specific photos on Flickr

Exctracteur Format @Venice Biennale 2011 . by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. y.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

Defenstration - San Francisco by Konrad Summers

3

1997-present

(Site-specific installation on the corner of 6th and Howard St. in San Francisco)

This multi-disciplinary sculptural mural involves seemingly animated furniture; tables, chairs, lamps, grandfather clocks, a refrigerator, and couches, their bodies bent like centipedes, fastened to the walls and window-sills, their insect-like legs seeming to grasp the surfaces. Against society’s expectations, these everyday objects flood out of windows like escapees, out onto available ledges, up and down the walls, onto the fire escapes and off the roof. “DEFENESTRATION” was created by Brian Goggin with the help of over 100 volunteers.

The concept of “DEFENESTRATION”, a word literally meaning “to throw out of a window,” is embodied by both the site and staging of this installation. Located at the corner of Sixth and Howard Streets in San Francisco in an abandoned four-story tenement building, the site is part of a neighborhood that historically has faced economic challenges and has often endured the stigma of skid row status. Reflecting the harsh experience of many members of the community, the furniture is of the streets, cast-off and unappreciated. The simple, unpretentious beauty and humanity of these downtrodden objects is reawakened through the action of the piece. The act of “throwing out” becomes an uplifting gesture of release, inviting reflection on the spirit of the people we live with, the objects we encounter, and the places in which we live.

The ground level has served as a rotating gallery for the vibrant artwork of street muralists.

A Mandrill's Best Friend & Bristol Zoological Gardens by Matthew Wells

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No. 34: Doodles by Simon Tofield by Matthew Wells

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No. 17: Groscar by Chris Taylor by Matthew Wells

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Monumento de Vento - site specific, 2016 by Márcio Diegues

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Monumento de Vento, 2016.

50 peças de tecido e aro de madeira, dimensões variadas.

Trabalho instalado nos arcos do Museu de Arte de Londrina, aproximadamente 600 m2.

Márcio Diegues

No. 37: Shakesbear by Matthew Wells

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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) |

_DSC9210 by Hans Jan Dürr

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Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act

A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG

Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.

The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.

At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.

Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.

Production

After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.

Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.

Text: Martin Jaeggi

Up Close at Paisley by Matthew Wells

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Collarfull by Matthew Wells

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Where's Wallace? by Matthew Wells

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Ornament and Crime: the architects who followed him (the International Style) often took his ideas to an extreme. They stripped away not just applied ornament, but also local context, climate adaptation, and human scale, leading to the "soulless" by Hughes Songe

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The feeling that an unornamented city lacks a "soul" or "roots" is a very common reaction to the stark, functionalist landscapes that dominated the 20th century. When we strip away the symbols, myths, and localized craftsmanship from our buildings, we often lose the narrative that connects us to our ancestors and our specific geographic place.

However, to understand Adolf Loos, it is necessary to separate the unintended consequences of modernism from his actual historical intentions. Applying concepts like "cancel civilization" or an anti-esoteric crusade to Loos is anachronistic and misinterprets his philosophy.

Here is a factual look at what Loos was actually fighting against, and why he believed removing ornament was a step forward, rather than a deliberate erasure of memory.

The Real Target: Fake History, Not Esotericism

Loos was not fighting against ancient esoteric traditions or sacred geometry. He was reacting against the Eclecticism of late 19th-century Vienna (the Ringstrasse style) and the emerging Art Nouveau (Secessionist) movement.

In Loos's time, the rising middle class was building factories and apartment blocks, but pasting cheap, mass-produced plaster gargoyles, Renaissance columns, and Baroque flourishes onto them. To Loos, this was not a preservation of sacred tradition; it was a cheap, dishonest theatrical set. He felt that slapping ancient symbols onto a modern electrical plant or a bank insulted the true meaning of those symbols.

Separation of Art and Utility

Loos did not want to destroy culture or memory; he wanted to protect it by separating it from everyday utility. He believed that a house or a chair was a functional object, not a canvas for artistic or spiritual expression.

In his view, forcing a craftsman to carve intricate, meaningless patterns into a modern object was a waste of human life and energy. He wanted to free the craftsman from tedious labor so that society could focus its spiritual and artistic energy on actual art—like painting, music, and sculpture—rather than on decorating a shoehorn or a building facade.

A Love for the Classics, Not a Hatred of the Past

It is a massive misconception that Loos hated the past or wanted to erase history. In fact, Loos deeply revered ancient Roman and Greek architecture. He believed the ancients had perfected certain forms, and he frequently used classical proportions and rich, traditional materials (like deeply veined marble and polished wood) in his interiors.

His famous, unbuilt entry for the Chicago Tribune Tower in 1922 was literally designed as a massive, towering Doric column. He didn't want to cancel the past; he believed that modern humanity should express its "roots" through the honest use of high-quality, natural materials and perfect proportions, rather than through carved, superficial symbols.

The Unintended Legacy

While Loos sought honesty and clarity, the architects who followed him (the International Style) often took his ideas to an extreme. They stripped away not just applied ornament, but also local context, climate adaptation, and human scale, leading to the "soulless" concrete blocks that many people criticize today. Loos opened the door, but he did not necessarily envision the totally homogenized, glass-and-steel cities that eventually covered the globe.

Looking back at those deeply symbolic buildings from the 19th century compared to the stark minimalism of the 20th, do you think it is possible for contemporary architecture to reconnect with that esoteric, symbolic "soul" without simply copying the styles of the past?

Loos was reacting against the Eclecticism of late 19th-century Vienna (the Ringstrasse style) and the emerging Art Nouveau (Secessionist) movement.

In Loos's time, the rising middle class was building factories and apartment blocks, but pasting cheap, mass-produced plaster gargoyles, Renaissance columns, and Baroque flourishes onto them. To Loos, this was not a preservation of sacred tradition; it was a cheap, dishonest theatrical set. He felt that slapping ancient symbols onto a modern electrical plant or a bank insulted the true meaning of those symbols.

Separation of Art and Utility

Loos did not want to destroy culture or memory; he wanted to protect it by separating it from everyday utility. He believed that a house or a chair was a functional object, not a canvas for artistic or spiritual expression.

In his view, forcing a craftsman to carve intricate, meaningless patterns into a modern object was a waste of human life and energy. He wanted to free the craftsman from tedious labor so that society could focus its spiritual and artistic energy on actual art—like painting, music, and sculpture—rather than on decorating a shoehorn or a building facade.

A Love for the Classics, Not a Hatred of the Past

It is a massive misconception that Loos hated the past or wanted to erase history. In fact, Loos deeply revered ancient Roman and Greek architecture. He believed the ancients had perfected certain forms, and he frequently used classical proportions and rich, traditional materials (like deeply veined marble and polished wood) in his interiors.

His famous, unbuilt entry for the Chicago Tribune Tower in 1922 was literally designed as a massive, towering Doric column. He didn't want to cancel the past; he believed that modern humanity should express its "roots" through the honest use of high-quality, natural materials and perfect proportions, rather than through carved, superficial symbols.

The Unintended Legacy

While Loos sought honesty and clarity, the architects who followed him (the International Style) often took his ideas to an extreme. They stripped away not just applied ornament, but also local context, climate adaptation, and human scale, leading to the "soulless" concrete blocks that many people criticize today. Loos opened the door, but he did not necessarily envision the totally homogenized, glass-and-steel cities that eventually covered the globe.

Looking back at those deeply symbolic buildings from the 19th century compared to the stark minimalism of the 20th, do you think it is possible for contemporary architecture to reconnect with that esoteric, symbolic "soul" without simply copying the styles of the past?

Before the 20th century, architecture was fundamentally communicative. The concept of "architecture parlante" (speaking architecture) dictated that a building should visually announce its function, its status, and its values to anyone walking by.

Architects used this symbolic language for several key reasons:

Civic Legibility: In eras where literacy was not universal, a building had to explain itself visually. A courthouse featured the scales of justice; a bank displayed the caduceus of Mercury (symbolizing commerce) or cornucopias (wealth); a theater featured the masks of comedy and tragedy.

Historical Lineage and Power: By borrowing symbols from ancient Greece, Rome, or the Gothic era, institutions legitimized themselves. A 19th-century bank designed like a Greek temple wasn't just a place to store money; it was using the symbols of antiquity to project permanence, security, and democratic ideals.

The 19th-Century Eclectic Boom: During the Industrial Revolution, new types of buildings emerged (train stations, massive department stores, large factories). Architects, unsure of what a "train station" should look like, masked these modern iron-and-glass structures behind heavily ornamented, symbolic stone facades to make them feel familiar and grand.

For centuries, a facade was essentially a billboard, heavily layered with a recognized dictionary of mythological and historical symbols.

Adolf Loos fundamentally despised this approach. In his explosive and highly influential 1908 essay, Ornament and Crime, he argued that applying symbols and ornaments to modern buildings was not just bad taste—it was a societal regression.

Here is why Loos "canceled" symbolic architecture:

Cultural Evolution: Loos argued that as civilizations evolve, they naturally shed ornamentation. He controversially compared architectural ornament to tattoos, claiming that what was acceptable for ancient or "primitive" societies was degenerate for modern, civilized humanity. To him, an unadorned surface was a sign of intellectual maturity.

The Masking of Reality: Loos believed that 19th-century architecture was dishonest. He hated that a modern, bustling capitalist city like Vienna was dressed up to look like a Renaissance theme park. He wanted buildings to reflect the reality of the modern, industrial age: efficient, clean, and rational.

Economic and Social Waste: He made a strong economic argument. Carving intricate symbols into stone took immense time, labor, and money. Loos viewed this as wasted human effort that slowed down progress and kept craftsmen engaged in meaningless, repetitive work instead of producing affordable, modern goods.

Material Truth over Carved Symbols: Loos did not hate beauty; he just hated applied beauty. He believed that the natural grain of rich wood, the veining of marble, and the clean proportions of a wall were beautiful enough on their own. The material itself should be the decoration, without the need to carve a mythical god into it.

"Ornament and Crime" is an essay and lecture by modernist architect Adolf Loos that criticizes ornament in useful objects.

History

Contrary to popular belief that it was composed in 1908, Adolf Loos first gave the lecture in 1910 at the Akademischer Verband für Literatur und Musik in Vienna. The essay was then published in 1913 in Les Cahiers d’aujourd’hui in French as Ornement et Crime. Only in 1929 was the essay published in German in the Frankfurter Zeitung, as Ornament und Verbrechen. It was the architect Henry Kulka, who assisted Loos during a reprint of the essay in 1931 in Trotzdem, that altered the original year to 1908 after he consulted Loos, who either didn't remember well or wanted to assume primacy in the confrontation against the Secessionists.[1]

Content

The essay was written when Art Nouveau—known as Secession in Austria and which Loos had excoriated even at its height in 1900—was showing a new way forward for modern art. The essay was important in articulating some moralizing views, inherited from the Arts and Crafts movement, which would be fundamental to the Bauhaus design studio, and would help define the ideology of modernism in architecture.

"The evolution of culture marches with the elimination of ornament from useful objects", Loos proclaimed, thus linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts.[2] Loos's work was prompted by regulations he encountered when he designed a building without ornamentation opposite a palace. He eventually conceded to requirements by adding window flower boxes.[3]

In the essay, Loos explains his philosophy, describing how ornamentation can have the effect of causing objects to go out of style and thus become obsolete. It struck him that it was a crime to waste the effort needed to add ornamentation, when the ornamentation would cause the object to soon go out of style. Loos introduced a sense of the "immorality" of ornament, describing it as "degenerate", its suppression as necessary for regulating modern society. He took as one of his examples the tattooing of the "Papuan" and the intense surface decorations of the objects about him—Loos says that, in the eyes of western culture, the Papuan has not evolved to the moral and civilized circumstances of modern man, who, should he tattoo himself, would either be considered a criminal or a degenerate.[4][5]

Loos never argued for the complete absence of ornamentation, but believed that it had to be appropriate to the type of material.[3]

Loos concluded that "No ornament can any longer be made today by anyone who lives on our cultural level ... Freedom from ornament is a sign of spiritual strength".[5]

Further reading

Reyner Banham, 1960. Theory and Design in the First Machine Age, Characteristic attitudes and themes of European artists and architects, 1900–1930.

Siegfried Giedion. Space, Time and Architecture: The Growth of a New Tradition.

Adolf Loos, "Ornament und Verbrechen" Adolf Loos: Sämtliche Schriften in zwei Bänden – Erster Band, Vienna, 1962.

Joseph Rykwert. "Adolf Loos: the new vision in Studio International, 1973.

Janet Stewart, Fashioning Vienna: Adolf Loos's Cultural Criticism, London: Routledge, 2000

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Engineering approaches

Authority control databases Edit this at Wikidata

Categories: Modernism1910 essays1910 in artArt criticismOrnamentsDecorative arts

en.wikipedia.org/wiki/Ornament_and_Crime

Op ATHENA - Security operations in Panjwa’i and Dand districts by Canadian Army | Armée canadienne

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Panjwa’i District, Afghanistan Specific 02 June 2011

Security operations in Panjwa’i and Dand districts

Corporal Jean Francois Belzil of “Lucky 13” Platoon, A-Company, 1st Battalion, Royal 22em Régiment, is on patrol during Operation OMID ATAL 09 (Hope and Victory).

This operation saw the Afghan National Army’s 1st Brigade of the 205th (Hero) Corps, under the command of BGen Ahmed Habibi, take a leadership role and partner with Task Force Kandahar, under the command of BGen Dean Milner, to conduct security operations throughout Panjwa’i and Dand districts of Kandahar Province.

Task Force Kandahar will continue robust security operations in conjunction with the Government of the Islamic Republic of Afghanistan, Afghan National Security Forces, and its coalition and civilian partners in order to eliminate insurgent violence and set the conditions for successful and sustainable governance, development and peace in southern Afghanistan.

Canadian Forces Image Number AR2011-0200-09

Photo Credit: Cpl Tina Gillies with Roto 10, Task Force Kandahar, Afghanistan

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District de Panjwa’i, Afghanistan, 3 juin 2011

Le Caporal Jean François Belzil, membre du peloton « Lucky 13 » de la compagnie A du 1er Bataillon, Royal 22e Régiment, participe à une patrouille dans le cadre de l’opération Omid Atal 09 (Espoir et victoire).

Cette opération était sous le contrôle de la 1re Brigade du 205e Corps (Héros) de l’Armée nationale afghane, commandée par le Bgén Ahmed Habibi. En collaboration avec la Force opérationnelle Kandahar, sous le commandement du Bgén Dean Milner, les deux partenaires effectuaient des opérations de sécurité dans les districts de Panjwa’i et de Dand, dans la province de Kandahar.

La Force opérationnelle Kandahar continuera de participer à ces opérations énergiques de sécurité avec le Gouvernement de la République islamique d'Afghanistan, les Forces de sécurité nationale afghanes et les partenaires civils et de la coalition qui visent l’élimination des actes de violence des insurgés et à établir avec succès les conditions propices à une gouvernance stable, au développement et à la paix dans le sud de l’Afghanistan.

Image des Forces canadiennes numéro AR2011-0200-09

Crédit Photo: Cpl Tina Gillies avec Force opérationnelle interarmées

Felix Gonzalez-Torres, Untitled (Fortune Cookie Corner), 1990 by Andrew Russeth

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Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010

Timema insects on Hairy Ceanothus by Marc Kummel

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Here is a green "Timema" insect (Timema cristinae, Timematidae, Phasmida) on a leaf of Hairy Ceanothus (Ceanothus oliganthus) in the Rhamnaceae plant family - with flowers. Only there's not just one timema, but two! The other one is vertical on the left side of the new leaf in the center of my photo. (I didn't see it either when I got the photo.) These are both green, but other individuals in the same shrub are brown. As far as I know, color doesn't matter with species identity. Sometimes they have a white stripe down their back like this one. This color variability is interesting. I found more than a dozen of these insects today, both brown and green, mostly on this one Ceanothus shrub, more than I've ever seen before. I haven't seen any actually mating going on yet, but that must be getting close. Timemas are atypical walkingstick insects. There's some discussion of them in Smithsonian Magazine, but it's better to go to the source of Christina Sandoval - the "cristinae" of the specific name. The Timema page at BugGuide is excellent. The shrub is also interesting, see this photo for more info. (San Marcos Pass, 26 March 2017)

The wind did kick up today as expected, with gusts to 40 mph so far according to the NWS station about 1/2 mile away. We're currently under a High Wind Warning. I never went out for photos today, though I did take my photo for Macro Mondays. It will be nice if the wind dies down tomorrow, but I wouldn't bet the farm on it!

Ophiomorpha burrows in aragonitic limestone (Cockburn Town Member, Grotto Beach Formation, Upper Pleistocene, 114-127 ka; Ophiomorpha Bay, Cockburn Town Fossil Reef, San Salvador Island, Bahamas) 6 by James St. John

Ophiomorpha burrows in subtidal fossiliferous aragonitic limestones (Cockburn Town Member, Grotto Beach Formation, lower Upper Pleistocene, 114-127 k.y.) at Ophiomorpha Bay, Cockburn Town Fossil Reef, western margin of San Salvador Island, eastern Bahamas.

Trace fossils are indirect evidence of ancient life. They are structures representing the behavior of ancient organisms. Terrestrial traces are moderately common in the Quaternary limestones of San Salvador Island (& elsewhere in the Bahamas). The marine facies also have trace fossils.

Ophiomorpha is a moderately large, curvilinear, subcylindrical burrow having a externally pelleted lining that is constructed below the seafloor by callianassid shrimp (life.bio.sunysb.edu/marinebio/soft_05.jpg). Differential weathering and erosion often results in empty Ophiomorpha tubes (intraburrow porosity) and significant interburrow porosity. For more info. on this, see below (= my personal notes from a talk presented by Al Curran).

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"Macroporosity and Permeability Related to Callianassid Bioturbation and Ophiomorpha Ichnofabric in Pleistocene Shallow-Marine Carbonates: Examples from the Bahamas and South Florida"

Al Curran (Department of Geosciences, Smith College, Northampton, Massachusetts, USA)

Presented 18 June 2010 at the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, Gerace Research Centre, San Salvador Island, Bahamas

Looking at callianassid bioturbation & Ophiomorpha ichnofabric & environments conducive to callianassid habitation.

Ophiomorpha consists of branching, lined burrows - the tubes are smooth on the interior and distinctly pelletted on the outside. Callianassid shrimp (life.bio.sunysb.edu/marinebio/soft_05.jpg) construct the lining. Ophiomorpha burrows can go quite deep. This ichnogenus goes back to the Middle Jurassic. The burrow is the habitation location for the shrimp - it hardly ever goes out after the larval stage.

Ophiomorpha architecture varies - shafts, tiered mazes, irregular boxworks. Shaft Ophiomorpha architecture is not found in the Bahamas or in carbonates.

Callianassids are decapod crustaceans (Thalassinidea). There are 155 living species of Family Callianassidae. Actually, there are now >200 species.

Callianassids are part of the marine benthos - they are mostly burrowers. They are gone north of Myrtle Beach. There’s a high number of species in the tropics. 95% of callianassids are intertidal to shallow marine.

Ichnofabric - all aspects of texture & internal structure of sediments from bioturbation.

Glypturus acanthocinus Stimpson, 1866 is the callianassid shrimp seen on San Salvador Island. This is the callianassid species that makes the mounded topography seen in Pigeon Creek in southeastern San Salvador Island, Bahamas - biogenic topography. Glypturus acanthocinus is an ecosystem engineer - it lives 1 to 1.5 m below the substrate. It’s hard to catch.

Glypturus acanthocinus burrow architecture - a tiered spiral is shown in the literature & by resin casts.

Callianassid tropical habitats - backreef lagoons, adjacent to & within coral reefs, leeward shelf of isolated platforms, platform shelves.

There’s probably >1 species of callianassid on San Salvador Island.

Shallow subtidal = backreef lagoonal environments & tidal channel environments.

Graham’s Harbour - it's ~1.5 m down to bedrock at the beach; bare areas are heavily callianassid burrowed & in grassbeds (despite what the literature says).

An excurrent structure occurs at the tip of the mound (sand volcano). An incurrent structure occurs at the base.

The pockets of burrows accumulate coarser-grained sediments, but this hasn’t been seen yet in the rock record.

Ophiomorpha walls are quite thick - up to 1 cm thick. Can get giant callianassid Ophiomorpha tunnels.

Ophiomorpha walls are a mix of sediments and fecal pellets (fine-grained sediments/mud).

Some have shafts/tunnels with blind endings (terminus structures).

Have also seen examples from Exuma and Rum Cay and from a stromatolite-bearing tidal channel at Lee Stocking Island (all in the Bahamas).

Some Ophiomorpha burrows have incorporated shells.

Shafts/tunnels are commonly 1.5 to 4 cm wide.

Favriina coprolites - callianassid fecal pellets - have networks of holes within them - the pattern is species-specific.

Ichnogenic macroporosity:

1) intraburrow porosity - tube interior

2) interburrow porosity - between burrows (in close proximity) - they form a framework - in such situations, the matrix is more likely to be removed than the framework itself.

Cockburn Town Fossil Reef on San Salvador Island - can see both intraburrow and interburrow porosity. Do the porosity patterns seen here occur at depth?

Miami Limestone & Biscayne Aquifer - the main water supply in southern Florida.

Floridan Aquifer - a deeper aquifer than Biscayne.

Biscayne Aquifer porosity - matrix porosity (mm scale or less) + macroporosity (caves & Ophiomorpha burrows).

Miami Limestone - cf. ooid shoals (intertidal/shallow subtidal of Joulter Cay - callianassids occur there).

Miami Zoo - the blocks that animals climb on & the facing stones there have Ophiomorpha ichnofabric.

Miami Limestone - air-rock - largely pore space - both intraburrow and interburrow porosity are present from lots of Ophiomorpha.

Florida's Alice Wainwright Park has Miami Limestone with Ophiomorpha, from Glypturus acanthochinus callianassid shrimp - have tiered spiral burrows. There is >1 Ophiomorpha maker species, apparently.

Examples of ichnogenic macroporosity:

1) Ophiomorpha macroporosity - Miami Limestone of southern Florida & Upper Pleistocene of Bahamas.

2) Thalassinoides (www.southampton.ac.uk/~imw/jpg-Portland-Harbour/8PTH-U-Sa...) (Ex: superperm in the Ghawar Oil Field, Arabia)

3) mangroves

Boris Johnson's Paddington by Matthew Wells

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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) |

Venue Specific Training by Pauline~Glasgow

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Today at the Glasgow Club's Scotstoun Leisure Centre.

India - Tamil Nadu - Mamallapuram - Sea Mark - Giant Shoal Buoy by Manfred Sommer

. . . this specific buoy is meant to mark a wreck. The sign on top points north, so it has to be deposited north of the wreck. The other three required bouys - southern, eastern and western - have different signs on top - pointing south, east or west

________________________________________________

A sea mark, also seamark and navigation mark, is a form of aid to navigation and pilotage aid which identifies the approximate position of a maritime channel, hazard and administrative area to allow boats, ships and seaplanes to navigate safely.

THERE ARE THREE TYPES OF SEA MARK:

- beacons - fixed to the seabed

- buoys - consisting of a floating object that is usually anchored to a specific location on the bottom of the sea or to a submerged object

- A type of cairn built on a submerged rock/object, especially in calmer waters.

Sea marks are used to indicate channels, dangerous rocks or shoals, mooring positions, areas of speed limits, traffic separation schemes, submerged shipwrecks, and for a variety of other navigational purposes. Some are only intended to be visible in daylight (daymarks), others have some combination of lights, reflectors, bells, horns, whistles and radar reflectors to make them usable at night and in conditions of reduced visibility.

Marks are shown on nautical charts, using symbols that indicate their colour, shape and light characteristic, and are usually identified by name or number.

The International Association of Lighthouse Authorities defines one system of marks specifying the shapes, colours and characteristic lights of buoys depending on their purpose, the IALA Maritime Buoyage System. For historical reasons, there are two regions of lateral marks in use:

- IALA Region B in the Americas, the Philippines, South Korea and Japan

- IALA Region A everywhere else.

The two regions differ principally in the colours used to denote the two sides of a channel. When approaching a harbour from seaward, Region A places conical green marks to starboard and cylindrical red ones to port. In Region B these are replaced with conical red marks to starboard and cylindrical green ones to port. This can be remembered (for Region B) with the mnemonic "Red, right, return". Another Region B mnemonic, which also helps with buoy numbering is "Even Red Left Port" (as in Eric the Red) - Even Numbered buoys are red, on your left (port) side leaving port. In any case, since in many harbours it is not always apparent which direction is seaward, buoys should be used in connection with the appropriate nautical chart. Additionally, since marks may be off station due to collision with ships, storms or other factors, they should be used with caution and not relied on solely for navigation. The two regions are often referred to as two systems, which was the original intent. In 1980 it was decided however to combine these systems and distinguish between regions.

In a wider sense the phrase "sea mark" is often understood to include all kinds of landmarks, structures and devices that can be used to provide warning and guiding signs to mariners. Thus a sea mark can be and often is located on dry land. Examples of land-based sea marks are various signal lights and leading marks. The latter are mainly used to indicate the centerline of a fairway in narrow passages. Sea marks may also on occasion be used to help mark the boundaries of defensive sea minefields, or the safe lanes through same, especially during wartime.

TYPES

- Sea mark – aids pilotage by marking a maritime channel, hazard and administrative area to allow boats and ships to navigate safely. Some navigational buoys are fitted with a bell or gong, which sounds when waves move the buoy

- Lifebuoy – used as a life saving buoy designed to be thrown to a person in the water to provide buoyancy. Usually has a connecting line allowing the casualty to be pulled to the rescuer

- Submarine communication buoys – used for release in case of emergencies or for communication

- DAN buoy – has several meanings:

- A large maritime navigational aid providing a platform for light and radio beacons

- A lifebuoy with flags used on yachts and smaller pleasure craft

- A temporary marker buoy used during Danish seine fishing to mark the anchor position of a net.

- A temporary marker buoy set by danlayers during minesweeping operations to indicate the boundaries of swept paths, swept areas, known hazards, and other locations or reference points.

- A temporary marker buoy set to mark a man overboard position.

- Large Navigational Buoy (LNB or Lanby buoy) is an automatic buoy over 10m high equipped with a powerful light monitored electronically as a replacement for lightships.

- Sonobuoy – used by anti-submarine warfare aircraft to detect submarines by SONAR

- Surface marker buoy – taken on dives by scuba divers to mark their position underwater

- Decompression buoy – deployed by submerged scuba divers to mark their position underwater whilst doing decompression stops

- Shot buoy – used to mark dive sites for the boat safety cover of scuba divers so that the divers can descend to the dive site more easily in conditions of low visibility or tidal currents and more safely do decompression stops on their ascent.

- Safe water mark or Fairway Buoy – a navigational buoy which marks the entrance to a channel or a nearby landfall

- Emergency Wreck Buoys - Emergency Wreck Buoys provide a clear and unambiguous means of marking new wrecks. This buoy is used as a temporary response, typically for the first 24-72 hours. This buoy is coloured in an equal number of blue and yellow vertical stripes and is fitted with an alternating blue and yellow flashing light. This has come about due to the collisions which occurred in the Dover Straits in 2002 when vessels struck the new wreck of the Tricolour.

- lateral marker buoy

- Mooring buoys – used to keep one end of a mooring cable or chain on the water's surface so that ships or boats can tie on to it

- Tripping buoys – used to keep one end of a 'tripping line' on the water's surface so that a stuck anchor can more easily be freed

- Weather buoys – equipped to measure weather parameters such as air temperature, barometric pressure, wind speed and direction and to report these data via satellite radio links such as the purpose-built Argos System or commercial satellite phone networks to meteorological centres for use in forecasting and climate study. May be anchored (moored buoys) or allowed to drift (drifting buoys) in the open ocean currents. Position is calculated by the satellite.

- Tsunami buoys – anchored buoys that can detect sudden changes in undersea water pressure are used as part of tsunami warning systems in the Pacific Tsunami Warning Center and Indian Oceans.

- Spar buoy – a tall, thin buoy that floats upright in the water, e.g. R/P FLIP.

Profiling buoy – specialized models which adjust buoyancy so that they will sink at a controlled rate to 2,000 metres below the surface while measuring sea temperatures and salinity. After a time, typically 10 days, the buoy returns to the surface, transmits its data via satellite, and then sinks again. See Argo (oceanography).

- Ice marking buoys – used for marking ice holes in frozen lakes and rivers, so that snowmobiles do not drive over the holes.

- Marker buoys – used in naval warfare, particularly anti-submarine warfare, is a light-emitting or smoke-emitting, or both, marker using some kind of pyrotechnic to provide the flare and smoke. It is commonly a 76 mm diameter device about 500 mm long that is set off by contact with seawater and floats on the surface. Some markers extinguish after a set period and others are made to sink.

- Lobster trap buoys – brightly colored buoys used for the marking of lobster trap locations so the person lobster fishing can find their lobster traps. Each lobster fisherman has his or her own color markings or registration numbers so they know which ones are theirs. They are only allowed to haul their own traps and must display their buoy color or license number on their boat so law enforcement officials know what they should be hauling. The buoys are brightly colored with highly visible numbers so they can be seen under conditions when there is poor visibility like rain, fog, sea smoke, etc.

- Wave buoy – used to measure the movement of the water surface as a wave train. The wave train is analysed to determine statistics like the significant wave height and period, and wave direction.

- Target buoy – used to simulate target (like small boat) in live fire exercise by naval and coastal forces, usually targeted by weapons (medium size) like HMG's, rapid fire cannons (20 or so mm), autocannons (bigger ones up to 40 and 57mm) and also anti-tank rockets.

- Wreck buoy – a buoy to mark a wrecked ship to warn other ships to keep away because of unseen hazards.

- Self-locating datum marker buoy (SLDMB) – A 70% scale Coastal Ocean Dynamics Experiment (CODE)/Davis-style oceanographic surface drifter with drogue vanes between 30 and 100 cm deep. This particular surface drifter is designed specifically for deployment from a U.S. Coast Guard vessel or airframe for search and rescue. Since the SLDMB has a very small surface area above the ocean surface and a high underwater surface area, there is very little leeway in response to the direct forcing of winds and waves.

- The space buoy is a common element in science fiction that refers to a stationary object in outer space that provides navigation data or warnings about that particular area.

- Buoy racing is the most prevalent form of yacht racing

OTHER USES

- The word "buoyed" can also be used figuratively. For example, a person can buoy ('lift up') someone's spirits by providing help and empathy.

- George A. Stephen, founder of Weber-Stephen Products Co., invented the kettle grill by cutting a metal buoy in half and fashioning a dome shaped grill with a rounded lid.

WIKIPEDIA

2017-critical-run-in-kassel--is-documenta-dangerous by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

en.wikipedia.org/wiki/Thierry_Geoffroy

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

www.emergencyrooms.org

www.colonel.dk/

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

Redcliff Quay & What a Wind Up by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Prince Hall 157th. Grand Communication Most Worshipful Prince Hall Grand Lodge Free and Accepted Masons by antefixus21

1

123rd Grand Communication Prince Hall Grand Chapter Order of the Eastern Star (PHA) met next door but visited briefly.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

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Order of the Eastern Star

General Grand Chapter logo

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

Contents

HistoryEdit

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroinesEdit

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

OfficersEdit

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

HeadquartersEdit

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

CharitiesEdit

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable membersEdit

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

See alsoEdit

Achoth

Omega Epsilon Sigma

ReferencesEdit

^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.

^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death

^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.

^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.

^ "OES Charities". Retrieved 2016-04-15.

^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.

^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]

^ Clara Barton, U.S. Nurse Masonic First Day Cover

^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1

^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC

^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.

^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.

^ Big Muddy online publications

^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.

External linksEdit

Official website

Eastern Star Organizations at DMOZ

Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois

aNarvik-NSB-EMU-fjord by tisdalem2001

1

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.

The Paddington within Rembrandt Gardens by Matthew Wells

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

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1404260070 CamporeeOmaha by U.S. Department of Veterans Affairs

Scouts Camporee on Omaha Beach Honors Heroes and Promotes Peace.

By Robert Turtil

U.S. Scouts gathered April 24 to 27 for the 2014 Omaha Beach Camporee, in event held every three years in Normandy, France. This years Camporee was particularly special, because it was recognized as the opening event of the 70th anniversary of the D Day landings planned for June. Hundreds of Scouts from France, Britain, Poland, Switzerland, the BeNeLux and Scandinavian countries, Germany and other nations joined for a weekend of remembrance.

U.S. embassy personnel and active duty service members brought their families from facilities around Europe and North Africa. More than a few F-16 fighter jockeys directed AstroVans from the Autobahn to the AutoRoute to the D-514, while others followed the more historic route across, or below, the English Channel. Some Scouts flew from American cities over their spring break, and as usual, moms led the charge when dads couldn’t get away. All converged on a welcoming destination for Americans on the French coast.

Nearly 4,200 troops and their supporting families battled sometimes horizontal rain to re-live the history, and recognize the sacrifices of American and Allied soldiers, many close to their own age, who have fought and died fighting for freedom and peace. World War Two Veterans were honored, and sacrifices made during The Great War, Korea, Vietnam and The War on Terror were also recognized by scout leaders and other volunteers, many of whom are U.S. Veterans, the traditional backbone of scouting in America.

Campsites were pitched in the rain, the mud and the dark; pots of pasta were swamped by tent malfunctions. The elements provoked short-term tears and tantrums, and perhaps a sleepless night. But complaints were mitigated with stories of invasion boats packed with seasick assault troops, mud filled foxholes, and cold k-rations, as Scouts peered at the sogginess of this Norman spring. But, as EVERY Scout knows, only fun will be remembered of the mud and chill of this weekend.

Scout convoys raced around the invasion coast following ambitious schedules: Utah Beach, Point D’Hoc, Sainte Mere Eglise, Arromanches, the Pegasus Bridge and many museums. Scouts and Veterans were the special guests of honor at the historic and grand Notre Dame Cathedral of Bayeux where clergy, along with national and local leaders, christened a newly forged Bell of Peace and Freedom. The Cathedral was a packed and flowing sea of international scout uniforms, flags and neckerchiefs… all highlighted by sunbeams streaking through stained-glass windows.

90 year-old, World War ll Army Air Force Veteran Captain Samuel Wiley Hammersmith, B-25 pilot with 28 missions in the Pacific, mingled with Scouts throughout the weekend.

New Eagles and candidates for the Order of the Arrow were sworn in at an Omaha Beach campfire in the most meaningful of ceremonies for Scouts and their families. A French Air Force flyover, a military band and youth choir opened the Messengers of Peace multimedia presentation, bringing home the sacrifices made in the past and the promise of peace Scouting seeks to contribute worldwide. That evening, friendships were made, neckerchiefs swapped, and Paella shared at sunset on the beach, followed by a fusillade of fireworks.

Sunday’s closing ceremony was held in the drizzle at the Normandy American Cemetery and Memorial. Each Troop flew its colors and laid a wreath at the base of the huge bronze statue, The Spirit of American Youth Rising from the Waves. Scouts and their families then joined hundreds of others walking the many acres of markers, looking for specific names, or just looking, at the beauty- with history, the sense of sacrifice and a touch of tears that the damp, perfect green grass of the cemetery envokes. Slowly the parking lot emptied as each American Troop and Patrol headed in every direction across Europe and the ocean… home.

If you would like to support the Scouts quest to preserve Omaha Beach as a UNESCO World Heritage site, follow this link and sign the petition:

www.change.org/petitions/unesco-save-the-d-day-beaches-ma...

Photos Courtesy Robert Turtil

Deep Listening Kyoto 2009 by enormous O'clock

3 1

Edition NIkO was founded/curated and art directed by Japanese-American sound artist shotahirama in 2007. It is a label cooperation for electronic music based in Tokyo. The main interest was to give uniting sound and art design with strong attention to scientific sequences, Dada, Bauhaus, and drone ambient sound scapes. A surrealistic minimalism. So, priority is to publish series with focus on a specific philosophy of music/ sound/ art composing. Also it is a platform for conceptional and experimental related projects in music, art and sciencemusic both by myself (shotahirama) and by other artists and musicians. All NIkO releases have been on either CD or CDr or MP3 as I feel that these formats currently offer the most appropriate form of reproduction. But its basically, a non-profit label..... NIkO Label was closed down at the end of 2008 and reopened in January 2009 as Edition NIkO.

official website

www.chainreductionism.com

official myspace

www.myspace.com/nikolabel

and we are now going to have a special festival at Kyoto, Japan.

Deep Listening Kyoto 2009

17. 3. 2009 @ cafe independants

"DEEP LISTENING CHAIR" is a unique installation-festival in Tokyo, Japan. But this time we are going to Kyoto!!!! Edition NIkO is a label cooperation for electronic music based in Tokyo. And this festival is based on various programs joined together to form a trajectory over 2 days (not this time) but the festival explores the many facets of cutting-edge live electronic music and art. It provides a forum to exchange about the artistic practice underlying the electronic music scene. Festival brings together the artists that are breaking ground and shaping new standards in media and design, becoming the essential meeting point for the international scene of digital creation. NIkO festival provides insight into all culture media platforms. And featured a notable quantity of well known electronic artists over the world, while also reserving a special place for emergent laptop artists and installation artists. Dadaism, Surrealism, expressionism, impressionism, minimalism, actionism, those artists with this wonderful abstract identity, will perform and show how we can express our strong electronic arts. So, this live digital audiovisual performances and abstract installations are one of the important dimensions for this festival.

Edition NIkOはSurrealistic Minimalismを掲げ、パリ、ベルリン、バルセロナ、ロンドン、ニューヨークそしてここ日本と、世界中の電子音響家を擁する電子音響系レーベルである。コンピューターで生成されるマイクロスコピックな電子音を構成素とし、抽象的な音響空間を創出するため、個々のそのデジタルクリエーションの中に「常識を外れた奇妙で既存の状態を超越している状況」を提示し続けるsurrealisticなartistが集まる。

オーナーはダダやバウハウスなどの反社会主義性と合理主義的な思想を掲げスペインやロンドンを中心にヨーロッパでのリリースを続け、ENGまたは JANDEATHという名義にてzbigniew karkowskiやincapacitantsなどとライブを行うshotahiramaで、２００７年に設立、non profitで運営している。

そして今回のDeep Listening Kyotoでは、京都のオーディエンスのためにレーベルのショーケース的ラインナップとなっている。

enormous 0'clockはロンドンのAi Recordsからの最新作INFORMATION WARFAREを含む最新のライブセット。オーナーであるshotahiramaはJandeath名義にて現代音楽のシンボルであるリズムを自身が開発したプログラムソフト、R systemでそれを具象化、映像化するインスタレーションを。その他にも、幽玄な持続音響にて世界を魅了し続けるHakobuneをはじめ、現音作曲新人賞など数々の受賞経歴を持ち、ジャズやクラシックをエレクトロニカへアップデートし続けるユニットProvoke。またミニマルデザイン、アートの分野においても評価の高いyuji kondoによるサウンドインスタレーション、実験音楽家ishimuraはループのオーヴァーラップによるズレを伴った電子的なリズムパターンが美しい新ユニットSHARPでのライブを。

以上の豪華メンバーによる、シュールレアリズムな電子音響イベントを披露する。

Deep Listening Kyoto vol.1 "Surrealistic Minimalism" presented by Edition NIkO

17th. Mar. 2009

18:00-23:00

free (1 drink please)

at cafe independants

www.cafe-independants.com/

出演者

enormous O'clock (Kyoto)

□) www.myspace.com/enormousoclock

国内外問わず数々のリリースを続けるなか、昨年イギリスのレーベルAI RECORDSから"INFORMATION WARFARE"を発表しBBC RADIO 1やその他でのオンエアーにより話題となったのが切掛で、今年も既に数々のリリースが海外等で決定している。今回"cafe independants"でのライヴセットでは彼特有の季節感を演出するだろう。

enormous O'clock is an electronic music producer who lives and works in Kyoto. A rarity in the world of beat-driven electronic music, and he is known for contributing to the development of surrealistic minimal techno with his 2008 album INFORMATION WARFAR from Ai Records (London, UK). Interspersed with irregular clicks, pops and beeps, the minimal breaks in time reveal the careful attention to detail in the depth and dynamics of his music. eO' explain him self as "ELECTRO AMBIENCE DRENCHED IN DISTORTION AND PRIMED FOR THE FLOOR".

Hakobune (Kyoto)

□) www.myspace.com/hakobunemusic

京都市在住の音楽家。ギターを軸としたタピストリーを用いソニックランドスケープを構築する。国内外のレーベルから音源をリリース。08年7月に2ndアルバム"We Left The Window Open Sometimes"をリリースし、後にイギリスのレコードショップSmallfish Recordsが発表した2008年度ベストアルバム20に選ばれる。09年にはニューアルバムのリリースを予定。

Hakobune aka Takahiro Yorifuji (b.1986.4), inspired by minimalism, drone and concentrated on sound landscape, Yorifuji is best known as the father of ambient music in "Kyoto new-age". Using guitar and makes deep appreciation of harmonic structure, layering sounds in textures that seem to leave the listener suspended in time. He has been released out a number of titles, and working with David Tagg in 2008 was one of his best work in his discography. Yorifuji is from a small town in Hyogo, Japan and currently resides in Kyoto.

JANDEATH (Tokyo)

□) www.myspace.com/industrialensemble

ダダやバウハウスなどの反社会主義性と合理主義的な思想を掲げ２００６年にENG (electronoise group)を結成したshotahirama。スペインやロンドンを中心にヨーロッパでのリリース、ライブ活動を行う傍ら、JANDEATHという別名義を２００８年に始動。産業主義を連想させる金属音や破壊音的コンクレート電子音響に、２台のエレクトロンを扱い現代音楽のシンボルであるリズムを複雑に溶け込ませたネオテクノイズを提案する。Edition NIkO (旧NIkO Label)のオーナーでもある。

Under the name of JANDEATH, which is "Edition NIkO" founder-shotahirama' solo project. Produced sounds of vaguely danceable noise and power-electronics noise using complex mono and poly-rhythm, driving percussion, and meticulous sequencing. His main influences are from the early 1980s, with industrial acts like Throbbing Gristle, Einstürzende Neubauten and also from mille plateaux artists like SND, Alva noto, Pan sonic. JANDEATH also made extensive use of a variety of computer based sequencers, softsynths, and other applications as a means of controlling those synths and processing the synthesized sounds, using Reaktor, Processing and Elektron. He has been working with this kind of computer music, independently and in collaboration with other artists such as Zbigniew Karkowski, Incapacitants, ASTRO, since 2008. Also work with an organizing member of the Shinjuku-based Soup collective, MICLODIET in 2008, project was named MICLODEATH.

PROVOKE (Osaka)

□) www.myspace.com/provoke2000

森崇博と三上良太によるユニット。音楽大学で現代音楽を学び、その後コンピューターベースでの制作に移行。映画音楽、舞台音楽なども手がけて来た。

PROVOKE is a multi-media group consisting of Moze and Ryota Mikami. Introduce a "political" "inaudible" "experimental" form of electronica music. Combines themes of gender, sexuality, class, linguistics, ethnicity and race.... This diversity of themes is matched by PROVOKE' wide range of production styles, which include film music, Sine-wave, digital jazz, ambient, and computer-composed neo-expressionist piano solos.

SHARP (Osaka)

□) www.myspace.com/sharpsoundproject

石村晋也と筒井一隆は、それぞれがでフィールドレコーディングや音響生成による楽曲、インスタレーションを制作してきた。SHARPは自分たちのソロ活動とは違ったアプローチで楽曲を制作し、ライブパフォーマンス、ダイナミズムへと回帰することを目

的に2008年に結成した不定期に活動するユニット。現在までに、2007年度IMI修了展オープニングイベント、NIkO label Nl003-NEUBAUTEN- に参加。

SHARP is an experimental music group from Osaka consisting of shinya ishimura , kazutaka tsutsui. Music without sequencers, clicks and glitches are not used as ornamental additions to the compositions but make up the essential elements of the work and these sound sources are applied to the rhythmic groove. Disparate beats and quirky samples are carefully distilled in the frequency lab, then scientifically arranged for maximum cerebral massage.

yuji kondo (Osaka)

□) yujikondo.wordpress.com/

ベーシストとして活動する傍ら、徐々に騒音学に傾倒。2005年に本名義を始動、現在に至る。主にフィールドレコーディングなどの素材を扱い、それらを和音化したものを複数のチャンネルで走らせ、壮大かつ幽玄な故障音響を生成、さらに時間化する。Jun Nishimura aka JadeGardenの楽曲リミックス、ENGのオーディオヴィジュアル作品等に参加、関西を中心にライヴを行うなど精力的にその独自のサウンドを展開中。Edition NIkOからリリースされているコンピレーションへの楽曲提供もしている。

yuji kondo (b. 1986) is a sound artist and composer from japan. in late 2005, he started his solo project, and currently based in osaka, kyoto,,, the kansai region. he makes compositions using computer programs, and restructure the sounds such as snow noise, sine wave, stylus tip noise, tape hiss, impulse click, field recording sources, acoustic percussion instruments, random tuning electric bass guitar tones, and voices in unconventional ways. generated materials are fed back by the matrix-switch system on daw software, and are used in music. the grand feedback landscape woven by frequency operation is as beautiful as the fog, subtle and profound. his sound is a unique blend of electronic sounds and acoustic instruments, and the minimal and the complexities coexist there. the electronics function just as any other instruments. he skillfully shifts the brokendown sound to listening music.

Edition NIkO

□) www.chainreductionism.com/

Edition NIkO was founded/curated and art directed by Japanese-American sound artist shotahirama in 2007. It is a label cooperation for electronic music based in Tokyo. The main interest was to give uniting sound and art design with strong attention to scientific sequences, Dada, Bauhaus, and drone ambient sound scapes. A surrealistic minimalism. So, priority is to publish series with focus on a specific philosophy of music/ sound/ art composing. Also it is a platform for conceptional and experimental related projects in music, art and sciencemusic both by myself (shotahirama) and by other artists and musicians. All NIkO releases have been on either CD or CDr or MP3 as I feel that these formats currently offer the most appropriate form of reproduction. But its basically, a non-profit label..... NIkO Label was closed down at the end of 2008 and reopened in January 2009 as Edition NIkO.

Edition NIkO mixi community

□) mixi.jp/view_community.pl?id=1077804

Bastrop State Park - Park Roads - SP.22.18_thumb by Texas State Archives

3

Specific date: 7/10/1939.

Black pencil & ink on printed orange graph paper. LN: 35 X HT: 23.

5308264 INTAKE VALVE CUMMINS ISF3.8 by Peter LIU

5308264 INTAKE VALVE CUMMINS ISF3.8

7H0-121-407-C EXPANSION TANK VW SHEETLE

038-121-119-B O RING VW SHEETLE

1C0-945-511-A BRAKE LIGHT SWITCH(MODEL(SPECIFIC) VW SHEETLE

000-915-105-DE BATTERY VW SHEETLE

7H0-615-301-D BRAKE DISC(FRONT) VW SHEETLE

7H0-698-151-B BRAKE PAD SET(FRONT) VW SHEETLE

7H0-615-601-B BRAKE DISC(REAR) VW SHEETLE

7H0-698-451-A BRAKE PAD SET (REAR) VW SHEETLE

G-012-ABG-M1 COOLANT ADDITIVE PLUS VW SHEETLE

044-121-113 COOLANT THERMOSTAT VW SHEETLE

B-000-750-M3 BRAKE FLUID VW SHEETLE

G-004-000-M2 OIL FOR HYDRAULIC & POWER STEERING VW SHEETLE

G-052-183-M4 ENGINE OIL VW SHEETLE

G-052-183-M2 ENGINE OIL VW SHEETLE

G-052-512-A2 TRANSMISSION OIL VW SHEETLE

G-052-100-A2 OIL FOR REGRIGERANT COMPRESSOR VW SHEETLE

G-000-650 LUBRICATING PASTE VW SHEETLE

G-052-147-A2 LITHIUM GREASE VW SHEETLE

G-052-164-M1 WINDSCREEN CLEANER CONCENTRATE VW SHEETLE

G-052-167-M4 MOTOR OIL VW PASSAT

06J-115-403-C OIL FILTER VW PASSAT

1K0-129-620-D AIR FILTER VW PASSAT

2996569 FUEL FILTER CARTR IVECO

5801327559 BELT TENSIONER IVECO

504255185 INJECTOR IVECO

5802294482 CLUTCH BOOSTER IVECO

503647471 AIR FILTER IVECO

99459101 WINDSCREEN IVECO

8143853 FILLER SECTION IVECO

5801565776 HEADLIGHT IVECO

5801565777 HEADLIGHT IVECO

5801272506 FRONT GRILL IVECO

5801272507 SHOCK FRONT GRILL IVECO

5801278393 INDICATOR LH IVECO

5801271914 FRONT HUB SEAL IVECO

5801276070 REAR HUB SEAL IVECO

1902137 HYDEROSTEER FILTER IVECO

2995711 FUEL FILTER CARTR IVECO

16508460 WASHER IVECO

41272413 FILTER IVECO

500054588 FUEL FILTER CARTR IVECO

500191788 FUEL FILTER ELEMENT IVECO

500311355 FILTER ELEM BLOW BY IVECO

504006261 BELT TENSIONER IVECO

504046191 BELT TENSIONER IVECO

504049426 V-BELT IVECO

504104318 PULLY IVECO

504129824 CONDIT COMPR BELT IVECO

504272431 FUEL PRE-FL CARTR IVECO

504325903 O RING IVECO

5801312864 FUEL PRE-FIL CARTR IVECO

5801363049 HYDROSTEER FILTER IVECO

5801592277 OIL FILTER ELEMENT IVECO

5801649910 OIL FILTER IVECO

2992261 CARTRIGE AIR DRY IVECO

500190703 AIR FILTER IVECO

500190995 FILTER IVECO

5801414922 AIR DRYER IVECO

Oil Filter FORK LIFTER

EA008-1900 OIL FILTER CHANGAN 1300CC

CM5013-0201 FILTER ASSY FUEL CHANGAN 1300CC

EA003-1700 GASKET CYLINDER HEAD CHANGAN 1300CC

EA005-0217 TAPPET VAVAL 342 CHANGAN 1300CC

EA008-2400 OIL SEAL, CRANKSHAFT, FR CHANGAN 1300CC

EA009-0500 FUEL RAIL, WITH INJECTOR CHANGAN 1300CC

EA010-1200 THERMOSTAT ASSY CHANGAN 1300CC

EA011-0500 BELT GENERATOR CHANGAN 1300CC

EA011-0800 BELT COMPRESSOR CHANGAN 1300CC

EA012-0200 IGNITION COIL CHANGAN 1300CC

EA012-0400 SPARK PLUG CHANGAN 1300CC

EA012-2200 SENSOR ASSY, CRANKSHAFT POSITION CHANGAN 1300CC

EA013-1600 SENSOR ASSY, CAMSHAFT LOCATION CHANGAN 1300CC

EA10003-0600 OIL SEAL,CRANKSHAFT RR CHANGAN 1300CC

H15008-0200 SENSOR, INTAKE AIR TEMPERATURE CHANGAN 1300CC

K010-0401 SENSOR,OXYGEN BACKWARD CHANGAN 1300CC

M201098-0102 WATER OUTLET TUBE,RADIATOR CHANGAN 1300CC

M201098-0104 WATER INLET TUBE,RADIATOR CHANGAN 1300CC

PA010-2001 SENSOR, KNOCKING CHANGAN 1300CC

Y019-090-1 RELEASE BEARING CHANGAN 1300CC

YC010-170 SENSOR, THROTTLE CHANGAN 1300CC

YC010-180 SENSOR, WATER TEMPERATURE CHANGAN 1300CC

30HB-121000 Cover Assy Clutch (Forklift Parts) FORK LIFTER

B201029-2000 FUSE ATN10-10A CHANGAN 1300CC

B201029-2001 FUSE ATN10-15A CHANGAN 1300CC

B201029-2002 FUSE ATN10-20A CHANGAN 1300CC

M201017-0300 AIR FILTER CHANGAN 1300CC

M201024-0100 SHAFT ASSY, PROPELLER CHANGAN 1300CC

GB817-86 NUT (M12x1.25) (ForkliftParts) FORK LIFTER

M201059-0603 HANDLE ASSY, RR DR WINDOW RGLTR CHANGAN 1300CC

M201076-0200 GRILL, FR BUMPER, LOWER CHANGAN 1300CC

M201079-0100 MIRROR ASSY, INSIDE RR VIEW CHANGAN 1300CC

30HB-120003 STUD CLUTCH RELEASE FORK (FORKLIFT PARTS) FORK LIFTER

F202031-0400 HUB WITH BEARING, FR WHEEL CHANGAN 1300CC

F202043-0600 CUSHION, STABILIZER LINK CHANGAN 1300CC

F202046-0101 BUSHING, FR STABILIZER BAR CHANGAN 1300CC

M201036-0500 DISC, FR BRAKE CHANGAN 1300CC

30HB-120004 SNAP RING (FORKLIFT PARTS) FORK LIFTER

F202045-0800 BUSH, RR SUSPENSION CHANGAN 1300CC

M201027-0109 OIL SEAL, RR AXLE CHANGAN 1300CC

M201037-1600 SHOES ASSY, RR BRAKE, LH CHANGAN 1300CC

M201037-1700 SHOES ASSY, RR BRAKE, RH CHANGAN 1300CC

P028-0700 OIL SEAL, DRIVE BEVEL GEAR CHANGAN 1300CC

R101027-1100 BEARING, RR AXLE CHANGAN 1300CC

30HB-120005 CLUTCH RELEASE FORK (FORKLIFT PARTS) FORK LIFTER

EA015-0100 CLUTCH COVER ASSY CHANGAN 1300CC

EA015-0300 DISC ASSY, CLUTCH CHANGAN 1300CC

R101101-0200 SENSOR, SPEED CHANGAN 1300CC

YJ023-0505 OIL SEAL, TRANSMISSION RR CHANGAN 1300CC

CLUTCH RELEASE COLLAR(FORKLIFT PARTS) FORK LIFTER

9688211 RELEASE BEARING CLUTCH(FORKLIFT PARTS) FORK LIFTER

D213 CLUTCH COVER ASSY CHANGAN 1000CC

D7-1 GASKET, CYLINDER HEAD CHANGAN 1000CC

G197 THERMOSTAT ASSY CHANGAN 1000CC

G65 OIL SEAL, CRANKSHAFT FR CHANGAN 1000CC

G71 OIL SEAL, CRANKSHAFT, RR CHANGAN 1000CC

PA030-0201 SENSOR ASSY, CAMSHAFT LOCATION CHANGAN 1000CC

PA030-0300 SENSOR, CRANKSHAFT LOCATION CHANGAN 1000CC

PA030-0401 SENSOR,INLETAIRTEMP CHANGAN 1000CC

Y003-110 OIL FILTER ASSY CHANGAN 1000CC

Y011-020 FILTER, AIR CHANGAN 1000CC

YA019-060 RELEASE BEARING CHANGAN 1000CC

YA104-060 V BELT, A/C CHANGAN 1000CC

YC002-130 SPARK PLUG CHANGAN 1000CC

YC009-340 SENSOR, WATER TEMPRATURE CHANGAN 1000CC

YC010-093 FUEL RAIL WITH INJECTOR CHANGAN 1000CC

YC010-161 SENSOR, OXYGEN, FR CHANGAN 1000CC

YC010-162 SENSOR, OXYGEN BACKWARD CHANGAN 1000CC

YC010-172 SENSOR, THROTTLE CHANGAN 1000CC

YC010-200 SENSOR, KNOCKING CHANGAN 1000CC

YC013-020 FILTER ASSY, FUEL CHANGAN 1000CC

YC017-0801 DISC, CLUTCH CHANGAN 1000CC

YL015-080 WATER PUMP BELT CHANGAN 1000CC

CB10015-0600 COVER ASSY, CLUTCH CHANGAN PICKUP 1000CC

CB10015-0800 DISC ASSY, CLUTCH CHANGAN PICKUP 1000CC

CB10010-0400 COIL, IGNITION CHANGAN PICKUP 1000CC

CB10010-0000 CORD ASSY, HIGH TENSION CHANGAN PICKUP 1000CC

CB10001-0700 SPARK PLUG CHANGAN PICKUP 1200CC

OIL SEAL, CRANKSHAFT FR

BX210-123 SHAFT ASSY, PROPELLER CHANGAN 1000CC

CM5014-0200 ECU CHANGAN 1000CC

CM5058-1400 GRILLE, FR HOOD CHANGAN 1000CC

CM5074-0300 GRILLE, FR BUMPER CHANGAN 1000CC

Y032-110 LAMP, SIDE TURN SIGNAL CHANGAN 1000CC

Y095-040 INTERIOR MIRROR ASSY CHANGAN 1000CC

YA088-060 HANDLE ASSY, FR DR WINDOW RGLTR CHANGAN 1000CC

YC026-283 COIL ASSY, IGNITION CHANGAN 1000CC

YC026-360 CORD ASSY, HIGH TENSION CHANGAN 1000CC

M201057-2503 HANDLE ASSY, FR DOOR OUTER, RH CHANGAN PICKUP 1000CC

M201057-2403 HANDLE ASSY, FR DOOR OUTER, LH CHANGAN PICKUP 1000CC

M201057-1401 HANDLE ASSY, FR DR INNER, RH CHANGAN PICKUP 1000CC

M201057-0401 HANDLE ASSY, FR DR INNER, LH CHANGAN PICKUP 1000CC

Y044-030 BUSHING, FR STABILIZER BAR MOUNTING CHANGAN 1000CC

Y045-010 HUB ASSY, FR WHEEL WTIHOUT ABS CHANGAN 1000CC

Y060-050 PAD , FR BRAKE CHANGAN 1000CC

Y060-150 DISC, FR BRAKE CHANGAN 1000CC

M201049-6301 STABILIZER LINK CHANGAN PICKUP 1000CC

MD201044-0011 ABSORBER & STRUT ASSY, FR SUSPENSION, RH CHANGAN PICKUP 1000CC

MD201044-0001 ABSORBER & STRUT ASSY, FR SUSPENSION, LH CHANGAN PICKUP 1000CC

MD201036-0008 PAD ASSY,FR BRAKE CHANGAN PICKUP 1000CC

F202043-0401 ARM ASSY, FR SUSPENSION, RH CHANGAN PICKUP 1000CC

F202043-0400 ARM ASSY, FR SUSPENSION, LH CHANGAN PICKUP 1000CC

BJT00-223 RR BUSH, RR SPRING CHANGAN 1000CC

P048-0500 BEARING, RR WHEEL CHANGAN 1000CC

Y025-070 OIL SEAL, DRIVE BEVEL GEAR CHANGAN 1000CC

Y047-150 OIL SEAL, RR AXLE CHANGAN 1000CC

Y061-040 SHOE COMP, BRAKE CHANGAN 1000CC

MD201045-0019 ABSORBER ASSY, RR SHOCK CHANGAN 1000CC

MD201037-0011 SHOE ASSY?RR BRAKE, RH CHANGAN PICKUP 1000CC

MD201037-0010 SHOE ASSY?RR BRAKE, LH CHANGAN PICKUP 1000CC

MD201027-0015 BEARING, RR AXLE CHANGAN PICKUP 1000CC

MD201024-0002 SHAFT ASSY, PROPELLER CHANGAN PICKUP 1000CC

CM5102-0401 SENSOR, SPEED CHANGAN 1000CC

YA021-190 OIL SEAL, TRANSMISSION RR CHANGAN 1000CC

Y021-270 OIL SEAL, TRANSMISSION RR CHANGAN PICKUP 1000CC

Y044-090 WASHER CHANGAN PICKUP 1000CC

5W30 ENGINE OIL CHANGAN VAN 1200CC

CB10010-0501 BELT, COMPRESSOR CHANGAN VAN 1000CC

M201059-1303 HANDLE ASSY, MID DOOR OUTER, RH CHANGAN VAN 1000CC

M201059-1203 HANDLE ASSY, MID DOOR OUTER, LH CHANGAN VAN 1000CC

M201099-0500 WASHER ASSY, FR WINDSHIELD CHANGAN VAN 1000CC

M201096-0800-AA Lamp Assy RR Combination LH CHANGAN VAN 1000CC

M201096-0900-AA Lamp Assy RR Combination RH CHANGAN VAN 1000CC

M201096-1000AA Lamp Assy RR Decorative LH CHANGAN VAN 1000CC

M201096-1100AA Lamp Assy RR Decorative RH CHANGAN VAN 1000CC

M201096-1200-AB Lamp Assy RR Fog LH CHANGAN VAN 1000CC

M201096-1300-AB Lamp Assy RR Fog RH CHANGAN VAN 1000CC

M201057-3600 Glass Fr.Door Window LH CHANGAN VAN 1000CC

M201057-3700 Glass Fr.Door Window RH CHANGAN VAN 1000CC

M201059-0600 Glass Assy, RR Door LH CHANGAN VAN 1000CC

M201059-0700 Glass Assy, RR Door RH CHANGAN VAN 1000CC

M201060-1402 Glass FR, Windshield CHANGAN VAN 1000CC

M201070-0100 Glass Ass, Back Door CHANGAN VAN 1000CC

M201059-0800 Glass Side Window LH CHANGAN VAN 1000CC

M201059-0801 Glass Side Window RH CHANGAN VAN 1000CC

M201024-0101 SHAFT ASSY, PROPELLER CHANGAN VAN 1000CC

M201044-0101 ABSORBER & STRUT ASSY, FR SUSPENSION, RH CHANGAN VAN 1000CC

M201036-0800 PAD AASY, FR BRAKE CHANGAN VAN 1200CC

M201045-1600 ABSORBER ASSY, RR SHOCK CHANGAN VAN 1000CC

M201044-0100 ABSORBER & STRUT ASSY, FR SUSPENSION, LH CHANGAN VAN 1000CC

CMX10028-2800 OIL SEAL, RR AXLE, INTERIOR CHANGAN PICKUP 1200CC

SHAFT ASSY, PROPELLER

CM10076-1400 HANDLE ASSY, FR DR OUTER, RH CHANGAN OLD PICKUP 1000CC

CM10076-1300 HANDLE ASSY, FR DR OUTER, LH CHANGAN OLD PICKUP 1000CC

BZ109-118 ARM ASSY, FR SUSPENSION, LH CHANGAN OLD PICKUP 1000CC

PAD , FR BRAKE

BX042-060 ABSORBER & STRUT ASSY, FR SUSPENSION, LH CHANGAN OLD PICKUP 1000CC

BX042-061 ABSORBER & STRUT ASSY, FR SUSPENSION, RH CHANGAN OLD PICKUP 1000CC

BX046-011 ABSORBER ASSY, RR SHOCK CHANGAN OLD PICKUP 1000CC

RR BUSH, RR SPRING

R103093-0200 FUEL FILTER ASSY CHNAGAN SUV70T

C201014-0102 ELEMENT, AIR FILTER CHNAGAN SUV70T

H15002-1500 SPARK PLUG CHNAGAN SUV70T

H15005-1100 OIL SEAL, CRANKSHAFT, RR CHNAGAN SUV70T

H15T012-2600 BELT, WATER PUMP CHNAGAN SUV70T

H15T015-0200 COIL ASSY, IGNITION CHNAGAN SUV70T

B211084-2400 INNER HANDLE, DOOR, RH CHNAGAN SUV70T

B211083-0300 INNER HANDLE, DOOR, LH CHNAGAN SUV70T

F102070-1500 HANDLE, BACK DOOR, OUTER CHNAGAN SUV70T

R103028-0107 STRUT ASSY,FRONT SUSPENSION,L CHNAGAN SUV70T

R103028-0207 STRUT ASSY,FRONT SUSPENSION,R CHNAGAN SUV70T

R103029-0105 SHOE WITH ARM, BRAKE, LH CHNAGAN SUV70T

R103029-0203 SHOE WITH ARM, BRAKE, RH CHNAGAN SUV70T

R103035-0106 PAD ASSY, FR BRAKE,LH CHNAGAN SUV70T

R103035-0107 PAD ASSY, FR BRAKE,RH CHNAGAN SUV70T

R103042-1400 ARM ASSY, FR SUSPENSION, RH CHNAGAN SUV70T

R103042-1300 ARM ASSY, FR SUSPENSION, LH CHNAGAN SUV70T

R103042-1100 BUSHING, FR STABILIZER BAR MOUNTING CHNAGAN SUV70T

R103042-0900 CUSHION, STABILIZER LINK CHNAGAN SUV70T

R103042-0700 LEVER ASSY, CONNECTION CHNAGAN SUV70T

R103041-0101 SHAFT ASSY, PROPELLER CHNAGAN SUV70T

R103040-3200 BEARING, RR AXLE CHNAGAN SUV70T

R103044-0701 ABSORBER ASSY,REAR SHOCK CHNAGAN SUV70T

R103040-3300 BEARING, RR AXLE SHAFT CHNAGAN SUV70T

9405-00577 MULTI-WEDGE BELT YUTONG ZK6122H9 BUS

1105-00079 DIESEL FILTER ELEMENT YUTONG ZK6122H9 BUS

1012-00096 OIL FILTER ZK6858H9

1105-00159 FILTER ELEMENT 1105-00436 (WATER SEPRATER FILTER) YUTONG ZK6122H9 BUS

1105-00436 FILTER ELEMENT 1105-00436 (WATER SEPRATER FILTER) YUTONG ZK6122H9 BUS

9405-00930 DUPLEX B-TYPE BELT YUTONG ZK6122H9 BUS

9405-00144 V-BELT B-TOOTHED 1125 YUTONG ZK6122H9 BUS

1601-00447 CLUTCH DRIVEN DISC YUTONG ZK6122H9 BUS

9405-00058 A-TYPE TOOTHED V-BELT YUTONG ZK6122H9 BUS

9405-00896 DUPLEX B-TYPE BELT YUTONG ZK6122H9 BUS

5302-04407 MIDDLE MASK FRONT WALL YUTONG ZK6122H9 BUS

MMC-920 SPARE PARTS CATELOGUE YUTONG ZK6122H9 BUS

3407-00317 Steering Oil Pump YUTONG ZK6122H9 BUS

L5200-1002460 V-BELT IDLE GEAR PULLY YUTONG ZK6122H9 BUS

1108-00359 Throttle Return Spring YUTONG ZK6122H9 BUS

1108-00935 Throttle Cable YUTONG ZK6122H9 BUS

1308-00189 FAN ASSY YUTONG ZK6122H9 BUS

1601-00442 Clutch Pressure Disk YUTONG ZK6122H9 BUS

1604-00213 Clutch Servo YUTONG ZK6122H9 BUS

1025-00344 Multi-wedge Idler YUTONG ZK6122H9 BUS

3701-00824 Adjusting Bolt YUTONG ZK6122H9 BUS

1306-00362 Thermostat Assembly YUTONG ZK6122H9 BUS

1105-00268 Diesel Fuel Filter Component YUTONG ZK6122H9 BUS

3708-00164 Starter YUTONG ZK6122H9 BUS

3701-00847 Generator YUTONG ZK6122H9 BUS

3702-00442 Generator Regulator YUTONG ZK6122H9 BUS

1306-00397 Thermostat YUTONG ZK6122H9 BUS

1307-00369 Water Pump YUTONG ZK6122H9 BUS

9302-39628 O-Ring YUTONG ZK6122H9 BUS

1307-00481 O-Ring;Water Pump YUTONG ZK6122H9 BUS

3808-00015 Water Level Sensor YUTONG ZK6122H9 BUS

1106-00148 Hand Fuel Pump YUTONG ZK6122H9 BUS

1101-02192 Primary Fuel Filter YUTONG ZK6122H9 BUS

MMC-970 WARRANTY BOOKS YUTONG ZK6122HL BUS

Radiator Assy.(with Cowl)

3702-00341 Generator Regulator YUTONG ZK6122HL BUS

3616-00071 Rotation Speed Sensor YUTONG ZK6122H9 BUS

9405-00577-L MULTI-WEDGE BELT (8PK-1665) YUTONG ZK6122H9 BUS

8211-00283 FIRE EXTINGUISHER YUTONG ZK6122H9 BUS

3509-00762 Air compressor YUTONG ZK6122H9 BUS

3103-00035 FRONT WHEEL OIL SEAL YUTONG ZK6122H9 BUS

3103-00001 FRONT WHEEL OIL SEAL YUTONG ZK6122H9 BUS

3103-00037 FRONT HUB BEARING INNER YUTONG ZK6122H9 BUS

3103-00036 FRONT HUB BEARING OUTER YUTONG ZK6122H9 BUS

3554-00082 FRONT BRAKE LINING YUTONG ZK6122H9 BUS

3502-00867 RIVET FR LINING YUTONG ZK6122H9 BUS

3001-00108 King Pin Copper Sleeve YUTONG ZK6122H9 BUS

3001-00109 King Pin Copper Sleeve YUTONG ZK6122H9 BUS

3001-01216 Steering Knuckle King Pin YUTONG ZK6122H9 BUS

3103-00103 Front Oil Seal Race YUTONG ZK6122H9 BUS

3114-00060 Wheel Bolt Nut YUTONG ZK6122H9 BUS

3519-00739 Front Brake Chamber Assy L/H YUTONG ZK6122H9 BUS

3519-00740 Front Brake Chamber Assy R/H YUTONG ZK6122H9 BUS

3104-00454 REAR HUB SEAL INNER YUTONG ZK6122H9 BUS

3104-00455 REAR HUB SEAL OUTER YUTONG ZK6122H9 BUS

3552-00300 BRAKE LINING REAR YUTONG ZK6122H9 BUS

3552-00754 RIVET REAR LINING YUTONG ZK6122H9 BUS

3104-00451 WHEEL BEARING OUTER RR YUTONG ZK6122H9 BUS

3104-00452 WHEEL BEARING INNER RR YUTONG ZK6122H9 BUS

2214-00010 Drive Shaft Spider YUTONG ZK6122H9 BUS

2401-00703 Oil Seal Race YUTONG ZK6122H9 BUS

2931-00113 Air Spring Seat YUTONG ZK6122H9 BUS

2931-00116 Air Spring Subassy. YUTONG ZK6122H9 BUS

2931-00133 Air Spring Seat YUTONG ZK6122H9 BUS

2931-00134 Air Spring Subassy YUTONG ZK6122H9 BUS

2931-00154 Stopper YUTONG ZK6122H9 BUS

2931-00412 Air Spring 2931-00755 YUTONG ZK6122H9 BUS

2931-00446 Air Spring YUTONG ZK6122H9 BUS

3104-00558 "Bolt,Wheel;M22*1.5*107;10.9" YUTONG ZK6122H9 BUS

3519-00665 Rear Left Brake Chamber YUTONG ZK6122H9 BUS

3519-00666 Rear Right Brake Chamber YUTONG ZK6122H9 BUS

3552-00753 Friction Brake Lining Rear YUTONG ZK6122HL BUS

9401-02677 Spiralock Wheel Nut; M22*1.5-10 YUTONG ZK6122H9 BUS

1701-01966 INPUT SHAFT OIL SEAL YUTONG ZK6122H9 BUS

1763-00057 OUTPUT SHAFT OIL SEAL 1763-01785 YUTONG ZK6122H9 BUS

1703-01475 Selector Cable Assy YUTONG ZK6122H9 BUS

1703-01476 Shift Cable Assy YUTONG ZK6122H9 BUS

1714-00449 Release Bearing YUTONG ZK6122H9 BUS

1608-00082 Clutch Master Cylinder YUTONG ZK6122H9 BUS

1701-00666 Reverse Gear Needle Bearing YUTONG ZK6122HL BUS

Rear Cover, Transmission

4116-00090 FOG LAMP L/H YUTONG ZK6122H9 BUS

4116-00091 FOG LAMP R/H YUTONG ZK6122H9 BUS

4121-00190 HEAD LAMP L/H YUTONG ZK6122H9 BUS

4121-00191 HEAD LAMP R/H YUTONG ZK6122H9 BUS

4116-00079 TURN SIGNAL LAMP RR YUTONG ZK6122H9 BUS

4116-00080 REAR BRAKE & POSITION LAMP YUTONG ZK6122H9 BUS

4116-00081 REAR REVERSING LAMP YUTONG ZK6122H9 BUS

3715-00159 REAR FOG LAMP YUTONG ZK6122H9 BUS

3715-00034 LICENSE PLATE LAMP YUTONG ZK6122H9 BUS

4134-00049 HIGH POSITION BRAKE LAMP YUTONG ZK6122H9 BUS

www.meppon.com/product/5308264-intake-valve-cummins-isf3-8/

www.dawngrace.com by Bella Rose Tattoo Chicago

1

Golden finches with crab apple flowers, knitting needles, and yarn 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.

Fashions in 1876 - For Elinor! by trecrowns

3 14

My print in a frame "On Grandma's Porch". This is the large one and my favorite. Marked April 1876.

"A fashion plate is an illustration (a plate) demonstrating the highlights of fashionable styles of clothing. Fashion plates are not depictions of specific people, but are instead generalized portraits, meant only to dictate the style of clothes that a tailor, dressmaker, or store could make or sell, or to show how different materials could be made up into clothes.

This method of disseminating fashionable styles was popular during the 19th and early 20th centuries, but fashion plates can trace their origins to the 16th century, even if ithe history may not be continuous. Portraits, especially royal portraits, served as the base for the future of fashion plates, as they offered a visual cue as to the popular styles, fabrics and embellishments of the time. Dolls were also popular prior to fashion plates, as Marie Antoinette's dressmaker was known to tour the continent every year with berlines containing dolls outfitted with the latest fashionable styles. Fashion plates, as they were known during the height of their popularity, were first circulated at the end of the 18th century in England, rather than in France, as would be expected. 'The Lady's Magazine', one of the first distributors of fashion plates in magazines, began publishing in 1770, spreading the trend across Europe. In France, 'La Galerie des Modes' was a pioneer in fashion plate publication, and magazines were distributed irregularly during 1778 and 1787. As technology improved, speed of communication and transportation increased, thus allowing consumers access to foreign fashions, accessories and hairstyles. The introduction of an educated middle class also allowed for a more fashion-conscious population that became devoted to fashion plate publications. However, the increasing popularity of photography spelled out the end for fashion plates, as photos offered a realistic portrayal of fashionable styles."

en.wikipedia.org/wiki/Fashion_plate

Godey's Lady's Book

"Godey's Lady's Book, alternatively known as Godey's Magazine and Lady's Book, was a United States magazine which was published in Philadelphia. It was the most widely circulated magazine in the period before the Civil War. Its circulation rose from 70,000 in the 1840s to 150,000 in 1860. In the 1860s Godey's considered itself the "queen of monthlies".

The magazine was published by Louis A. Godey from Philadelphia for 48 years (1830–1878). Godey intended to take advantage of the popularity of gift books, many of which were marketed specifically to women. Each issue contained poetry, articles, and engravings created by prominent writers and other artists of the time. Sarah Josepha Hale (author of "Mary Had a Little Lamb") was its editor from 1837 until 1877 and only published original, American manuscripts. Although the magazine was read and contained work by both men and women, Hale published three special issues which only included work done by women.

When Hale started at Godey's, the magazine had a circulation of ten thousand subscribers. Two years later, it jumped to 40,000 and by 1860 had 150,000 subscribers.

In 1845, Louis Godey began copyrighting each issue of the magazine to prevent other magazine and newspaper editors from pirating their texts. This move, a first in America, was criticized by editors at the Baltimore Saturday Visiter. They called it a "narrowly selfish course" and that Godey would "rue it bitterly".

The magazine is best known for the hand-tinted fashion plate that appeared at the start of each issue, which provide a record of the progression of women's dress. Publisher Louis Godey showed off that in 1859, it cost $105,200 to produce the Lady's Book, with the coloring of the fashion-plates costing $8,000. Almost every issue also included an illustration and pattern with measurements for a garment to be sewn at home. A sheet of music for piano provided the latest waltz, polka or galop." en.wikipedia.org/wiki/Godey%27s_Lady%27s_Book

This link shows some of the fashion plates from Godey's:

books.google.com/books?id=oknr8Do4oNoC&pg=PR3&dq=...

Invisible Dog by NYC No Longer Empty

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

No. 28 - Paddington Jack by Matthew Wells

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. 1: Newshound by Nick Park CBE by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Documenta kassel 2022 d15 . Tent by Thierry Geoffroy / Colonel : Artist