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Today, 19 April 2016, His Majesty King Willem-Alexander of the Netherlands officially opened the permanent premises of the International Criminal Court ("ICC" or "Court") during a ceremony hosted by the ICC President, Judge Silvia Fernández, and H.E. Mr Sidiki Kaba, President of the Assembly of States Parties (“ASP”), and attended by honoured guests including H.E. Mr Ban Ki-moon, Secretary-General of the United Nations. As a permanent judicial institution created to fight impunity for perpetrators of genocide, war crimes and crimes against humanity, the ICC now has a permanent home.
Pictured here: His Majesty King Willem-Alexander of the Netherlands, H.E. Secretary-General of the United Nations Ban Ki-moon, President of the International Criminal Court Her Excellency Judge Silvia Fernández Minister of Foreign Affairs of the Netherlands Bert Koenders, ICC Prosecutor Fatou Bensouda, ICC Registrar Herman von Hebel, Convenor of the Coalition for the International Criminal Court William Pace © ICC-CPI/Armin Taslaman
PictionID:44027439 - Catalog:14_009255 - Title:Atlas 145D Details: Mariner-1 with Agena B- to survey of Venus Date: 07/22/1962 - Filename:14_009255.TIF - - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
People living in the Tri-Cities will benefit from improved access to team-based, comprehensive primary health care with the official opening of an urgent and primary care centre (UPCC) at its permanent location at 3105 Murray St. in Port Moody on Nov. 7, 2022.
| pintura em casca de ovo de avestruz | caneta permanente | verniz natural |
tamanho real: 18 x 11cm
contato
iaia.bac@gmail.com
The Artifact Hunt
Permanent Gridwide Hunt!
One of 8 gifts in the Music Puzzle Lockbox set out for you to crack at my Satellite Shop at SL Syndicate Headquarters.
Play the lockbox game, win a prize!
Click on the sign above the Lockbox to get you started and info on where to gain your hud. You need it to play the game.
maps.secondlife.com/secondlife/Syndicate/20/183/2203
If you have any question, feel free to ask here. I will be putting up some updated instructions on the Second Life Syndicate Website sometime soon, but until then I can field questions here.
3 resin casting, bonded bronze
Installed: 2007
Location: McKamey Animal Shelter
Funding: Purchased with private funds for the 21st Century Waterfront Project
Permanent Collection City of Chattanooga
UK Permanent Secretary Philip R Barton met his Indian counterpart Foreign Secretary Harsh V Shingle and agreed to work closely together as a global force for good.
They discussed all aspects of India-UK relations and plans to elevate India - UK strategic partnership in the post-Brexit, post-Covid era.
Follow us on Twitter @UKinIndia
Secretary General Ban Ki-Moon addresses the Ninth Session of the United Nations Permanent Forum on Indigenous Issues
Martín Gomez Bustillo, Interim Representative of Argentina to the OAS
Date: July 21, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Una obra con permanentes demoras
Foto: Propia (cualquier copia o reproducción requiere del previo permiso y/o consulta al autor).
Si querés la foto, primero consultame por correo a nicofoxfiles@hotmail.com
Texto: Por Angeles Castro para el Diario La Nación
En lo que constituye la quinta postergación en un año, volvió a quedar ayer suspendida la inauguración de dos nuevas estaciones de la línea A de subtes, Puan y Carabobo, prevista para diciembre, pero que sólo ocurriría en 2009. La fecha probable es el 5 de enero.
Demoras en la puesta en funcionamiento del nuevo sistema de señalización en el tramo existente de la línea, que une Plaza de Mayo con Primera Junta, más el plazo usual que requiere la concesionaria Metrovías para terminar los últimos detalles de infraestructura en las estaciones por habilitarse, son los motivos por los cuales deben esperar, aún más, los vecinos de Caballito y Flores.
Nosotros tenemos todos los deberes hechos. La obra civil, las vías, el equipamiento, la ventilación, el sistema contra incendios y la señalización del tramo nuevo fueron concluidos. Las estaciones Puan y Carabobo están listas para ser habilitadas, se defendió Jorge Irigoin, presidente de Subterráneos de Buenos Aires (Sbase), la empresa del gobierno porteño que estudia, diseña y licita trabajos en la red de subtes de la ciudad.
Según Irigoin, el atraso obedece a inconvenientes surgidos durante las pruebas del nuevo sistema de señalización incorporado por una empresa privada en el recorrido actual de la línea más antigua de la ciudad, una obra que supervisa la Secretaría de Transporte de la Nación mediante su Programa de Transporte Urbano de Buenos Aires (Ptuba), que incluye la modernización de la línea A.
La realización de estas pruebas finales de funcionamiento del sistema de señalamiento de la extensión, requieren previamente, el interconexionado con el nuevo sistema de señalamiento que la firma Alstom está instalando en el tramo actual de la Línea A, entre Primera Junta y Plaza de Mayo, dentro del marco de las obras de Modernización de la Línea A, a cargo del PTUBA (Proyecto de Transporte Urbano Buenos Aires), dependiente de la Secretaría de Transporte de la Nación.
LA NACION tuvo a la vista una notificación remitida en los últimos días a Sbase por el Ptuba, en la que este organismo informa que las pruebas realizadas el 4 de octubre de 2008, con miras a la puesta en servicio del señalamiento lateral de la línea A, no han cumplimentado el nivel requerido de aceptación, por lo que la fecha tentativa del 18 de octubre de 2008 para la puesta en servicio ha sido suspendida.
La comunicación oficial no hace mención a ninguna reprogramación. LA NACION intentó ayer comunicarse con la Secretaría de Transporte de la Nación para obtener precisiones sobre los plazos previstos para el ajuste del sistema, pero el vocero no respondió los mensajes dejados en su celular y en su oficina.
De esta forma, Mauricio Macri cumpliría su primer año como jefe de Gobierno sin poder inaugurar nuevas estaciones de subte por negligencia y lentitud del Estado Nacional en terminar los trabajos de modernización en la vieja traza, obra que le compete por estar bajo su control.
¿Más postergaciones?
La habilitación del servicio de la línea A hasta Carabobo había sido anunciada oficialmente para Marzo de 2007, luego pasó para Noviembre de 2007; luego, para Enero de este año. Enseguida, fue postergada para Agosto o Septiembre pasado. Vencido el plazo, se habló primero de noviembre y, por último, de fines de año. Ahora, se sabe que esta fecha tampoco será respetada.
Lo cierto es que, una vez que la nueva señalización del tramo entre Plaza de Mayo y Primera Junta se ponga en funciones, luego deberán efectuarse el enlace entre ese sistema de señales con el que fueron equipadas ahora las estaciones Puan y Carabobo.
Si bien ambos son compatibles, tal como indicaron fuentes de Sbase y de Metrovías, fuentes del sector no descartaron que pueda surgir algún inconveniente durante la conexión de los dos dispositivos. Si esto sucediera, sería otro motivo de atraso en la inauguración de las nuevas paradas.
Pero, independientemente del equipamiento aún no estrenado, fuentes de Metrovías afirmaron a LA NACION que la concesionaria necesita un lapso de entre 45 a 60 días para realizar algunas adaptaciones en las estaciones, como colocar molinetes, colocar lockers y tender cables.
Así las cosas, difícilmente pueda realizarse una inauguración antes de fines de este año.
Además de las estaciones Puan y Carabobo, el gobierno porteño por medio de Sbase avanza en las obras de la siguiente etapa de extensión de la línea A: la construcción de dos nuevas paradas, Flores y Nazca.
En algún momento, su habilitación también estuvo prevista para el segundo semestre de 2010 pero, dadas las permanentes reprogramaciones registradas, ya nadie se arriesga a fijar una nueva fecha y los vecinos de Flores y sus alrededores deberán seguir esperando.
Avanza el plan de colectivos rápidos
El gobierno porteño oficializó ayer en el Boletín Oficial la creación de una Unidad de Proyectos Especiales (UPE) de Transporte Masivo de Buses Rápidos, que dependerá de la Jefatura de Gobierno y estará a cargo del ex subsecretario de Espacio Público en esta misma administración, Carlos Tramutola. Como ya informó LA NACION, Mauricio Macri analiza la integración de una red de colectivos que circularán por carriles exclusivos centrales, con paradas cada 500 o 600 metros, para brindar una alternativa de transporte público rápido ante la imposibilidad de extender la red de subte. El primero correrá por la Av. Juan B. Justo.
En imagen: Vista general de la estación Carabobo en Abril de 2007. Al fondo, tímpano Oeste de la estación y comienzo de la futura Cola de Maniobras que tendrá la futura cabecera temporal de la línea A. Dicha Cola temporal tendrá un margen de 250 metros necesarios para que los trenes puedan maniobrar. Actualmente, está todo listo. Habrá que esperar a que Nación y la concesionaria Alstom (la misma empresa francesa que ganó la licitación para hacer el tren bala) terminen los trabajos mencionados.
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Revolta Permanent taldearen kontzertua Bilboko Kafe Antzokian, Kimera disko berria aurkezten. Argazki gehiago / Mas fotos
Today, 19 April 2016, His Majesty King Willem-Alexander of the Netherlands officially opened the permanent premises of the International Criminal Court ("ICC" or "Court") during a ceremony hosted by the ICC President, Judge Silvia Fernández, and H.E. Mr Sidiki Kaba, President of the Assembly of States Parties (“ASP”), and attended by honoured guests including H.E. Mr Ban Ki-moon, Secretary-General of the United Nations. As a permanent judicial institution created to fight impunity for perpetrators of genocide, war crimes and crimes against humanity, the ICC now has a permanent home.
Pictured here: His Majesty King Willem-Alexander of the Netherlands, His Excellency Sidiki Kaba, President of the Assembly of States Parties to the Rome Statute of the International Criminal Court © ICC-CPI/Armin Taslaman
The first permanent bridge connecting Pest and Buda (east and west of the Danube, respectively), the Széchenyi Chain Bridge (Széchenyi lánchíd) was considered an engineering marvel when it opened in 1849.
Photographed on 10 April 2015 at Strood on the River Medway.
She was in active service with the Russian Baltic Fleet until April 1, 1994, having spent 27 years in active service.
The vessel arrived in London from the naval base in Riga, Latvia, in July 1994 under the command of its Captain Vitalij Burda who bid official farewell to his second home for the last 23 years. She was at Long's Wharf, Thames Barrier until 1998 and then moved to Folkestone until the pier was put up for sale.
She has found a temporary home in Strood on the Medway (while awaiting confirmation of a permanent berth in Dublin??)
Technical Specifications
Displacement: 1,950 Tonnes (1,650 Tonnes Without Batteries)
Length: 92 Metres : Width: 7.5 Metres : Draft: 5.1 Metres (4.5 Metres without batteries)
Crew 77 Members
Max. Diving Depth 280 Metres
Working Depth. 250 Metres
Max. Surface Speed 16.8 knots
Stores Endurance 90 days
Armament
22 torpedoes including 2 with low yield nuclear Warheads
(6 + 12 forward, 4 astern)
VALLADOLID 23/5/2013 GUSTAVO MARTÍN GARZO ACOMPAÑADO EN LA MESA DE JOSÉ MARIA MARRÁN Y CARMEN SERRANO, HACEN ENTREGA DE DIPLOMAS A LOS ALUMNOS DE LA MILLAN SANTOS
MIGUEL ANGEL SANTOS
Imposición de becas
Stuart Allen
38 degree 53'N/77 degree 02'W-45 degree 24'N/75 degree
1999
ash and cherry wood, dacron and kevlar sailcloth
various sizes, 6 kites
permanent collection of the United States Embassy, Ottawa
photographs by Gregory Abraszko
Artist's Biography
Stuart Allen is a sculptor and photographer. He grew up in Kansas where he learned to appreciate open space and a steady breeze. Stuart moved to California in 1994 after studying architecture at Kansas University and graduating from the photography and video department of the Kansas City Art Institute. He lives and works in Woodland, California with his wife Kelly Lyons and their Plott Hound Enzo.
Allen has shown photographs and sculptural kites in galleries and museums throughout the U.S. and abroad. His artwork is represented by the Michael Himovitz Gallery in Sacramento, the Cecile Moochnek Gallery in Berkeley, the SFMOMA Rental Gallery in San Francisco, and Artsource, a San Francisco based consulting firm.
Stuart Allen's sculptural forms are a hybrid of kite and sailing vessel designs. Historically, sails have literally propelled the flow of ideas, individuals and merchandise across borders. Kites fly freely in a realm not bound by political boundaries. Ancient cultures' kite-making celebrations bring together entire neighborhoods to construct and fly delicate and elaborate objects. Allen's expertly crafted works suggest the notion of exchange, trade, partnership and alliance. The title of this six-piece work (38 degree 53'N/77 degree 02'W-45 degree 24'N/75 degree) references the latitude and longitude of Washington DC and Ottawa.
Stuart Allen est un sculpteur et photographe. Il a grandi au Kansas, où il a apprécié l'espace ouvert et les grandes brises. Allen a déménagé en Californie en 1994, après avoir étudié l'architecture à l'Université du Kansas et avoir gradué du département de photographie et vidéo de l'Institut des Arts du Kansas. Il vit et travaille à Woodland, en Californie, avec son épouse, Kelly Lyons.
Allen a exposé des photographies et des sculptures de cerfs-volants dans des galeries et musées à travers les États-Unis et à l'étranger. Son oeuvre artistique est représentée à la Galerie Michael Himovitz, à Sacramento, à la Galerie Cecile Moochnek, à Berkeley, à la Galerie "SFMOMA Rental", à San Francisco, et à "Artsource", une firme conseil localisée à San Francisco. Quelques-unes de ses oeuvres peuvent être visionnées sur Internet, au www.nextmonet.com
For decades the not overly attractive pedestrian subway was the main access to Wuppertal's central station. Now that it is in the process of demolition (with the entire area being in redevelopment) I present some "farewell shots" of the unpleasant walkway and its shops.
Reunião da Comissão Permanente de Eficiência Operacional e Gestão de Pessoas.
FOTO:Gil Ferreira/Agência CNJ
Inauguration de la permanence de Delphine Bürkli, tête de liste du 9e arrondissement, en présence de Christian Saint-Etienne, tête de liste du 11e, le 5 février 2014.
© Pascal Legrand
Primeira sessão do Conselho Permanente da CNBB com nova composição, no quadriênio 2023-2027.
Foto: Luiz Lopes Jr/CNBB
IMO Secretary-General Kitack Lim receives H.E. Ms. Saida Muna Tasneem, High Commissioner & Permanent Representative of Bangladesh to IMO, at IMO HQ, London (5/6/19).
Subcomissão Permanente da Amazônia e da Faixa de Fronteira debate o desenvolvimento econômico e social na faixa de fronteiras
Na mesa E/D:
Coordenadora de Estudos Econômicos e Empresariais da Superintendência da Zona Franca de Manaus, Ana Maria Oliveira de Souza; senadora Ana Amélia (PP-RS); gerente executivo de gestão de programas governamentais do Banco da Amazônia, Oduval Lobato Neto.
The Junction is a neighbourhood in Toronto that derives its name from a junction of four railway lines in the area known as the West Toronto Diamond.
It was once a separate town centred on the intersection of Dundas and Keele Streets. The Junction was a manufacturing community that boomed during the late 1800s. Foundries, mills, wire factories, and industries, such as Wilkinson Plough, Dominion Showcase and the Heintzman Piano Co. began moving into the area. Other firms came because land, labour and taxes were cheaper than in Toronto. These factors also attracted many immigrant or second generation Irish Catholics to the area, many who moved there from then poor, crowded tenenment housing in areas of the city such as Cabbagetown or Brockton Village during the 1880's.
The Junction was prone to booms and busts during its tumultuous history; while the period between 1888 and 1890 was a prosperous one, the period between 1893 and 1900 saw significant poverty in the area due to an economic recession. The Great Depression saw the closing of factories and the end to construction in the area, and the municipality could not support its citizens because of a large civic debt.
Pubs and taverns became permanent fixtures in The Junction, as was the case with many railway and factory workers' towns. By 1903, alcohol was such a serious problem for families and a public embarrassment (as drunks were visible from passing trains), that the town voted to go dry in 1904. This bylaw was not repealed until 2000. It was the last area of Toronto to do so.
Toronto annexed The Junction in 1909 and the two have gradually grown together, though residents have retained their community identity and remained very loyal to the neighbourhood, despite further economic hardship. Indeed, the commercial stretch of Dundas Street was all but abandoned until quite recently. The prohibition dissuaded restaurants from establishing themselves there, and bars were not permitted.
The elimination of the prohibition has had a positive effect on the community, however. New restaurants and bars have opened up along Dundas Street, attracting young hipsters, while lower rents make the neighbourhood appealing to artists. Some see The Junction as the next big "hip place to live".
The Junction Triangle (bounded by Keele, St. Clair, and Dundas Streets) was for many decades the location of the Ontario Stockyards. This was Canada's largest livestock market, the centre of Ontario's meat-packing industry, and the source of Toronto's nickname as Hogtown. The Ontario Stockyards closed at this site in 1993 (moving to Cookstown, much further north of the city), and the meat-packing plants that surrounded it closed shortly thereafter. The site is now the location of a large bloc of warehouse-style retail outlets, including Home Depot, Canadian Tire, Future Shop and Rona, along with several smaller stores, and the name "Stockyards" has evolved to describe this new shopping area. Immediately surrounding the retail core, new residential developments, primarily mid- to upscale- rowhouses, are helping to revitalize this neighborhood.
In addition to the Irish, the area along Dundas past Keele was and is still known as "Little Malta" with several Maltese-Canadian businesses. The Maltese-Canadian community has partly moved out to the suburbs, but still has a visible presence in this area. Many Macedonian immigrants also ended up in the area, following the meat industry.
As a consequence of the location of abattoirs and other industries that produced volumes of toxic waste, the residents of the neighborhood are highly concerned about pollution issues, and the city of Toronto has put significant efforts into cleaning up former industrial sites.
They seem to be a permanent feature in our yard.This one is sitting in a Bradford Pear tree. This is for one of my first contacts who taught me how to crop my photos with a bird like this.He knows who he is. Thanks mon ami !
A hard day's work on the permanent way has seen reinstatement of much of the road surface at the double junction outside Tooting Common Station.
The area between tracks and out to the kerb are filled with mounting card and then a grey tarmac colour card is added on top.
The hole between the tracks going off to the right will be filled by the subterranean toilet unit.
From left to right:
Isabel Saint Malo de Alvarado, First Vice President and Minister of Foreign Affairs of Panama
Denis Moncada, Deputy Minister of Foreign Affairs of Nicaragua
Vanessa Rubio Márquez, Under Secretary for Foreign Affairs of Mexico for Latin America and the Caribbean
Date: March 19, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
From left to right:
Emily Haber, Ambassador, Permanent Observer of Germany to the OAS
Luis Almagro, OAS Secretary General
Date: September 16, 2019
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
G.George
Cell:9884211116
Tel:04426471116
Face Booke
ID:George Geotattoos
GeoTattoos
No:1First floor central street
Kilpauk garden,
(Near Hotel Krishna bavan)
Any Tattoo cost starting Rs.500
One of the permanent way, or platelayers, huts along the Welshpool & Llanfair Light Railway formerly used by track workers.
Spaced roughly one mile apart, this one is just east of Cyfronydd Station and one of the five that remain.
Untitled, 1981
Ink on paper
Courtesy of Keith Haring Foundation
Keith Haring: 1978–1982, on display from March 16 to July 8, 2012 in the Morris A. and Meyer Schapiro Wing of the Brooklyn Museum, was the first large-scale exhibition to explore the early career of the artist. Curated by Raphaela Platow, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
Keith Haring (May 4, 1958 – February 16, 1990), a Pennsylvania native, moved to New York in 1978 and with his trademark creations across a variety of media, quickly made his mark in the thriving alternative art community that was developing outside the gallery and museum system. Haring was known for his subway graffiti, but instead of painting subway cars with spraypaint, he mostly drew with white chalk on the black paper pasted on unused advertising spaces. His distinctive style became widely known by those who never knew his identity. In his later years, he took on a more activist role, contributing works to hospitals and charities. In 1989, after being diagnosed with AIDS, he founded the Keith Haring Foundation, which supports organizations involved in AIDS education and outreach.
The Brooklyn Museum, sitting at the border of Prospect Heights and Crown Heights near Prospect Park, is the second largest art museum in New York City. Opened in 1897 under the leadership of Brooklyn Institute of Arts and Sciences president John B. Woodward, the 560,000-square foot, Beaux-Arts building houses a permanent collection including more than one-and-a-half million objects, from ancient Egyptian masterpieces to contemporary art.
Kim Sook, Permanent Representative of the Republic of Korea to the United Nations and Co-Chair of the Bureau for the Preparatory Process of the UN Conference on Sustainable Development sits on the panel at the UN Women Leaders Forum ahead of the Rio+20 UN Conference on Sustainable Development in Rio de Janeiro, Brazil.
Kim Sook (Permanent Representative of the Republic of Korea - United Nations - Co-Chair of the Bureau for the Preparatory Process of the UN Conference on Sustainable Development). Plenary: Shaping the New Framework of International Development. The Future Women Want. Leader's Forum. Gender Equality and Women's Empowerment for Sustainable Development.
Photo Credit: UN Women/Fabricio Barreto
Magnetic Island, known to its Indigenous inhabitants as Yunbenun, is an island 8 kilometres (5 mi) offshore from the city of Townsville, Queensland, Australia. This 52 km2 (20.1 sq mi) mountainous island in Cleveland Bay has effectively become a suburb of Townsville, with 2,335 permanent residents.[1] The island is accessible from Townsville Breakwater to Nelly Bay Harbour by ferry. There is a large 39.5 km2 (15.3 sq mi) National Park and bird sanctuary and walking tracks can be taken between the populated bays and to a number of tourist destinations such as the World War II forts.
The island is a holiday destination with many hotels and several resorts in operation to cater for all levels of service. The public facilities and infrastructure on the island are managed by the Townsville City Council. The island is part of the electoral district of Townsville in the Legislative Assembly of Queensland. The island is also part of the Federal seat of Herbert, which is represented by Phillip Thompson.
There are five settlements, namely Arcadia, Horseshoe Bay, Nelly Bay, Picnic Bay, and West Point. Geographic features include Rocky Bay, Picnic Bay and Hawkings Point, around its southern extremity, a bay, Nelly Bay to the east-north-east of Rocky Bay, followed by Geoffrey Bay, with Bremner Point as its northern arm. Horseshoe Bay is on the northern coast, and Cockle Bay Reef off the western coast.
The island is called Yunbenun, by the Wulguru, its Indigenous inhabitants. It had a transient population of Aboriginal people well before European exploration of the area. They had seasonal camps at a number of bays, and travelled between the island and mainland using canoes. A number of Aboriginal burial sites are said to exist on the island, but have so far not been identified.Aboriginal middens and cave drawings can still be found in a number of bays around Magnetic Island. Folklore of the local Wulguru tribe recounts a long association with the island and annual migrations to the mainland to avoid expeditions of head-hunters from Papua New Guinea and the Torres Strait, which used the northern trade winds to travel south along the Queensland coast. This head-hunting nearly ceased following the arrival of missionaries, led by Samuel MacFarlane to the Torres Straits in 1871.
The first European accounts of the island come from Captain James Cook who, in 1770, while navigating the Australian coast, called the island Magnetical Island, as a magnetic pull interfering with his vessel's compass appeared to emanate from the island. J.M. Black, funded by Robert Towns, founded the township of Townsville on the mainland nearby. As Townsville developed through the mid-19th century, Magnetic Island became a valuable location for the gathering of hoop pine and granite, the latter of which was used in the reclamation of land for the Port of Townsville, and for construction of Townsville's Customs House.
Picnic Bay was named after its popularity as a picnic spot for European tourists from the mainland during the 19th century, before Magnetic Island was first inhabited by Europeans. In the mid-19th century the island became a popular location for the collection of stone and coral needed for development on the mainland. Even substantial quantities of gold were mined in 1886.
In 1875, the island was set aside as a quarantine station although it took another ten years for the proper facilities to be set up at West Point. In November 1884 the Queensland Government accepted a tender from Leisner and Sparre to construct the quarantine station for £3645.[8] It was only after the tender was accepted that the site on West Point on the north-west was actually chosen.
In 1896 Cyclone Sigma tore across the island and through Townsville.[10] At least 23 lives were lost, many buildings destroyed and boats wrecked. The ketch Lalla Rookh was torn off its moorings and found later on Magnetic Island (She was able to be recovered and continued to carry loads of timber up and down the coast, until being wrecked off the Queensland coast in 1899.)
By 1890 a resort had been started in Picnic Bay. In 1898 Robert Hayles Sr was so impressed by the potential of Magnetic Island he sold his other interests to build a resort on the island. Hayles was responsible for much of the development of Magnetic Island through tourism. In 1901 he started a regular ferry service to the island with his ship the Bee. Twelve months later this ship was wrecked on the rocks at Nobby Head, Picnic Bay, and the Phoenix was built by Hayles' sons to replace the vessel. The Hayles company remained operating services to Magnetic Island with a large number of different vessels until 1988.
Source: en.wikipedia.org/wiki/Magnetic_Island
Image source: Queensland State Archives Item ID ITM435811 Islands - Barrier Reef
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
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22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
In the 1980s many of the UKs building societies converted themselves into Banks as in Ilkeston the Permanent Building Society that bore the town's name willingly sacrificed itself to the nation's prevailing general cash grab hysteria
Establishing a permanent crisis mechanism to safeguard the financial stability of the euro area:
MEPs: Werner Langen, Stephen Hughes, Sylvie Goulard, Philippe Lamberts, Martin Callanan , Nikolaos Chountis , Timo Soini and Commissioner Olli Rehn
www.europarl.europa.eu/news/public/default_en.htm
©European Parliament/Pietro Naj-Oleari
Baltic Centre for Contemporary Art (also known simply as (the) Baltic, stylised as BALTIC) is a centre for contemporary art located on the south bank of the River Tyne in Gateshead, Tyne and Wear, England. It hosts a frequently changing variety of exhibitions, events, and educational programmes with no permanent exhibition. The idea to open a centre for contemporary arts in Gateshead was developed in the 1990s, which was a time of regeneration for the local area—the Sage and Gateshead Millennium Bridge was also being conceived of in this period.
Baltic opened in July 2002 in a converted flour mill, which had operated in various capacities from 1950-1984. The architectural design of Baltic was devised by Dominic Williams of Ellis Williams Architects, who won a competition to design the new contemporary arts centre in 1994. The building features exhibition spaces, a visitor centre, a rooftop restaurant and external viewing platforms which offer views of the River Tyne. Baltic's current director, the centre's fifth, is Sarah Munro, who joined in November 2015. As of January 2022, Baltic had welcomed over 8 million visitors.
Baltic Flour Mills was built by Joseph Rank of Rank Hovis to a late-1930s design by Hull-based architects Gelder and Kitchen. The first foundations were laid in the late 1930s, and although construction ceased during the Second World War, the mill was completed and started operating in 1950. Known locally as "the pride of Tyneside", 300 people were employed by the mill at its height. The building was composed of two parallel brick façades running east to west, sandwiched between a foundation of concrete silos. The structure could store 22,000 tons of grain. The design of the building also featured a larger silo in which to store and clean wheat. The site was extended in 1957 by the addition of Blue Cross Mill which processed animal feed. In 1976, a fire forced both mills to close, but the silos remained in operation until 1984 to store a portion of the grain owned by the European Economic Community. Baltic Flour Mills was one of a number of mills located along the banks of the Tyne, all of which, due to their size, were prominent local landmarks. The Spillers mill just downstream from Baltic on the north bank of the river was demolished in 2011. Another large mill was owned by the CWS and was located just upstream of Dunston Staiths.
The opening of Baltic as a designated centre for contemporary art was part of the revitalisation and post-industrial regeneration of Gateshead's riverside. The regeneration began in the early 1990s and transformed the Quayside into a centre of modern architecture, including the Sage and Millennium Bridge. In 1991, Northern Arts (now part of Arts Council England) released a five-year plan in which it stated its intention to create "major new capital facilities for the Contemporary Visual Arts and Music in Central Tyneside". Northern Arts were keen to convert an old building into a centre for art, rather than build a new one, and the Labour-run Gateshead Council expressed interest in converting the old Flour Mills. This was in contrast to the Conservative-run Newcastle City Council's approach to development, which saw private firms develop mainly flats, hotels, and offices. Gateshead Council purchased the Baltic Flour Mills silo building, and in 1994 they invited the Royal Institute of British Architects to open a competition which would find an architect to design the new arts centre.
In 1994, Gateshead Council invited the Royal Institute of British Architects to hold a competition to select a design for the conversion of the Baltic Flour Mills. The objective of the competition was to "provide a national and international Centre for Contemporary visual arts". The brief cited a number of similar examples of old buildings which had been converted into arts centres around the world, including a converted flour mill in Porto, Portugal and the Bankside Power Station in London (now the site of the Tate Modern). After evaluating a total of 140 entries, Dominic Williams – a relatively unknown architect who had only been working for three years – won the competition. He entered the competition with Ellis Williams Architects, his father's firm. Andrew Guest remarks that this "simple, honest, industrial" design was an example of architecture which recognised the designs and context of the past. Williams and Ellis Williams Architects stated their intention to "retain as much of the existing character and fabric of the building as possible" while also clearly presenting the structure's new purpose as an art gallery.
The conversion of the flour mills was a complex and technically challenging task. The grain silos were removed, leaving the brick façades unsupported, and a 1,000 tonne steel frame was required to support the remaining building. Four new main floors were inserted into the building supported by a row of pillars. Intermediary floors made out of steel frames and thin concrete were also inserted. These were designed to be removable as to adapt the building and create variable spaces for art. With 13 separate levels in total, Williams claimed he purposefully wanted to create a sense of disorientation for visitors within the building and allow an element of discovery. A spiral staircase winds up the building towards an open-plan office for staff. An efficient ductwork system was installed within the beams which carries heated or chilled air throughout the building. Such a design, conceived of by environmental engineers Atelier Ten, was uncommon for the time. The north and south elevations of the original building were retained along with the original BALTIC FLOUR MILLS lettering and red and yellow bricks. The east and west sides were fully glazed, capturing natural light and allowing views of the River Tyne. Additionally, service towers in the corners of the building, a rooftop viewing box, and a low-rise visitor centre were completed—these now comprise part of the building's major elements. The building stands at 138 feet (42 m) tall. Glass elevators situated close to the exterior offer views of Newcastle, Gateshead and the River Tyne. A restaurant sits at the top of the building, built in a manner which still allows natural light to reach the top gallery floor. The building's interior largely features glass, concrete, aluminium, Welsh Slate, 'Cor-Ten' steel, and Swedish pine. The furniture, purposely built to be flexible and adaptable, was designed by Swedish designer Åke Axelsson.
Awards
Baltic won a RIBA award in 2003, a Civic Trust Award in 2004, and in 2006 was selected as one of the top 10 most outstanding arts and culture schemes in the UK as part of the Gulbenkian Prize. In 2012, it won the National Lottery Awards prize for Best Arts Project.
The founding director, Sune Nordgren, was appointed in 1997. He oversaw the period prior to Baltic's opening, including the construction of the gallery. After almost six years, Nordgren left to take up a new post as founding director of the National Museum for Art, Architecture and Design, Oslo, Norway. At this time, Baltic was facing financial problems. After Nordgren's departure, a former Baltic chairman accused the centre of overspending on commissions during Nordgren's tenure. Baltic's situation was described by Arts Council England as having "serious inadequacies in financial procedures". Nordgren was briefly succeeded by Stephen Snoddy, who had previously run a new gallery in Milton Keynes. Snoddy only remained with the organisation for 11 months, citing difficulties in leaving his family behind in Manchester while working at Baltic. He was succeeded as director by Peter Doroshenko in 2005. Doroshenko's previous institutions included the Stedelijk Museum voor Actuele Kunst and the Institute of Visual Arts in Milwaukee. He was brought to Baltic to increase visitor numbers and resolve the centre's financial situation, which was criticised by Arts Council England and an insider as being chaotic. Doroshenko organized several exhibitions during his time at Baltic, including Spank the Monkey.
In November 2007, Doroshenko left the gallery to head up the PinchukArtCentre in Kiev, Ukraine. He stated that he believed he had made Baltic a more "approachable and visitor friendly place."[30] However, Design Week reported that there were claims that Doroshenko did not deliver the expected "international programme of artistic excellence." Additionally, staff at the centre had complained about his "intolerable" and "bullying" management style. Godfrey Worsdale, founding director of the Middlesbrough Institute of Modern Art, was appointed as director of Baltic in 2008. Worsdale oversaw the 10 year anniversary of Baltic and the hosting of the Turner Prize in 2011. He was awarded an honorary degree from Northumbria University in 2012 in recognition for his work on contemporary art after being on the judging panel for the Turner Prize. He departed in 2015 to take up a new post as director of the Henry Moore Foundation. Sarah Munro MBE became director in November 2015. She was previously artistic director of Tramway in Glasgow and head of arts for Glasgow Life.
History as arts centre
During the four-year construction of Baltic, the new organisation arranged a series of events, publications, and artists in residence in anticipation of the centre's opening. In 1999, after the silos had been removed and before the new floors were inserted, the shell of the building was used to house an art installation by Anish Kapoor. Taratantara was a trumpet-shaped installation of PVC 50 metres (160 ft) long and was situated within the centre of the mill. This installation drew 16,000 visitors and marked a turning point between the building's old purpose and its new life as a centre for art. In October 2000, Jenny Holzer's Truisms – a series of aphorisms and slogans – were projected onto the side of the building. Kapoor and Holtzer's works were intended to engage casual passers-by in an artistic dialogue. The identity of Baltic was also solidified by the publication of 16 newsletters between October 1998 and July 2002 when the centre opened to the public. A significant part of this branding was the use of the now registered typeface BALTIC Affisch, designed by Swedish designers Ulf Greger Nilsson and Henrik Nygren and based on the BALTIC FLOUR MILLS lettering on the building's brick façade.
Opening
After ten years in the planning and a capital investment of £50m, including £33.4m from the Arts Council Lottery Fund, Baltic opened to the public at midnight on Saturday 13 July 2002. The novelty of opening the new building at midnight was intentional: founding director Sune Nordgren sought a dramatic gesture to herald the beginning of the new centre for arts. The inaugural exhibition, B.OPEN, had work by Chris Burden, Carsten Höller, Julian Opie, Jaume Plensa and Jane and Louise Wilson. Opie, who had previously assisted Dominic Williams with aspects of the building's conversion design, contributed an installation consisting of nude outlines on the walls of floor of the gallery. Plensa's installation featured a room filled with gongs which were available for the audience to play. Plensa also contributed Blake in Gateshead – a beam of light which stretched around 2 kilometres (6,600 ft) into the sky. The installation was placed through the glass doorway of the ground floor. Burden constructed a 1/20th scale replica of the Tyne Bridge out of Meccano. Jane and Louise Wilson created Dreamtime, a video of a rocket launch. An early exhibit by the Japanese artist Yoshitomo Nara was also included. The B.OPEN event attracted over 35,000 visitors in the first week. A live art performance, including Tatsumi Orimito's Bread Man and Anne Bjerge Hansen's Moving Bakery, took place during the opening weekend, in which bread was handed out to passers-by in memory of the Baltic Flour Mill's history. When BALTIC opened, there was a target set for 250,000 visitors a year. It achieved one million visitors in its first year, and by its 10-year anniversary in 2012, 4 million people had visited.
Notable events
On 20 September 2007, Baltic management contacted Northumbria Police for advice regarding whether or not a photograph should be displayed as part of the Thanksgiving installation, a forthcoming exhibition by American photographer Nan Goldin. The photograph, along with the rest of the installation, is part of the Sir Elton John Photography Collection. Entitled Klara and Edda belly-dancing features two naked young girls and had previously been exhibited around the world without objections. The installation, which had been scheduled for a four-month exhibition, opened with the remaining photographs whilst Klara and Edda belly-dancing was in possession of the police. However, it closed after just nine days at the request of Elton John. Although this had a determinantal effect on Baltic's reputation in the short-term, Graham Whitham argues in Understand Contemporary Art that it may have given it a higher profile and greater publicity in the long-run.
Beryl Cook
In 2007, the largest survey of artist Beryl Cook's work to date was featured in an exhibition at Baltic.[9] Cook enjoyed widespread recognition of her art towards the end of her life; the exhibition at Baltic took place one year before her death. Her paintings depict everyday and familiar social situations in a playful, colourful, and "portly" style. Peter Doreshenko, the director of Baltic at the time of the exhibition, was keen for the gallery to reject the seriousness audiences may associate with it. The exhibition of Cook's work was part of this populist effort to attract new audiences to the then financially-struggling gallery, whose visitor numbers had dropped to less than 500,000 and whose reputation was decreasing. Adrian Searle of The Guardian reviewed the exhibition and, whilst acknowledging that fans would enjoy it, commented "look too long and you may feel a bit queasy".
Turner Prize
In 2011, Baltic was the venue for the Turner Prize. This was the first time the event had been held outside of London or Liverpool Tate. The Turner Prize exhibition at Baltic attracted 149,770 visitors to the gallery – almost double the average attendance in London. The event at Baltic was also free, whilst Turner exhibitions at Tate Britain had always previously charged for entry. The winning exhibit was by Martin Boyce with the runners-up being Karla Black, Hilary Lloyd and George Shaw.
Judy Chicago
The first major retrospective of American artist Judy Chicago's work was exhibited in Baltic from November 2019 to April 2020. The exhibition included her abstract paintings, records of performance pieces, and began and ended with a four-metre tapestry which portrayed the creation the world from a woman's perspective. At the time of the exhibition, Chicago was in her 80s. Hannah Clugston of The Guardian noted that the more recent featured works embraced the theme of death, particularly End: A Meditation on Death and Extinction, which is based on the stages of grief.
Baltic Open Submission
In March 2020, Baltic announced it would be closing due to the COVID-19 pandemic until further notice. In May 2021, it reopened to visitors with four exhibitions. Baltic Open Submission featured works created during lockdown by 158 artists from the North East. The 158 artists were chosen from over 540 original submissions and selected by a panel of three North East-based artists. The final pieces included paintings, drawings, and sound and video installations.
Community and cultural impact
At the opening of Baltic, director Sune Nordgren outlined the role of the arts centre within the public sphere. He stated that Baltic should be "a meeting place, a site for connections and confrontation between artists and the public." In an October 2002 lecture at the Power Plant Gallery in Toronto, Nordgren reaffirmed the importance of local outreach and explained his intention for Baltic to regard the local history and culture, comparing his intention to examples of modern art museums where this was not considered, such as the Guggenheim Museum in Bilbao (designed in Los Angeles and placed in Spain). From its inception, Baltic emphasised the importance of artist-public relationships and its role as a community hub. "Participate" initiatives encouraged people in the local community to interact with resident artists. A media learning centre in a local library was set up as an extension of Baltic's community resources.
In a 2016 talk on Baltic's 10-year strategic plan (officially named Untitled), the current director of Baltic – Sarah Munro – emphasised that the North East of England "has always led, not followed" the agenda for contemporary arts, and that Baltic had been a big part of this trend. She argued that the visual arts can be used to further the economic and social growth of the area, even amidst the backdrop of political issues and austerity. Baltic also launched an international award for emerging artists in 2016, which offered a £30,000 commission and an accompanying exhibition to four recipients. It was the first such competition in the UK to be judged entirely by artists: in 2017, they were Monica Bonvicini, Lorna Simpson, Pedro Cabrita Reis and Mike Nelson. Munro commented that the award was to foster "a dialogue with our audiences at a local, national and international level."
Local university partnerships and graduate internships are also important to Baltic's community and cultural influence. In 2011, Baltic and Northumbria University established an artistic partnership through the BxNU Institute of Contemporary Art, a centre for artistic and curatorial research. Christine Borland was appointed as Baltic Professor. A designated gallery space, known as Baltic 39, was established on the top floor of refurbished Edwardian warehouses at 31-39 High Bridge in Newcastle. It was designed by Viennese architects Jabornegg & Palffy and housed artwork from students at the university. Baltic 39 was based at High Bridge from 2012 to 2021.
Their annual Self-Publishing Artists’ Market (aka S.P.A.M.) takes the form of a lively programme exploring print culture and practice through talks and workshops with over 50 stalls selling zines and artists’ books. S.P.A.M. Spreads reimagines the market in printed form and has included contributions by artists, activists, illustrators, zine-makers, writers and curators including Vanessa Murrell, Melody Sproates, Okocha Obasi, Stephanie Francis-Shanahan.