View allAll Photos Tagged provocation
Frohes Fest (Merry festive season); Gelitin; 2010
Pink out of a corner (two jasper Johns); Lutz Bacher; 1963, 1991
Is a giant sculpture of a butt plug which shows a vague resemblance to a Christmas tree art, or meaningless provocation?
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar
The partial reopening of Varosha’s beach area in 2020 was a highly controversial move by Northern Cyprus and Turkey. International observers, including the Republic of Cyprus, the EU, and the UN, condemned the decision as a violation of UN Security Council resolutions, which call for the return of Varosha to its lawful inhabitants. Though beach loungers now line the sand, ownership disputes remain unresolved, and the gesture is widely seen as a political provocation.
I don’t know who painted it or why. A red dot is loud, imperfect, cracking and plastered across the bark of a tree. It drew me in.
This image works because it sits between natural and artificial, intention and erosion. The bark is still bark, but the paint transforms it by flattening some areas, deepening others. Texture becomes surface. Surface becomes symbol. And the colour? It doesn't settle. It pulses.
It’s a graphic abstraction born from something ordinary. A mark without meaning, made meaningful through the act of noticing.
Juvenile European Robin
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black.
Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
The Robin is a member of the thrush family , a distant relative of the Blackbird and Nightingale.
In the 1960s, in a vote publicised by The Times, the robin was adopted as the unofficial national bird of the UK. The bird also is associated with several British sporting clubs including the professional football clubs Bristol City, Crewe Alexandra, Swindon Town, Cheltenham Town and Wrexham FC, as well as the English rugby league team Hull Kingston Rovers.
Robins may choose a wide variety of sites for building a nest. They will make use of anything that can offer some shelter, this can include some unlikely locations including garden sheds , old discarded kettles , hanging baskets and farm machinery.
The cup shaped nest is composed of moss, leaves and grass, with fine grass, hair and feathers for lining is built by the female bird . If you want to help your local Robin population to providing a nesting box to attract Robins to nest in your garden it needs to be open fronted and concealed in vegetation.
Legend has it that when Jesus was dying on the cross, the robin, then simply brown in colour, flew to his side and sang into his ear in order to comfort him in his pain. The blood from his wounds stained the robin’s breast, and thereafter all robins got the mark of Christ’s blood upon them.
Courtship feeding is a very prominent activity, and the male can supply more than a third of his mate’s food intake during nest building and egg laying. This extra food is important and can make a difference to the clutch size, particularly since a complete clutch represents about 90 per cent of the females total body weight. The birds are very sensitive to any disturbance during the nest building and egg laying, and will easily desert the nest if they think that the nest has been discovered. Unless the birds are used to people, it is best to stay clear of the immediate vicinity of the nest until the incubation starts.
Because of high mortality in the first year of life, a robin has an average life expectancy of just one year, if the Robin survives past the first year it can expect to live longer Up to a maximum of six years. The cause of the high mortality rate are many and varied. Only around 40 per cent of fledged birds will survive from one year to the next. High levels of mortality are compensated for by high productivity and the robin population has increased by 45 per cent since 1970. Severe winter weather can have severe impacts on robins.
So over the past few weeks I have been wanting to attempt the 365 self portrait project. I have been debating weather or not it would be too much for me to take on, so I figured I would start it during my Christmas break! That way I can get into the habit of taking a photo every day. My inspiration for this photo was trying to incorporate colour and movement but still have a lot of pain and emotion - my concept wasn't really anything in particular I just knew I wanted something like this, and it happened. I really want to grow as a photographer and I think this project will challenge me to try new things and come out of my comfort zone. I would love any feedback!!
Pretoria Fountain was bought second-hand from Florence, is much too big for the Piazza and was perceived to be provocative. The saying goes that someone from the cloister cut the sexual members off with a chisel and that these were later replaced.
Camera: YASHICA MAT 124 G
Lense: Yashinon 80mm, F3.5
Film: Kodak Tri-X 400
Processing: Ilford MICROPHEN Stock, 09:00, 20°, PUSH ISO800, digitized with Epson V850 Pro
CERINTHE MAJOR L. (ERBA VAJOLA MAGGIORE)
Boraginaceae. Pianta erbacea annuale, fusti ascendenti, alti 20-60 cm, foglie ellittiche, amplexicauli, glabre ma ricoperte di tubercoli provvisti di setole; fiori su corti peduncoli in cime elicoidi, fogliose e dense, corolla tubulosa, gialla bordata di porpora alla base, con denti acuti ripiegati in fuori; frutto a tetrachenio con mericarpi nerastri riuniti a due.Fiorisce da febbraio a maggio.
Vegetazione infestante su culture sarchiate, prati aridi mediterranei subnitrofili su suoli profondi, comune, fascia costiera e collinare (da 0 a 600-700 m).
Dal sito di botanica a cura di MG Languana. www.mgflower.altervista.org/index.html
I was really happy to come across a pair of Wood Ducks in a small pond at the Florida Botanical Gardens.
The pond was in fairly heavy shade, with a stiff breeze blowing the trees around, and constantly changing the light.
I had fun trying to get some shots, while standing halfway behind a tree so I wouldn't spook the ducks. I've found them to be fairly skittish, and ready to disappear with the slightest provocation.
I would have liked to get clearer shots, but was still very happy to get some images without scaring them away...
The male was a bit easier to shoot, as the female spent most of her time with her face in the water, enjoying the abundant plant life. :)
(Aix sponsa)
This beautiful outfit come from Provocation. It's the Chloe and can be found at the Bumbum Event. Its sent up for:
- Reborn
- Maitreya
- Legacy
The rest of my look:
- Ebody Reborn
- Lelutka Raven Heaf
- Mischief by Truth
- Blair Earrings by Kibitz
- Moana Bracelets by RAWRS
- Cerise belly piercing by Ysoral
- Goddess Nails by Nailplug
- Infinite Love Tattoo by [SAM TATTOOS]
- AvaAway Astrology Necklace
- Skin by [The Skinnery] Brownie (Slim Reborn body, Kia Head)
A narrow Castletown street animated by an unexpected sight: bicycles strung overhead, hovering between historic façades like paused thoughts mid-journey. Part public art, part gentle provocation, the installation adds a note of levity to the town’s otherwise measured rhythm.
Against stone walls, shopfronts and old street lamps, the bicycles become graphic silhouettes — a reminder that even the most tradition-minded places leave room for invention, humour, and a little visual surprise.
Mouvement suspendu
Castletown, Isle of Man
Dans une rue étroite de Castletown, des bicyclettes semblent flotter entre les façades, suspendues comme un mouvement arrêté dans le temps. À mi-chemin entre installation artistique et clin d’œil urbain, la scène introduit une touche de légèreté dans le paysage bâti.
Découpées en silhouettes graphiques sur le ciel, elles dialoguent avec les lampadaires et l’architecture ancienne — preuve que même les lieux les plus ancrés dans l’histoire savent accueillir l’invention et l’humour.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Portaleyo del Monasterio de San Millán de Suso, con los sarcófagos de los siete infantes de Lara de la leyenda (Según la tradición )
Portaleyo of the Monastery of San Millán de Suso, with the sarcophagi of the seven infants of Lara of the legend (According to the tradition)
Los siete infantes de Lara (o de Salas) es una leyenda conocida a partir de textos conservados en crónicas medievales, cuyo testimonio más antiguo figura en la versión ampliada de la Estoria de España compuesta durante el reinado de Sancho IV de Castilla, antes de 1289, editada por Ramón Menéndez Pidal con el nombre de Primera Crónica General.
Ramón Menéndez Pidal encontró indicios de la existencia de un antiguo cantar de gesta desaparecido que reconstruyó parcialmente y dató hacia el año 1000, y que sería, junto con el Cantar de mio Cid y el Poema de Fernán González, uno de los más importantes cantares de gesta de la literatura castellana y el ejemplo más primitivo de épica española. La tradición ha elaborado la leyenda también en el romancero.
Los infantes de Lara eran hijos de Gonzalo Gustioz (o Gustios) y Sancha Velázquez, mejor conocida como «Doña Sancha». La historia gira en torno a una disputa familiar entre la familia de Lara y la familia de Ruy Velázquez y su hermana Doña Sancha. El motivo más destacable es el de la venganza, principal motor de la acción.
Según la versión transmitida por la leyenda contenida en la versión sanchina de la Estoria de España, que podría recoger un antiguo cantar de gesta compuesto hacia el año 990, en el transcurso de las bodas entre Doña Lambra —natural de Bureba— y Rodrigo Velázquez de Lara, más conocido como Ruy Velázquez, y también llamado Roy Blásquez —hermano de Doña Sancha, madre de los infantes—, se enfrentan los familiares de la novia con los de Lara. De ese enfrentamiento resulta muerto Álvar Sánchez, primo de Doña Lambra, a manos de Gonzalo González, el menor de los siete infantes de Lara.
Más adelante Gonzalo González es visto por Doña Lambra mientras se baña en paños menores, suceso que Doña Lambra, al considerarlo una provocación sexual a propósito, interpreta como una grave ofensa. Doña Lambra, aprovechando este lance para vengar la muerte de su primo Álvar Sánchez, que no ha sido satisfecha aún, responde con otra afrenta al ordenar a su criado arrojar y manchar a Gonzalo González con un pepino relleno de sangre, ante la risa burlesca de sus hermanos. Gonzalo reacciona matando al criado de Doña Lambra, que había ido a refugiarse bajo la protección del manto de su señora, que queda asimismo salpicado de sangre.
Estos sucesos provocan la sed de venganza de Doña Lambra. Por ello, su marido Ruy Velázquez urde un plan por el que Gonzalo Gustioz, señor del enclave de Salas, es enviado a Almanzor con una carta cuyo contenido indica que sea matado el portador de la misiva. El padre de los infantes desconoce el contenido de la carta porque está escrita en árabe. Almanzor se apiada de Gonzalo Gustioz y se limita a retenerlo preso, pues considera excesivo el sufrimiento de su cautivo, que es aliviado por una hermana del propio Almanzor. De ambos nace un hijo llamado Mudarra, quien más adelante será adoptado por Sancha Velázquez, su abuela. Años más tarde este hijo, aunque bastardo, vengará, matando a Ruy Velázquez, el crimen cometido a sus hermanastros, ya que los siete hermanos de Lara habían sido dirigidos hacia una emboscada ante tropas musulmanas en la que, a pesar de su valía guerrera, son decapitados y sus cabezas remitidas a Córdoba por órdenes de su tío Ruy Velázquez. Allí serán contempladas dolorosamente por su padre Gonzalo Gustioz en uno de los plantos más emotivos de toda la epopeya castellana.
En la prosificación del cantar, Gonzalo Gustios finalmente es liberado. Justo antes de partir, la hermana de Almanzor, que durante el cautiverio se había acostado con él, le comunica que está embarazada de él (el niño será Mudarra). Gonzalo Gustioz ve aquí una posible vía para vengarse de Ruy Velázquez, así que toma un anillo y lo rompe en dos pedazos, dándole una parte a ella y quedándose él con la otra mitad. Mudarra recibe este medio anillo como herencia, siendo posteriormente reconocido por su padre Gonzalo al juntar las dos partes y ver que encajan perfectamente. En la prosificación del cantar de la Crónica de 1344 o Segunda Crónica General, Gonzalo Gustioz queda ciego con el paso de los años, y al juntar el anillo se produce un milagro: él recupera la vista y el anillo queda unido permanentemente. En opinión de Ramón Menéndez Pidal, la trama secundaria del anillo y su uso para el reconocimiento de padre e hijo, es una de las muchas pruebas del origen germánico de la épica española.
Las prosificaciones de la leyenda existentes en las crónicas alfonsíes utilizaron como fuente un cantar de gesta, hipótesis que se deduce de la abundancia de rimas asonantes y otros rasgos de estilo propios de la literatura épica que permanecen en la prosa de los relatos cronísticos. La existencia de un Cantar de los siete infantes de Lara perdido concita el consenso de los filólogos, pues los versos de la epopeya no fueron excesivamente alterados. De ahí que se hayan podido escribir reconstrucciones bastante fiables a lo que pudo ser el cantar
original. Respecto a esto, Mercedes Vaquero ha rastreado señas de oralidad en los textos prosificados, lo que indicaría que en algún momento hubo un cantar que fue recitado, entonado o cantado.
El Cantar de los siete infantes de Lara o de Salas tiene como marco temporal una situación histórica que remite a la Castilla de hacia 990, lo que ha servido para datar el poema, si bien no toda la crítica acepta que el Cantar fuera compuesto hacia el año 1000, al objetarse que antecediera a los grandes ciclos de la épica francesa, de la que podría ser deudor.
Según Ramón Menéndez Pidal el poema tuvo diversas versiones, algunas muy posteriores a la original. El nombre del cantar sería Los siete infantes de Salas, puesto que no se menciona el nombre de «Lara». En él Doña Lambra está casada con Ruy Velázquez. Este estudioso no asevera que todos los personajes sean históricos. Como elementos poéticos incluye a la infanta mora y el vengador Mudarra.
Alan Deyermond señala que el trasfondo argumental trasluce motivos universales y habituales del folclore, como la carta que ordena la muerte del mensajero (lugar común coincidente con el de Hamlet), el amor de una joven por el prisionero hecho cautivo por su hermano o la ascendencia misteriosa del protagonista.
El crítico anglosajón aprecia que el Cantar de los siete infantes de Lara o Salas reúne un gran valor por la antigüedad y prioridad en su género y por cuanto refleja la que sería la edad heroica del nacimiento y formación de Castilla, periodo que es a su vez el momento de la gestación de la épica en los pueblos. Además, ensalza la enérgica pintura de algunos pasajes, como aquel en que Mudarra amenaza a Doña Lambra y esta intenta buscar protección.
La exhibición de reliquias de los siete infantes de las leyendas y obras literarias ha sido, desde antiguo, empeño de varios monasterios, pues la vinculación con prestigiosos héroes (ya fueran reales o ficticios) proporcionaba a estos establecimientos eclesiásticos un aumento de los recursos económicos y los peregrinos atraídos por los mismos. Así, los pretendidos sarcófagos de los siete infantes de Lara se muestran en el Monasterio de San Millán de Suso, aunque los restos que pretenden ser los de los hermanos asesinados han sido disputados por otros monasterios, como el de San Pedro de Arlanza; también la iglesia de Santa María de Salas de los Infantes afirma guardar sus cabezas, y exhibió mucho tiempo siete cráneos que eran tenidos por los de los siete hermanos; por otro lado, en la Catedral de Burgos se dice que se halla el sepulcro de Mudarra. La disputa por la posesión de reliquias de célebres héroes, conocidos legendariamente, ha sido habitual desde la Edad Media hasta nuestros días.
es.wikipedia.org/wiki/Los_siete_infantes_de_Lara
es.wikipedia.org/wiki/La_leyenda_de_los_siete_infantes_de...(Menéndez_Pidal)
es.wikipedia.org/wiki/Casa_de_las_Cabezas_(Córdoba)
es.wikipedia.org/wiki/Iglesia_de_Santa_María_de_Salas_de...(Burgos)
The Cantar de los Siete Infantes de Lara ("Song of the Seven Lara Princes") is a legend, perhaps derived from a lost cantar de gesta, that relates a tale of family feuding and revenge, centering on the murder of the eponymous seven infantes (princes) of Lara or Salas. The legend survives in prose form in medieval chronicles, the oldest being in the extended version of the Estoria de España (History of Spain) compiled during the reign of Sancho IV of Castile before 1289 (edited by Ramón Menéndez Pidal under the name Primera Crónica General).
From the account found in this chronicle as well as mention in the Crónica de 1344 (Segunda Crónica General) and interpolations into a copy of the Tercera Crónica General dating from 1512, Menéndez Pidal found evidence for the existence of an ancient lost cantar de gesta that scholars have since partially reconstructed, dating back to the year 1000. This work would, along with the Cantar de Mio Cid and the Poema de Fernán González, represent one of the most important epic cantares of Castilian literature, and the most primitive example of the Spanish epic. The legendary tradition of the Infantes de Lara has also been developed though ballads. Some more recent scholars have rejected this, dating the story to shortly before the surviving prose versions.
The Infantes de Lara were the children of Castilian nobleman Gonzalo Gustioz of Lara or Salas and his wife "Doña Sancha" (lady Sancha). The story revolves around a family feud, an escalating tit-for-tat cycle of revenge, between their family and that of Sancha's brother, Ruy Velázquez and his wife Doña Lambra.
According to the version transmitted by the Estoria de España, at the wedding between Doña Lambra, from Bureba, and Ruy Velázquez of Lara, a confrontation arose between the bride's family and the sons of Sancha, the infantes. In this confrontation, Alvar Sánchez, cousin of Doña Lambra, was killed by Gonzalo González, the youngest of the seven Lara princes. Later Gonzalo González is seen by Doña Lambra, having undressed to his undergarments to bathe his goshawk, and Lambra interprets it as an intentional sexual provocation. Taking advantage of this to avenge the death of her cousin Alvar, Lambra orders her servant to strip and humiliate Gonzalo González in front of her brothers, throwing a blood-covered cucumber at him. The irate Gonzalo and his brothers respond by killing the servant at Lambra's feet, spattering her with her servant's blood.
Thirsting for revenge, Lambra and her husband Ruy Velázquez come up with a plan to send the father of the infantes, Gonzalo Gustioz, lord of Salas, as envoy to the ruler of Córdoba, Almanzor, to request money to help pay for their lavish wedding. Unbeknownst to him, he carries a letter that tells Almanzor of Ruy's plans to have the infantes ambushed and murdered, and requesting that their father, letter's bearer, likewise be killed. Ruy Velásquez carries out the ambush of his nephews using Muslim troops and supervises their beheading, sending the severed heads to Córdoba to torment their father. His painful laments for his sons represent one of the most emotional in all of Castilian epic tradition Almanzor takes pity on him and merely has him imprisoned. In the earliest surviving version, a female servant is assigned to tend to him, and they fall in love and have a sexual liaison. In the later version of the Crónica de 1344, she is a sister of Almanzor himself and is offered up to Gonzalo, who takes her by force. She becomes pregnant and has a son named Mudarra González.
Shortly before his release, when Gonzalo Gustioz learns his lover is expecting a child, he sees the opportunity for help in his planned revenge against Ruy Velázquez. He takes a ring and breaks it in two, keeping one half and leaving the other to be given the child, so that later they will be able to recognize each other by matching the two sides. The child, Mudarra González, grows up and goes north to Castile to find his father, and they unite the two halves of the ring, which fit perfectly. The version in the Crónica de 1344 has the aged Gonzalo Gustioz become blind and when the halves of the ring are aligned, he miraculously regains his sight and the ring is permanently rejoined. It is Mudarra, the son born to the captive Gonzalo, who eventually avenges the killing of his half-brothers by murdering Ruy Velásquez and burning Lambra alive.
No manuscript of the Cantar de los Siete Infantes de Lara survives (although Ramón Menéndez Pidal and, to a lesser extent, Erich von Richthofen have reconstructed many of its verses), yet it has had a large influence on later literature. A partial list includes:
The prose rendering of the Cantar in the Primera Crónica General, the Crónica de 1344, and the Crónica de los Veinte Reyes.
Fragments of the Cantar in Romance epics, mostly old Ballads. Six epic romances of the infantes de Lara survive.
Several plays, including:
Siete Infantes, written by Juan de la Cueva in 1579.
El Bastardo Mudarra, written in 1612 by Lope de Vega.
La Gran Tragedia de los Siete Infantes de Lara, written by Alonso Hurtado Velarde between 1612 and 1624.
Los Siete Infantes de Lara, a novel by Manuel Fernández y González, published in 1853.
El Moro Expósito (1834), a poem in hendecasyllable metre by the Duke of Rivas.
La magnifique Gema (Insta: goth_dangerous), maquillee par Patrica Mora, lors d'un shooting dans une station desafectee de train. Aranjuez - Espagne (2017)
The Wren (Troglodytes troglodytes) My original pen and ink drawing. For HRH Madam Mrs Lady Sandi, who keeps chirpy even under extreme provocation from me, ta!
When I shop at [^.^Ayashi^.^] I walk out with a new hair style for every day of the week...lol Anyone ELSE???
Visit this location at [^.^Ayashi^.^] {Limerence} -MikiNe- [Provocation] main stores in Second Life
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar