View allAll Photos Tagged specific
Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010
Taken in Station Road, Parkgate, Wirral.
Details from a Mercedes-Benz on the Internet:
AMG Bodystyling
The AMG bodystyling lends the vehicle its unmistakable character, comprising AMG-specific front apron and radiator trim, trim insert in the exterior protective strip, AMG wheels plus AMG flared wheel arches, striking sidepipes and red-painted brake callipers.
AMG Radiator Trim
The AMG radiator trim impresses with vertical louvres and a central star in high-gloss chrome. As such, the Mercedes-AMG G 63 differs significantly from the entry-level model in that the dynamic character of the vehicle is brought to the fore.
AMG Light-Alloy Wheels
Light-alloy wheels in a striking, powerful design. 50.8 cm (20-inch) AMG 10-spoke light-alloy wheelspainted in titanium grey and with a high-sheen finish, with 275/50 R 20 tyres on 9.5 J x 20 ET35 wheels, spare wheel on tailgate with 265/50 R 20 tyre.
AMG High-Performance Braking System
Large, internally ventilated and perforated brake disks provide for excellent deceleration. Precise controllability and low response times ensure optimum safety on and off the road. The electric parking brake is integrated into the rear axle calliper and can be activated and released at the press of a button.
To also clearly underscore the performance of the brake system to visual effect, the brake callipers at the front and rear are painted in red with black AMG lettering.
AMG Performance Exhaust System, Selectable
The AMG Performance exhaust system ensures an even more emotional engine sound in the interior at the push of a button. From typical AMG to restrained, the sound of the AMG Performance exhaust system fully adapts to the currently selected drive program by means of three variably adjustable exhaust gas flaps. The driver can also change the sound characteristics at the press of a button. This equipment allows a maximum spread of the soundscape, from comfortable to highly emotive.
Two additional exhaust gas flaps allow for even greater differentiation of the sound characteristics. The sound characteristics are dependent on the currently selected drive program – from rich in drive programs C and S to emphatically sporty in mode S+. Control is by means of a variably adjustable exhaust gas flap – without loss of power. Control of the exhaust gas flaps is dependent on both engine speed and load, guaranteeing a 100% power delivery. If desired, the cold start noise can be reduced in drive programs C and S.
In the Mercedes-AMG G 63, all passengers can enjoy more space. Newly designed seats in the finest nappa leather with rhombus-shaped quilting and "AMG" badge don't just offer luxury, but also a certain sense of security.
AMG Instrument Cluster
The AMG instrument cluster offers an exciting AMG design and valuable information for sporty drivers. The AMG main menu, including RACE TIMER and AMG start-up screen, appears in high-resolution and in colour on the central 11.4 cm TFT multifunction display. Exclusivity and sportiness are visually highlighted among other things by the speedometer with 280 km/h scale and AMG logo as well as the AMG-specific design. With the RACE TIMER it is possible to measure and store lap times.
Exclusive Interior
The Exclusive interior provides that something special for very discerning customers. Carefully selected combinations meet the highest standards of quality. The individual, high-quality appointments include nappa leather, the leather-covered dashboard, exclusive colour variations and coordinated contrasting topstitching. The harmonious overall image underscores the exclusive character of the interior.
AMG Performance Steering Wheel in Carbon Fibre / DINAMICA Microfibre
For an even better grip during sporty manoeuvres, the grip area on the AMG Performance steering wheel in carbon fibre is finished in DINAMICA microfibre.The sporty design is completed by silver-coloured aluminium shift paddles and a 12-o'clock marking.
AMG Stainless Steel Door Sill Panels
The AMG door entry panels of solid stainless steel with "AMG" lettering are a further sporty feature, and enhance the perceived value of the interior. At the same time they protect the door area against scratches.
AMG-specific IWC-design Analogue Clock
The numbers are in the form of individually cut applications, underscoring the exclusive IWC design of the AMG-specific analogue clock. Both the numbers and the needles are made of fine metal.
USED: £29,950 - £135,124
Kit used: Nikon 35~200mm 1: 3.5 - 4.5
ref: 3409 - 26th June 2020
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Wat Phra Kaew (Thai: วัดพระแก้ว, rtgs: Wat Phra Kaeo, IPA: [wát pʰráʔ kɛ̂ːw], Pronunciation, English: Temple of the Emerald Buddha; full official name Wat Phra Si Rattana Satsadaram, Thai: วัดพระศรีรัตนศาสดาราม, IPA: [wát pʰráʔ sǐː rát.ta.náʔ sàːt.sa.daː.raːm]) is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.
The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose present sovereign is Bhumibol Adulyadej, King Rama IX.
The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season.
HISTORY
In 1767, the Kingdom of Ayutthaya fell to the Burmese, and King Taksin then moved the capital to Thonburi where he built the old palace beside Wat Arun on the west bank of Chao Phraya River. In 1778, Taksin's army under the command of Chao Phraya Chakri (who later became Rama I) captured Vientiane and took the Emerald Buddha back to Thonburi.
In 1782, King Rama I succeeded to the throne and founded the Chakri Dynasty, and he decided to move the capital across the river to Bangkok as it would be better protected from attack. The site chosen for the palace is situated between two old wats, Wat Pho and Wat Mahathat, an area inhabited by Chinese residents who were then moved to the present Chinatown. He started the construction of the Grand Palace so that the palace may be ready for his coronation in 1785. Wat Phra Kaew, which has its own compound within the precinct of the palace, was built to house the Emerald Buddha, which is considered a sacred object that provides protection for the kingdom. Wat Phra Kaew was completed in 1784. The formal name of Wat Phra Kaeo is Phra Sri Rattana Satsadaram, which means "the residence of the Holy Jewel Buddha."
Wat Phra Kaew has undergone a number of renovations, restoration and additions in its history, particularly during the reign of King Rama III and Rama IV. Rama III started the renovations and rebuilding in 1831 for the 50th Anniversary of BangkoK of 1832, while Rama IV's restoration was completed by Rama V in time for the Bangkok Centennial celebrations in 1882. Further restoration was undertaken by Rama VII on Bangkok's 150th Anniversary in 1932, and by Rama IX for the 200th Anniversary in 1982.
EMERALD BUDDHA
It is not known when the statue of the Emerald Buddha was made, but it is generally believed that it was crafted in 14th-century Thailand. However, there are also claims that the statue originated in India or Sri Lanka. None of these theories can be firmly established as none of the historians could get a close look at the statue.
According to one account, the Emerald Buddha was found in Chiang Rai, Lanna in 1434, after a lightning storm struck a temple. The Buddha statue fell down and later became chipped, and the monks, after removing the stucco around the statue, discovered that the image was a perfectly made Buddha image from a solid piece of green jade. The image was moved a few time to various temples, first to Lampang, then to Chiang Mai, from where it was removed by prince Chao Chaiyasetthathirat to Luang Prabang, when his father died and he ascended the throne of both Lanna and Lan Xang, in 1551. The statue remained the it to his new capital of Lan Xang in Vientiane in the 1560s. The statue remained there for twelve years. King Chaiyasetthathirat then shifted it to his new capital of Lan Xang in Vientiane in the 1560s. He took the Emerald Buddha with him and the image remained in Vientiane for 214 years until 1778.
In the reign of King Taksin, Chao Phya Chakri (who later became Rama I) defeated Vientiane and moved the Emerald Buddha from Vientiane to Thonburi where it was installed in a shrine close to Wat Arun. When Chao Phra Chakri took over the throne and founded the Chakri Dynasty of the Rattanakosin Kingdom, he shifted his capital across the river to its present location in Bangkok. The Emerald Buddha was also moved across the river with pomp and pageantry and installed in the temple of Wat Phra Keaw.
LEGENDS
There a number of legends associated with the Emerald Buddha. It was said the iconic image of the Emerald Buddha was made by Nagasena, a saint in Pataliputra (present day Patna), India, who, with the help of Hindu god Vishnu and demigod Indra, had the Emerald Buddha image made. Nagasena predicted that:
The image of the Buddha is assuredly going to give to religion the most brilliant importance in five lands, that is in Lankadvipa (Sri Lanka), Ramalakka, Dvaravati, Chieng Mai and Lan Chang (Laos).
The Emerald Buddha image was taken to Sri Lanka after three hundred years in Pataliputra to save it during a civil war. In 457, King Anuruth of Burma sent a mission to Ceylon with a request for Buddhist scriptures and the Emerald Buddha, in order to promote Buddhism in his country. These requests were granted, but the ship lost its way in a storm during the return voyage and landed in Cambodia. When the Thais captured Angkor Wat in 1432 (following the ravage of the bubonic plague), the Emerald Buddha was taken to Ayutthaya, Kamphaeng Phet, Laos and finally Chiang Rai, where the ruler of the city hid it, and was later found.
ARCHITECTURE
Wat Phra Kaeo has a plethora of buildings within the precincts of the Grand Palace, which covers a total area of over 94.5 hectares. It has over 100 buildings with “200 years royal history and architectural experimentation” linked to it. The architectural style is named as Rattanakosin style (old Bangkok style). The main temple of the Emerald Buddha is very elegantly decorated and similar to the temple in ancient capital of Ayudhya. The roof is embellished with polished orange and green tiles, the pillars are inlaid in mosaic and the pediments are made of rich marble, installed around 18th century. The Emerald Buddha is deified over an elevated altar surrounded by large gilded decorations. While the upper part of this altar was part of the original construction, the base was added by King Rama III. Two images of the Buddha, which represent the first two kings of the Chakri dynasty, flank the main image. Over the years, the temple has retained its original design. However, minor improvements have been effected after its first erection during Rama I's reign; wood-work of the temple was replaced by King Rama III and King Chulalongkorn; during King Mongkut's reign, the elegant doors and windows and the copper plates on the floor were additions, Rama III refurbished the wall painting (indicative of the universe according to Buddhist cosmology) and several frescoes that display the various stages of the Buddha's life; three chambers were added on the western side by King Mongkut; in the chamber known as 'Phra Kromanusorn' at the northern end, images of Buddha have been installed in honour of the kings of Ayutthaya; and in the 19th century, In Khong, a famous painter executed the wall murals. The entry to the temple is from the third gate from the river pier.The entrance is guarded by a pair of yakshis (mythical giants – 5 metres high statues). The eponymous image Buddha in brilliant green colour is 66 centimetres (26 in) in height with a lap width of 48.3 centimetres. It is carved in a yogic position, known as Virasana (a meditation pose commonly seen in images in Thailand and also in South India, Sri Lanka and Southeast Asia). The pedestal on which the Emerald Buddha deified is decorated with Garuda (the mythical half-man half-bird form, a steed of Rama, who holds his mortal enemy Naga the serpent in his legs) motifs It is central to Thai Buddhism. The image made with a circular base has a smooth top-knot that is finished with a "dulled point marking at the top of the image". A third eye made in gold is inset over the elevated eyebrows of the image. The image appears divine and composed, with the eyes cast downward. The image has a small nose and mouth (mouth closed) and elongated ears. The hands are seen on the lap with palms facing upwards.
The entire complex, including the temples, is bounded by a compound wall which is one of the most prominent part of the wat is about 2 kilometres length. The compound walls are decorated with typically Thai murals, based on the Indian epic Ramayana. In Thai language these murals are known to form the Ramakian, the Thai national epic, which was written during the reign of Rama I. The epic stories formed the basic information to draw the paintings during the reign of King Rama I (1782–1809). These paintings are refurbished regularly. The murals, in 178 scenes, starting with the north gate of the temple illustrates the complete epic story of Ramayana sequentially, in a clockwise direction covering the entire compound wall. The murals serve to emphasise human values of honesty, faith, and devotion.
There are twelve salas that were built by Rama I, around the temple. They house interesting artefacts of regions such as Cambodia and Java. One of these salas had an inscription of Ramkamhaeng, which was shifted, in 1924, to the National Library. During the reign of King Mongkut, the Phra Gandharara – small chapel on the southwest corner – and a tall belfry were new additions.
WORSHIP AND CEREMONIES
Early in the Bangkok period, the Emerald Buddha used to be taken out of its temple and paraded in the streets to relieve the city and countryside of various calamities (such as plague and cholera). However, this practice was discontinued during Rama IV's reign as it was feared that the image could get damaged during the procession and also a practical line of thinking that Rama IV held "that diseases are caused by germs, not by evil spirits or the displeasure of the Buddha". The image also marks the changing of the seasons in Thailand, with the king presiding over the seasonal ceremonies.
Like many other Buddha statues in Thailand, the Emerald Buddha is dressed in a seasonal costume. It is a significant ritual held at this temple. In this ritual, dress of the deity is changed three times a year to correspond to the seasons. In summer it is a pointed crown of gold and jewels, and a set of jewelled ornaments that adorns the image from the shoulders to the ankles. In winter, a meshed dressing gown or drapery made of gold beads, which covered from the neck down like a poncho is used. During the rainy months, a top-knot headdress studded with gold, enamel and sapphires; the gold attire in the rainy season is draped over the left shoulder of the deity, only with the right shoulder left bare while gold ornaments embellish the image up to the ankles. The astrological dates for the ritual ceremonies, at the changing of the seasons, followed are in the 1st Waning Moon of Lunar Months 4, 8 and 12 (around March, July and November). The costume change ritual is performed by the Thai king who is the highest master of ceremonies for all Buddhist rites. On each occasion, the king himself "cleans the image by wiping away any dust that has collected and changing the headdress of the image". Then a king's royal attendant climbs up and performs the elaborate ritual of changing garments of the image as the king is chanting prayers to the deity. On this occasion, the king sprinkles water over the monks and the faithful who have assembled to witness the unique ritual and seeks blessings of the deity for good fortune during the upcoming season. The two sets of clothing not in use at any given time are kept on display in the nearby Pavilion of Regalia, Royal Decorations and Coins in the precincts of the Grand Palace. While Rama I initiated this ritual for the hot season and the rainy season, Rama III introduced the ritual for the winter season. The robes, which the image adorns, represents that of monks and King's depending on the season, a clear indication of highlighting its symbolic role "as Buddha and the King", which role is also enjoined on the Thai King who formally dresses the Emerald Buddha image.
A ceremony that is observed in the wat is the Chakri Day (begun on April 6, 1782), a national holiday to honour founding of the Chakri dynasty. On this day, the king attends the ceremony. The present king Rama IX, with his Queen, and entourage of the royal family, the Prime Minister, officials in the Ministry of Defence, and other government departments, first offer prayers at the Emerald Buddha temple. This is followed by visit to the pantheon to pay homage to the images of past Chakri rulers that are installed there.
The coronation ceremony, which marks the crowning of the king, is an important event of the Chakri dynasty. One such recent event took place when the present Rama IX was crowned the King. On this occasion, the King came to the Chapel Royal- the Wat Phra Keo – in a procession wearing a 'Great Crown'. After entering the chapel, the king made offerings of gold and silver flowers to the deity and also lighted candles. He also paid homage to the images of Buddha that represented the past kings of the dynasty. In the presence of assembled elite clergy of the kingdom, he took a formal vow of his religion and his steadfastness to 'Defend the Faith'.
RULES OF ENTRY AND CONDUCT
The sacred temples in Thailand follow a dress code, which is strictly followed. Men must wear long pants and sleeved shirts and shoes; women must wear long skirts. Visitors who arrive dressed otherwise may rent appropriate clothing items at the entry area of the temple. It is compulsory to remove the shoes before entering the temple, as a sign of respect of the Buddha, as is the practice in all other temples in Thailand. While offering prayers before the Buddha image, the sitting posture should avoid any offensive stretching of feet towards the deity; the feet should be tucked in towards the back.
OTHER MONUMENTS
While the surrounding portico of the shrine is an example of Thai craftsmanship, the perimeter of the temple complex has 12 open pavilions. These were built during the reign of Rama I. There is plethora of monuments in the temple complex. These are:Grand PalaceThe former residence of the King, the Grand Palace, adjoins the temple. The King makes use of this Grand Palace for ceremonial functions such as the Coronation Day. The King’s present residence is to the north of this Grand Palace and is known as the Chitlada Palace. The four structures surrounding the temple have history of their own. At the eastern end is the Borombhiman Hall (built in French architectural design), which was the residence of King Rama VI, now used as guest house for visiting foreign dignitaries. It has the dubious distinction of having been used as the operational headquarters and residence of General Chitpatima who attempted a coup, in 1981. The building to the west is the Amarindra hall, earlier a hall of Justice, now used for formal ceremonies. The Chakri Mahaprasat is the largest hall in the Grand Palace, built in 1882 by British architects, the architecture of which is fusion of Italian renaissance and Traditional Thai architecture. This style is called farang sai chada, (meaning: "Westerner wearing a Thai crown") as each wing has a shrine (mandap) crowned by a spire. Ashes of the Chakri kings (five ancestors) are enshrined in the largest of these shrines, also known as the pantheons, that were rebuilt after a fire in 1903 during Rama IV's reign. Ashes of the Chakri princess who could not become kings are enshrined in an adjoining hall. The throne room and the reception hall are on the first floor, while the ground floor houses a collection of weapons. The inner palace had the King’s harem (the practice was discontinued during King Rama VI's time who decreed the one wife rule), which was guarded by well trained female guards. Another hall in the palace is the 'Dusit hall' in Ratanokosin-style, which runs from east to west, which was initially an audience hall but now converted into a funerary hall for the Royal family. Royal family corpses are kept here for one year before they are cremated in a nearby field. There is also a garden which was laid during rama IV's reign. The garden depicts a "Thai mountain-and-woods-fable" mountain scenes where the coming of age ritual of shaving the topknot of the Prince is performed.PagodasThe temple grounds also depict three pagodas to its immediate north, which represent the changing centres of Buddhist influence. One such shrine to the west of the temple is the Phra Si Ratana Chedi, a 19th-century stupa built in Sri Lankan style enshrining ashes of the Buddha.Library
Rama I also built a library in Thai style, in the middle of the complex, known as the "Phra Mondop". The library houses an elegantly carved Ayutthaya-style mother-of-pearl doors, bookcases with the Tripitaka (sacred Buddhist manuscripts), human-and dragon-headed nagas (snakes), and images of Chakri kings.
During the 19th century, the Royal Pantheon was built in Khmer style to the east of the temple, which is kept open for only one day in year, in the month of October to commemorate the founding of the Chakri dynasty.
Model of Angkor WatThe temple complex also contains a model of Angkor Wat (the most sacred of all Cambodian shrines). In 1860, King Mongkut ordered his generals to lead 2,000 men to dismantle Angkor Wat and take it to Bangkok. Modern scholars suggested that the king wanted to show that Siam was still in control of Cambodia, as France was seeking to colonise Cambodia at that time. However, the king's order could not be fulfilled. A royal chronicle written by Lord Thiphakorawong (Kham Bunnag), then foreign minister, recorded that many Thai men fell ill after entering Cambodian wilderness. The chronicle also stated that forest-dwelling Khmer people ambushed the Thai army, killing many leading generals. King Mongkut then ordered the construction of the model within Wat Phra Kaew, instead of the real Angkor Wat that could not be brought to Bangkok. Mongkut died before he could see the model. Its construction was completed in the reign of his son, Chulalongkorn.Hermit statue
A hermit's bronze image, which is believed to have healing powers, is installed in a sala on the western side of the temple. It is near the entry gate. It is a black stone statue, considered a patron of medicine, before which relatives of the sick and infirm pay respects and make offerings of joss sticks, fruit, flowers, and candles.
EIGHT TOWERS
On the eastern side of the temple premises there are eight towers or prangs, each of a different colour. They were erected during the reign of Rama I and represent eight elements of Buddhism.
ELEPHANT STATUES
Statues of elephants, which symbolize independence and power, are seen all around the complex. As Thai kings fought wars mounted on elephants, it has become customary for parents to make their children circumambulate the elephant three times with the belief that that it would bring them strength. The head of an elephant statue is also rubbed for good luck; this act of the people is reflected in the smoothness of the surface of elephant statues here.
WIKIPEDIA
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
DRE @ 12 Weeks Old
HISTORY OF THE STAFFORDSHIRE BULL TERRIER
Mankind has enjoyed the faithfulness of the dog by the side for countries. Few dogs desire to please their human masters as mush as the staffordshire bull terrier. Dogs in general have accommodated man and his every whim for generations anything to please the master. Today's Staffordshire Bull Terrier, in mind and body, echoes that sentiment with night and determination.
A SPECIALIST IN BODY AND MIND
before the days of dog shows and the purebred mating of champions, human recognised the merit in dogs that specialise in performing a specific job or task. We bred dogs that could hunt, herd, haul, guard, run, track and perform countless other tasks geared towards making humans lives more comfortable, enjoyable, and manageable. Each dog's anatomy reflected the task tha men set before him. The hunting dog had an insulated coat, a super sensitive nose, a short coupled body, a deep chest and straight, strong legs. The coursing dog had longer legs, a tucked-up abdomen (for speed), a deep chest (for lung capacity), keen eyesight, and a narrow, long muzzle (to slice the wind). The guard dogs were true heavyweights: massive and solidly boned with punishing jaws and nerves of steel.
Understand the Staffordshire Bull Terrier as a pet
required knowledge of the dog's history as a baiting and
fighting dog. No dog matches this breeds devotion to
it's master, in mind and body
The physical characteristics that set apart the staffordshire bull terrier are its impressive musculature, its strongly undershot strong jaws and large teeth, very pronounced cheek muscles, loose shoulders, roach black, low-slung body and long legs that bend in the forequarters. These are the characteristics of a fighting or baiting dog that enable it to perform the tasks that breed indeed all the bull and terrier dogs, were created to tackle. The decree'Go Low, pin and hold!' was in sooth a battle cry! This imposing physique was needed for the dogs to fight one another, as well as dodge and grab an ornery bull with their powerful gripping jaws and hold on to it without being tossed aside!
Baiting a bull, an animal twenty or more times the size of a dog, placed some obvious demands on the dog, its anatomy and temperament. The desired temperament of a bull and terrier dog for baiting was not a vicious, risk-taking daredevil. Instead, the baiting dog required an even-keeled, level-headed, obedient temperament, peppered with patience, indomitable courage and tenacity. The bulldog excelled in the pinning and holding of the bull, but lacked the flexibility required in the dog pit. thus, the smaller bull and terrier dogs were designed to take on this challenge and each other.
The characteristics of a fighting dog still distin
guish the Staffordshire Bull Terrier, including the
pronounced cheek muscles, long legs and loose
shoulders
Image the heart of the dog that willingly undertake such a task for the sake of pleasing his master! Baiting and fighting dogs were not the only kinds of dogs that risked their lives for their human counterparts. Indeed, harding and droving dogs, hunting dogs, and even the smaller terrier risked their lives for the sake of accomplishing their task. Nonetheless, the bloody endeavour of slaying bull overshadows almost any other taskset before dog.
The original fighting types were large, mastiff dogs with heavy, low-slung bodies and powerfully developed heads. Some accounts also descibed the deep, frightening voice of the mastiffs. In appearance, the mastiffs were appalling and frightful. Mastiff dogs yielded not only fighting dogs but also flock guards, scent hounds and other powerful hunters. Consider the size and fearlessness of such modern-day mastiff as Great Pyrenees, Kuvasz, Dogo Argention and Spanish Mastiff. Consider the size and features of the bloodhound, Great Dane,Newfoundland and Polish Hound. All these dogs derive from crosses to these powerful mastiffs of yesteryear.
ORIGINAL PURPOSES OF THE GREAT MASTIFFS
Historians have recorded many impressive duties amongst the purposes of these original mastiffs. Dogs used for war armoured,spiked, and collared became valuable weapons for human strying to defend themselves from t heir enemies. These dogs were not only brave but aggressive and resource full. As early as 2100B.C. dogs were employed for warring purposed. Many famous kings and tribes used dogs to claim their victories. The dogs were trained in combat and were uniformed with impenetrable metal shields and spiked collars to protect them from their foes who carried spears and other primitive weapons.
The American Staffordshire Terrier, shown here,
derived from the Staffordshire Bull Terrier from
crosses to other terriers in the U.S
Spanning the millennia, Hammurabi, Kambyses, Varius and henry VII were among the monarchs that valued dogs in their militia. These dogs were necessarily vicious and trusted no one exept their one master. Appropriately these war dogs were labelled Canis bellicosus.
The great mastiff also assisted man by hunting large, ferocious game. These dog commonly hunted in packs, maintained by the royals, and were used to pursue bison and aurochs in the wild forests. Dogs were also used to track the stag, considered a noble game,as well as the wild boar, the most dangerous of wild game, revered for its ruthless, nasty disposition. The mastiffs worked in conjunction with lighter, swifter dogs that tired the boar before the mighty mastiffs were releases to slay it, many men, dogs and horses were killed by the wild boars fighting for their lives. There are accounts of boar dogs being kept in kennel 6000 dog strong. Today, mastiffs are rarely used for these purposes, but there are still boar hunts in the U.S., Germany and the Czech Republic.
Bear hunting, even more popular today than boar hunting,was also a noble pursuit of the dogs of antiquity. The dogs were required to track the bear, cornerit and keep it occupied until the hunter arrived with their firearms. The bear is highly intelligent creature that could weight much as 350 kgs and could easily outmatch a dog. Mastiffs in India produce the most coloful tale of hunting, including the pursuit of buffalo, leopards, panthers and elephants! Regardless of the actual truth of many of these accounts, the stories underscore the fearless tenacity of these mastiff dogs that the ancestors of our Staffordshire Bull Terrier.
'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009
Malmbanan and Narvik, 27 and 28 March 1980
While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.
I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.
My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.
Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..
My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..
I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.
Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.
At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.
Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.
In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.
We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.
At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.
I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.
At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.
Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.
We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.
Railroading above the Arctic Circle presents challenges!
Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.
After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.
The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.
The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.
The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.
I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.
After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)
On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.
After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.
With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Something Out of Nothing
Organization: No Longer Empty
Location:Invisible Dog Art Center
51 Bergen Street, Brooklyn
October 3 - Nov 14, 2009
Beware: “The Invisible Dog“ is unleashed this Saturday, October 3rd! The latest group exhibition produced by No Longer Empty, “The Dog” is a show “out of nothing” in a warmly decrepit out-of-use belt factory on Bergen Street in Brooklyn.
Following the tails of the Improv Everywhere stunt last week, the show presents a multitude of site-specific works reflecting both the history of the space and the profound beauty of the Invisible Dog. A rift on the 70’s gag, it’s a void object waiting for creative minds and hands to bring it to life.
Here in the factory, artists grabbed the many trimmings, reels of fabric, leather and other materials and transformed them into something new. The artist duo Steven and William created a “chandelier” of abandoned belt buckles. Guerra del la Paz amassed tons of discarded clothing, one color at a time. Here, la Paz’s “trashy” tribute becomes an imposing, yurt-shaped spectral prism. In the neighborhood spirit, Tom Sanford brings Jonathan Lethem’s novel “Motherless Brooklyn”-- which takes place on this block, to life via a fantastic, larger than life mural. Even the freight elevator is transformed: here, Giuseppe Stampone takes us on a trip from Hell to Heaven al Dante.
The Invisible Dog Art Center | Click Here
The Invisible Dog, a new three-story art center in Cobble Hill, Brooklyn, is an exuberant example of the integration of forward thinking and care for the past. The art center, admittedly, had a leg up: its home came equipped with an irresistable history. Built in the late nineteenth century, the 20,000 square-foot factory went through a number of industrial incarnations before its owners struck gold in the 1970s with the invisible dog trick: a stiff lease and collar surrounding the empty space where a dog would be. A mixture of party-hearty silliness and tongue-in-cheek trompe l’oeil, the trick became an icon of its era. But eventually public taste moved on; meanwhile, over the years, the Brooklyn neighborhood was changing. The factory closed its doors in the late 1990s; the boarded-up building was a blight on its quiet Brooklyn block.
What happened then is a kind of urban fairytale. In December 2008, Muriel Guépin leased the storefront and turned it into Shop Art Gallery, a small gallery with decidedly democratic spirit. Soon after, Lucien Zayan, a recent New York immigrant, stumbled upon Shop Art and inquired after the building behind it. Zayan knew he had hit on something when he heard the building’s history: he’d spent his life working in the French theater, including the Aix-en-Provence festival and Paris’s renowned Théàtre de Odeon and Théàtre de la Madeleine, and he recognized the perfect mise-en-scène. With the support of the building’s current owners, he decided to turn the space into a large-scale art center.
Less than a year later, the Invisible Dog is up and running. The building has been restored for safety and cleaned, but otherwise preserved intact. The rawness of the unfinished space is integral to the Invisible Dog’s identity: Zayan wanted a place that artists could really use, not a pristine renovation without personality. The ceiling on the third floor was restored using floor boards found in other parts of the building, and the enormous elevator shaft (the elevator removed) will be left open, as a unique exhibition space. Everywhere, the commitment to collaboration and community is clear. The ground floor, with its 14-foot ceilings, will be used for public events, performances, educational programs, and exhibitions, organized by guest curators from around the world. The second floor, divided into studios, is already occupied by nine specially-selected artists on one-year leases. They meet regularly with Zayan to discuss their work and the project. The third floor, light-filled and spacious designed by Anne Attal, will be available for flexible rental by the general public.
Artists:
Thomas Bell
Ryan Brennan
Amanda Browder
Rosane Chamecki, Andrea Lerner & Phil Harder
Gina Czarnecki
Jeanette Doyle
Steve DeFrank
Richard Garet
Guerra de la Paz
Rafael Lozano-Hemmer
Kaarina Kaikkonen
Giles Lyon
Miguel Palma
José Parlá
Rey Parlá
Tom Sanford
Keith Schweitzer
Francesco Simeti
Alfred Steiner
Giuseppe Stampone
Use of this image on websites, blogs or other media is prohibited unless you have my specific and written permission. ©2010 Dawn Grace
Coverup of kanji with mehndi style peacock tattoo by Dawn Grace.
Please do not steal my photos or link without my consent.
These pictures are here to represent my work as a professional tattoo artist, and most of these designs were drawn specifically for each client. That said, i cannot email you pictures of my clients' custom work so that you can take it to another artist to have it done.
It's not fair to the people who pay to get tattooed by me. Tattooing is a personal decision, and should you decide to get tattooed, put thought into what you want and find an artist who is willing and able to draw and tattoo exactly what you desire.
Do not leave comments about my clients' bodies or choice of subject matter. Such comments are annoying and will be deleted immediately.
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Malmbanan and Narvik, 27 and 28 March 1980
While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.
I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.
My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.
Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..
My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..
I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.
Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.
At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.
Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.
In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.
We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.
At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.
I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.
At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.
Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.
We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.
Railroading above the Arctic Circle presents challenges!
Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.
After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.
The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.
The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.
The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.
I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.
After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)
On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.
After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.
With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Big Bambú is a site-specific installation for The Iris and B. Gerald Cantor Roof Garden at the Metropolitan Museum of Art. Created by the twin brothers Mike and Doug Starn (born in New Jersey in 1961) Big Bambú: You Can't, You Don't, and You Won't Stop. The bamboo structure when completed will measure 100 feet long, 50 feet wide, and 50 feet high, forming a cresting wave that combines sculpture, architecture, and performance. Visitors witness the continuing creation and evolving incarnations of Big Bambú as it is constructed throughout the spring, summer, and fall by the artists and a team of rock climbers. Set against Central Park and its urban backdrop, Big Bambú suggests the complexity and energy of an ever-changing living organism.
Big Bambú is a growing and changing sculpture of 5,000 interlocking 30- and 40-foot-long fresh-cut bamboo poles, tied together with 50 miles of nylon rope. It will continue to be constructed throughout the duration of the exhibition. The first phase of the structure―measuring about 100 feet long, 50 feet wide, and 30 feet high―was completed by opening day, April 27. The artists and rock climbers are continuing to build up the eastern portion of the sculpture to an elevation of 50 feet. By summer, the western portion of the sculpture will be about 40 feet high. An internal footpath grows along with the structure, facilitating its progress. The evolving state of the work is being documented by the artists in photographs and videos.
Most visitors experience Big Bambú from the Roof Garden level walking among a forest of bamboo poles that are the base of the sculpture. Guided tours are available where you can walk along the elevated pathways but you can't bring your camera, have to wear closed shoes and follow a bunch of other rules. If you're interested check the website of the Met for more details.
B is for Big Bambu
The Armistice Clearing at Compiègne:
Char Renault FT 17: '00626'
The Renault FT was also called "FT 17" although this specific naming was never acknowledged by Renault or any official working on the project.
It was to be related to the year 1917, like "modele 1917" as it was customary for many French weapons of the time, but this was introduced after the war.
"FT" has no meaning but was the next identification letters available for this project in Renault nomenclature (some authors suggested later "Faible Tonnage" "low tonnage" or "Franchisseur de Tranchées" "trench crosser"). It began as a concept, and became a personal project of Louis Renault, the famous car maker. He sought the ideal weight-to-ratio proportion for a more agile and faster tank than the Schneider CA-1 and the heavy Saint Chamond, and also a cheaper and easier model to produce.
All started after a meeting between Colonel Estienne and him at the Hotel Claridge in Paris. Until then, Louis Renault declined any involvement into tank production, claiming his lack of experience with tracked vehicles and other commitments. However, as an engineer he was taken up by the challenge, and after the meeting, started a practical study for a light vehicle, easy to manufacture with a reduced, unskilled workforce (factories had been depleted then by mass drafts and enlisting).
The Renault FT prototype included a rotating turret, a concept already tested with the Little Willie, a rear engine configuration, a front driver, with the turret operator (and commander) right behind. Compared to the short and narrow hull, the modified Holt chassis was big enough to allow sufficient grip on any ground. To manage large trench crossings a rear tail was mounted, which facilitates balance and hanging. Instead of "mobile fortresses" or "land cruisers", the Renaut FT seemed lightly armed, but the turret made it versatile and efficient in most circumstances.
The Renault 4-cylinder air-cooled petrol engine was started either by a rear crank or an internal one. It was handily reachable from above, protected by a large hood. The petrol tank was installed after the turret and before the engine, high for gravity and well-protected except from above. A steel chain was usually suspended on the rear tail in order to be used for towing another vehicle. Large metal boxes were suspended on the flanks, with shovels, picks, spanner and other tools, as well as sometimes additional fuel tanks and spare track links. There was no means of communication between the turret operator and driver and the interior was almost deafeningly noisy, so a kind of "kicking code" in the back, shoulders or even head of the driver was used to transmit steering orders. These were armed with a Puteaux M19 37 mm (1.45 in) short-barreled, low-velocity gun, or a coaxial Hotchkiss 7.92 mm (0.31 in) machine gun.
FT 17s after the First World War were in service with more than 20 countries around the world and took an active part in many military conflicts on different continents. It has become one of the most popular interwar model, and purchased by Finland, Estonia, Lithuania, Yugoslavia, Belgium, while Czechoslovakia, Switzerland, the Netherlands, Greece and Sweden tested it. The biggest buyer outside Europe was Brazil. The FT influence worldwide could not be underestimated: They were the very first US, Soviet and Italians tanks, generating close-copies and printing a profound mark on later developments.
There were still thousands of FTs in various conditions around the globe when the Second World War broke out. The bulk of this WWI vintage fleet was in France, mostly because of a late rearmament. Both the Renault R35 and Hotchkiss H35 were due to completely replace this model (almost 2800 light tanks combined in May 1940). But still around 1850 FTs were listed as of 1939, renamed "FT-31". These were rearmed version with the Reibel 7.5 mm (0.295 in) compact machine-gun, a gas-operated model originally designed to serve on the Maginot line. But this upgrade did not improve their limited capabilities in range and speed, although not worrying an ageing general staff still thinking in trench warfare terms. Many were stationed in the Colonies, others served in second line, some were in various depots or assigned to training units when the western campaign began. This fleet was seized by the Germans, and reused for various duties.
Numerous Renault FT-17s saw action during the three first years of the war. The Polish ones were committed when the Germans launched Fall Weiss, Finnish modified Neiraas and Koiraas fought as dug out pillboxes for ambushes during the winter campaign, the Belgian FT-18s were also at the stakes when the Werhmacht crossed the north-eastern border in May 1940. Later on in April 1941, the Yugoslavian FTs and a very few Greek models also saw action against the Panzerdivisions. In Indo-China, also in 1941, French colonial armoured brigades equipped with the FT-17 (in original conditions) opposed a Thai invasion. The very same year, Iran, still operating a small fleet of FTs was found mobilized during the Anglo-Soviet invasion of their country. Perhaps some of these were sold or sent to Afghanistan and found some years ago by G.I.s in a metal dump.
"The Rococo Palace (also referred to as Šupichovy domy) is a complex of three multifunctional buildings built in the author's specific style with elements of cubism and modernism (noticeable especially in the courtyard) on Wenceslas Square, at the address no. 794/38-46, and Štěpánská 626/ 63, 110 00 in Nové Město, Prague 1 according to the design of architect Emil Králíček. The building fills the corner of Wenceslas Square and Štěpánská Street, and is connected to the Lucerna Palace through a passageway. The palace was built on the order of the wealthy Prague lawyer and businessman JUDr. Josef Šupich the Younger. The building has been protected as a cultural monument of the Czech Republic since December 12, 1995.
The official building was built between 1912 and 1916 on a large corner lot vacated by the demolition of the Baroque Aehrenthal Palace from the early 17th century. The client of the building was the well-to-do lawyer JUDr. Josef Šupich Jr., specializing in the insurance industry. The author of the building design was architect Emil Králíček, who worked for construction entrepreneur Matěj Blecha, whose company implemented the building. Both Emil Králíček and Josef Šupich the younger came from Německý Brod. The outbreak of the First World War in the middle of 1914 delayed the construction of the Šupich houses. The construction took place at the same time as the work on the construction of the neighboring Lucerna palace by the builder Ing. Vácslava Havel, both buildings were connected by a shopping arcade after completion.
In the basement of the eastern wing of the palace facing Wenceslas Square, the Rokoko Theater has been operating since the opening of the palace, where a number of famous Czech theater artists performed, from the early years for example Karel Hašler, Eduard Bass (the cabaret Červená sedma was located here), Ferenc Futurista, Vlasty Buriana or Jiří Trnka's Wooden Theater.
The six-story palace is built in the art deco style. The building is dominated by a central rounded corner with balconies forming the portal of the building, which is complemented by two symmetrical wings. The massive entrance portals are symmetrical in both buildings, the distribution of windows and facades are different. The structure of the building was created from reinforced concrete, the facade and cornices are decorated with art deco mascarones.
The New Town (Czech: Nové Město) is a quarter in the city of Prague in the Czech Republic. New Town is the youngest and largest of the five independent (from the Middle Ages until 1784) towns that today comprise the historic center of modern Prague. New Town was founded in 1348 by Charles IV just outside the city walls to the east and south of the Old Town and encompassed an area of 7.5 km²; about three times the size of the Old Town. The population of Prague in 1378 was well over 40,000, perhaps as much as twice that, making it the 4th most populated city north of the Alps and, by area, the 3rd largest city in Europe. Although New Town can trace its current layout to its construction in the 14th century, only few churches and administrative buildings from this time survive. There are many secular and educational buildings in New Town, but also especially magnificent gothic and baroque churches. These nevertheless are not the main drawing points for tourists. New Town's most famous landmark is Wenceslas Square, which was originally built as a horsemarket and now functions as a center of commerce and tourism. In the 15th century, the Novoměstská radnice, or New Town Hall, was the site of the first of the three defenestrations of Prague.
Prague (/ˈprɑːɡ/ PRAHG; Czech: Praha [ˈpraɦa]; German: Prag [pʁaːk]; Latin: Praga) is the capital and largest city of the Czech Republic and the historical capital of Bohemia. On the Vltava river, Prague is home to about 1.3 million people. The city has a temperate oceanic climate, with relatively warm summers and chilly winters.
Prague is a political, cultural, and economic hub of central Europe, with a rich history and Romanesque, Gothic, Renaissance and Baroque architectures. It was the capital of the Kingdom of Bohemia and residence of several Holy Roman Emperors, most notably Charles IV (r. 1346–1378) and Rudolf II (r. 1575–1611).
It was an important city to the Habsburg monarchy and Austro-Hungarian Empire. The city played major roles in the Bohemian and the Protestant Reformations, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia between the World Wars and the post-war Communist era.
Prague is home to a number of well-known cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include Prague Castle, Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the historic center of Prague has been included in the UNESCO list of World Heritage Sites.
The city has more than ten major museums, along with numerous theatres, galleries, cinemas, and other historical exhibits. An extensive modern public transportation system connects the city. It is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.
Prague is classified as a "Alpha-" global city according to GaWC studies. In 2019, the city was ranked as 69th most livable city in the world by Mercer. In the same year, the PICSA Index ranked the city as 13th most livable city in the world. Its rich history makes it a popular tourist destination and as of 2017, the city receives more than 8.5 million international visitors annually. In 2017, Prague was listed as the fifth most visited European city after London, Paris, Rome, and Istanbul.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Malmbanan and Narvik, 27 and 28 March 1980
While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.
I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.
My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.
Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..
My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..
I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.
Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.
At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.
Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.
In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.
We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.
At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.
I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.
At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.
Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.
We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.
Railroading above the Arctic Circle presents challenges!
Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.
After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.
The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.
The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.
The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.
I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.
After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)
On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.
After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.
With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.
Indonesia
Buddhism
Indonesian Buddhism in the early 1990s was the unstable product of complex accommodations among religious ideology, Chinese ethnic identification, and political policy. Traditionally, Chinese Daoism (or Taoism), Confucianism, (agama Konghucu in Indonesian) and Buddhism, as well as the more nativist Buddhist Perbuddhi, all had adherents in the ethnic Chinese community.
Following the attempted coup of 1965, any hint of deviation from the monotheistic tenets of the Pancasila was regarded as treason, and the founder of Perbuddhi, Bhikku Ashin Jinarakkhita, proposed that there was a single supreme deity, Sang Hyang Adi Buddha. He sought confirmation for this uniquely Indonesian version of Buddhism in ancient Javanese texts, and even the shape of the Buddhist temple complex at Borobudur in Jawa Tengah Province. In the years following the 1965 abortive coup, when all citizens were required to register with a specific religious denomination or be suspected of communist sympathies, the number of Buddhists swelled; some ninety new monasteries were built. In 1987 there were seven schools of Buddhism affiliated with the Perwalian Umat Buddha Indonesia (Walubi): Theravada, Buddhayana, Mahayana, Tridharma, Kasogatan, Maitreya, and Nichiren.
According to a 1987 estimate, there were roughly 2.5 million followers of Buddhism, with 1 million of these affiliated with Theravada Buddhism and roughly 0.5 million belonging to the Buddhayana sect founded by Jinarakkhita. Other estimates placed Buddhists at around only 1 percent of the population, or less than 2 million. Buddhism was gaining in numbers because of the uncertain status of Confucianism. Confucianism was officially tolerated by the government, but since it was regarded as a system of ethical relations rather than a religion per se, it was not represented in the Department of Religious Affairs.
Although various sects approach Buddhist doctrine in different ways, a central feature of the religion is acknowledgment of the Four Noble Truths and the Eightfold Path. The Four Noble Truths involve the recognition that all existence is full of suffering; the origin of suffering is the craving for worldly objects; suffering ceases when craving ceases; and the Eightfold Path leads to enlightenment. The Eightfold Path invokes perfect views, resolve, speech, conduct, livelihood, effort, mindfulness, and concentration.
Buddhism originally was an intellectual creed, and only marginally concerned with the supernatural. However, political necessity, and the personal emotional desire to be shielded from the terrors of the world by a powerful deity, have led to modifications. In many ways, Buddhism is highly individualistic, with each man and woman held responsible for his or her own self. Anyone can meditate alone; no temple is required, and no clergy is needed to act as intermediary. The community provides pagodas and temples to inspire the proper frame of mind to assist the worshippers in their devotion and self-awareness.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
"Richard Wilson’s 20:50 is truly a contemporary masterpiece. The work is the only permanent installation at the Saatchi Gallery and has been continuously shown in each of the gallery’s venues since 1991. Currently on display in Gallery 13 – a room custom built for the piece – 20:50 transforms the gallery into a site of epic illusion.
Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.
Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.
20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface".
Visiting Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels with Erg (Ecole de Recherche Graphique) students, february 2010.
WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.
Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).
To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.
Text source :
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Typical pedon.—A specific pedon description chosen to represent a map unit component as it occurs in a soil survey area. It is used in the correlation process to classify, name, and interpret the component. The pedon description, along with information about the soil’s overall range in characteristics, landscape setting, and other pertinent information, is included in the soil survey publication and/or database. The typical pedon is not a composite description based on a collection of pedon descriptions, but rather it is a real pedon with a physical location that can be revisited (also called a type location). See correlation, soil.
Figure 118.—The typical pedon of a soil series represents the soil as mapped within a particular soil survey area. Differing typical pedons may be identified in numerous soil survey areas across the series geographic area of extent or they may be shared across soil survey area boundaries. For example, Cecil soil (fine, kaolinitic, thermic Typic Kanhapludults) has been correlated in many soil surveys from Alabama to Virginia. Each typical pedon may have a slightly different description, but all are within the range of characteristics for the Cecil series unless noted.
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Malmbanan and Narvik, 27 and 28 March 1980
While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.
I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.
My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.
Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..
My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..
I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.
Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.
At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.
Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.
In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.
We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.
At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.
I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.
At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.
Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.
We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.
Railroading above the Arctic Circle presents challenges!
Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.
After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.
The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.
The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.
The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.
I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.
After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)
On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.
After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.
With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.
Specimen of 'raw' precious coral in a temporary exhibition devoted to decorative use of precious coral, in Catania, Sicily (Italy).
This item was not in the exhibition catalogue, so I have no specific details for it. It is a specimen of precious red coral which has not yet been worked into decorative artefacts. The lighting conditions made it difficult to capture the details, and the photo lacks sharpness, though I like to think that gives the specimen a more abstract sculptural quality. But it is possible to get just a hint of the pattern of fine parallel furrows that run like wood grain along the branches, and the occasional pits marking the places where the living polyps would once have been. The photo also captures the natural bushy shape of precious coral growth. The colour in my original photo was biased towards orange, which is not really in the white-pink-vermilion-crimson range of precious coral, so I have edited the photo's colour to give the specimen a more realistic pinkish-red hue.
(The Flickr map of Catania is almost useless for street-names as most of them aren't given. I've had to use Google Maps for the street names.)
PRECIOUS CORAL
Precious coral has been widely collected and used in jewellery and decorative craft work for thousands of years, at least since the Iron Age. It is a cnidarian animal (a group that also includes jelly fish), belonging to the anthozoan subgroup. Within anthozoans, it is a gorgonian octocoral, and distantly related to the stony corals that build tropical coral reefs. Precious coral occurs throughout the Mediterranean, where the species is Corallium rubrum Linnaeus 1758. Very similar coral species are known from the seas around China and Japan but in the context of this exhibition, this is probably the Mediterranean one, C. rubrum.
The soft tissue of precious coral is stripped away when the coral is being prepared for craft work, leaving only the hard red core of the branches (made of calcium carbonate), which is then cut, shaped, carved and polished. This specimen, about 15-20 cm across (from memory) shows a piece of coral already stripped, ready for being worked. Many of the branch tips are broken, perhaps in the course of being dredged from the sea floor.
I often have to identify precious coral in ancient, historical and modern artefacts, as part of my work. Unlike ivory and tortoiseshell, precious coral is not (yet?) listed under CITES.
THE EXHIBITION
The exhibition was entitled I Grandi Capolavori del Corallo - I Coralli di Trapani del XVII e XVIII secolo. (Great Masterpieces of Coral - The Corals of Trapani of the 17th and 18th Centuries.). According to the guide to the exhibition, this was planned and organized by La Fondazione Puglisi Cosentino [gallery] who housed it in their building on via Vittorio Emanuele II. Trapani is on the NW tip of Sicily. The original Trapani craftmen were predominantly Jewish. However, most of the works themselves on display were religious and Christian so (I guess) were created by subsequent generations of craftsmen who were not necessarily Jewish.
----------
LONDON - PARIS - CATANIA - ROME - LONDON ----- DAY 4
Photo from the fourth day of our crazy long distance rail trip from home (London) to Sicily. We spent the first day travelling from home in London to Paris, by Eurostar train, and were meant to the take an overnight train from Paris to Rome that same evening. But our Eurostar train out of London was badly delayed due to 'a fatality [unexplained - perhaps fortunately] on the train'. So we missed our onward connection to Rome and had an unexpected but happy second day in Paris. We left Paris that evening, on the equivalent Rome service arriving in Rome on our third day where we changed for our onward train, arriving in Catania (Sicily) that same evening. Our fourth day was our first full day in Sicily, and we spent this in the centre of Catania itself.
By the end of the whole holiday trip we had seen things and sites from ancient Greek time to modern, so the trip felt like a mini Grand Tour. Or given the rich mythology of Sicily, Etna and the Straits of Messina (Odysseus, the Cyclops, Scylla & Charybdis, etc.) perhaps our trip was like a modern mini Odyssey of our times. Odysseus took ten years to get home. It took us ten trains - but no monsters.
----------
Photo
Darkroom Daze © Creative Commons.
If you would like to use or refer to this image, please attribute.
ID: DSC_6630 - Version 2
Tribal Carpets of Afghanistan
To write effectively and intelligently about carpets from the tribal areas of Afghanistan and the former central Asian States of the USSR would require many years of experience and personal knowledge of these carpet making regions. Unfortunately, we don't qualify in any of these areas, but I do have a number of reference books written by experts in the field- and the following is a compilation of observations from these volumes.
This clause will only serve to help put the background of the carpet making areas in central Asia in some perspective, and to help identify some of the more recognizable afghan rug designs and characteristics of carpets from these areas. When one considers the source of carpets from Afghanistan and the Former States of the USSR one must realize that the tribal peoples of the mountains really dont comprehend or honour modern geopolitical borders. Specific tribes exist on both sides and across the modern borders as if they didnt exist. The Baluchi tribes for example, extend from Eastern Iran through Western Afghanistan and into Pakistan. Similarly, the Turkoman tribes extend all across the northern borders.
Herat, in the Western part of Afghanistan, has a history of over two thousand five hundred years and was once occupied by Alexander the Great, and subsequently invaded by Mongols led by Genghis Khan and then Tamerlan in the 13th century. Herat was considered part of the Persian Empire, and the Persian influence in carpet making in Herat is still seen.
Types Of Carpets
There are many names for the type of weavings found in Afghanistan and Central Asia. For example, in Herat and the Northern Turkmen tribes an ensi (or engsi) is a rug designed to serve as an internal tent door. This same design is called a Hatchli (or Hatchlu) in Iran, and a purdah (or purdhu) in other parts of Afghanistan - all of them referring to a door curtain or closure.
A young tribal girl who has been taught the art of carpet weaving from a young age would probably have the following carpets and weavings in her dowry:
One Main Carpet (ghali) 9ft.10in. x 7ft.
Two small rugs (dip ghali) 6ft. x 3ft.
One engsi
One decoration for over the engsi (kapunuk)
12 small personal belonging bags 2ft.x1.5ft. and 4ft.x 1.5 ft. (mafrash & torba)
two large bedding bags (chuval or Juwal) always made in pairs
three decorated tent-bands (aq yup) 50 ft long and 2 inch to 1 ft wide
Materials: The material used for making tribal rugs are basically what these nomads have at their immediate disposal: wool from their sheep which is used in the warp and weft as well as the pile. Some tribes use goat hair for overbidding the sides (selvedges) or rugs. Camel hair is especially prized for the field areas of prayer carpets. When possible the sheep are driven into streams to wash them prior to shearing. The wool is then sorted by color and quality and then combed and spun. The wool is then dyed one person can generally can generally spin one kilo per day.
Dyes: Natural dyes are still used, but since the 1950s pre-dyed wool yarn (using synthetic dyes) readily found in the towns and villages are often substituted for or combined with the natural dyes. The wild colors (some almost iridescent) often found in many Afghan carpets are surely synthetics. In natural dying, the yarn is presoaked in a fixing bath of alum, copper sulfate, ferrous sulfate, tin or urine. The yarn is then transferred to a dye bath and soaked until the desired color is obtained. The yarn is then washed and hung out to dry. Dying was usually done by the men. Natural dyes fade beautifully and often show as uneven coloring (abrash). Abrash (meaning speckled or marbled) is commonly the result of a weaver running out of wool and having to dye another lot or buying a similar color from elsewhere. Abrash in no way detracts from the value of a tribal carpet, but is a desirable characteristic of a tribal weaving. Naturally dyed wool will fade right through whereas synthetic dyes will fade only on the tips where the light hits it. A newer tribal carpet can be "mellowed" by placing it in the direct sun for several days.
Natural dyes originate from the following materials:
Reds: Madder - Root of Madder Plant - (ranges from reds to orange and purple)
Cochineal: produced from the female shield louse (Blue /red tone)
Lac Deep purple: from the excretions of a scale insect native to India Kermes. From an insect which breeds on the Kermes oak
Blues: Indigo plant (Dyers Wood)
Black: Can be achieved by using a very dark blue or by use of a bath of tannic acid, acorn cups, pomegranate skin, oak galls, and then adding to a bath iron sulphate to make the color fast. This can produce a weakness in the black wool which in carpets 50 to 100 years old can be seen as worn black areas where the remaining pile is still OK.
Yellow: Many sources including; Dyers weed; Saffron; wild chamomile; tanners sumac; buckthorn; pomegranate tree; isperek (a flowering larkspur)
Green: Obtained from walnuts and olive leaves? Or by blending blue and yellow agents
Brown: Can be natural undyed wool or by dying with fresh or dried pods of the walnut, oak guls or acorn cups.
Looms: Tribal carpets are almost always done on the horizontal or ground loom. This is due to the fact that the nomads rarely remain in one location for more than two months. The horizontal loom can be easily dismantled and packed on an animal to the new location and then staked out on the ground again. A Turkoman woman will usually take at least six months to finish a carpet 6ft.6in. by 4ft. The loom therefore can be set up and taken down four to six times before a carpet or Kelim is finished. This often results in different tensions in the warp threads and is the reason why tribal rugs often have an irregular shape. While this irregularity is part of the charm of a tribal rug, carpets which do not lie flat should be avoided
Deutschland / Nordrhein-Westfalen - Lippstadt
Lippeauenweg
Barnacle geese
Weißwangengänse
The barnacle goose (Branta leucopsis) belongs to the genus Branta of black geese, which contains species with largely black plumage, distinguishing them from the grey Anser species. Despite its superficial similarity to the brant goose, genetic analysis has shown it is an eastern derivative of the cackling goose lineage.
The barnacle goose was first classified taxonomically by Johann Matthäus Bechstein in 1803. Branta is a Latinised form of Old Norse Brandgás, "burnt (black) goose" and the specific epithet is from the Ancient Greek leukos "white", and opsis "faced".
The barnacle goose and the similar brant goose were previously considered one species, and were formerly believed to spawn from the goose barnacle. This gave rise to the English name of the barnacle goose and the scientific name of the brant. It is sometimes claimed that the word comes from a Celtic word for "limpet", but the sense-history seems to go in the opposite direction. The barnacle myth can be dated back to at least the 12th century. Gerald of Wales claimed to have seen these birds hanging down from pieces of timber, William Turner accepted the theory, and John Gerard claimed to have seen the birds emerging from their shells. The legend persisted until the end of the 18th century. In County Kerry, until relatively recently, Catholics abstaining from meat during Lent could still eat this bird because it was considered as fish.
The barnacle goose is a medium-sized goose, 55–70 cm (22–28 in) long, with a wingspan of 130–145 cm (51–57 in) and a body mass of 1.21–2.23 kg (2.7–4.9 lb). It has a white face and black head, neck, and upper breast. Its belly is white. The wings and its back are silver-gray with black-and-white bars that look like they are shining when the light reflects on it. During flight, a V-shaped white rump patch and the silver-gray underwing linings are visible.
Barnacle geese breed mainly on the Arctic islands of the North Atlantic. The three main populations, with separate breeding and wintering ranges, from west to east, are:
Breeding in eastern Greenland, wintering on the Hebrides of western Scotland and in western Ireland, population about 40,000
Breeding on Svalbard, wintering on the Solway Firth on the England/Scotland border, population about 24,000
Breeding on Novaya Zemlya, wintering in the Netherlands, population about 130,000
A new fourth population, derived from the Novaya Zemlya population, has become established since 1975 breeding on the islands and coasts of the Baltic Sea (Estonia, Finland, Denmark, and Sweden), and wintering in the Netherlands. Its population numbers about 8,000.
Small numbers of feral birds, derived from escapes from zoo collections, also breed in other Northern European countries. Occasionally, a wild bird will appear in the Northeastern United States or Canada, but care must be taken to separate out wild birds from escaped individuals, as barnacle geese are popular waterfowl with collectors.
Barnacle geese frequently build their nests high on mountain cliffs, away from predators (primarily Arctic foxes and polar bears), but also away from food. Like all geese, the goslings are not fed by the adults. Instead of bringing food to the newly hatched goslings, the goslings are brought to the ground. Unable to fly, the three-day-old goslings jump off the cliff and fall; their small size, feathery down, and very light weight helps to protect some of them from serious injury when they hit the rocks below, but many die from the impact. Arctic foxes are attracted by the noise made by the parent geese during this time, and capture many dead or injured goslings. The foxes also stalk the young as they are led by the parents to wetland feeding areas.
(Wikipedia)
Der Lippeauenweg (L1) führt über 11 Kilometer durch den Lippstädter Westen. Start ist am Rathausplatz, vorbei an der Stiftsruine, entlang der Lippe durch den westlichen Teil Lippstadts. Zu einer der Attraktionen auf dem "Lippeauenweg" zählt, wie der Name es bereits verrät, das Auengebiet. Die Wanderung führt durch das Naturschutzgebiet Hellinghäuser Mersch, wo die Lippeaue umfangreich renaturiert ist. Mit etwas Glück können hier Wildpferde, Heckrinder und seltene Vogelarten (Eisvogel, Klapperstorch, etc.) beobachtet werden.
(lippstadt.de)
Die Weißwangengans oder Nonnengans (Branta leucopsis) ist eine Art der Gattung Meergänse (Branta) in der Familie der Entenvögel (Anatidae). Sie wird nicht in Unterarten, jedoch in drei getrennte Populationen aufgeteilt.
Die Weißwangengans brütete früher ausschließlich an der russischen Eismeerküste. Seit den 1970er Jahren hat sie auch den Ostseeraum besiedelt und zählt mittlerweile zu den Brutvögeln Mitteleuropas. Sie ist nach wie vor jedoch überwiegend ein Wintergast, der meist als Einzelvogel oder in kleinen Trupps in Gesellschaft von Saat- und Blässgänsen beobachtet werden kann. Zu Beginn des Zuges sammeln sie sich dagegen zu gewaltigen Schwärmen, die bis zu 50.000 Tiere zählen können.
Zu den Merkmalen dieser Gänseart zählt eine enge Bindung an die Meeresküsten, die besonders im Winter ausgeprägt ist, sowie das Brüten in Kolonien unterschiedlicher Größe auf Felsvorsprüngen an der Meeresküste und an Flüssen. Die Kolonien finden sich dabei häufig in unmittelbarer Nähe von Greifvogelhorsten.
Die Weißwangengans ist mit einer Größe von 58 bis 69 Zentimetern eine mittelgroße Gans; ihr Gewicht beträgt etwa 1,5 bis 2 Kilogramm. Typische Merkmale sind das weiße Gesicht und die weiße Stirn; Schnabel und Hals sind schwarz. Die Körperunterseite ist silbrigweiß. Die Flügel sind schwarzweiß quergebändert. Der Kontrast zwischen weißem Gesicht zum schwarzen Scheitel, Nacken und Hals, erinnerte früher an die traditionelle Tracht katholischer Nonnen und war namensgebend. Auffallend sind außerdem der verhältnismäßig kurze, rund wirkende Hals und Schnabel. Beide Geschlechter sind farbgleich.
Weißwangengänse sind sehr stimmfreudig. Ihr Ruf ist überwiegend ein einzelner schriller und einsilbiger Ruf, der bellend wirkt. Er klingt wie „rrak“, „Kak“, „guak“ oder „gock“. Aus der Ferne kann der Ruf mit Hundegebell verwechselt werden. In den Trupps halten die Weißwangengänse mit leisen gedämpften „wachau“ oder „mach-mal“ miteinander Kontakt.
Fliegen Weißwangengänse auf, so ist als Instrumentallaut ein schnarrendes Schwingengeräusch zu hören.
Die Weißwangengans ist ein Zugvogel, der für gewöhnlich im Herbst aus seinen arktischen Brutrevieren nach Süden zieht und bei uns in Mitteleuropa überwintert. Die Flugrouten der Weißwangengans sind nicht genetisch fixiert, sondern werden in den verschiedenen Teilpopulationen tradiert.
Weißwangengänse sind gesellig, außerhalb der Paarungs- und Brutzeit leben sie in mehr oder weniger großen Schwärmen. Dabei schließen sie sich oft anderen Gänsearten an. Im Flug zeigen Großschwärme keine besondere Formation, kleinere Schwärme von 20 bis 40 Tieren bilden dagegen die gänsetypische V-Formation aus. Während des Flugs sind ständig Kontaktrufe zu hören, die wie "gäk gäk gäk" klingen und entfernt an Hundegebell erinnern können.
Weißwangengänse leben im Winter vorwiegend von kurzem Gras, fressen aber auch andere Pflanzen, die in Salz- und Brackwasserwiesen heimisch sind, insbesondere Andel und Queller. Im Frühjahr werden auch die Knospen und Kätzchen von Weiden genommen, tierische Lebewesen wie verschiedenen Crustaceen, Wasserinsekten und wahrscheinlich auch Mollusken ergänzen das Nahrungsspektrum.
Während der Sommermonate ernähren sie sich vorwiegend von polaren Flechten und Moosen, die sie mit Hilfe einer scharfkantigen Wölbung am Schnabelende von den Oberflächen der Steine schaben.
Verbreitungsgebiet der Weißwangengans sind Teile der Westpaläarktis. Insgesamt werden drei Populationen unterschieden: a) Spitzbergen, b) Grönland und c) Russisch-Baltische Population. Letztere brüten in großen Kolonien in einem weiten Areal zwischen Nowaja Semlja, Kolgujew und der Kanin-Halbinsel, haben sich aber seit den 1970er Jahren zudem auf Gotland und Öland angesiedelt und seit Ende der 1990er Jahre in Schleswig-Holstein, Niedersachsen und den Niederlanden. Mitteleuropa ist damit die vierte Region und die einzige der mittleren Breiten, die mit 2.200 bis 2.800 Brutpaaren eine nennenswerte Brutpopulation aufweist.
(Wikipedia)
An additional Gromit to last years Gromit Unleashed, you can buy a raffle ticket at the Gromit Unleashed shop at Cribbs Causeway to buy Jingles if you wanted
Would you like a take a shortcut to a specific Gromit?
01. Newshound (Nick Park CBE) | 02. TutanGromit I (Dale Evans) | 03. Bushed (David Inshaw) | 04. Vincent van Gromit (Laura Cramer) | 05. Golden Gromit (Julie Vernon) | 06. Sir Gromit of Bristol (Ian Marlow) | 07. Poetry in Motion (Joanna Lumley OBE) | 08. Where's Wallace? (Martin Handford) | 09. The Gromalo (Axel Scheffler) | 10. Steam Dog (Dan Shearn) | 11. Astro (Ignition DG) | 12. Fish Tales (Jeremy Wade) | 13. A Close Shave (Harry Hill) | 14. Salty Sea Dog (Peter Lord CBE) | 15. Hero (Tom Deams) | 16. Bark at Ee (Leigh Flurry) | 17. Groscar (Chris Taylor) | 18. Butterfly (Philip Treacy) | 19. The King (Stephen McKay) | 20. Carosello (Giuliano Carapia) | 21. What a Wind Up! (Trevor Baylis OBE) | 22. Jack (Martin Band) | 23. Bumble Boogie (Jools Holland) | 24. Gizmo (Sir Quentin Blake) | 25. Canis Major (Katy Christianson) | 26. Nezahualcoyotl (Joseph Dunmore) | 27. Why Dog? Why? (Mark Titchner) | 28. Collarfull (Hannah Cumming) | 29. Gromitasaurus (Huncan Daskell) | 30. Malago (Dan Collings) | 31. Lancelot (Sir Paul Smith) | 32. Grosmos (Cheba) | 33. Gromit Lightyear (Pixar) | 34. Doodles (Simon Tofield) | 35. Gnashional Gromit (The Beano) | 36. A Grand Day Out (Andy O‘Rourke) | 37. May Contain Nuts (and Bolts) (Natalie Guy) | 38. Isambark Kingdog Brunel (Tim Miness) | 39. Stat‘s The Way to Do It, Lad (Gav Strange) | 40. Blazing Saddles (Carys Tait) | 41. Bunty (Paula Bowes) | 42. Watch Out, Gromit! (Gerard Scarfe OBE) | 43. National Treasure (The Royal Mint) | 44. Newfoundland (One Red Shoe) | 45. Being Gromit Malkovich (Thomas Dowdeswell) | 46. Gromberry (Simon Tozer) | 47. Patch (Emily Golden) | 48. Sheepdog (Richard Starzak) | 49. Dog Rose (Ros Franklin) | 50. Sugar Plum (Celia Birtwell CBE) | 51. A Mandrill‘s Best Friend (Vivi Cuevas) | 52. Gromit-O-Matic (Donough O‘Malley) | 53. Ship Shape and Bristol Fashion (Sarah Matthews) | 54. Fiesta (Lindsey McBirnie) | 55. Grant‘s Gromit (Rosie Ashforth) | 56. Creature Comforts (Sneaky Racoon) | 57. Paisley (Nia Samuel-Johnson) | 58. Grrrrromit (Carys Tait) | 59. Hullaballoon (Monster Riot) | 60. Lodekka (Ignition DG) | 61. The Snow Gromit (Raymond Briggs) | 62. Feathers (Dave Bain) | 63. Poochadelic (Lisa Hassell) | 64. Blossom (Emily Ketteringham) | 65. Zodiac (Inkie) | 66. Hound Dog (Sir Peter Blake) | 67. It‘s Kraken, Gromit! (Filthy Luker) | 68. Five a Day Dog (Laura Cramer) | 69. Roger (Richard Williams) | 70. The Wild West (Amy Timms) | 71. Green Gromit (Zain Malik) | 72. Antique Rose (Cath Kidston) | 73. Two Eds are Better than One (Peter Brookes) | 74. Harmony (Marie Simpson) | 75. Eldoradog (Seb Burnett) | 76. Oops a Daisy (Diarmuid Gavin) | 77. Bristol Bulldog (Dan Shearn) | 78. Secret Garden (Sarah-Jane Grace) | 79. aMazing (Tom Berry) | 80. Gromit (Aardman)
Title: Boat House and Docks
Specific Date: 4/29/1942
Architect: Walker, J.L.,
draftsman
Remarks: Pencil and black ink on paper showing boat house and docks, including half plan below counter top, half plan above counter top, half rear elevation, half front elevation, side elevation, plan of lantern, lantern detail (section and elevation), beacon pole.
Dimensions: LN: 36.25" x WD: 24.25"
JSC2013-E-079359 (30 Aug. 2013) --- Japan Aerospace Exploration Agency (JAXA) astronaut Koichi Wakata (front row, second right), Expedition 38 flight engineer and Expedition 39 commander; and NASA astronaut Rick Mastracchio (front row, right), Expedition 38/39 flight engineer; along with instructors and flight control team members, are pictured during an Increment Specific System Update briefing in a conference room in the Jake Garn Simulation and Training Facility at NASA's Johnson Space Center. The briefing is supported by 19 flight control team disciplines and gives the upcoming crew a quick review of the Soyuz 37 vehicle’s current health, status and upcoming operations. Photo credit: NASA
While there are many records of the Western countries, historical maps of the Middle East are very scarce. Thus, it is really difficult to recreate the historical geography of Turkey, Lebanon, the Kurdish regions, Armenia or Iraq, all the more as the populations were speaking various languages. The replacement of the Ottoman script with a Latin alphabet in 1928, the specific Armenian and Georgian alphabets, the various transcriptions of Arabic words and the numerous transliterations of some names (e.g. from Kurdish to Arabic, then to Ottoman Turkish and finally to modern Turkish) makes it quite impossible to locate some places.
Here is a map of the Ottoman Empire realized by Louis Vivien de Saint-Martin and Adolphe Noël des Vergers and published in Paris by Charles Picquet in 1845. Names and borders are legible. Therefore it will be possible to spot the ancient places with their modern equivalents, to search for the small 19th century Kurdish or Armenian autonomies or to examine the border between the Pashalik of Baghdad and Iran.
See:
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Model "Trailer Tr3 MkII” is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of trailer. This build represents a three axle log trailer with liftable third axle.
The trailer features: solid axle suspension on all axles, one set of lights, kingpin, remotely controlled landing gear and parking break, remotely controlled liftable third axle that simultaneously extends or retracts the rear impact guard and this model has many details.
This newly designed and engineered trailer utilizes the same suspension as US Truck T2 MkII which uses LEGO® rubber belts and LEGO® rubber axle connectors.
This model is another custom design by Ingmar Spijkhoven AKA 2LegoOrNot2Lego that comes with building instructions and inventory/parts list!
You can build it yourself! To do so you can buy the Building Instructions. Early in the building process you will see what it is that you are building. You will be very excited from the moment you start the build of "Trailer Tr3 MkII" till you finish it with a total number of parts of about 1000 pieces.
Simultaneously with lifting the third axle the rear impact guard is retracted. So with the third axle down the rear impact guard is fully extended, this to increase safety when hauling loads. Unloaded the total length of the combination is reduced with the third axle lifted and the rear impact guard in.
As with most log trailers this model has so called bolsters or bunks. Those are the U shaped frames on top of the trailers chassis. Bolsters are obviously necessary to keep the logs in place. Even though the bolsters on this specific model are fixed they can easily be re-located if wanted. The number of six can also be altered to your own needs. Give this trailer the setup you want it to have.
To learn more about this and other creations visit me at MOCpages.com, Flickr.com or YouTube.com.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Jadeite jade with weathering rind from the Jurassic of Burma. (public display, Field Museum of Natural History, Chicago, Illinois, USA)
“Jade” refers to more than one specific type of metamorphic rock. The four categories of “jade” are:
1) jadeitite (jadeite jade)
2) nephrite/nephritite (nephrite jade)
3) chromian jade (maw sit sit)
4) serpentine jade
Jadeitite (= jadeite jade) is a rare metamorphic rock composed of jadeite pyroxene (Na(Al,Fe)(Si2O6)). Published research on Burmese jade generally indicates that the jadeitite rock masses formed by metasomatism of albitites (= plagioclase feldspar metamorphites) at the periphery of serpentinized mantle peridotite bodies. The mantle peridotite was part of a subducting slab of Mesozoic-aged oceanic lithosphere that was emplaced upward and against southeast Asian continental lithosphere by obduction.
The rock shown above is a boulder of deep green jadeitite. The light brown portions of the rock are a weathering rind. The gash in the rock is a "window", carved to show the nature, color, and quality underneath the weathered surface. This variety is "Imperial Jade".
Geologic unit: unrecorded/undisclosed (but probably derived from the Hpakan-Tawmaw Jade Tract, Hpakan Ultramafic Body, Naga-Adaman Ophiolite)
Age: Syngenetic zircons indicate that Burmese jadeitite formed at 147 Ma (late Tithonian Stage, near-latest Jurassic. The serpentinite host rocks formed (metamorphic age) at 163 Ma (Middle Jurassic). Older literature interprets Burmese jadeitite as Tertiary in age, hosted by Late Creatceous to Eocene serpentinized peridotites.
Locality: alluvial clast (placer jade) from unrecorded/undisclosed locality in Burma (possibly from the vicinity of Phakant, upper reaches of the Uyu River (Uru River), western Kachin State, Indo-Burma Range, northern Burma)
--------------
References on Burmese jade:
Bender, F. 1983. Geology of Burma. Berlin. Gebruder Borntraeger. 260 pp.
Hughes, R.W., O. Galibert, G. Bosshart, F. Ward, Oo T., M. Smith, Sun Tay Thye & G.E. Harlow. 2000. Burmese jade: the inscrutable gem. Gems & Gemology 36(1): 2-26.
Qiu Zhili, Wu Fuyuan, Yang Shufeng, Zhu Min, Sun Jinfeng & Yang Ping. 2008. Age and genesis of the Myanmar jadeite: constraints from U-Pb ages and Hf isotopes of zircon inclusions. Chinese Science Bulletin 54: 658-668.
Rossman, G.R. 1974. Lavender jade, the optical spectrum of Fe3+ and Fe2+ --> Fe3+ intervalence charge transfer in jadeite from Burma. American Mineralogist 59: 868-870.
Shi Guanghai, Cui Wenyuan, Cao Shumin, Jiang Neng, Jian Ping, Liu Dunyi, Miao Laicheng & Chu Bingbing. 2008. Ion microprobe zircon U-Pb age and geochemistry of the Myanmar jadeitite. Journal of the Geological Society of London 165: 221-234.
Shi Guanghai, Cui Wenyuan, Wang Changqiu & Zhang Wenhuai. 2000. The fluid inclusions in jadeitite from Pharkant area, Myanmar. Chinese Science Bulletin 45: 1896-1901.
Shi Guang-Hai, Jiang Neng, Liu Yan, Wang Xia, Zhang Zhi-Yu & Xu Yong-Jing. 2009. Zircon Hf isotope signature of the depleted mantle in the Myanmar jadeitite: implications for Mesozoic intra-oceanic subduction between the Eastern Indian Plate and the Burmese Platelet. Lithos 112: 342-350.
Shi Guanghai, Jiang Neng, Wang Yuwang, Zhao Xin, Wang Xia, Li Guowu, E. Ng & Cui Wenyuan. 2010. Ba minerals in clinopyroxene rocks from the Myanmar jadeitite area: implications for Ba recycling in subduction zones. European Journal of Mineralogy 22: 199-214.
Shi Guanghai, Wang Xia, Chu Bingbing & Cui Wenyuan. 2009. Jadeite jade from Myanmar: its texture and gemmological implications. The Journal of Gemmology 31: 185-195.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
JSC2013-E-079353 (30 Aug. 2013) --- Japan Aerospace Exploration Agency (JAXA) astronaut Koichi Wakata (front row, second right), Expedition 38 flight engineer and Expedition 39 commander; and NASA astronaut Rick Mastracchio (front row, right), Expedition 38/39 flight engineer; along with instructors and flight control team members, are pictured during an Increment Specific System Update briefing in a conference room in the Jake Garn Simulation and Training Facility at NASA's Johnson Space Center. The briefing is supported by 19 flight control team disciplines and gives the upcoming crew a quick review of the Soyuz 37 vehicle’s current health, status and upcoming operations. Photo credit: NASA
Malmbanan and Narvik, 27 and 28 March 1980
While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.
I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.
My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.
Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..
My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..
I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.
Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.
At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.
Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.
In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.
We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.
At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.
I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.
At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.
Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.
We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.
Railroading above the Arctic Circle presents challenges!
Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.
After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.
The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.
The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.
The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.
I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.
After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)
On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.
After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.
With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.