mugler who persuaded him to do so. (...)
Fellow travelers for a decade they stylistically preempted, Alaïa and Mugler freely allowed their influences to influence each other's creations. In the 1980s, both deified women, proclaiming the return of glamour, with Hollywood as their inspiration, a world away from the folkloric fashions of the 1970s. They share a common silhouette where majestic shoulders contrast with narrowed waists and full hips, memories and fantasies of the fashions of the 1930s and 1950s, and of couturiers Adrian, Jacques Fath, Christian Dior, and Cristóbal Balenciaga at the forefront.
If Mugler has a sense of showmanship (...), Alaïa has a taste for intimacy and perfection. But it is with a shared spirit that their collections echo one another. (...)
Contemporaries, friends (...), the two designers have throughout their lives demonstrated a profound respect for each other's careers. Their daytime and evening wear echo each other, dictating a four-handed fashion, a hallmark of contemporary fashion.
A couturier and collector with a vast and renowned fashion heritage, Azzedine Alaïa has preserved more than 200 Thierry Mugler creations, some forty of which are exhibited here in dialogue with his own archives.
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Installé à Paris dès 1956, Azzedine Alaïa doit sa formation aux femmes, amies et clientes plus qu’à aucune école d’apprentissage. Dans leurs vœux d’une garde-robe exigeante et discrète, il les accompagne (...et) a acquis la réputation de grand coupeur héritier d’une tradition académique qui le situe en ligne directe de Cristóbal Balenciaga ou Madeleine Vionnet.
Son expertise et sa virtuosité technique ne sont pas seulement convoitées par les élégantes du moment. Des couturiers et des créateurs de mode savent qu’ils peuvent éventuellement compter sur lui pour préciser certains modèles complexes ou prêter main forte sur une collection à terminer. C’est le cas ponctuel de Yves Saint Laurent. Ce fut aussi celui de Thierry Mugler, qu’Alaïa rencontre en 1979 et avec lequel il noue de véritables liens d’amitiés.
Pour sa collection automne-hiver 1979-80, Mugler invite Alaïa à réaliser la série de smokings de son défilé. (...) Cette collaboration incite Alaïa à devenir créateur lui-même. Thierry Mugler l’encourage vivement et témoigne envers lui d’un soutien qui se révèlera capital autant qu’indéfectible. (...) En 1982, à la demande du grand magasin américain Bergdorf Goodman, Alaïa présente un défilé à New York. C’est Mugler qui l’en persuade. (...)
Compagnons de route d’une décennie qu’ils ont préemptée stylistiquement, Alaïa et Mugler ont librement laissé les influences agir sur leurs créations mutuelles. Dans les années 1980, tous deux ont divinisé la femme, proclamant le retour du glamour en gloire et Hollywood pour inspiration à mille lieux des modes folkloriques des années 1970. Ils partagent une silhouette commune où les épaules en majesté contrastent avec les tailles étranglées et les hanches épanouies, souvenirs et fantasmes des modes des années 1930 et 1950 et des couturiers Adrian, Jacques Fath, Christian Dior et Cristóbal Balenciaga en tête.
Si Mugler a le sens du show (...) , Alaïa a le goût de l’intime et de la perfection. Mais c’est avec communauté d’esprit que leurs collections se répondent. (...)
Contemporains, amis (...), les deux créateurs ont tout au long de leur vie manifesté un profond respect pour leurs carrières respectives. Leurs vêtements, du jour comme ceux du soir se répondent dictant une mode à quatre mains, paraphe des modes contemporaines.
Couturier et collectionneur à l’origine d’un patrimoine de mode immense et reconnu, Azzedine Alaïa a préservé plus de 200 créations griffées Thierry Mugler dont une quarantaine sont ici exposées en dialogue avec ses propres archives.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Architect: Hans Asplund
Built in: 1963
Client:
Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.
The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.
More of Hans Asplund’s work
Finely detailed carved ivory openwork panel with nine scenes of the Passion.
The middle register, right to left: Christ bearing the cross, the Crucifixion, and the descent from the cross.
The British Museum, London
For a similar panel with twelve scenes, go to
www.britishmuseum.org/research/search_the_collection_data...
Architect: Hans Asplund
Built in: 1963
Client:
Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.
The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.
More of Hans Asplund’s work
Large fine reptilian style effigy jar from the Nicoya Region of Costa Rica. This superlative pear-shaped polychrome ceramic vessel has two crocodile heads with a beautiful complex painted motif that stands on hollow rattle tripod legs. Openwork mouth prominently exposes his upper and lower teeth. Two continuous painted bands separate the lower crocodilian vessel to the wide panel effigy around the neck of the jar. A ritual imagery of Tlaloc is decorated between the upper and lower geometric designs. Cream slip, burnished, with black and orange-red paint. Rare.
Early period VI, 1000-1550 AD
Measures 13"/33 cm in height.
Jaguar heads are the most common applied heads of such jars. Having a star role in the religious and mythological concepts expressed through the designs on polychrome ceramics, the powerful alligator or crocodile prevailed in design schemes at an earlier period. The added human or deity face on this vessel makes it very unique as both symbols are associated simultaneously with fertility, life giver and the rains.
info@galeriacontici.net
On Sunday 15th September 2019, there was a free Heritage Open Day during Birmingham Heritage Week at the Birmingham Botanical Gardens. so obviously loads of people visited that afternoon. It was very busy with thousands of families and visitors.
Bandstand - a band was there for the day to play music to the visitors on the lawn.
Grade II Listed Building
Listing Text
WESTBOURNE ROAD
1.
5104
Edgbaston B15
Bandstand,
Botanical Gardens
SP 0485 SE 43/1
II
2.
1873. An elongated octagon in plan. Stepped plinth of buff and blue brick.
Twisted Corinthian iron columns carry 4 centred arches with openwork scrolly
spandrels. Three of the 8 sides with glazed screens. Platform paved in
red and blue brick and with scrolly railing. Hipped roof of patterned slate
with 2 iron finials.
Listing NGR: SP0487585394
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Main Lawn is an amphitheatre, with its axis running roughly south-west from the Terrace to the Bandstand. This acts as a sun trap and the higher ground behind cuts off the cold northerly winds, so the Lawn is a popular spot for sunbathing and picnics in fine weather. The grass gets favoured treatment to keep the turf in the fine springy condition which makes it such a pleasure to walk on and a joy to behold from the Terrace.
The Bandstand is surrounded by colourful summer and winter bedding displays, in keeping with the period of its creation. On the far side of the Bandstand is the fountain, and the planting areas around the fountain have been enriched with shrubs for all seasons, including Peonies, Abelias, Camellias and Hydrangeas.
Here and there on the lawn and at its edges are ornamental trees. The mature copper beech has been an outstanding feature of the gardens for longer than anyone can remember, and is accompanied by many other fine specimens. A special feature on the main lawn is the Analematic Sundial, not fixed on a stand, but laid out on a level area of ground. By standing on the stone strip at a position corresponding to the month of the year you may tell the time of day by the direction of your shadow. It is set to British Summer Time as it is of little use in the British winter.
On several occasions I have tripped up or down these stairs because I was distracted by my admiration of the attractive pattern of concrete blocks in beige paint.
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In downtown Tallahassee, Florida, on March 4th, 2019, outside the Florida AFL-CIO at the northeast corner of East College Avenue and South Monroe Street (U.S. Route 27 and Florida state roads 61 and 373). The building was erected in 1958.
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Getty Thesaurus of Geographic Names terms:
• Leon (county) (2000276)
• Tallahassee (7013938)
Art & Architecture Thesaurus terms:
• beige (color) (300266234)
• blue (color) (300129361)
• concrete blocks (300374976)
• corporate headquarters (built works) (300132690)
• exterior walls (300002523)
• geometric patterns (300165213)
• handrails (300002022)
• light brown (300127503)
• Mid-Century Modernist (300343610)
• paint (coating) (300015029)
• openwork (300253899)
• stairs (300003228)
• trade unions (300026023)
Wikidata items:
• 4 March 2019 (Q57349890)
• 1950s in architecture (Q11185577)
• 1958 in architecture (Q2812203)
• AFL–CIO (Q464271)
• Florida AFL–CIO (Q5461170)
• Florida Panhandle (Q1430068)
• Florida State Road 373 (Q2432739)
• Florida State Road 61 (Q2432471)
• March 4 (Q2396)
• March 2019 (Q31275158)
• North Florida (Q7055353)
• U.S. Route 27 (Q408924)
Library of Congress Subject Headings:
• Color in architecture (sh85028595)
• Concrete masonry (sh85030722)
• Geometry in architecture (sh00000156)
1209 SW 6th Avenue, Portland.
A local real estate site says:
The Ambassador is one of the oldest and most celebrated residences in Portland. Built in 1922, it was designed by famed Northwest architect Carl L. Lind and is listed on the National Record of Historic places. Ownership of the building was transferred several times and in 1978 the Ambassador Apartments were converted to condominiums.
The nine-story building is built in Jacobean style – an early phase of English renaissance architecture with a free and fanciful use of columns, pilasters, round-arch arcades and flat roofs with openwork parapets -- featuring Columbian brick facing and cast Boise sandstone trim. It features tiers of bay windows and a crenellated parapet in the eastern recess. Noted lighting designer Fred C Baker designed the original exterior lighting fixtures located in the entrance recesses on either side of the front door. The front door with sidelights is also original.
Maya (Bobobie Bei) in a knitted tunic in rose coloured alpaca and a crocheted openwork hat in light pink cotton.
Architect: Hans Asplund
Built in: 1963
Client:
Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.
The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.
More of Hans Asplund’s work
Cette église a été très remaniée à partir de 1718 par Alexandre van de Walle (1681-1761), jésuite cultivé, cure de la paroisse, mélomane qui y faisant donner des concerts : d'où l'importance des décors musicaux en stuc et en bois [...]. {info in the church}
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This church was very much altered starting in 1718 by Alexandre van de Walle (1681-1761), a cultivated Jesuit, parish curate, and music lover, who organized concerts here : hence the importance of the musical decoration in stucco and wood [...].
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Info at the church did not mention the organ specifically.
The façade was being restored when I visited, & the organ was wrapped up for protection.
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upper balcony for the local gentry?
Church of St. James, Chawleigh Devon - mostly 15c & early 16c with major renovation in 1840s.
It consists of a nave and chancel, south aisle and south Radford Chapel under parallel roofs, west tower, south porch and low 19c vestry built in Tudor Gothic style in the angle between east end of the aisle and chancel.
There is no chancel arch, instead there is an early 16c oak rood screen of 12 bays which was " faithfully renovated" in 1910 according to a brass plaque, and includes empty doorways to the chancel & south chapel.
There are ceiled wagon roofs throughout. The similar roofs to nave and aisle appear wholly 19c whilst the more ornate chancel wagon roof with its small panels, cross braces and carved bosses may include 16c carpentry - It has unusual delicate openwork wall plate, more the type of carving to be expected on a rood screen.
The three stage west tower is roughcast with mostly original early 16c granite dressings and is topped by 19c brass weather cock. The 19c round clock faces have Roman numerals.
"A local band ring the bells hanging in the tapering tower; the Local Ministry Team, small choir and regular organist all help to maintain welcoming weekly Sunday morning services. This together with various other activities gives a Christian presence in the village".
Picture with thanks - copyright Glen www.findagrave.com/cemetery/2678214/st-james%27-church
Cette église a été très remaniée à partir de 1718 par Alexandre van de Walle (1681-1761), jésuite cultivé, cure de la paroisse, mélomane qui y faisant donner des concerts : d'où l'importance des décors musicaux en stuc et en bois [...]. {info in the church}
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This church was very much altered starting in 1718 by Alexandre van de Walle (1681-1761), a cultivated Jesuit, parish curate, and music lover, who organized concerts here : hence the importance of the musical decoration in stucco and wood [...].
============
Info at the church did not mention the organ specifically.
The façade was being restored when I visited, & the organ was wrapped up for protection.
Finally got around to doing some editing to be able to show a sharp close-up of Issabbella's coif from the side. Taken at An Tir May Crown May 2011. Linen with silk and metallic embroidery, replica of an extant Elizabethan coif. See other photos of the coif in progress and of the openwork seam on top. (The needlework is Mistress Issabbella's work.)
Myer Myers (1723-1795)
Basket
New York City, 1770-76
Silver
Morris K. Jesup Fund, 1954
This extremely rare American table basket was made for the wealthy West Indies merchant Samuel Cornell and his wife, Susannah, residents of New York and New Bern, North Carolina. Following his appointment to the North Carolina Provincial Council, Cornell commissioned several outstanding objects from Myers. With its lacy pierced panels, gadroned borders, and hinged openwork handle, the basket emulates high style London silver.
Custom designed platinum ring using customer's marquise diamond set in a very thin full bezel. Customer's design for gallery work shows two waves facing each other - openwork. Shank features square Euro style.
After leaving the National Trust property of Snowshill Manor, got these views of the picturesque Cotswold village of Broadway on the way back towards Birmingham. I've yet to have a walk around this village, maybe sometime in the future. For now these car views will have to do.
Broadway is a large village and civil parish within the Cotswolds, located in the county of Worcestershire, England. Its population was 2,540 in the 2011 census, a small increase on the 2,496 in the 2001 census. It is situated in the far southeast of Worcestershire and very close to the Gloucestershire border, midway between the towns of Evesham and Moreton-in-Marsh. Often referred to as the "Jewel of the Cotswolds".
Broadway village lies beneath Fish Hill on the western Cotswold escarpment. The "broad way" is the wide grass-fringed main street, centred on the Green, which is lined with red chestnut trees and honey-coloured Cotswold limestone buildings, many dating from the 16th century. It is known for its association with the Arts and Crafts movement, and is situated in an area of outstanding scenery and conservation. The wide High Street is lined with a wide variety of shops and cafes, many housed in listed buildings.
Now on Station Road heading towards the railway bridge near Broadway Station of the Gloucestershire Warwickshire Steam Railway.
Russell House - I think the house on the left.
Grade II* Listed Building
Listing Text
SP 0937 BROADWAY CP STATION ROAD (south side)
8/142 Russell House
30.7.59
GV II*
House. Said to be 1791, with early C19 additions and late C19 alterations.
Sandstone ashlar with Welsh slate roof. Two storeys with attic. Main part
of house of three bays, with storey band. On the ground floor are bowed
sash windows of early C19 type, with glazing bars, fluted pilasters, and
cornices. On the first floor are boxed sashes with glazing bars. Attic
dormers have segmental heads and sashes with glazing bars To the right
is an added bay which has a blocked keyed elliptical archway on the ground
floor and a sash with glazing bars above. Within the blocked archway is a
door under an iron openwork porch with leaded canopy. Copings and chimneys
on gables and between main house and added bay. To the right is a former
barn, converted into a drawing room and studio in the late C19. Within the
blocked elliptical archway is a timber bay window with, curved sides. To
each side are four pairs of ventilation slits, with an oval opening above
each. A photograph taken in the late 1870s shows the front door in the
middle bay of the main part of the house, and the barn before conversion.
The house was bought in 1885 by Frank Millet, an American artist who died
when the Titanic sank in 1912. (Houghton, CC: A Walk About Broadway, 1980).
Listing NGR: SP0922037645
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Description
SP 0937 BROADWAY CP STATION ROAD (south side)
8/142 Russell House
30.7.59
GV II*
House. Said to be 1791, with early C19 additions and late C19 alterations.
Sandstone ashlar with Welsh slate roof. Two storeys with attic. Main part
of house of three bays, with storey band. On the ground floor are bowed
sash windows of early C19 type, with glazing bars, fluted pilasters, and
cornices. On the first floor are boxed sashes with glazing bars. Attic
dormers have segmental heads and sashes with glazing bars To the right
is an added bay which has a blocked keyed elliptical archway on the ground
floor and a sash with glazing bars above. Within the blocked archway is a
door under an iron openwork porch with leaded canopy. Copings and chimneys
on gables and between main house and added bay. To the right is a former
barn, converted into a drawing room and studio in the late C19. Within the
blocked elliptical archway is a timber bay window with, curved sides. To
each side are four pairs of ventilation slits, with an oval opening above
each. A photograph taken in the late 1870s shows the front door in the
middle bay of the main part of the house, and the barn before conversion.
The house was bought in 1885 by Frank Millet, an American artist who died
when the Titanic sank in 1912. (Houghton, CC: A Walk About Broadway, 1980).
Listing NGR: SP0922037645
My own needle lace design. I just finished it tonight. Outline thread is pearl 5, lace thread is Aurifil 12. The openwork sections are 4 variants of pea stitch. The dense leaves are corded Brussels. See more at:
In Latin, the Emerald Green Arborvitae means "tree of life," due to the alleged medicinal value of its resin.
This design is a tribute to this striking tree, with the sterling silver focal piece featuring a looping tree branch and five leaves. The openwork design has been oxidized and hand polished to accentuate its beauty. A faceted 12mm genuine emerald heart briolette (May's birthstone) is suspended from the teardrop focal. An oxidized marquise cable chain unites the design, along with a lobster clasp.
Designed as a collaboration with the filmmaker Samuel Orr for his upcoming documentary, "Return of the Cicadas" This life-sized cicada in fine metal is a reward for donors of $195 or more. The sculpture features openwork wings which evoke the transparency of their real counterparts.
To obtain this piece in silver or gold plated brass, please visit www.returnofthecicadas.com/ and support the film!
Faience, New Kingdom or Third Intermediate Period, late Dynasty XX - Dynasty XXV, ca. 1185-653 B.C.E.
1 1/16 x 1/4 x 1 15/16 in. (2.7 x 0.7 x 5 cm)
One side of this spacer depicts a child nursed by a goddess flanked by other deities, one dominating a bound prisoner. The other side shows an enthroned falcon-headed god flanked by still more deities, again with a bound captive. This decoration, done in openwork characteristic of late Dynasty XX through Dynasty XXV, may symbolize the birth, childhood, and triumphal enthronement of the god Horus and therefore possibly also the king in his role as Horus.
(49.30)
From the collection of the Brooklyn Museum of Art, Brooklyn, New York.
Completed in 1812 by Johan Willem Timpe, foreman of Heinrich Hermann Freytag, who had died in 1811. Carvings on façade and balcony are by M. Walles & son.
On Sunday 15th September 2019, there was a free Heritage Open Day during Birmingham Heritage Week at the Birmingham Botanical Gardens. so obviously loads of people visited that afternoon. It was very busy with thousands of families and visitors.
Grade II Listed Building
Listing Text
WESTBOURNE ROAD
1.
sic%
Edgbaston B15
Palm House,
Botanical Gardens
SP 0485 SE 43/6
II GV
2.
1871. Big square glass house with pyramidal roof rising in 2 stages, supported
externally by panelled Corinthian pilasters on a blue brick plinth and thin
moulded vertical glazing bars. Interior with central square enclosed by round
headed iron arcades on twisted Corinthian columns with scrolling openwork
spandrels. It connects on the right with the West Terrace Glasshouse (qv).
Listing NGR: SP0491485440
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Subtropical House (formerly the Palm House) is our largest glasshouse and was erected in 1871 at a cost of £1,634.
Special features are four collections of plants:
Occupying the north side is a collection of ferns. Too numerous to name them all, ferns that draw one’s immediate attention are the epiphytic stagshorn fern, Platycerium bifurcatum, with leaves resembling antlers; the Japanese climbing fern, Lygodium japonicum, scrambling up to the roof and Dicksonia x lathamii – a tree fern raised by a our curator in the 1870’s and is the only plant of its kind in the world!
Higher up the evolutionary scale from ferns are the cycads, of which there is a representative collection. These ancient conifers, robustly fern-like in appearance, dominated the vegetation of the earth in the era of the dinosaurs, 100 million years ago, but are now greatly diminished in numbers and limited in distribution.
Further on, is a display of fascinating carnivorous plants from temperate climates; sundews, butterworts, pitcher plants, Venus flytraps and bladderworts, all of which, by various devices, trap and digest small insects.
The remaining special collection is that of the orchids, the largest family of plants, with more than 17,000 natural species. Orchids are highly specialised plants – some live epiphytically on trees in tropical woodlands for support, whilst others grow more normally in soil in most climatic regions of the world. Both types are represented in the collection. Orchid species readily produce fertile hybrids, and such is the beauty of their blooms that over 100,000 horticultural varieties have already been produced and several thousand new ones are added every year.
Educational plants include pineapple, tea, cinnamon, rice, peanut and sugar cane. Many more plants of interest are to be seen here, but it is also a pleasant place to stroll, to paint and sketch or merely to linger in the warm, moist atmosphere listening to the play of water in the fountain.
Hibiscus rosa-sinensis
Iron sword with ivory pommel and gold-circle inlay, gold scabbards with semiprecious stone inlay, gold sword clasps with glass and garnet inlay. Bronze pair of animal-style openwork ibexes. Frankish, Germanic, 5th Century AD - 6th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
New Arrivals Casual Wedge Heel Women's Short Boots With Openwork Rhinestone and Imitation Fur Design
"Una escultura haciéndose" con June Crespo. Foto de María Eugenia Serrano Díez.
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Abordamos un nuevo curso desde esta pregunta, una duda que llegó con la modernidad, hace mucho, muchísimo tiempo. Sorprendentemente, en la sociedad de híper consumo en la que vivimos, sigue ahí, sin agotarse. La usamos como arma y como escudo, como refugio también. La manipulamos y la manoseamos. Algunas veces, la hemos lanzado desde la incredulidad (porque, no nos engañemos, quien pregunta piensa que la respuesta es no), pero nunca desde la suspicacia. Confiamos en el arte, y sobre todo en lo que tiene de enigma. Por eso la respuesta no tiene por qué ser un sí, ni queremos convencer a nadie de nada. La respuesta es que no hay o, más bien, que no lo sabemos, que no tenemos ni idea.
Así que, lo dicho, seguimos instaladas en la pregunta, y en esta edición pensamos en otra vuelta de tuerca. ¿Y si en vez de plantear que hay un determinado tipo de arte que damos por supuesto que es difícil de definir como tal, derribamos las certezas con las que nos acercamos al arte que lleva ahí toda la vida? Presuponer un arte que requiere explicación implica establecer una división entre quien duda y quien tiene las respuestas. Vamos a intentar algo menos categórico. Pensar las prácticas que se asocian a disciplinas asentadas (el dibujo, la pintura, la escultura, los sonidos musicales o el diseño), a soportes, lugares de exposición y públicos que parecen naturales pero, ojo, pensándolo todo desde el aquí y el ahora. Sentirlo como una urgencia renovada. Lo que nos intriga es lo presuntamente evidente.
Este curso no tiene título, pero podría ser algo relacionado con el deseo de doblar los haceres del arte. El arte de doblar: un curso de origami.
El CA2M desarrolla una línea de actividades de formación en arte y pensamiento contemporáneos enmarcadas dentro de la tradición de las universidades populares especialmente dirigidas a público joven y adulto. En estos cursos se abordan algunos de los planteamientos fundamentales para entender e interpretar el arte actual, para pensar en él. Estas actividades constan de dos partes: una primera consistente en la presentación de un tema por un invitado seguida por otra en la que se abre el debate para que los asistentes tomen la palabra. Las sesiones presenciales se complementan con el trabajo personal de cada asistente en relación a textos que serán entregados antes de cada una de las sesiones del curso.
14 FEBRERO
La pintura es misteriosa
Selina Blasco
Siguiendo el hilo de la observación de Ángel González García de que es mejor pintar sin tener ni idea, nos preguntamos: ¿cómo habría que tratar con la pintura? En la charla vamos a intentarlo desde ese no saber, pero situándonos en otro lugar, el de la ignorancia de quien no hace, de quien no pinta nada. Vamos a preguntar a las personas que pintan para ver qué es lo que averiguamos. Ya tenemos una respuesta, y nos gusta tanto que es la que hemos elegido como título de la charla. La cosa promete. También vamos a ingeniárnoslas para construir la narración de este ejercicio de investigación sobre el terreno, de trabajo de campo. La pintura quiere ser tratada.
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
21 FEBRERO
Dibujo y cultura visual contemporánea. Una aproximación desde la práctica artística
Azucena Vieites
El trabajo de Azucena Vieites se ha desarrollado en torno a las técnicas y los procesos gráficos de la expresión, acercándose a la cultura visual contemporánea a través del dibujo o la serigrafía. La multiplicidad, el fragmento o la repetición como ruptura con respecto a la imagen absoluta y las formas lineales de narración o el carácter efímero de la obra se ponen de manifiesto como aspectos relevantes en su producción. A partir de algunos ejemplos de su propia práctica y de otras piezas de diversos artistas, elaboradas en esta misma línea, reflexionaremos en esta charla sobre el dibujo como una forma de representación y conocimiento del entorno que nos rodea en relación a un momento del presente.
Asimismo, se tratará de relacionar los ejemplos propuestos con algunas cuestiones planteadas por la realizadora alemana Ulrike Ottinger; esta artista trabaja en cada una de sus películas con la intención de encontrar una forma adecuada que tiene que ver con los colores, con el tiempo, con la estructura dramática y con la manera de unir las imágenes.
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones individuales destacan Woollen Body, galería Carreras Múgica (Bilbao, 2015) y Tableau Vivant, Museo Reina Sofía (Madrid, 2013).
28 FEBRERO
Un carpintero amateur
Carlos Granados
Me gusta pensar ideas y hacer cosas. Pasar de la cabeza a la mano. Y de la mano a la cabeza. De artista conceptual a carpintero ¿Acaso tienen algo que ver el arte y la carpintería? Duchamp dijo que había que viajar sólo con un cepillo de dientes, sin carga. Cuando estudié artes, mis referentes eran este tipo de artistas, tipos que trabajaban con las ideas. Ahora trabajo con el cepillo de desbastar que usaba mi abuelo y al hacerlo pienso en su práctica. De repente me veo acumulando, trabajando la madera, haciendo. Me gustan los proyectos que me llevan mucho tiempo. Hay una frase que dice mi amigo Ángel: mide dos veces, corta una. Esto creo que resume muy bien el trabajo del carpintero. Oficio minucioso, paciente y lento. Y que quede bien.
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
7 MARZO
Historias silenciadas, sonidos olvidados
José Luis Espejo y Andrea Zarza
¿Cómo se posicionan las personas en el espacio público con sonido? En torno a esta pregunta es posible plantear relatos centrados en el trabajo de los herreros, las campanas y las sirenas, las cencerradas, la protesta, los carnavales y ritos que si no son distintos, al menos son paralelos a aquellos que vertebran la historia de la música y del arte. El sonido, el ruido, el rumor de una comunidad enfurecida y el repiquiqueteo del trabajo son argumentos disonantes, de calado casi arqueológico, a los de la historiografía oficial. En Charivaria, una exposición comisariada por José Luis Espejo y Andrea Zarza en CentroCentro Cibeles entre octubre de 2017 y enero de 2018, se reunieron trabajos que plantean estos conocimientos transferidos, en muchos casos, oralmente o por alegorías, que han sido minorizados por disciplinas académicas. Artistas como Grupal Crew Collective, que toman los sonidos de las fiestas de colectivos sin identidades consagradas, o Cuidadoras de Sonidos, Rafael SMP o Vivian Caccuri, que dan voz a los habitantes de barrios destruidos por el avance de la modernidad, y Xabier Erkizia, que con su estudio sobre la cultura del carro de bueyes, agudiza el oído hacia un sonido desplazado por la hegemonía de lo urbano, tienen claro que sus trabajos amplían nuestra concepción del arte. Los archivos, sonoros y escritos permiten rescatar historias silenciadas y sonidos olvidados para replantear genealogías del arte sonoro o de la música. Un despliegue de contenidos enigmáticos sorprende al visitante y rarifican el espacio de la galería.
Andrea Zarza es archivera y licenciada en filosofía. Trabaja como comisaria en el archivo sonoro de la British Library y su sello discográfico Mana Records, llevado junto con Matthew Kent, se dedica a publicar obras que se encuentran en la intersección del sonido contemporáneo y de archivo.
José Luis Espejo es parte del equipo de la Radio Reina Sofía, Mediateletipos y el Máster de Industria Musical y Estudios Sonoros en la Universidad Carlos III de Madrid. Ha desarrollado proyectos de comisariado en Madrid y en Donostia-San Sebastián 2016.
14 MARZO
Un reclamo de sensualidad
Elena Alonso
La puesta en valor de la artesanía y la lucha contra su desaparición no es una novedad. Ya en los inicios del s. XX, la práctica artesanal se planteaba como la estrategia revolucionaria contra la industralización y el capitalismo, posicionándose contra una imparable deshumanización de la producción y el trabajo. Asignándole atributos como resistencia, habilidad, autenticidad, benevolencia o autodeterminación, se pretendía, más de un siglo atrás, aplacar la desaparición del “hacer” con las manos por la producción en masa.
Hoy, frente a la revolución digital y el capitalismo tardío, asistimos a un revival retorcido de estos deseos y problemáticas. El conflicto desemboca en un reclamo de sensualidad desde el cual se vuelve a aludir a la artesanía como exploración de las relaciones “encuerpadas”, la materialidad, el afecto, la ecología, lo local o la inteligencia sensible. Pero se plantean muchas preguntas... ¿Qué tiene de contemporáneo la práctica artesanal? ¿Qué lugar encuentra en el sistema actual? ¿Qué sentido tiene como resistencia? ¿Cual es el impulso vital que nos aferra a ella?
En esta sesión veremos ejemplos de artistas y diseñadores contemporáneos cuyos procesos de trabajo están íntimamente ligados a lo artesanal, centrándonos en la materialidad de sus objetos y el carácter afectivo de su producción. Un acercamiento al Arte y el Diseño para pensar sobre el sentido de lo artesanal en la actualidad, lo anacrónico o ineludible de este tipo de prácticas o el mercado del Arte como terreno para mantenerlas. Cuestiones que en definitiva podrían responder también a la pregunta ¿Por qué se sigue pintando o dibujando?
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las relaciones de afectividad con el entorno. Recientemente ha expuesto de manera individual en Matadero Madrid, Museo ABC y Espacio Valverde.
21 MARZO
Háztelo tú y házselo a otrxs
Javier Pérez Iglesias y Marta van Tartwijk
Las autoediciones han dado voz a quienes han sentido que tenían algo que decir al margen de los canales establecidos. Por eso hay una tradición en el uso de los fanzines entre comunidades queer, anarquismos, feminismos…
Los artistas descubrieron hace ya mucho que un libro podía ser una pieza artística y hasta aquí hemos llegado con una producción cada vez más variada de publicaciones.
Hay un encuentro entre lo autoeditado (o editado en los márgenes) y la intencionalidad artística que desborda la idea tradicional de libro que ha sido paradigma en bibliotecas y librerías.
Nosotras actuamos en las bibliotecas de dos instituciones muy institucionales, el museo y la academia, pero que tratan de potenciar su porosidad, explorar sus grietas y conectarse con lo que pasa en las calles.
Los libros ya no son lo que eran… Las bibliotecas tampoco.
Javier Pérez Iglesias es biblioactivista, charlaperformadora, curadora de lecturas, mala catalogadora y peor clasificadora
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeniera de laberintos bibliográficos, desordenadora de fanzines y catalizadora de meriendas literarias.
4 ABRIL
Una escultura haciéndose
June Crespo
Planteo una sesión para pensar sobre los aspectos propios de la escultura, compartiendo trabajos que desde diferentes medios abordan lo escultórico. Me interesa una escultura haciéndose, la negociación entre sujeto y objeto que se da en su proceso y como es el primer encuentro con ella. Acercarme a ella, rodearla, alejarme y mantenerme imantada. Desde su superficie a su cuerpo, contorno e imagen.
¿Cómo me afecta?¿Qué resonancia física genera en mi?¿Donde me mira?¿Qué movimiento y coreografía provoca? ¿Cómo activa el espacio?
June Crespo vive en Bilbao, donde se licenció en Bellas Artes en 2005. Trabaja y expone también en otros contextos internacionales, centrando su práctica en el terreno de la escultura.
11 ABRIL
Aquí no hay un sólo lugar que no nos vea
Rafael Sánchez-Mateos Paniagua
Museo del Prado: coto reservado de eruditos, redil de turistas un poco decepcionados por no poder hacerse selfis con Velázquez, niños a los que hay que explicar de qué alta cultura somos súbditos ignorantes. Perdidos, abrumados y un poco desmaravillados ante las obras del arte de ayer, entre cuyos santos, reyes y vírgenes es tan difícil encontrar un pueblo al que desear pertenecer. Pensamos que todo ya estaría dicho, clarificado, catalogado y periclitado, después de haberle dedicado una lujosa y privilegiada atención que hoy no puede resultar más que anacrónica o complacientemente legitimadora del contexto en el que han ido a parar. No obstante las obras, en la medida en que siguen siendo accesibles a la experiencia, son radicalmente contemporáneas de quien se encuentra con ellas. Se nos ofrecen a los sentidos para que cada cual pueda reconocer, reflejar o refractar un sentido nuevo, no prescrito. Esperan acaso adoptar nuevas vidas, impulsadas por la memoria y la imaginación que aún pueden excitar en nosotros. Siempre abiertos a lo imprevisto de la experiencia -individual o colectiva- que todavía es posible hacer, pese a todo contexto sacralizador de la institución museo y sus vigilantes de dentro y afuera. Lo importante sería intentar intensificar, revivificar y reorganizar el espacio de la atención, la aisthesis y la percepción -tan descuidado en su propia forma material y tan asediado por la modernización que hemos hecho- con el fin de renovar la experiencia de un arte hoy tan extraño como suculento, desde la generosidad de los que se acercan a algo desconocido y se (re)descubren al ser observados por la propia obra que contemplan.
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.
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We tackle a new course from this question, a doubt that came with the modernity, it does a lot of, a lot of time. Surprisingly, in the society of híper I consume in the one through that we live, it continues there, without becoming exhausted. We use it like weapon and as I shield, as I shelter also. We manipulate it and handle it. Sometimes, we have thrown it from the incredulity (because, we do not deceive ourselves, who asks thinks that the answer is not), but never from the suspicion. We trust in the art, and especially in what it has of puzzler. That's why the answer does not have why to be yes, we do not even want to convince anybody in anything. The answer is that there is not or, rather, that we do not know it, that we do not have it does not even design.
So, the above mentioned, we remain installed in the question, and in this edition we think about another nut return. And if instead of raising that there is a certain type of art that we give surely it is difficult to define as such, we knock down the certainties with which we approach the art that takes there the whole life? To presuppose an art that needs explanation implies establishing a division between the one who doubts and the one who has the answers. We are going to try something less categorical. To think the practices that collaborate to placed disciplines (the drawing, the painting, the sculpture, the musical sounds or the design), to supports, places of exhibition and public that seem natural but, eye, thinking everything from here and now. To feel it like a renewed urgency. What intrigues us is supposedly clearly.
This course has no title, but it might be something related to the desire to double the haceres of the art. The art of turning: an origami course.
The CA2M develops a line of activities of formation in contemporary art and thought framed inside the tradition of the popular universities especially directed to young and adult public. In these courses there are tackled some of the fundamental expositions to understand and to interpret the current art, to think about him. These activities consist of two parts: the first one consistent of the presentation of a topic for a guest continued by other one in the one that opens the debate to herself so that the assistants take the word. The meetings attend them they complement each other with the personal work of every assistant as regards texts that will be delivered before each of the meetings of the course.
ON FEBRUARY 14
The painting is mysterious
Selina Blasco
Following the thread of the observation of Ángel González García of which it is better to do without having not even idea, we wonder: how would it be necessary to treat with the painting? In the chat we are going to try it from not knowing that one, but being located in another place, that of the ignorance of the one who does not do, of whom nothing does. We are going to ask the persons who do to see what is what we find out. We already have an answer, and we like so much that it is the one that we have elected as a title of the chat. The thing promises. Also we are going to manage them to construct the story of this exercise of investigation on the area, of field work. The painting wants to be treated.
Selina Blasco is an Art history teacher in the faculty of Fine arts of the Complutense University of Madrid
ON FEBRUARY 21
Drawing and contemporary visual culture. An approach from the artistic practice
Lily Vieites
The work of Lily Vieites has developed concerning the skills and the graphic processes of the expression, approaching the contemporary visual culture across the drawing or the serigraphy. The multiplicity, the fragment or the repetition like rupture with regard to the absolute image and the linear forms of story or the ephemeral character of the work are revealed like excellent aspects in its production. From some examples of our own practice and of other pieces of diverse artists, prepared in the same line, we will reflect in this chat on the drawing like a form of representation and knowledge of the environment that surrounds us as regards a moment of the present.
Also, it will be a question of relating the examples proposed with some questions raised by the German realizadora Ulrike Ottinger; this artist is employed at each of its movies with the intention of finding a suitable form that has to do with the colors, with the time, with the dramatic structure and with the way of joining the images.
Lily Vieites is an artist and teacher in the faculties of Fine arts of Madrid and of Salamanca. Between its individual exhibitions Woollen Body emphasizes, gallery Careers Múgica (Bilbao, 2015) and Tableau Vivant, Museum Queen Sophia (Madrid, 2013).
ON FEBRUARY 28
A carpenter amateur
Carlos Granados
I like thinking ideas and doing things. To go on from the head to the hand. And of the hand to the head. Of conceptual artist to carpenter: Perhaps the art and the carpentry have something to do? Duchamp said that it was necessary to travel only with a toothbrush, without load. When I studied arts, my modality was this type of artists, types that were working with the ideas. Now I work with the brush of refining that my grandfather was using and on having done it think about its practice. Suddenly I meet accumulating, working the wood, doing. I like the projects that take a lot of time to me. There is a phrase that says my friendly Angel: it measures two times, cuts one. This I believe that he sums very well the work of the carpenter up. Meticulous, patient and slow office. And that suits.
Carlos Granados is one of the persons in charge of the Department of Education of the CA2M
ON MARCH 7
Silenced histories, forgotten sounds
José Luis Espejo and Andrea Zarza
How posicionan the persons in the public space with sound? Concerning this question it is possible to raise histories centred on the work of the blacksmiths, the bells and the sirens, the charivaris, the protest, the carnivals and rites that if they are not different, at least are parallel to those that support the history of the music and of the art. The sound, the noise, the rumor of an incensed community and the repiquiqueteo of the work are dissonant arguments, of almost archaeological openwork, to those of the official historiography. In Charivaria, an exhibition comisariada for José Luis Espejo and Andrea Zarza in CentroCentro Cibeles between October, 2017 and January, 2018, there met works that raise this transferred knowledge, in many cases, orally or for allegories, which have been minorizados for academic disciplines. Artists as Group Crew Collective, who take the sounds of the holidays of groups without consecrated, or Careful Sound identities, Rafael SMP or Vivian Caccuri, who give voice to the inhabitants of quarters destroyed by the advance of the modernity, and Xabier Erkizia, which with its study on the culture of the car of oxen, sharpens the ear towards a sound displaced by the hegemony of the urban thing, are sure that its works extend our conception of the art. The files, sonorous and written allow to rescue silenced histories and sounds forgotten to restate genealogy of the sonorous art or of the music. A deployment of enigmatic contents surprises the visitor and they rarefy the space of the gallery.
Andrea Zarza is archivera and Bachelor of philosophy. It is employed like police station at the sonorous file of British Library and its record stamp Flows with Records, taken together with Matthew Kent, devotes itself to publish works that are in the intersection of the contemporary sound and of file.
José Luis Espejo is a part of the team of the Radio Queen Sophia, Mediateletipos and the Master's degree of Musical Industry and Sonorous Studies in the University Carlos III of Madrid. It has developed commission projects in Madrid and in Donostia-San 2016.
ON MARCH 14
A sensuality claim
Helen Alonso
The putting in value of the craft and the struggle against its disappearance is not an innovation. Already in the beginnings of the XXth century, the handmade practice was appearing like the revolutionary strategy against the industralización and the capitalism, posicionándose against an unstoppable dehumanization of the production and the work. Assigning attributes to him like resistance, skill, authenticity, benevolence or self-determination, one was trying, more than one century, to appease behind the disappearance of “doing” with the hands for the production in mass.
Today, opposite to the digital revolution and the late capitalism, we attend to revival twisted of these desires and problematic. The conflict ends in a claim of sensuality from which it turns to allude to the craft as exploration of the relations "encuerpadas", the materiality, the affection, the ecology, the local thing or the sensitive intelligence. But many questions appear... What does the handmade practice have of contemporary? What place does it find in the current system? What sense does it take as a resistance? Which is the vital impulse that grasps us to her?
In this meeting we will see examples of artists and contemporary designers whose work processes are intimately tied to the handmade thing, centring on the materiality of its objects and the affective character of its production. An approach to the Art and the Design to think about the sense of the handmade thing at present, the anachronistic or unavoidable of this type of practices or the market of the Art like area to maintain them. Questions that finally they might answer also to the question: Why does it keep on doing or drawing?
Helen Alonso develops its work principally by means of the drawing, relating it to other disciplines like the architecture, the craft or the design, and paying special attention to the affectivity relations with the environment. Recently it has exhibited in an individual way in Slaughterhouse Madrid, Museum ABC and Space Valverde.
ON MARCH 21
Do it to yourself you and do it to him to otrxs
Javier Pérez Iglesias and Marta van Tartwijk
The desktop publishings have given voice to those who have felt that they had something that to say to the margin of the established channels. That's why there is a tradition in the use of the fanzines between communities queer, anarchisms, feminismos …
The artists discovered it already does much that a book could be an artistic piece and so far we have come with a more and more changed publications production.
There is a meeting between the autopublished thing (or edited in the margins) and the artistic premeditation that exceeds the traditional idea of book that has been a paradigm in libraries and bookstores.
We act in the libraries of two very institutional institutions, the museum and the academy, but that try to promote its porosity, explore its cracks and get connected with what it happens in the streets.
The books are already not what there were … The libraries either.
Javier Pérez Iglesias is biblioactivista, charlaperformadora, healer of readings, bad catalogadora and worse sorter
Marta van Tartwijk is between other things a part-time artist, vocational librarian, autopublisher of copier, engineer of bibliographical labyrinths, desordenadora of fanzines and catalytic of literary snacks.
ON APRIL 4
A sculpture being done
June Crespo
I raise a meeting to think about the proper aspects of the sculpture, sharing works that from different means tackle the sculptural thing. I am interested in a sculpture being done, the negotiation between subject and object that happens in its process and as it is the first meeting with her. To approach her, to surround it, to move away and to be supported imantada. From its surface to its body, outline and image.
How does it affect me? What physical resonance does it generate in me? Where does it look at me? What movement and choreography does it provoke? How does it activate the space?
June Crespo lives in Bilbao, where he graduated in Fine arts in 2005. It works and exhibits also in other international contexts, centring its practice in the field of the sculpture.
ON APRIL 11
There is no only one place that does not see us
Rafael Sánchez-Mateos Paniagua
Prado Museum: reserved preserve of scholars, fold of tourists a little disappointed for not being able to do selfis with Velázquez, children to whom it is necessary to explain of what high culture we are ignorant subjects. Lost, overwhelmed and little desmaravillados before the yesterday works of art, between which saints, kings and virgins it is so difficult to find a village to which to want to belong. We think that everything it would be already said, clarified, catalogued and periclitado, after having dedicated a luxurious and privileged attention that today cannot prove any more than anachronistic or complaisantly legitimadora of the context in the one that they have gone to stop. Nevertheless the works, as they keep on being accessible to the experience, are radically contemporary of the one who meets them. They offer us to themselves to the senses so that everyone could recognize, reflect or refract a new, not prescribed sense. They hope to adopt perhaps new lives impelled by the memory and the imagination that they can still excite in us. Always opened to the unforeseen of the experience - individual or collective - that it is still possible to do, in spite of everything context sacralizador of the institution museum and its observers of inside and out. The important thing would be to try to intensify, revivify and to reorganize the space of the attention, the aisthesis and the perception - so neglected in their own form material and so besieged by the modernization that we have done - in order to renew the experience of an art today so strangely as succulent, from the generosity of those who approach something unknown and (re) they discover on having been observed by the proper work that they contemplate.
Please also visit my Photoblog at brohardphotography.blogspot.com
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Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
Moroccan brass ceiling lamp, pendant light round shape with its outstanding openwork patterns. Moroccan Decoration. www.medina-touch.com