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Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
Probably not the best of pictures as they go, but it is the only one I have when one of these things did this.
I couldn't believe just how quick it went from leaving the runway to nearly vertical as you can see here.
By Amber Nichols (Australia) at the walkway of Wisma Aitria, Orchard Road for the Christmas Festival 2017 celebrations.
City Hall, Toronto, Sept. 20, 1970. Photos of the crowd. Were you there? A series of photos of the performance are on my history website.
Artist: Fenia Schina, actor (Greece).
"Art must be beautiful. Artist must be beautiful".
Re-performance, 8hours.
In Art Must Be Beautiful. Artist Must Be Beautiful (1975), originally performed and documented at the Charlottenburg Art Festival, Copenhagen, Abramović sits, naked, holding a brush in one hand and a comb in the other. For just under an hour, she brushes her hair forcefully. yanking. tugging and even tearing at it. while repeating the mantra 'art must be beautiful, artist must be beautiful". For several minutes at a time, she falls silent and with a still gaze. she stares blankly into the distance before recommencing the punitive beauty routine. This is the first time that this work will be re-performed in Europe and has only been re-performed on one other occasion, in 2016 in Shanghai as part of the project '15 Rooms'.
Performed by the Republic Polytechnic Dharma Endari at the Esplanade Outdoor Theatre during In Youthful Company.
Performed by the Republic Polytechnic Dharma Endari at the Esplanade Outdoor Theatre during In Youthful Company.
Knox College fall term dance showcase included poster presentations by students in Dance History class, and a performance by students in Contemporary Dance of works choreographed by faculty member Jen Smith.
I wouldn't call it a hair raising performance though.
Percussionist of a pop band performing at the Wine & Dine Festival.
Stanley Plaza, Stanley, Hong Kong, China (Saturday 17 Nov 2012 @ 3:26pm)
Textures courtesy of Skeletal Mess.
3rd Year students rehearsing Three Preludes choreographed by Ben Stevenson.
©2021 The Royal Ballet School. Photographed by Rachel Cherry.
"MTV is dead and does not deserve a second chance! Mord Im Dunkeln are the legitimate inheritors and set up a memorial made of loads of elastane and nylon. The audiovisual divas of Mord Im Dunkeln have descended down to us to sprinkle some glitter into our eyes, to send soothing neon light into our hearts and to delight us with 30 years of music video history."
Zoe Bastin's infrastructure junkyard, where intimate connections between things, materials and bodies are made through performance, photography and sculpture.
Treatment 2017 - Flightlines.
A Public Art project held at the Western Treatment Plant at Werribee and Cocoroc.
Victoria.
So as the story goes, many years ago, Judah, one of the twelve sons of Jacob, had his own three sons. The oldest son (Er) married a woman named Tamar.
For reasons that we may never know, he died. Evil in ways not recorded and leaving his wife a widow. And according to law and tradition she was given to the next brother - Onan. A man who went erroneously down in history as the guilt bearer of masturbation. Not that he did. When sleeping with Tamar, he would withdraw from her to "spill his seed upon the ground" for he could not bear the thought that his offspring would, by law, be his brother's. Then soon too he died. Not for reasons of dirty sheets or selfishness, but for reasons bigger than he (or her) could even fathom.
So went Tamar. Yearning in her passing seasons, denied her harvest and burning like the Judean sun.
Judah...now with the loss of his two eldest sons, still had a third. Too young yet to marry, but what if he too would go the way of his eldest? Perhaps this woman was accursed? Poisoned wombed. Widow maker.
Judah denied her him. Yet Tamar's womb kindled with a storm that even she did not understand. The desire to bear a child is already a force lost to understanding on those without that call. But...
Tamar's....was more. Perhaps more than any other woman who has ever lived. There is an "I want" and there is an "I need." This was "there shall be." As God in his thunder rains life and death and glory and redeeming blood, she would have a child.
Then Judah's wife too falls dead. His life now written in the language of loss. Two sons, a wife and a brother sold into slavery. He goes to his place of grieving and Tamar to hers. Two husbands and a womb of fire.
But life forces its ways. A time of grieving passes and not that his was, but he left his grieving to return to his fields. This Tamar heard. And a plan was devised, mixed of need and a force beyond her understanding. And she went to town....
Dressed as a prostitute she sat upon the roadway for her father in law. Did she desire him or was it the child that called from the distant unseen country to demand existence?
And as the story goes, Judah saw her along the roadway. Her identity veiled, yet was there something familiar? What was it, Judah? Was it the stretch of the leg, the poem of her hips, or was it a spark of healing, familiar in it's voice and a salve for the wounds of loss?
And so he layed with her. The details of the tryst lost to history, but one can imagine. Did he merely sleep with the willing or in his awkward aging thrusts, taste a love lost to death?
Regardless, the deed was done and payment was expected. The goat he offered was obviously not in his possession, so he left his staff, his sash and his ring as promise for the forthcoming payment. And they parted.
Judah sent his servant with payment, but as the events played out, she was gone. He returned quickly to avoid the greater cost of shame for his master.
In the time to come, word came back to Judah - Tamar has been a prostitute and is now pregnant...
"Bring her out and have her burned to death!" he cried. So they found Tamar, ripe with child and seized her for her sin.
And as they were brought her in she sent a message to deliver. Holding the staff, the ring and the sash, she said, "I am pregnant by the man who owns these."
And before Judah, the day gave up his secrets and his shame rained upon him like falling trees. "More righteous than I," he said of her. And did he weep? We do not know. He never slept with her again and in the months to come, she would give birth to, not just one, but two boys. The details of the one who thrust his hand out first and tied with a scarlet cord, only to withdraw back into the womb to make way for his brother is perhaps for another day.
But on that day, Tamar's longing found finally fruition. Two sons - Perez and Zerah (of the scarlet cord)
But what now of all this? Incest, death, spilled seed and hard won offspring? Just another twisted exchange in the pages of history?
Not until the story completes itself in the centuries to come did all of it become clear. For if one believes in such things, there was a lineage spelled out in a bloodline that began with a man named Abraham and ended with a foretold Messiah. Whether Jesus was the Messiah is not for this story to argue, but his history reached backwards through a litany of names unknown to most - Jacob, Akim, Manasseh, David, Perez....and a woman who just wanted a baby.
Tamar. Tamar and Judah. Onan forfeited his role in history and it was completed through a deception. There are some things that just need to happen.
OILGRAPH ON WOODEN PANAL - 36X48
created in performance at black cat gallery june 2009
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
The North American Aviation P-51 Mustang was an American long-range, single-seat fighter and fighter-bomber used during World War II, the Korean War and other conflicts.
The Mustang was conceived, designed and built by North American Aviation (NAA) in response to a specification issued directly to NAA by the British Purchasing Commission. The prototype NA-73X airframe was rolled out on 9 September 1940, 102 days after the contract was signed and, with an engine installed, first flew on 26 October.
The Mustang was originally designed to use the Allison V-1710 engine, which had limited high-altitude performance. It was first flown operationally by the Royal Air Force (RAF) as a tactical-reconnaissance aircraft and fighter-bomber (Mustang Mk I).
The addition of the Rolls-Royce Merlin to the P-51B/C (Mustang Mk III) model transformed the Mustang's performance at altitudes above 15,000 ft, giving it a much better performance that matched or bettered almost all of the Luftwaffe's fighters at altitude.
The definitive USAF version, which saw use in any late WWII theatre, the P-51D (Mustang Mk IV), was powered by the Packard V-1650-7, a license-built version of the Rolls-Royce Merlin 60 series two-stage two-speed supercharged engine, and armed with six .50 caliber (12.7 mm) M2 Browning machine guns.
Anyway, the Mustang’s development was kept up by North American as well as in Great Britain. There, the Mustang was developed into the Mustang V (a lightweight fighter of which only one prototype reached England), the Mustang VI (a high altitude fighter version which was produced in small numbers and kept in RAF service until 1951) and the Mustang VII, a radical modification for the South East Asia Command.
The Mustang VII was intended as a replacement for the Hawker Hurricanes and early Spitfire variants deployed to India and Burma. One of these types’ biggest concerns had been the engine, or, more specifically, its cooling system. The Merlin’s liquid cooled system had been designed for the mild European climate, but, in the hot and humid Asian environment, the aircraft frequently faced engine problems. An air-cooled, radial engine was regarded as the more appropriate means of propulsion, and with the Bristol Centaurus a powerful option was readily available and earmarked for the Hawker Tempest.
Apart from the new engine and cowling, the Mustang VII prototypes were similar to the P-51D. The Centaurus engine was tightly cowled and the exhaust stacks were grouped behind and on either side of the engine. Behind these were air outlets with automatic sliding "gills".
New air intakes on the inner leading edges of both wings fed the carburetor and an oil cooler. The radial engine installation owed much to examinations of a captured Focke-Wulf Fw 190, and was clean and effective. The bigger frontal area was partly compensated by the removal of the Mustang’s characteristic, ventral radiator tunnel.
This modification also kept the overall increment of weight to only ~90 lb (41 kg) – even though the aircraft became remarkably nose-heavy and handled much different from the Merlin-powered versions. Longitudinal stability also deteriorated slightly.
The first Mustang Mk. VIII, PE883, flew on 28 June 1944 powered by a Centaurus I (2,000 hp/1,490 kW) driving a four-blade propeller, followed by the second, PE884. From the start, the Mustang VII was "tropicalized" for service in the South-East Asian theatre.
Orders were placed in September 1944 for 300 Mustang VIIs, and they were directly deployed to India and Burma. There, the Mustang VII replaced the Spitfire II and Vs in the fighter role, relegating the new RAF Thunderbolts in the region to ground attack, a task for which that type was well suited.
Once the Mustang VIIs were cleared for use, they were used against the Japanese in Burma by four RAF squadrons of the South East Asia Command from India. Operations with army support (operating as "cab ranks" to be called in when needed), attacks on enemy airfields and lines of communication, and escort sorties.
They proved devastating in tandem with Thunderbolts during the Japanese breakout attempt at the Sittang Bend in the final months of the war. The Mustangs were armed with two 500 lb (227 kg) bombs or, in some cases, British RP-3 rocket projectiles. The Mustang VIIs also flew escort for RAF Liberators in the bombing of Rangoon.
The type remained in RAF service until October 1946. After that the RAF passed 60 machines to the Indian Air Force in 1947, together with other piston fighters.
General characteristics:
Crew: 1
Length: 32 ft 8 1/4 in (9.97 m)
Wingspan: 48 ft 9½ in (14.90 m)
Height: 14 ft 6 in (4.39 m)
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7,725 lb (3,505 kg)
Loaded weight: 9,290 lb (4,220 kg)
Max. takeoff weight: 12,200 lb (5,515 kg)
Maximum fuel capacity: 419 US gal (349 imp gal; 1,590 l)
Powerplant:
1× Bristol Centaurus 1 18-cylinder twin-row radial engine, 2,000 hp (1,490 kW) at take-off
Performance:
Maximum speed: 432 mph (695 km/h) at 18,400 ft (5,608 m)
Cruise speed: 362 mph (315 kn, 580 km/h)
Range: 740 mi (1,190 km) on internal fuel
Service ceiling: 36,500 ft (11,125 m)
Rate of climb: 4,700 ft/min (23.9 m/s)
Armament:
4× 0.787 caliber (20mm) Hispano Mk. II cannons with 200 RPG in the outer wings
Underwing hardpoints for up to 2.000 lb (907 kg) of external ordnance,
including drop tanks, a pair of bombs of up to 1.000 lb (454 kg) caliber, or six unguided missiles
The kit and its assembly:
This conversion was based on the rather academic question: how could a Mustang with a radial engine look like? A weird idea, if you look at the sleek aircraft. But then there was the rather handsome Fw 190 A/F, the Hawker Tempest carried both liquid-cooled and air-cooled engines, and I saw a model of a Merlin Spitfire mated with a Fw 190 BMW engine some time ago. So, why not re-do the Mustang?
Working things out was complex, though. Initially I wanted to graft an R-2800 onto the Mustang’s nose – I had a spare fuselage from a late Italeri F4U at hand, as well as a Matchbox P-51D... After some measuring I was certain: yes, this transplant could work!
Said and done, the Corsair’s front section including the engine was cut out and tailored to fit over the shortened Mustang nose which lost its Merlin. At first I retained the original belly radiator, since it would be a convenient fairing for the oil coolers. The project made good progress, but… the result did not look good, because the R-2800 is rather wide. The aircraft looked very tadpole-like.
So, while in the middle of body sculpting, I decided to change the project, switching to a British Centaurus - a featureless piece from a PM Model Sea Fury with some more changes.
The Centaurus’ selling point was the more slender cowling, and it goes well onto a F4U’s nose section, proven by several conversions of this kind. In order to keep the aircraft as slender as possible I removed the belly tunnel and re-located the oil coolers and air intakes into the wing roots, closer to the engine and more like the installation on the Tempest or the Sea Fury. These extended wing root fairings were created from sprue pieces and putty.
It is amazing how this further modification changed the Mustang’s look – the thing reminds a lot of a La-9/11 now, even though wings, tail and most of the fuselage, including the canopy, were not modified at all? I am also reminded of the F8F Bearcat?
Furthermore, after the new propeller (cuffed blades from a P-47 Thunderbolt, IIRC, with trimmed tips) with a massive spinner from a Hawker Tempest was mounted on its metal axis, this mutant Mustang looked more and more like a Reno Unlimited Class racer? Weird, but sexy!
Otherwise, only minor things were changed, e. g. the landing gear covers were replaced through 0.5mm styrene sheet, a dashboard was added to the cockpit and the thick canopy cut into two pieces. The six 0.5” machine guns were replaced by four short Hispano cannons made from brass.
Painting and markings:
With the Centaurus implant the background story and the operator idea changed. I used this opportunity to paint the aircraft in a late/post WWII SEAC livery – inspired by P-47s operated in this region.
The bare metal finish with dark blue ID stripes and the SEAC roundels already looked nice, but as a twist I incorporated remnants of a former Dark Green/Dark Earth camouflage, on the fuselage and the wings’ leading edges, as anti-glare panels, while the area in front of the cockpit was painted in opaque dark olive drab – a practice to be found on several RAF aircraft of that time are area.
The interior surface were painted with USAF Cockpit Green (Humbrol 224 and 150) and slightly dry-brushed, then the whole kit received a basic coat of Revell Acrylic Aluminum. Later, some panels were painted with different shades of Aluminum and Steel (including Metallizer and normal metallic paint). Some wet sanding blurred the outlines and enhanced the worn look.
Decals come from various SEAC sheets, including the blue ID stripes on wings and tail. The corresponding blue cowling ring was painted with a mix of Humbrol 15 and 104, and pretty flaky around the engine cowling.
As finishing touches some oil stains were added with Tamiya “Smoke” and some soot stains around the exhausts and the guns were added. Finally, the camouflaged areas were sealed under a matt varnish while the bare metal parts received a semi-gloss acrylic coat.
A weird project – one of the few of my models that somehow changed dramatically along the way, even though still true to the original idea of a radial engine Mustang. However, the result was envisioned differently, but I am still happy with the outcome. Even though there’s visually little Mustang breed left…