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Zemzemeh juxtapose ancient Persian music with modern electronica creating a rich, contemporary, cross-cultural zeitgeist.
Siyavash Doostkhah & Greta Kelly explore sufi poetry and mystical music of Iran through acoustic traditions infused with concepts of love and harmony. Their work also brings issues of contemporary Iran to the fore through rap and electronica, and dance tunes with beats and samples
Last night at 'It's Still a Secret', South Brisbane.
By the Singapore Chinese Dance Theatre at the Esplanade Outdoor Theatre during Chinese Dance Fiesta.
Latitudes and Attitudes on 19 February, at LASALLE College of the Arts. Featuring performances by Shaun Sankaran and Kai Lam, sound walk by Song-Ming Ang, curated by Bani Haykal and Joleen Loh.
Coachwork by Jean Antem
One-off
Bonhams : the Zoute Sale
Estimated : € 375.000 - 425.000
Sold for € 408.250
Zoute Grand Prix 2018
Knokke - Zoute
België - Belgium
October 2018
The unique Bentley motor car offered here was delivered new to the Paris-based Greek shipping magnate and racing driver, André Embiricos, who had owned a succession of Bentleys, including the famous aerodynamic 4¼-Litre coupé designed by Georges Paulin, commencing in the 1930s.
The Derby Bentley was, of course, an exclusively coachbuilt automobile and as befitted its sporting nature was almost always fitted with owner-driver saloon or drophead coupé coachwork, the 'standard' designs being the work of Park Ward. For this Bentley 4¼-Litre's body, Embiricos chose Jean Antem of Courbevoie, Seine. Antem had established his coachbuilding business in 1919 and over the course of the next 30-plus years would body all kinds of chassis in a wide variety of styles. Carrosserie Antem manufactured series-production bodies for La Licorne and Ariès during the 1930s while reserving his bespoke creations for quality marques such as Bugatti, Delahaye, Hispano Suiza and, of course, Bentley. Jean Antem's work is rarely encountered today; regular contenders at the most prestigious Concours d'Élégance events, these Antem-bodied cars are rare and sought-after.
When Embiricos ordered this car, the 4¼-Litre Bentley chassis, developed from the preceding 3½-Litre, was the finest that the wealthy sporting motorist could aspire to. Although Rolls-Royce's acquisition of Bentley Motors in 1931 had robbed the latter of its independence, it did at least ensure the survival of the Bentley name. Launched in 1933, the first of what would become known as the 'Derby' Bentleys continued the marque's sporting associations, but in a manner even more refined than before. Even W O Bentley himself acknowledged that the 3½-Litre model was the finest ever to bear his name.
Based on the contemporary Rolls-Royce 20/25, the 3½-Litre Bentley was slightly shorter in the wheelbase at 10' 6" and employed a tuned (115 bhp), twin-SU-carburettor version of the former's 3.669 cc overhead-valve six-cylinder engine. Add to this already remarkable package a part-synchromesh four-speed gearbox and servo assisted brakes, and the result was a vehicle offering the driver effortless high performance in almost absolute silence. 'The Silent Sports Car', as it was quickly dubbed, had few peers as a tireless long-distance tourer, combining as it did traditional Rolls-Royce refinement with Bentley performance and handling.
By the end of the 1930s the 'Derby' Bentley had undergone a number of significant developments, not the least of which was an increase in bore size in 1936 that upped the capacity to 4.257 cc, a move that coincided with the adoption of superior Hall's Metal bearings. This new engine was shared with the equivalent Rolls-Royce - the 25/30 hp - and as had been the case with the preceding 3½-Litre model, enjoyed a superior specification in Bentley form, boasting twin SU carburettors, raised compression ratio, and a more 'sporting' camshaft. Thus the new 4¼-Litre model offered more power than before while retaining the well-proven chassis with its faultless gear-change and servo-assisted braking. Land speed record holder Sir Malcolm Campbell appreciated its formidable performance, praising the 'absolute perfection' of the Bentley's engine, handling, and braking. In total, 1.177 3,5-Litre cars had been built and a further 1.234 of the successor 4¼-Litre model prior to the cessation of production in 1939.
Embiricos's passion for speed undoubtedly influenced this Bentley's specification and resulted in its wonderfully sleek styling. The overall impression of fluidity is accentuated by the surprisingly low windscreen - an Antem trademark – and the line of the body that slopes down towards the tail. The hood retracts completely within the body behind the rear seat, while its painted dashboard gives the leather-upholstered interior a sporting feel. The exhaust outlet is incorporated into the left rear wing, another subtle detail. Embiricos also specified a high axle ratio (11:43).
According to records held by the Rolls-Royce Owners Club, Embiricos exported the Bentley to the USA in April 1940, just ahead of the German invasion of France, and kept it until March 1945. The car subsequently passed through the hands of several owners in the USA's North East (all known, list available) before being acquired in the early 1960s by Mr Byron White of Rhode Island, who would own it for the next 40-or-so years. Between 1985 and 2002, Mr White had the Bentley restored to a high standard.
The next owner, Charles Morse, acquired the Bentley in 2004 and delivered it to Jeff McDonald's workshop in Oregon for restoration to concours standard. An expert in the restoration of pre-war Bentley and Rolls-Royce motor cars, Jeff McDonald is a highly respected specialist whose enviable body of work includes the 'Best of Show' award winner at Pebble Beach in 2016. Accompanying invoices show that the car was stripped down to the chassis; the body frame and panelling repaired; and all the mechanical components refurbished as necessary. In 2014, the next owner bought the car and completed the restoration, entrusting the paintwork and upholstery to Navarette Classic Design & Paint and Aquilera's Custom Upholstery respectively.
Today, this unique Bentley retains its correct period accessories, including Marchal lights, and comes with a comprehensive folder containing the (copy) build sheets, list of owners, restoration bills (inspection recommended), tool kit, jack, and an original Bentley 4¼-Litre instruction book.
This car features in R-ROC and R-REC records, and is listed in 'Bentley: The Silent Sportscar' by Michael Ellman-Brown; 'All The Pre-war Bentleys' by Stanley Sedgwick; and 'The Derby Built Bentleys' by Bernard L King. Offered with US title EU customs clearance, this beautiful 4¼-Litre cabriolet is the perfect combination of Antem's talents and Bentley's engineering excellence.
Native American Flute Performance by Nino Reyos at the Intermountain Regional Office on 11/14/2019 for Native American Heritage month. USDA photo by Charity Parks.
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Ryan & Lucy's Wedding April 2016.
As a guest for the wedding I was unsure whether to take me compact or DSLR, in the end I was so glad I took the DSLR as the venue was very very dark and I doubt that I'd have got any useable images with a compact. I was pretty happy with the performance of the 24-120mm f4, less than a handful of soft/missed focus shots and considering the low light I thought this was very good.
The nightly cultural show at the Supertree Grove, Gardens by the Bay during Mid-Autumn Festival 2018 celebrations.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
By Patang (Singapore) at the Esplanade Outdoor Theatre during Kalaa Utsaram - Indian Festival of Arts.
This highly anticipated CMFs review can be found in www.eurobricks.com/forum/index.php?/forums/topic/159851-r...
Well it wasn't a performance, but I've tried to make it look like one.
I didn't have time to add a description to the last from this set, So here it is.
I shot some promo pics for a local musician. She does all the standard wedding and corporate stuff, but I've been really taken by her band The Urban Strings. ( www.myspace.com/theurbanstrings ). I'm not a huge fan of R&B type stuff, and even less rap... but the laid back understated vibe of their stuff coupled with Caroline's violin make them very easy, for even an old rocker like me, to listen too.
If it's your sort of thing look out for gigs in the Leeds area.
The Libertines performing during rehersals at Old Street. London, February 2002
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Marinera dance performance. Marinera is a coastal dance of Peru generally called the National Dance of Peru