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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.
INSCRIPCIÓN
DIRIGIDO POR SELINA BLASCO
Destinado a cualquier persona interesada en el arte actual. No es necesario ningún conocimiento previo
Inscripción a partir del 15 de enero
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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.
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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
Borobudur Temple Compounds
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of nine stacked platforms, six square and three circular, topped by a central dome. The temple is decorated with 2,672 relief panels and 504 Buddha statues. The central dome is surrounded by 72 Buddha statues, each seated inside a perforated stupa.[1] It is the world's largest Buddhist temple,[2][3] as well as one of the greatest Buddhist monuments in the world.[4]
Built in the 9th century during the reign of the Sailendra Dynasty, the temple was designed in Javanese Buddhist architecture, which blends the Indonesian indigenous cult of ancestor worship and the Buddhist concept of attaining Nirvana.[4] The temple also demonstrates the influences of Gupta art that reflects India's influence on the region, yet there are enough indigenous scenes and elements incorporated to make Borobudur uniquely Indonesian.[5][6] The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades. Borobudur has the largest and most complete ensemble of Buddhist reliefs in the world.[4]
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
Entrance and Offices with Tropical Bird House and Tropical Lily House, Botanical Gardens
Listing Text
WESTBOURNE ROAD
1.
5104
Edgbaston B15
Entrance and offices with
Tropical Bird House and
Tropical Lily House,
Botanical Gardens
SP 0485 NE 38/21
SP 0485 SE 43/5
II GV
2.
C1840. Stucco; slate roof. Two storeys. Canted end flanked towards the road
and drive by single storeyed slated lean-to lobbies. Stucco chimney stacks
with cornices. In the entrance passage, a Regency openwork iron arch, with
one pilaster only, supporting a Greek key frieze. The passage leads to the
Tropical Bird House, with its chamfered timber columns, and on to the Tropical
Lily House. This has iron columns with openwork supporting roof beams and
dividing the room into 3 aisles. It leads in its turn to the Palm House (qv).
Listing NGR: SP0489085504
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Tropical House (formerly the Lily House) was our first glasshouse to be built and was constructed in 1851 at a cost of £800.
Amongst many plants of worldwide economic importance, which are grown especially for the benefit of schools, are cassava, sugar cane, banana, cocoa – a native of the Amazonian rainforest, coffee and a para-rubber tree, Hevea brasiliensis which is used to make car tyres!.
Ornamental plants, too, are well represented, such as Heliconia, Caladium with multi-coloured leaves, and Anthurium (flamingo flowers) with bright red bracts. Medinilla magnifica has large rose pink, chandelier like flowers and our specimen could be the largest in the U.K.
The Tropical House pool contains huge, colourful koi carp. In a shallow bed beside the pool grows Colocasia esculenta (taro) which is an important food in the tropics.
These are just a few examples of the many remarkable plants in the Tropical House. Linger here to appreciate the wonderful variety of flowers, leaf shapes, vivid colours and fragrances of the tropics.
sign - Please don't throw coins in our pond as they harm our fish
Gold openwork ear spools of deer with tuquoise inlay. Moche, 640 AD - 680 AD. Tomb of the Lord of Sipan. 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.
Openworked gilt bronze
The Gallery of Horyuji Treasures - Tokyo National Museum
The Kanjo-ban is one of the most outstanding items of the Horyu-ji Treasures. It is believed o be the item listed as "one gilded Kanjo ceremony article" in the History of the Buildings of Horyu-ji and the Inventory of the Temple's Properties compiled in 747. The top of the Kanjo-ban is a square, umbrella-shaped canopy from which hangs one large, central banner of six panels and four smaller banners made up of three panels. Each of these panels is decorated with Buddhist triads and celestial beings in beautiful openwork and elaborate line engraving. The central banner is believed to have once had fabric "banner legs" at the bottom like other textile banners, which together would have extended over 10 meters. The rectangular shape of the banner sections and details of their designs suggest the Kanjo banner dates from the second half of the 7th century.
This fun chunky crochet hat is perfect for anyone! Man, woman and child. It's comfy, stylish and warm, don't let the openwork fool you. It's also perfect as a season transitional hat. You can find out about more great patterns at yarnobsession.com.
Arcelia Wrap skirt by designer Kristin Omdahl - as published by Interweave in their new book, "A Knitting Wrapsody".
Knit up a lace skirt that looks crocheted! Wear over a contrasting skirt or dress - or even as a halter top over a tunic and leggings. The pattern includes a couple of unusual techniques, including pleats, crochet-inspired circular motif edging, and an incredibly quick openwork pattern. The edging is worked vertically but joined in two different ways for the hem and side of the skirt.
The most beautiful church of the city, the Church of Elijah the Prophet is the pride and joy of Yaroslavl and the favorite tourist attraction. It was built in 1647 – 1650 and is one of the most complete and best-preserved monuments of Yaroslavl. Built on the site of two churches, the Intercession and Elijah, the church is considered a real masterpiece of ancient Russian art. The main structure of the temple is a massive building on high foundation topped with five heads resting on light drums. The drums are decorated with arches and columns and surrounded by the rows of kokoshniks. But the main thing is, of course, the interior painting, made by famous Kostroma masters. They have no equals in beauty, richness and brightness of colors.
From both sides the Church of Elijah the Prophet is surrounded by a wide two-tier covered gallery. The gallery from the north and the west is accessed by richly decorated porches. The northwest of the temple is decorated with a tall tent bell tower. Its ornate level is surrounded by arched windows. It is the chapel of the Deposition of the Robe that gives such an unusual openwork appearance to the Church of Elijah the Prophet. Its tall slender octagonal tent is surrounded by a number of kikoshniks, that make the whole structure look elegant and colorful.
Interior: a consistent and simple interior, lofty tower arch, fan- vault to tower, 6-bay nave with octagonal piers to 4-centre arcade, flat pitched compartmental timber ceiling on cambered beams to plain corbels and decorative spandrels to arch braced; aisles with flat beam roof with 'ridge' and plates richly moulded. At bay 6 rebuilt mediaeval screen, and above this a Cl9 openwork timber 'chancel arch'; beyond screens aisles con- tinue as organ loft and chapel, but clear-story windows in these 2 bays have cusped transomes. Chancel with plain walls except at Sanctuary, sedi- lia with 'nodding ogee' heads, possibly earlier than rest of church and piscina with canopy over; C19 reredos. Roof as nave, but carried on angel corbels. All floors C19 red, black and cream tiles. Pews and fittings generally part of 1870 restoration, some mediaeval glass fragments in win- dow 8 to south aisle and in lady chapel including east window, otherwise series of consistent and well coloured C20 designs. At west end of north and south aisles two stone coffins associated with the St Kenelm legends. Brasses in south aisle to Margaret CRUMPE, 1647; Bridget SLAUGHTER, 1652; above these a large slate slab beautifully inscribed to John Warren de Great, not dated; other brasses to Elizabeth Harvey, 1685; Richard CAELEBS, 1670; Christopher MERRETT, 1624. Brasses in north aisle include John MOUNTLOW, 1693; Elizabeth DAUNCE, 1727; Thomas MARKLEY, 1671; and a fine incised stone slab to Michael BROADWAY, 1723. In tower arch large Royal Arms, time of Geo III, John Burnham and Thomas Fisher recorded as church-wardens. A fine alms chest on a pillar in bay 2 of north aisle. This is a remarkably con- sistent, but restrained design replacing a decayed earlier fabric: for a brief period in the C15 the parishioners worshipped in the nave of the immediately adjacent Abbey (now completely destroyed). EH Listing
This fourteenth-century Bishop's Chair with an impressive carved canopy made for J L Pearson, Cathedral architect fom 1870-93. It is unlikely, however, the chair originally ever had an integral canopy. The chair is of primitive joined construction. It has been assembled with a series of stub tenons secured by pegs. The decorative front panel has two tiers of openwork quatrefoils, carved from a single piece of oak. The arms feature carved lions, the heads of which are restorations under Pearson. There is a chapter on the chair in the book "Britain's Medieval Episcopal Thrones" by Charles Tracy, Oxbow Books, 2015.
Contemporary and practical bottle stopper topped with the definitive symbol of love. The sleek, openwork heart expresses the moment like nothing else can. One of our most popular and beautifully crafted favors, the heart bottle stopper in its exquisite showcase gift box adds sophistication and sparkle to your table decor.
favorcouture.theaspenshops.com/product/sterlings-heart-bo...
Gold openwork mouth cover in the form of an owl head with copper inlay eyes. Gold mouth cover in the form of a bat. Moche, c. 400 AD. Tomb of the Lady of Cao, Huaca Cao Veijo, El Brujo, Peru. From the Museo Cao, Magdalena de Cao, 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.
Scarf View 1
----------------------------------
Scarf I crocheted 5-6 weeks ago.
Openwork lace pattern 2007 from mypicot.com.
Yarn: Louisa Harding Jasmin #24 (2 weight)
Hook: US 3.75 (F)
Dimensions: width 10" length 80"
Download openwork lace pattern: www.mypicot.com/crochet_patterns_opl2007.html
My third ever project. -miniflex-
Openworked gilt bronze
The Gallery of Horyuji Treasures - Tokyo National Museum
The Kanjo-ban is one of the most outstanding items of the Horyu-ji Treasures. It is believed o be the item listed as "one gilded Kanjo ceremony article" in the History of the Buildings of Horyu-ji and the Inventory of the Temple's Properties compiled in 747. The top of the Kanjo-ban is a square, umbrella-shaped canopy from which hangs one large, central banner of six panels and four smaller banners made up of three panels. Each of these panels is decorated with Buddhist triads and celestial beings in beautiful openwork and elaborate line engraving. The central banner is believed to have once had fabric "banner legs" at the bottom like other textile banners, which together would have extended over 10 meters. The rectangular shape of the banner sections and details of their designs suggest the Kanjo banner dates from the second half of the 7th century.
Built in large granite bati, it has a bell tower with three openwork ceilings, wearing a dome. The main doors are hung on the wall chains and crosses worn by the red penitent on Good Friday. Note the superb Baroque altarpiece, in polychrome marbles exported to the seventeenth century of Liguria and Tuscany.
👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception
⚡ Intelligences : ️ Spatial Intelligence
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📋 WHAT :
️ eXploration (5) Church Santa Maria Assunta {Sartène} (Corsica - Corse)
🌟 Church Santa Maria Assunta {Sartène} (Corsica - Corse)
💫 (Corsica - Corse) France/Europe World
🌌 Monument
✨ eXploration Universe (️)
⛪ Church Santa Maria Assunta {Sartène} (Corsica - Corse)
📝 Type : Ground eXploration
🎨 Style : eXploration of the Church Santa Maria Assunta
🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)
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⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.
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️ Picture by LG
📡 Posted by LG
© Etoile Copyright
⚠ The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time
❓ WHY : To eXplore the Church Santa Maria Assunta
📍 WHERE : Sartène (Corsica - Corse) (🇫🇷France)
🕓 WHEN : 19 July 2017
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Jodhpur is the second largest city in the Indian state of Rajasthan.
Jodhpur is a popular tourist destination, featuring many palaces, forts and temples, set in the stark landscape of the Thar Desert.
The city is known as the "Sun City" for the bright and sunny weather it enjoys all the year round. The old city circles the fort and is bounded by a wall with several gates. Jodhpur is also known as the "Blue City" because of the blue colours that decorate many of the houses in the old city area.
Mehrangarh Fort (Hindi: मेहरानगढ़ का दुर्ग) (Sindhi: مهراڻ ڳڙهه), located in Jodhpur, Rajasthan, is one of the largest forts in India. Built around 1460 by Rao Jodha, the fort is situated 410 feet (125 m) above the city and is enclosed by imposing thick walls. Inside its boundaries there are several palaces known for their intricate carvings and expansive courtyards.
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.
La Ceja, Antioquia, Colombia.
Esta es la casa de unos amigos en La Ceja. La construyeron en el estilo colonial que vino de España, especialmente de Andalucía. Tiene todos los elementos característicos, como el patio interno de piedra, las chambranas en madera que rodean la casa; los calados en puertas y ventanas, el techo en teja de barro y un jardín precioso lleno de flores.
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This is the house of some friends in La Ceja. They built it in the colonial style that came from Spain, especially Andalusia. It has all the characteristic elements, such as the internal stone patio, the wooden frames that surround the house; the openwork on doors and windows, the clay tile roof and a beautiful garden full of flowers.