View allAll Photos Tagged provocation
"Mixing huge quantities of alcohol, hot sun and provocation could only ever have one result." – Nikon UK Ambassador, Leon Neal bit.ly/LeonNikonD5
Toronto G20 Riot Fraud: Undercover Police engaged in Purposeful Provocation. This police tactic has been used at all the G8-G20 summits held around the world.
police accused of attempting to incite violence at spp
www.youtube.com/watch?v=BWbgnyUCC7M&feature=related
Canadian Police Again Use Provocateurs to Incite Response
sbeckow.wordpress.com/2010/06/28/canadian-police-again-us...
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.
The events of April 24, 1921, in Bolzano, are called the Bloody Sunday of Bolzano. It was a first highlight of Fascist violence in South Tyrol, which after the First World War had fallen to Italy and was mostly German-speaking.
On April 24, 1921, a popular vote took place in the Austrian Tyrol on the Anschluss (Annexation) to the German Reich. The Fascists, at that time still a group of thugs active throughout Italy, regarded the opening of the Bozner Spring Fair, coincidentally on the same day, as a provocation which was connected with the plebiscite and decided to disturb the traditional costume parade through Bolzano. Despite warnings, the Italian authorities concerned did not take any security measures.
On the morning of the day, about 290 Fascists from the rest of Italy arrived at the station in Bozen and united with about 120 followers of the Fascio movement from Bolzano. During the costume procession, the Fascists attacked participants and spectators with clubs, guns and hand grenades. About fifty South Tyroleans were partly seriously injured. The teacher Franz Innerhofer from Marling died in an attempt to protect a boy by shooting at the entrance of Bozen's residence Stillendorf.
Funeral procession of Franz Innerhofer in Bolzano 1921: Conduct in the southern section of Via Cassa di Risparmio/Sparkassenstraße.
The now intervening military limited itself to escorting the aggressors to the railway station, where they were able to depart unmolested. Italian Prime Minister Giovanni Giolitti's call to immediately arrest the perpetrators and bring them to justice led to the arrest of two Bolzano fascists. After Benito Mussolini had threatened to force the liberation of his comrades with the help of 2,000 fascists on 1 May in Bolzano, the two were released again.
Today, a commemorative placard in the residence Stillendorf recalls the events. On April 25, 2011, the public holiday to the liberation of Italy from fascism and national socialism, a place was named after Franz Innerhofer in the old town of Bolzano (south of the Free University of Bozen).
Als Bozner Blutsonntag werden die Ereignisse vom 24. April 1921 in Bozen bezeichnet. Es handelte sich dabei um einen ersten Höhepunkt faschistischer Gewalt im nach dem Ersten Weltkrieg an Italien gefallenen, mehrheitlich deutschsprachigen Südtirol.
Am 24. April 1921 fand im österreichischen Tirol eine Volksabstimmung über den Anschluss an das Deutsche Reich statt. Die Faschisten, damals noch eine italienweit tätige Schlägertruppe, betrachteten die zufällig am selben Tag stattfindende Eröffnung der Bozner Frühjahrsmesse als eine mit dem Plebiszit zusammenhängende Provokation und beschlossen, den traditionellen Trachtenumzug durch Bozen zu stören. Trotz Warnungen ergriffen die zuständigen italienischen Behörden keine Sicherheitsmaßnahmen.
Am Morgen des Tages trafen etwa 290 Faschisten aus dem übrigen Italien am Bozner Bahnhof ein und vereinigten sich mit etwa 120 Anhängern der Fascio-Bewegung aus Bozen. Während des Trachtenumzugs griffen die Faschisten Teilnehmer und Zuschauer mit Knüppeln, Pistolen und Handgranaten an. Etwa fünfzig Südtiroler wurden teils schwer verletzt. Der Lehrer Franz Innerhofer aus Marling starb beim Versuch, einen Jungen zu beschützen, durch Schüsse im Hauseingang des Bozner Ansitzes Stillendorf.
Begräbniszug von Franz Innerhofer in Bozen 1921: der Kondukt im südlichen Abschnitt der Sparkassenstraße
Das nun einschreitende Militär beschränkte sich darauf, die Aggressoren zum Bahnhof zu eskortieren, wo sie unbehelligt abreisen konnten. Die Aufforderung des italienischen Ministerpräsidenten Giovanni Giolitti, die Täter unverzüglich festzunehmen und der Gerichtsbarkeit zuzuführen, hatte die Verhaftung zweier Bozner Faschisten zur Folge. Nachdem Benito Mussolini damit gedroht hatte, am 1. Mai in Bozen mit 2000 Faschisten die Befreiung seiner Genossen zu erzwingen, wurden die beiden wieder freigelassen.
Heute erinnert eine Gedenktafel im Ansitz Stillendorf an die Ereignisse. Am 25. April 2011, dem Feiertag zur Befreiung Italiens von Faschismus und Nationalsozialismus, wurde ein Platz in der Altstadt von Bozen (südlich der Freien Universität Bozen) nach Franz Innerhofer benannt.
Juvenile Green Cat Snake (Boiga cyanea, Colubridae)
When the advances of a persistent photographer become too much, attack is the best defence. This sequence of shots are of poor quality due to a combination of an advancing subject and a retreating object and spelled the end of this particular photo opportunity. I was aware it was preparing to strike from its body language as it coiled its body to extend its reach. The eventual strike fell short and was more of a warning than a provocation.
Boiga cyanea occurs in many different habitats found both at sea level and all the way up into the highlands up to 2100m. It is almost completely arboreal and can be found in small low shrubs, as well as the much taller trees. They are frequently found in close proximity to water and often in or around planted fields. Their coloration gives them excellent camouflage making them very difficult to find. These beautiful snakes are nocturnal hunters and spend most of the daylight hours curled up in a tree hole or entwined on branches or in the forks of tree branches. When active at night they are extremely fast and eagerly hunt down small lizards, small birds and possible small rodents.
Boiga cyanea reaches 90-150cm when adult, though specimens of 2m are not unknown. Its adult coloration is a beautiful green with a bluish cast to it. The belly is white to a light yellow. The eyes are a blue turquoise with catlike elliptical (vertical) pupils. Hence the common name of "Green Headed Blue Eyed Cat Snake". Juveniles (such as this one) are totally different - the body from the neck to the tail is red-brown, the head is emerald green, the lips edged yellow, and the inside of the mouth is black. The eyes are large and seem to bulge prominently from the sides of the head. It takes them from 8-14 months to mature from the juvenile colouring to the adult.
The venom of Boiga cyanea resembles that of other Boigas, though it is usually much weaker than other members of the genus. A bite from Boiga cyanea is normally of no problem to adult humans and is no worse then a bee or wasp sting. As a opisthoglyphous (rear-fanged) species, it has very small teeth that are right in the back of the throat that you would not normally come into contact with.
NB. I am only aware of this information in hindsight after the snake had been identified and researched, and, as usual, was throwing caution to the wind at the time of the encounter.
Pu'er, Yunnan, China
see comments for prior images.....
''cheeky', you'd say and we all fell around
rolling round the playground'
- texture courtesy of les brumes -
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
Crown Headpiece from Galliano's Forgotten Innocents, 1986-7
Judy Blame, made by Frick and Frack
Crown Headpiece
Metal, coat hanger, wool, thread, shoelaces and rocks
Spitting Image, 2020
Nylon, hair spray, foam latex, man-made fibres, perspex
Taken in the exhibition
Monster
Opening The Horror Show!, Monster begins by delving into the economic and political turbulence of the 70s and the high octane spectacle and social division of the 80s. Against a backdrop of unrest and loud uprising, it charts the origin story and ascent of the individuals who will go on to disrupt, define and destroy British culture, while exploring the monsters which plague society today.
Punk prophet Jamie Reid opens the show by conjuring his Monster on a Nice Roof (1972), painting a prescient picture of the dark skies gathering over Britain. Chila Burman’s If There is No Struggle, There is no Progress - Uprising (1981) and Helen Chadwick’s Allegory of Misrule (1986) refigure social discontent and anxiety in the image of horror, as the socio-political and monstrous collide. In a jarring dislocation of British cultural identity, Guy Peellaert’s David Bowie, Diamond Dogs (1974) and the otherworldly creatures captured by Derek Ridgers’ nightlife photography point to the emergence of the cultural provocation and rebellion that defined an era. Monster revels in a resoundingly British spirit of nonconformity, with a spectacular display of Pam Hogg’s new Exterminating Angel (2021) and works by Somerset House Studios artist and designer Gareth Pugh and the late visionary Leigh Bowery. Elsewhere, Noel Fielding’s Post-Viral Fatigue (2022) shows how the imagery of horror resonates still in our Covid-ravaged contemporary reality. As the nightmarish and otherworldly fills the gallery, a newly commissioned mural by Matilda Moors sees the walls dramatically clawed at by a monstrous hand.
Contributing artists include Marc Almond, Bauhaus, Judy Blame, Leigh Bowery, Philip Castle, Chila Burman, Helen Chadwick, Monster Chetwynd, Jake & Dinos Chapman, Tim Etchells, Noel Fielding, Mark Moore & Martin Green, Pam Hogg, Dick Jewell, Harminder Judge, Daniel Landin, Jeannette Lee, Andrew Liles, Linder, London Leatherman, Don Letts, Luciana Martinez de la Rosa, Lindsey Mendick, Peter Mitchell, Dennis Morris, Matilda Moors, Tim Noble & Sue Webster, Guy Peellaert, Gareth Pugh, Jamie Reid, Derek Ridgers, Nick Ryan, Steven Stapleton, Ralph Steadman, Ray Stevenson, Poly Styrene, Francis Upritchard and Jenkin van Zyl.
The Horror Show! A Twisted Tale of Modern Britain
(October 2022 - February 2023)
Somerset House presents The Horror Show!: A Twisted Tale of Modern Britain, a major exhibition exploring how ideas rooted in horror have informed the last 50 years of creative rebellion. The show looks beyond horror as a genre, instead taking it as a reaction and provocation to our most troubling times. The last five decades of modern British history are recast as a story of cultural shapeshifting told through some of our country’s most provocative artists. The Horror Show! offers a heady ride through the disruption of 1970s punk to the revolutionary potential of modern witchcraft, showing how the anarchic alchemy of horror – its subversion, transgression and the supernatural – can make sense of the world around us. Horror not only allows us to voice our fears; it gives us the tools to stare them down and imagine a radically different future.
Featuring over 200 artworks and culturally significant objects, this landmark show tells a story of the turbulence, unease and creative revolution at the heart of the British cultural psyche in three acts – Monster, Ghost and Witch. Each act interprets a specific era through the lens of a classic horror archetype, in a series of thematically linked contemporaneous and new works:
Each of the exhibition’s acts opens with ‘constellations’ of talismanic objects. These cabinets of curiosities speak to significant cultural shifts and anxieties in each era, while invoking a haunting from the counter-cultural voices in recent British history. Alongside these introductory artworks and ephemera is an atmospheric soundtrack, conjuring the spirit of the time with music from Bauhaus, Barry Adamson and Mica Levi.
Monster, Ghost and Witch culminate in immersive installations, combining newly commissioned work, large-scale sculpture, fashion and sound installation, with each chapter signed off with a neon text-work by Tim Etchells. The Horror Show! offers an intoxicating deep-dive into the counter-cultural, mystic and uncanny, with the signature design of the three acts courtesy of architects Sam Jacob Studio and Grammy-winning creative studio Barnbrook.
[Somerset House]
negativo fuji fp100 elaborato chimicamente e successivamente corretto curve e densità con lightroom.
Capa watched from the curb. Doisneau stayed for the view.
Ying crossed the bridge like a provocation in heels.
Steel beneath her steps. Lace beneath her coat.
There was no turning back—only desire.
Framewritten by Charly & Ying
An interdimensional project by Ying.Ding.Studios · AI photography · 2025
Without warning or provocation this framed photo just fell off the wall. I thought the remnants looked interesting.
In July 2015, Liz Ixer, sometime entropologist, took a careful photo of Bagsy's assisted found sculpture: "Summer Holiday".
It became one of his most celebrated pieces before disappearing mysteriously - rumoured to have been lovingly and skilfully restored and sent for auction in Miami. (I wonder did they get the clock going?)
Astounding
As Bagsy - Tottenham's sacchetti genius - approaches his 94th birthday, we see how his range of creative work remains astounding. It includes: sculpture; assisted found art; unfound art; exquisite miniatures; pastries; and giraffiti astride walls and bridges.
Despite his advanced age and current inability to scale heights, the good news is that the master has developed a training programme with a multi-talented workshop of apprentices, interns, consultants, interims, spin doctors; brand strategists; and miscellaneous hangers-on. They produce an endless flow of pieces and provocations, which appear across Haringey and elsewhere in London.
Demotic Interventions
Bagsy and his team, true community artists, generously donate many fine works to the people. Staging impromptu free public Art in the Open exhibitions in streets, parks, and alleyways, Such demotic interventions may be displayed in trees; behind phone cabinets; or hung proudly on fences.
___________________________
§ My grateful thanks to Liz Ixer for permission to post her photo here. It originally appeared on Twitter.
§ Thanks also to the Trustees of the Seymour Road Sculpture Garden.
§ Entropology according to Claude Lévi-Strauss, is the discipline that devotes itself to the study of the process of disintegration in its most highly evolved forms.
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.
Cursor.....
The ultimate provocation of negative space.
La provocation de l'art #9
See the full album "Les provocations de l'art" here:
Peter Fuss zrobił Billboard z kategorii kontrowersyjne... Co ciekawe kolejność jest alfabetyczna...
A bit weird kind of artistic provocation
canon EOS 1d mark IV
Model :Librarian_D Mayhem #1807041
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
this is not a teaser for Machete 2 or Nude Nuns with Big Guns II but just a bit of provocation and fun! thanks to LD who managed to pull out this shot with the perfect attitude, it was simply a great moment shooting this! hope you enjoy! ;-)
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.
August Macke (1887 à Meschede – 1914 près de Perthes-lès-Hurlus, Champagne, FR) illustre par son œuvre la curiosité d'une jeune génération d'artistes qui, en divers lieux d'Europe, puis d'Amérique, s'engagent dans l'établissement d'une nouvelle perception du monde et d'un nouveau sens de la vie – voire, dans bien des cas, dans la provocation par des scandales délibérément mis en scène :
« Tout cela », écrit Macke en 1913 dans une lettre à un ami, « le cubisme, le futurisme, l'expressionnisme et la peinture abstraite ne sont que les termes d'un changement de direction que notre pensée picturale veut opérer et opère.»
Ses œuvres se caractérisent par la vitalité et la sensualité de la vie.
Cela se reflète dans la force et la beauté des couleurs, qui dépassent souvent les formes picturales individuelles et intérieures pour envahir l'ensemble du tableau. Sans adhérer rigidement à un manifeste artistique ni radicaliser unilatéralement son langage visuel, August Macke reste ouvert à de nombreuses influences et stimulations dans sa pensée artistique, tout en créant une œuvre indépendante qui offre une synthèse exemplaire des caractéristiques spécifiques de l'expressionnisme rhénan. Son regard se tourne ainsi vers l'Occident : vers la France, vers Paris où, dans les œuvres de Robert Delaunay, il estime avoir trouvé une âme sœur.
Avec des peintures, des sculptures et des gravures, la vaste collection Macke du Kunstmuseum Bonn comprend des œuvres de toutes les phases de la création de l'artiste.
August Macke (1887 in Meschede – 1914 near Perthes-lès-Hurlus, Champagne, FR) illustrates through his work the curiosity of a young generation of artists who, in various parts of Europe and later America, were committed to establishing a new perception of the world and a new meaning of life—in many cases, even to provocation through deliberately staged scandals:
"All this," Macke wrote in a 1913 letter to a friend, "Cubism, Futurism, Expressionism, and abstract painting are merely the terms of a change of direction that our pictorial thinking seeks to bring about and does bring about."
His works are characterized by the vitality and sensuality of life.
This is reflected in the strength and beauty of the colors, which often transcend individual, inner pictorial forms to invade the entire picture. Without rigidly adhering to an artistic manifesto or unilaterally radicalizing his visual language, August Macke remained open to numerous influences and stimuli in his artistic thinking, while creating an independent body of work that offers an exemplary synthesis of the specific characteristics of Rhenish Expressionism. His gaze thus turned toward the West: toward France, toward Paris, where, in the works of Robert Delaunay, he felt he had found a kindred spirit.
With paintings, sculptures, and prints, the Kunstmuseum Bonn's extensive Macke Collection includes works from all phases of the artist's creative process.