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By Michael Armitage
Oil on Lubugo bark cloth
From The Kenyan Election Series
In the run-up to the 2017 elections in Kenya, Armitage joined a local TV crew filming an opposition party rally in Uhuru Park, Nairobi. The atmosphere he experienced there and the carnivalesque scenes he witnessed inspired this series of paintings in which Armitage explores power dynamics and the links between religious rhetoric, pathos and politics.
[Royal Academy]
Michael Armitage: Paradise Edict
(May — September 2021)
Michael Armitage is a Kenyan-born artist who works between Nairobi and London. His colourful, dreamlike paintings are loaded with provocative perspectives that play with visual narratives and challenge cultural assumptions, exploring politics, history, civil unrest and sexuality.
Made using Lubugo bark cloth, a culturally important material made of tree bark by the Baganda people in Uganda, many of his large-scale works draw on contemporary events, combining these with Western painting motifs.
This spring – just over 10 years since Armitage graduated from the Royal Academy Schools – we bring together 15 of his large-scale paintings from the past six years, exploring East African landscapes, politics and society.
Alongside will be a selection of 31 works by six East African contemporary artists: Meek Gichugu, Jak Katarikawe, Theresa Musoke, Asaph Ng’ethe Macua, Elimo Njau and Sane Wadu. Chosen by Armitage for their important role in shaping figurative painting in Kenya, these seminal artists have also had a profound impact on his own artistic development. A version of this part of the exhibition will be shown at the Nairobi Contemporary Art Institute, a non-profit visual arts space founded by Armitage.
[Royal Academy]
Taken in Royal Academy
Pathos electronics. Very sexy and good sounding I must say. Although I didn't get to hear the smaller CDP but I really like the look of that little tubed CPD.
Martedì 6 e Mercoledì 7 Dicembre 2011
"L'Uomo prudente" di Carlo Goldoni
con Paolo Bonacelli
regia di
Franco Però
scene e costumi di
Andrea Viotti
Christoph Prégardien invariably gives life to metaphor, irony, pathos and the full span of rhetorical invention of poetic texts.
The revered German lyric tenor is joined by Julius Drake for a programme of late Schubert songs, rich in emotional content and resonant in its depth of psychological reflections on the natural world.
Franz Schubert (1797-1828)
Auf der Brücke D853
Der liebliche Stern D861
Im Walde D834
Um Mitternacht D862
Lebensmut D883
Im Frühling D882
An mein Herz D860
Tiefes Leid (Im Jänner 1817) D876
Über Wildemann D884
Interval
Dass sie hier gewesen D775
Greisengesang D778
Du bist die Ruh D776
Der Tod und das Mädchen D531
Im Walde D708
Nacht und Träume D827
Fischerweise D881
Totengräbers Heimweh D842
Der Winterabend D938
Sab. 15.05.2010
Mariangela Morais & Super Bobos
Agri&Risto Il Contado Via della Falcognana, 22
h. 21.30 INFO 06.71310171
info@ilcontado.net
>>> LEGGI POST COMPLETO SU Romalive.biz romalive.biz/2010/05/14/brasile-tutto-il-suo-pathos-con-l...
Antonio Carlos Jobim diceva che per la musica brasiliana la tristezza e la nostalgia condividono la stessa bellezza e hanno la stessa dignità della felicità.
Per assaporare un po’ del Brasile e della sua travolgente musicalità il 15 maggio al Contado potremo ascoltare Mariangela Morais. Con l’accompaganmento di Umberto Vitiello alle percussioni e alla voce, e Ezio Peccheneda alle chitarre, la cantante riesce ad esprimere le varie sfaccettature della musica brasiliana in modo appassionato ed elegante riuscendo a ricreare le calde atmosfere del suo paese. La
Together, they inspected Monkl's handiwork: Elly was proud to realise that she could identify dropped stitches, turned-work, wrong and right sides and even short-rows! Perhaps she wasn't such a terrible knitter afterall.
Photography by Shay Rowan at the first performance.
Come for the music, stay for the existential crisis.
"As irreverent as it is poignant" (Australian Arts Review), this classical cello recital plays out like a piece of performance art run by a masterly jester blurring artistry, humanity, and insanity. Featuring Suite Number One in G Major by JS Bach and personal comedic pieces crafted in Idiot classes, Karen fuses in a healthy dose of pathos tackling identity, expectations, and success through the eyes of a fool.
Winner - Tour Ready Award San Diego Fringe
Winner - Best of the Broadwater encore at Hollywood Fringe
Winner - Weekly Judges Pick in Spoken Word and Storytelling at Sydney Fringe
Nominee - Best Overall in Spoken Word and Storytelling at Sydney Fringe
Top Ten Theatre pick by Stage Raw Los Angeles
★★★★ - Sydney Arts Guide
★★★★ "comic timing as impeccable as her playing" Everything Theatre UK, London
★★★★ - The Alternative Gig Guide, Melbourne
SOLD OUT Run at Vancouver Fringe
Tickets greatermanchesterfringe.co.uk/events/delusions-and-grandeur/
Cecilie Haaland, Pathos, detail, 2012.From the annual exhibition 'Crafts' at the Museum for Decorative Arts and Design in Oslo. Photo: André Gali
Extractos del ensayo de la Dra. Victoria Cirlot (Catedrática de Filología Románica, Dpt. Humanitats. Universitat Pompeu Fabra, Barcelona): Las fórmulas del pathos y su supervivencia.
Publicado en Comparative cinema (Vol.VII Nº 12 Victoria Cirlot, 2019 The pathos formulae and their survaival.
(…) Frente a la ménade que vemos de cara en el dibujo de Dürer, y que funciona como una inversión simétrica de la ménade de espaldas, en la fotografía de Manel Armengol vemos a otro policía detrás del grupo de personajes caídos. Frente al claro eje vertical que marca el árbol en la composición de Dürer con el polémico cartel que parece hacer referencia a la homosexualidad del cantor (Orfeus der est puseran, pues juró no amar a mujer si no era a su esposa Eurídice), en la fotografía son diversos árboles invernales y en una cierta neblina los que ocupan el fondo, en el que también interviene un letrero (Academia…). Pero todas estas variantes no pueden ocultar que ambas imágenes están recorridas por un mismo ritmo y que nos muestran una misma carga energética: el desencadenamiento de una violencia, contra la que la víctima (o las víctimas) nada pueden hacer. Se trata de una Pathosformel en la medida en que nos confronta ante una violencia extrema. (…)
(…) Podemos preguntarnos ahora cómo y por qué el fotógrafo seleccionó exactamente una escena coincidente con dicha tradición, inmejorablemente mostrada en el dibujo de Dürer. Imaginemos la situación de cargas policiales contra los manifestantes. En dicho situación impera la confusión, el miedo, la rapidez y fugacidad de todo. Sin embargo, hay está la imagen superviviente, que vuelve del pasado para comprender el presente. A pesar de sus estudios e interés por la arqueología, Manel Armengol asegura que desconocía las representaciones antiguas de la muerte de Orfeo, así como el grabado anónimo del círculo de Mantegna en que se inspiró Dürer para su dibujo. (…)
(…) como también puede apreciarse en la fotografía de Manel Armengol, que captó al policía como una ménade furiosa contra unas víctimas colocadas en el lugar del divino cantor. No deja nunca de resultar asombroso entrar en contacto con la íntima naturaleza del ser humano que a través de los siglos permanece, en cierto modo, inalterada. Como también es admirable el esfuerzo humano por comprender dicha naturaleza, por crear fórmulas expresivas que el artista recuerda y su público también.
Adult spelling bee at the Brattle. I finished third, missing out on "flocculus." Just like the last time I competed in a spelling bee, when I was 13, I prefaced one of the words I spelled correctly with "I'm really drunk, so let's give this a shot..."
"The construction of the present Baroque church began in 1687-1690 under the designs of Giovanni Battista Bergonzoni, who built the elliptical plan with a dome designed by Giuseppe Tubertini, completed in 1787.[1] The facade was not added till 1905. The sanctuary houses the sculptural group of Sorrow over Dead Christ (1463) by Niccolò dell'Arca... He was mentioned for the first time in September 1462 in Bologna as Maestro Nicolò da Puglia, a 'master of terracotta figures'. This probably refers to the Compianto sul Cristo morto, terracotta group in the Sanctuary of Santa Maria della Vita in Bologna (also mentioned in a Bull of 1464 by Pope Paul II). A life-size group of six separate figures stand lamenting in a semicircle around the dead Christ in a lying posture. The dramatic pathos, the expressions of grief and torment of the figures is intensified by the realism of their dramatic facial details. However the date of this innovative contribution to Renaissance sculpture is uncertain. Instead of c. 1460, some date it between 1485 and 1490."
Source: Wikipedia