specific photos on Flickr

Cleburne State Park SP53_076 by Texas State Archives

Title: Bath House

Specific Date: 4/4/1942

Architect: Hammond, R.J., draftsman

Remarks: Pencil, black ink, and brown ink on paper showing bath house, including ice vault door details, kitchen elevation, kitchen elevation Z, kitchen elevation X, ice vault section A-A, ice vault section B-B, kitchen elevation W, plan of ice vault, ...

Dimensions: LN: 35.25" x WD: 23.875"

Defenstration - San Francisco by Konrad Summers

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.

Leptopterna dolabrata by Photospool

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Blush at Leicester Square 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) |

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

aimage033-DB-103-170-7 by tisdalem2001

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A Ride on the Rheingold, 12 March 1980

My March 1980 Eurailpass trip did not have too many specific objectives. I pretty much made up my itinerary as I went along, thinking "this might be a good idea" and doing it.

There were a few things I'd wanted to do and among them were rides on Germany's Rheingold and Le Mistral in France. Both were TEEs in 1980, 1st class only. The TEE network was not as extensivfe by 1980 as it had been a few years earlier with some TEEs having been replaced by or reclassified as Intercity trains with 2nd class as well as 1st class cars. In fact, Germany's Intercity fleet ran every hour with a diner and first class cars that came from the same pool as TEEs would use.

I'd read about the Rheingold in various publications since the 1960s. At one time, it had featured a dome car, but that was gone by 1980. It was one of the few European trains with a lounge car as well as a diner.

I''d wound up in Switzerland after starting my travels in Spain and probably decided to use the Rheingold to leave Switzerland when I got there. At the time, the Rheingold was a Geneva-Amsterdam train with through cars from Milan and Chur. The Milan car ran on the Tiziano, a Milan-Hamburg train classed an IC in Germany, and is what I rode as the Tiziano swapped directions and power in Luzern after crossing the Gotthard line.

The Rheingold trip was my first time in Germany after having been interested in Germany railways since the late 1960s when I got Marklin model trains, and I was very impressed by the 200 km/h running in placed behind a Class 103 electric as well as the overall eifficiency and level of service of the DB. I had gotten used to that level of service, if not quite the speed in several days in Switzerland, but the DB really made a strong positive impression. The Rheingold was one fo the few trains where I ate in the dining car...despite having a 1st class railpass, this was definitely a budget trip and I usually got food at grocery stores or cheap restaurants, as diners are expensive.

While waiting at Luzern for the Tiziano, the Metropolitano came through southbound. This was a Frankfurt-Milan IC train with FS 2nd class cars, DB 1st class and, in Switzerland, a Swiss diner and baggage car that looked quite a bit older than the sleek Italian and German coaches.

The trip on the Rheingold had a bit of comedy at the Dutch border...Dutch customs searched my bags. I had been on the road for close to 2 weeks since leaving my friends in Belgium and had gone through just about all of my clothes, underwear and socks in that time. I was planning to find a laundromat in Amsterdam as I'd have all day in the Netherlands, so the customs officer got a nosefull of my dirty laundry as he searched for contraband. I was thinking, "You don't smuggle drugs INTO the Netherlands, you buy them in Amsterdam and take them elsewhere!" I had nothing illegal with me, just a lot of film, cameras and dirty laundry.

The Rheingold stuck aroundd for a few more years at the TEE network turned into IC and EuroCity trains. I saw it in 1984, by which time, its cars had an extra stripe to distinguish them from the normal DB IC 1st class and dining cars.

I just checked and today there is no through Geneva-Amsterdam service. Taking a combination of TGV, and Thalys via Paris with a change of stations takes about 2 1/2 hours less time than the 1980 Rheingold did. From Basel, once again, the trip is faster, but entails several changes of trains, including one ICE and Thalys route with changes at Koln and Brussels. TGVs and ICEs do not lend themselves to having cars switched in and out.

No. 31: Special Delivery 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) |

ROLL KALL... by SPOT.KMS...NYC

7 1

no specific order... cause WE ALL ARE OF A SPECIAL ODER!!!

www.youtube.com/watch?v=juBRHjqx9jc&feature=player_em...

Inks Lake State Park SP-64-27 by Texas State Archives

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Title: Concession Building

Specific Date: 10/19/1942

Architect: Hammond, R.J., draftsman

Remarks: Pencil, black ink, and blue ink on paper showing concession building, including section B-B, elevation of counter, section A-A, section D-D, section 1-1, section C-C, section D-D, section and elevation of booth.

Dimensions: LN: 36.25" x WD: 24.00"

star trails jul 8 2014 by C S T

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Specific experiments

Michigan Traffic Risk by IDV Solutions

Here is a Michigan-specific partner graphic to the seasonal and weekly time-risk for traffic fatalities. Commissioned by the Lansing State Journal, It covers ten years of Michigan's driving history and shows hot spots in time for various sorts of traffic risk.

Felix Gonzalez-Torres, Untitled (Throat), 1991 by Andrew Russeth

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

No. 38: Isambark Kingdog Brunel by Tim Miness by Matthew Wells

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

@algonquinoutfit : @DiscoverHockley @Algonquin_PP We have tickets available for our next film at the @Algonquintheatr: #TraversWild… https://t.co/da4G66Y5w7 by Algonquin Outfitters

@algonquinoutfit : @DiscoverHockley @Algonquin_PP We have tickets available for our next film at the @Algonquintheatr: #TraversWild… t.co/da4G66Y5w7 (via Twitter twitter.com/algonquinoutfit/status/825366548370030592)

1912 Rolls-Royce Silver Ghost by Georg Sander

1

The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.

Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works, before moving to Derby in July 1908 and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.

The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.

The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.

(Wikipedia)

- - -

Das unter der Bezeichnung Rolls-Royce 40/50 hp entwickelte Automobil wurde von 1906 bis 1925 produziert und durch die Phantom-Reihe abgelöst. 1913/1914, nach dem Gewinn eines entsprechenden Wettbewerbes, wurde auch ein Modell mit dem Namen Rolls-Royce Alpine Eagle gefertigt, dessen Motor einen geringfügig größereren Hubraum (121 mm Hub anstatt 120 mm), aber eine geringere Leistung (55 bhp (40 kW) anstatt 65 bhp (48 kW)) hatte.

Vor dem ersten Weltkrieg war der Silver Ghost eines der technisch fortschrittlichsten Autos der Welt, was ihm den Ruf als bestes Auto der Welt einbrachte. Während des Krieges erfolgte keine Weiterentwicklung und der Rückstand auf andere zeitgenössische Konstruktionen wuchs. Schließlich erfolgte 1925 der Ersatz durch den Rolls-Royce Phantom I. 1906 wurde auch von einem britischen Automobiljournalisten erstmals die Wortschöpfung der Waftability diesem Fahrzeug zugeschrieben. Diese Wortschöpfung von damals prägt die Rolls-Royce-Fahrzeuge bis heute als Alleinstellungsmerkmal.

Modelle vom Typ Silver Ghost hatten unter anderem in folgenden Filmen Auftritte: Lichter der Großstadt (1931), Rebecca (1940), Citizen Kane (1941), Giganten (1956), Lawrence von Arabien (1962), Die tollkühnen Männer in ihren fliegenden Kisten (1965) und Frankenstein Junior (1974).

(Wikipedia)

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

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

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

India - Maharashtra - Ajanta Caves - 804gg by Manfred Sommer

The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.

The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.

The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.

The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.

HISTORY

Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.

The caves are generally agreed to have been made in two distinct periods, separated by several centuries.

CAVES OF THE FIRST (SATAVAHANA) PERIOD

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.

Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu

CAVES OF THE LATER OR VAKATAKA PERIOD

The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.

The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.

Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.

According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.

REDISCOVERY

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.

Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.

PAINTINGS

Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".

Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.

All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.

In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.

COPIES

The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.

Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.

A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.

Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).

ARCHITECTURE

The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.

The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.

The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.

The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.

The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.

The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.

A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.

ICONOGRAPHY OF THE CAVES

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).

The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.

The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.

CAVES

CAVE 1

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.

The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.

This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.

Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.

CAVE 2

Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.

Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.

The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.

The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.

Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.

CAVE 4

The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".

The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.

CAVES 9-10

Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.

The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.

OTHER CAVES

Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.

Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.

SPINK´S DETAILED CHRONOLOGY

Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.

According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.

Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.

Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".

IMPACT ON MODERN INDIAN PAINTINGS

The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.

The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.

WIKIPEDIA

Prague Jan 2015 (2) 045-Edit-2 by Mark Schofield

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We had a trip to Prague in January 2015 – for Jayne’s birthday - we don’t buy Christmas or birthday presents, we travel instead. We left snowy England for a very, very dull and grey Czech Republic. Yet again I was on a photographic downer looking at the weather forecast, grey is the colour that haunts me. Fortunately it was dull grey and not burnt highlight inducing bright grey.With the grey sky acting like a big diffuser I was going to have deep shadow and contrast to deal with. We had three very short spells of broken cloud which gave us a bit of sun and colour, which I managed to more or less anticipate so we managed to be in decent locations every time – generally somewhere high.

We had been upgraded to a five star hotel, apparently our original choice was flooded. We got compensation and five star hotel upgrade– a first for me. The Art Nouveau Palace has a beautiful interior, with beautiful rooms, the breakfast room was fantastic, as was the breakfast it has to be said. We were able to have an early breakfast so were out on foot just after eight. It was very cold – and dull! We spent the whole week well wrapped up. It drizzled for a day, but never really wet us, it snowed for a day, again we didn’t get wet and the snow didn’t settle. We walked 65 mile, spending plenty of time checking buildings and their interiors out – and coffee shop and bar interiors it has to be said. Although it was dull and sometimes wet I decided that the Camera was staying in my hands for the whole trip. Whenever I put it in my backpack for one reason or another I regret it.

Again, I didn’t look at any photographs of Prague before we got there, I like to just walk and discover, with the DK guidebook in my pocket (which is full of photos it has to be said). We like to get off the beaten track and see the grittier side of the places we visit – within reason! Prague has an incredible tram network, over 1000 trams – with many of them Tatra Eastern Bloc machines. The system seems chaotic but in reality it is incredible with one of the largest networks and highest usages in the world. The trams and cars frequently share the same road space with very little in the way of drama, none of the inexplicable and pathetic constant horn blowing one finds in many countries. Once it became apparent that buildings with a grey blanket as a background were going to be a bit un-inspirational I decided that the trams would be a good focal point instead. Where I have photographed one of the older trams against a background without clues it is easy to imagine that the photos were taken fifty years ago.

The train network also provided photo opportunities. The rolling stock ranges from old Eastern Bloc to very modern double decker’s and pendolinos. There are three stations although we visited the main station and Smichov. The main station interior is art deco and has been renovated by a private company. The exterior and the platforms are very rundown with a grim eastern bloc 1950’s feel –but it works! We discovered to our amusement that we could just walk across multiple lines, no health and safety, just keep your eyes open and don’t walk under a train – you’ll make a mess. Smichov station was grim, it didn’t help that it snowed all day and was grey and bitter. We felt like we were in a 50’s film set in Russia, broken concrete platforms and dereliction. With both stations there was another world underneath them. The underground Metro is running seamlessly and efficiently away beneath your feet. I didn’t have any problems taking photos anywhere but I was very open and obviously a tourist, I didn’t act covertly or suspiciously. There was only one occasion I was stopped and that was in a shopping centre – full of CCTV cameras filming everyone else!

We discovered old and beautiful- and very large- shopping centres hidden away in quite a few places. Brass framed windows and doors, shops thriving, there was a massive camera shop with thousands of second hand cameras, too much to look at. Many of the landmark buildings prevent photography, some make a small charge, some encourage it, the DK guide book gives a good indication regarding camera use. Nothing stops many people though, they just shoot away regardless, usually wanting a picture that includes their self. Prague is surrounded by low hills and has a fair few towers that you can pay a few pounds to go up, so viewpoints are plentiful. I think we visited most of them. I read about the Zizkov Tower, which looks like a Soviet rocket on the horizon and we headed straight for it - after crossing the rail lines! Set in a quiet residential area, there wasn’t a soul about. Two beautiful girls on reception and we parted with a few pounds, into the lift and were on the observation deck with no one else up there. There are fantastic views over the city, but! It is through two layers of not very clean glass so you go for the view rather than sharp panoramas. Still a fascinating place, with a nice café bar and very clean toilets – there are toilets everywhere, usually manned with a fee. Places are well staffed compared with home were three students are supposed to run a 20 screen multiplex cinema.

Graffiti was prominent, no matter how grand the monument, some moron would have daubed it. How do they get away with it in a 24 hour city centre with a strong police presence? The place is very clean, constantly being swept. What did surprise me, was that many buildings, that looked grand and built of stone, from a distance, were actually rendered with very low quality brickwork concealed. When restored the building look very impressive, others are missing the outer render from ground level to a fair height.

I need to cut this short really, I like to put a background story to the photos and although it would be better to individualise it to a specific photo or group of photos I don’t have the time to do that. I do try to give specific detail in the title bar after I have uploaded, this is time consuming enough although I’m pretty proficient at it by now. There are many things I would like to write that should be of interest to anyone thinking of going to Prague but I’ll have to let the pictures do the talking. As usual I am unlikely to be selective enough with my uploads, I’m not very good at leaving photos out so I just upload and be damned.

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

No. 21: What a Wind Up! by Trevor Bayliss CBE by Matthew Wells

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

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Luggage specific set by Eric Estlund

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Designed for customer supplied Acorn bar and Arkel trunk bags.

www.WinterBicycles.com

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

TJ's BMW F80 M3 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

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F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Rhododendrons by John

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Specific species name welcomed please...

Ferrari Dino 206SP by - KMP -

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This specific car, s/n 026, participated in the 12 Hours of Sebring in 1967 but was taken out of the race due to suspension problems 65 laps in. Nearly two months later, it burned to ashes during practice for the Nurburgring 1000km. After the accident, the chassis was sent back to Maranello to await repairs, but the damage was to such an extent that Ferrari deemed it not worth the expense to repair. In 1969, it was purchased by a French collector, Pierre Bardinon, but the chassis remained untouched and unrepaired. In 1982, the chassis was purchased by Italian Ferrari collector Currado Cupellini. He began a lengthy and comprehensive restoration with help from Ferrari. However, the engine and gearbox were not the same as used in the original. It was an Ex-Tasman 246 F2 unit wîth Hewland gearbox. The car was raced a few times in the mid-90's at tracks such as Mugello and Spa-Francorchamps. In 1997, it participated in Ferrari's 50th anniversary celebration. Shortly after, it was sold to Bernie Carl in Wahsington DC. He sent it to the UK to have a proper engine (Tipo 231B) and gearbox (Tipo 537) fitted to it. The engine used was a rare twin-plug, fuel-injected unit which produces over 240hp.

www.barchetta.cc/english/All.Ferraris/Detail/Dino/026.206...

www.conceptcarz.com/vehicle/z8788/Ferrari-206-S.aspx

The team, Scuderia Filipinetti, was based in Geneva, Switzerland. It no longer exists today.

Herbert Müller (Swiss, 1940-1981) and Günter Klass (German, 1936-1967) were the drivers in the Sebring race. Both drivers died in racing accidents. Herbert was killed in a Porsche 908 at the Nurburgring 1000km in 1981, while Günter was killed in a Dino just like this one at Mugello just under two months after this one burned. While Herbert returned for the Nurburgring 1000km, he was partnered with Jean Guichet (French, 1927- ).

Anselm Kiefer - I Sette Palazzi Celesti by Cristian Cri

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Anselm Kiefer

I Sette Palazzi Celesti

L’installazione site-specific I Sette Palazzi Celesti, realizzata per HangarBicocca in occasione della sua prima apertura nel 2004, deve il suo nome ai Palazzi descritti nell’antico trattato ebraico Sefer Hechalot – il “Libro dei Palazzi/Santuari” risalente al IV-V sec. d.C. – dove si narra il simbolico cammino d’iniziazione spirituale di colui che vuole arrivare al cospetto di Dio.

L’opera rappresenta il punto d’arrivo dell’intero lavoro dell’artista e sintetizza i suoi temi principali proiettandoli in una nuova dimensione fuori dal tempo: essi contengono infatti in sé l’interpretazione di un’antica religione (quella ebraica); la rappresentazione delle macerie dell’Occidente dopo la Seconda Guerra Mondiale; la proiezione in un futuro possibile da cui l’artista ci invita a guardare le rovine del nostro presente.

Le sette torri, del peso di 90 tonnellate ciascuna, hanno altezze variabili tra i 14 e i 18 metri e sono realizzate in cemento armato utilizzando come elementi costruttivi moduli angolari ottenuti dai container utilizzati per il trasporto delle merci. Il loro antecedente è il progetto de La Ribotte a Barjac nel sud della Francia, residenza dell’artista tra il 1993 e il 2007, composto di edifici, cunicoli e gallerie che si snodano su una vasta superficie nella campagna francese.

Anselm Kiefer

The Seven Heavenly Palaces

The site-specific The Seven Heavenly Palaces installation, created for HangarBicocca in 2004, is one of the most important works by the German artist Anselm Kiefer. It takes its name from the palaces described in an ancient Hebrew tract, the Sefer Hechalot or "Book of Palaces", which describes the symbolic path of spiritual initiation of those who wish to enter into the presence of God.

The work represents the culmination of Kiefer's entire artistic career, summing up his main themes and projecting them into a new, timeless dimension. This can be seen in the way it interprets an ancient religion (Judaism) and represents the ruins of the West after the Second World War. It also shows us a projection into a possible future, from which the artist invites us to look back at the ruins of our own present.

The seven towers, which weigh 90 tonnes each and vary in height between 14 and 18 metres – are made of reinforced concrete, using the corner units from goods containers as construction modules. Their forerunner is the La Ribotte project in Barjac, in the South of France, where the artist lived from 1993 to 2007. This consists of buildings, passageways and tunnels that wind their way across a vast area of the French countryside.

Gymnocalycium pflanzii (Vaupel) Werderm. by Sebastian Santecchia

Gymnocalycium pflanzii (Vaupel) Werderm. subsp. argentinense H. Till & W. Till

Sin.: Gymnocalycium marquezii Cárdenas var. argentinense Backeb., nom. inval. Ref.: Till & Till, 1988.

Hábito: Hierba suculenta.

Status: Nativa.

Elevación: 0-500 m.

Prov.: SA. Paises limítrofes: BO, PA.

Ejemplar examinado: Schreiter 6472 (LIL).

- Catálogo de las Plantas Vasculares de Argentina. Cactaceae. Kiesling, R. -

G. pflanzii (Vaupel) Wendermann, Bluh. Kakt. fig 94 (1935); Vaupel, Zeitschr. f. Sukkf, 1:83 (1923) - as Echinocactus pflanzii.

Schutz´s SubGenus Pirisemineum;

Buxbaum´s Series Pflanziana

There is little doubt that this species embraces the several specific names erected for differing forms found in the same broad area, viz. G. chuquisacanum, G. comorapense, G. izozogsii, G. lagunillasense, G. marquezii, G. millaresii, G. riograndense and G. zegarrae. And althougth they have been reduce to varietal or form status beneath G. pflanzii, there is little justification for retaining them any level for what is clearly a widespread variable species. Ritter recognized one variety on the basis of fruit colour difference, G. pflanzii var. albipulpa, under which he sank G. zegarrae (reduce already by Donald to varietal rank, as G. pflanzii var. zegarrae, which invalidated Ritter´s choice of a new name).

Hans and Walter Till have recently taken an old varietal name invalidly erected by Backeberg, and validated it, describing it in considerable detail, viz. G. pflanzii var. argentinense, but this seems to have no more validity than those mentioned above, and in view of the proliferations of names already under this specie, it is considered here inappropiaded to recognize any, since the differences are insignificant, and to recognize one begs the questions or recognizing them all.

It is generally a solitary species, later sometimes clustering from the base. The body in the wild is said to get to as much 50 cm (over 18 ins) wide (but there have been doubts cast on this reporting). In the cultivation it is rarely seen at more than 15 cm or so broad, 6 to 8 cm tall. It is a dull, yellowish to olive green, sometimes tinted purpled, with 8 or 10 ribs, or more when larger, with fat, rounded tubercles obscuring the ribs formations. Areoles are long-oval with white wool. Radial spines number 6 to 9, curving, strong, stiff, pinkish-whitish-brown with darker tips, to 25 mm long, usually curving back strongly towards the body in a very characteritics way for the species. There is one, similar central spine. Flowers are short tubed, to 5 cm long and wide, pale whitish-pink to deep salmon pink (this often applying to the name G. marquezii), with deep violet red throat. Fruit is almost globose, reddish-purple, about 1.5 to 2 cm wide, splitting (unusually) transversely to spill out a sticky jam containing the seeds. The seeds are tiny, brownish-black, pear-shaped.

Reported from Bolivia, near Palo Marcado, east of Villa Montes; and extensively from Argentina, at Lumbreras, Province Salta, Jujuy at 600 m, Rio Juramento at 800 m, Yacuiba at 1200 m, and from Paraguay, Boqueron at 450 m (WO 50), to Bolivia, Valle Grande by the Rio Grande, Comarapa at 1200 m, Potosi, Lagunillas, Sotomayor, and Millares, as well as from Bolivia, Santa Cruz, Cordillera, the Izozog basin, near El Atajado, at 400 m altitude, growing on the edge of thorny forest on loose, sandy soil.

Collector´s number referred here are Lau 343

, 938 (G. marquezii), 940, 942 (G. izozogsii), 946 (G. lagunillasense, 948 (G. zegarrae), 950 (G. comaparense), 951 (G. millaresii), 995a (G. millaresii); WR 183 (G. zegarrae), 183a (G. lagunillasense), 183b (G. riograndense), 291 (G. millarensii); FR 29, 397, P 154, 240; KK 492, 519, 521 (G. marquezii), 523 (G. pflanzii var. pilcomayense nom. nud.), 524, 717 (G. riograndense), 828 (G. marquesii), 831 (G. pflanzii var. argentinense), 850 (G. lagunillasense), 857 (G. lagunillasense var. camiri nom. nud.), 1684 (G. pflanzii var. tominense nom. nud.), 1738 (G. pflanzii var. microspermun nom. nud.); WO 80, B 107 (G. marquezii); DV 49 (G. zegarrae); HU 310; JL 29.

- Gymnocalycium a collector´s guide. Pilbeam, J. 1995. -

Gymnocalycium pflanzii (Vaupel) Werdermann 1935 Echinocactus pflanzii Vaupel 1923 Gymnocalycium lagunillasense Cardenas 1958, G. pflanzii var. lagunillasense (Cardenas) Donald 1971 Gymnocalycium marquezii Cardenas 1958 Gymnocalycium riograndense Cardenas 1958, G. pflanzii var. riograndense (Cardenas) Donald 1971 Gymnocalycium zegarrae Cardenas 1958, G. pflanzii var. riograndense (Cardenas) Donald 1971 Gymnocalycium comarapense Backeberg 1959, not validly published Gymnocalycium chuquisacanum Cardenas 1966 Gymnocalycium izozogsii Cardenas 1966, G. pflanzii var. izozogsii (Cardenas) Donald 1971 Gymnocalycium millaresii Cardenas 1966, G. pflanzii var. millaresii (Cardenas) Donald 1971 Gymnocalycium pflanzii var. albipulpa F. Ritter 1980, not validly published Gymnocalycium pflanzii subsp. argentinense H. Till & W. Till 1988 Gymnocalycium pflanzii subsp. dorisiae Amerhauser 1998

Plants usually solitary, clustering with age. Stems flattened globose, yellowish to olive green, tinted with purple, 6-8 cm (2.4-3.1 in) high, to 15 cm (5.9 in) or more in diameter. Ribs 8-10, large, round. Areoles long, oval. Central spine one, fairly short. Radial spines 6-9, stout, very stiff, curved back ward in a distinctive fashion, pinkish to whitish brown, with darker tips, to 2.5 cm (1 in) long. Flowers with short floral tubes, whitish pink to salmon pink, to 5 cm (2 in) long and in diameter. Fruits globose, reddish purple, 1.5-2 cm (0.6-0.8 in) in diameter. Distribution: Bolivia and Argentina. Numerous varieties have been described for the variable and widespread Gymnocalycium pflanzii. Three subspecies are recognized. Subspecies pflanzii is widely distributed. Subspecies argentinense occurs near Gonzalez, Salta, Argentina. Subspecies dorisiae occurs in Tarija, Bolivia.

- The Cactus Family. Anderson, E. 2001. -

00775 G. pflanzii (Vaup) Werd 1935/BKS t. 94. B: 04816 Echinocactus pflanzii Vaup 192 3/ZfS 1: 83. T: BO, Tarija, 50 km from Villa Montes, Palo Marcado, nr bank of Rio Pilcomayo, Pflanz, cult. Berlin, np. NT (Till+ 2000/Gym. 13(1): 344): BO L, Tarija, Palo Marcado, Amerhauser HA 941-4 (LPB). Distr: AR (Salta), BO (Cochabamba, Chuquisaca, Potosi, Santa Cruz, Tarija), PY.

[3] Bo simple, depressed-globose, <50 cm but usually much less in cultivation, dull green; ri indistinct, spiralling, divided into large tubercles; sp <2.5 cm, smooth, red-brown with darker tip at first, later rough, pinkish grey, dark-tipped; esp 1, erect; rsp 6-9, spreading, somewhat curved; fl c. 4 x 4 cm, variable in colour, lasting 3-4 days and tending to fade from pale peach through pale pink to white, with wine-red throat; fr subglobose, red; pulp red (w hite in ssp. zegarrae) sd small 0.7 x 0.5 mm, glossy chestnut-brown, strophiole apiculate. • Resembling G. saglionis, but distinguished by the red-throated flower and different seed (see Hunt & Barthlott 2000/SPR 5 : 98, pl. 43.1, 43.2).

14148 ssp. pflanzii. Distr: BO (Chuquisaca, Potosi, Santa Cruz, Tarija), PY. Descr. as above ............................ph 278.6 12 365 ssp. argentinense Till+ Till 1988/KuaS 39(12): 273-2 77. T: AR, Salta, border with Santiago del Estero, Rio Juramento, nr Gonzalez, cult. ex coll Uhlig in Till 684 (WU).

Bo dull grey-green; fl urceolate, greenish pale-pink or white. ..................................................................................ph 279.1

14147 ssp. zegarrae (Card) Chas 2005/CSI 20 : 18. B: 092 67 G. zegarrae Card 1958/KuaS 9(2): 21 , illus. T: BO, Cochabamba, Campero, Perez -Mairana, J 700 m, Oct I 94 7, Cardenas 5019 (LIL 531566, holo., US, iso.). Fr green or rarely orange; pulp white ......................................... ph 279.2

- The New Cactus Lexicon. Hunt, D. 2006. -

..."This cactus thrives in the sotobosque, at the border and clearings of the dry Chaco forest. It grows semi-buried in sandy soil, in groups of several individuals (Pin and Simon 2004)."...

www.iucnredlist.org/details/151809/0

- Gymnocalycium pflanzii (Vaupel) Werderm. is an accepted name -

www.theplantlist.org/tpl1.1/record/kew-2835767

"Pantalones Rotos" by Wilfredo Prieto by Latitudes | Barcelona

Conceived by Wilfredo Prieto as his project for the Composiciones programme, “Pantalones rotos” (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of the reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in “Pantalones rotos”, this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes

Wilfredo Prieto (Sancti Spiritus, Cuba, 1978) pursued art studies at the Instituto Superior de Arte (Higher Institute of Fine Arts ISA), graduating in 2002. Prieto’s recent solo exhibitions include: ‘Ping Pong Grid’, Museo Nacional de Bellas Artes, Havana, Cuba (2015); ‘Speaking Badly about Stones’, S.M.A.K, Ghent, Belgium (2014); ‘Incidences from the Private to the Public and from the Public to the Private’, NMAC Foundation, Cádiz, Spain (2013); ‘Leaving Something to Chance’, Sala de Arte Público Siqueiros, México (2012); ‘Balancing the curve’, Hangar Bicocca, Milan, Italy (2012); ‘Amarrado a la pata de la mesa’, Centro de Arte 2 de Mayo (CA2M), Móstoles, Madrid (2011); and has participated in group shows such as ‘Under the same sun: Art from Latin America Today’, Guggenheim Museum, Nueva York (2014); ‘Coup d’éclat, En résonance’, Biennale d'art contemporain de Lyon, Francia (2009); ‘Untitled’, 12th Istanbul Biennial, Turquía (2009). Prieto has been awarded the Cartier Award (Frieze Art Fair, London, 2008) and the UNESCO Prize for the Promotion of the Arts (2000).

––

“Pantalones rotos” (2012/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.

In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Conceived and curated by Latitudes | www.lttds.org

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

Info: www.lttds.org/projects/composiciones2016/

Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...

Melissa Cruz García - VITRINE 29, 2012 by Ed Jansen

site specific vitrine

camera obscura, stereoscoop, mixed media

A recurring element in Melissa’s working process is the research and exploration of unstable media. This exploration results in drawings, objects, installations, machines and public-rural interventions. Cruz Garcia is interested in an artisan and portable way of creating performative machines and digital media intending to put the public in a situation where he/she is active part of the work. Using purely what the possibilities and the circumstances provide and in contrast with the concept-subject she is currently employing, Melissa aims to formulate hypothetical futures. She takes discarded materials attributed to different cultures, de-contextualizes and refreshes them by a physical and conceptual transformation.

www.melissacruzgarcia.com/

IED disposal at Camp Hero by Canadian Army | Armée canadienne

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Kandahar Airfield, Afghanistan Specific 16 Jun 2011

IED disposal at Camp Hero

Master Corporal Chris Wessel, an Operational Mentor and Liaison Team (OMLT) Engineer from Task Force Kandahar provides instruction to Afghan National Army (ANA) Engineer Company Basic Demolition Course at Camp Hero, Kandahar. He is providing instruction on the conventional munitions and IED disposal, to members of the ANA 4th Kandak, 1st Brigade of the 205th (Hero) Corps, Engineer Company.

Task Force Kandahar continues to conduct security operations to help Afghans build a country that is more secure, stable and prosperous, and no longer a safe haven for terrorists. More training of the Afghan National Security Forces is required to meet this goal, and to protect the gains for which Canadian soldiers have fought and sacrificed.

Canadian Forces Image Number AR2011-0233-029

By Cpl. Tina Gillies with Roto 10, Task Force Kandahar, Afghanistan.

_____________________________Traduction

Aérodrome de Kandahar, Afghanistan Le 16 juin 2011

Le Caporal-chef Chris Wessel, un ingénieur de l’Équipe de liaison et de mentorat opérationnel (ELMO) de la Force opérationnelle Kandahar, donne un formation aux participants au Cours élémentaire de destruction – Compagnie du génie de l’Armée nationale afghane (ANA), au Camp Hero à Kandahar. Le cours porte sur la neutralisation des munitions conventionnelles et des IED, et il est dispensé aux membres du 4e Kandak de l’ANA, 1re Brigade du 205e Corps (Hero), Compagnie du génie.

La Force opérationnelle en Afghanistan continue de mener des opérations de sécurité afin d’aider les Afghans à bâtir un pays plus stable et prospère, où règne la sécurité et où les terroristes ne trouvent plus refuge. Pour atteindre cet objectif et pour protéger tout ce pour quoi les militaires canadiens se sont battus et ont fait des sacrifices, les Forces de sécurité nationales afghanes ont besoin de plus d’instruction.

Image des Forces canadiennes numéro AR2011-0233-029

Par le Cpl Tina Gillies avec Roto 10, Force opérationnelle Kandahar, Afghanistan

Felix Gonzalez-Torres by Marc Wathieu

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View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.

WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.

Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).

To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.

Text source :

www.wiels.org/site2/event.php?event_id=160

Family tree - Monrad by Sigurdór Guðmundsson

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This is from a family gathering in august. Here Andreas Úlfur is being written in the family tree. That specific family line goes back few hundred years. See the line to Andreas Úlfur for yourself: (It's in danish....)

;-)

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1 : Hans Monrad/Mondrath

(Hans Monrad stammer fra Ungarn, hvor faderen var møller. Melder sig til krigstjeneste under den tyske Kejser og udmærker sig i den grad under den første krig mod tyrkerne, at han blev Kejserlig general i Thüringen. Blev adlet og fik befaling til at føre en halv¬måne (Mond) i sit våben til minde om tyrkerkrigen og et hjul (Rath) til minde om sin forrige stand, deraf navnet Monrad.)

2 : Jacob Monrad.(Jacobus Hanssøn Monradus)

(Døde meget gammel 1578 i Cappeln. Var år 1500 præst i Lütten-dahl 2 mil fra Goslar. Sammen med Luther var han medunder skriver af den Augsburgske Confession. Medskriver af den Bergenske bog, kaldet: Formula Concordiæ, trykt i Frankfurt a. Oder 1581. Jacob Monrad var gift med Luthers søster von Bora, andre mener Luther's hustrus - Catharina von Bora - søster.) Gift med: von Bora/Bohrn

3 : David Monrad. † 1579

4 : Johannes Monrad. 1566- 6/2 1623

5 : David Monrad. 18/10 1591-1653/9

6 : Elisabeth Davidsdatter Monrad. 1644-1718/20. Gift med: Jørgen Marcussen. 1617-1682/3. Kappelan i Assens 1645

7 : Marcus Monrad. 1669-1716

8 : Phillip Ditlev Monrad. 1709-

9 : Marcus Nicolaj Monrad. 16/1 1746-1808

10 : Anne Matthia Monrad. 1/1 1804-ca. 1888. Gift 25/3 1836 med: (6B/A) Christian Clemmensen. 31/10 1811-0/7 1894

11 : Niels Peter Clemmensen. 20/8 1838-1931

12 : Christian Clemmensen. 1868-5/3 1912

13 : Aksel Juel Clemmensen. 26/5 1902-1990. Gift 29/6 1930 med: Sigrid Elisa Monrad Mikkelsen, f. 1903.

14 : Kirsten Augusta Juel Clemmensen. 26/6 1932. Gift 18/10 1958 med: Jan Willy Andersson. 20/1 1931-16/5 1986.

15 : Helle Juel Andersson. 21/9 1960

16 : Sigrid Cecilie Juel Hansen

17 : Andreas Úlfur Juel Sigurdórsson

No. 38: Good Morning, London 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) |

Riserva naturale orientata "Laghetti di Marinello" (Patti Me) by Luigi Strano

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Between the promontory and the sea lies the nature reserve of the Laghetti di Marinello with its everchanging landscape following the seasons and the tides. A thin spit of sand hides four characteristic salt water lakes, caused by the sea flowing into the bay. The formation of the lagoon area dates back to about 100 years ago, between 1865 and 1895 , due to specific tectonic processes and also to the unique weather and sea conditions exist along this strip of coast. The lagoon area is located within the " Natural Reserve lakes of Marinello " established in 1998 and operated by the Province of Messina.Within the reserve , which covers about 380 hectares, there are a wide variety of environments : it goes from lacustrine to brackish coastal marine sands , the steep slopes and areas overlooking the sea . It is also a lovely natural cave : Cave Woman Villa , difficult to reach because overlooking the sea , within which are formations of stalactites , stalagmites and columns. An old legend tells that in this cave there lived a witch enchantress ( as the sorceress Circe of Homer ) that if after luring sailors to her singing sublime liberate devouring it . If the prey escaped the witch vented his immense rage against the walls of the cave affossandovi , with all its force , the fingers of his hands. The name of the sorceress was Donna Villa and only a few would be able to escape ! In terms of the impending Shrine of the Black Madonna is located in a sandy area that draws a long spit of sand that juts into the Tyrrhenian Sea to the east. In order to appreciate the good form it is convenient to go up to the shrine from where one has a unique overview: In addition to the long sandy bar you can clearly see the lakes of Marinello. To reach them you have to get to the town of Oliver, and from there head north towards Marinello. The car is left at the entrance of the Natural Reserve lakes of Marinello, and then you can take a walk to find their own lonely corner of the beach. Keep in mind the distance, the sand bar has variable size, depending on the currents and seasons, and you can travel up to about 2 km to reach the tip!

Sono spettacolari laghetti marini intrappolati da lingue di sabbia proprio sotto l’altissima rupe culminante, nella parte più alta, con la meravigliosa Tindari. Il numero dei laghetti varia a seconda della stagione e delle maree.Sono raggiungibili a piedi dal paese di Marinello passeggiando nel litorale sabbioso. Sul colle dirimpetto, su un fianco del capo, un sentiero conduce alla grotta della Maga (foto, detta anche Donna Villa), che secondo la leggenda attraeva i marinai con il suo canto e la sua bellezza per poi divorarli. Il 17 Agosto del 310, proprio in questa caverna, morì papa Eusebio, esiliato in Sicilia da Massenzio. Per entrare alla grotta bisogna attraversare un piccolo sentiero da contrada Rocca Femmina. Si tratta di una cavità naturale collocata a 76 metri sul livello del mare, costituita da tre piccoli e quasi inaccessibili atri o caverne. All'interno si trovano bellissime formazioni stalattite e stalagmitiche di vario colore (a conferma che nei periodi di scioglimento dei ghiacciai essa è stata sott'acqua) ed un pozzo profondo circa 3 metri. Nelle pareti sono presenti un'infinità di microfori, creati dai litodomi (molluschi marini), mediante erosione; secondo la leggenda questi fori sarebbero stati provocati dalle unghie della maga, che così si sarebbe sfogata ogni volta che non riusciva ad attirare il navigatore di passaggio.La macchia mediterranea è composta da euforbia, canne, mirto, capperi e fichi d’India. La fauna da molluschi in acqua e uccelli migratori attorno.La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari.L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri.Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.

La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari. L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri. Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.

La flora più intressante è costituita da :

Hyparrhenia hirta(barboncino mediterraneo);

Helichrysum italicum (elicriso);

Ruppia maritima (fieno di mare);

Echinops spinosissimus (cardo-pallottola vischioso);

Dianthus rupicola (garofano delle rupi);

Brassica incana (cavolo biancastro);

Lonicera implexa (caprifoglio mediterraneo).

Tra le specie dell'ittiofauna segnalate nella riserva merita una menzione il ghiozzetto macrocefalo (Millerigobius macrocephalus) un piccolo ghiozzo che vive a modeste profondità sui fondali fangosi del laghetto "Verde". Altre specie ittiche presenti sono l'anguilla, il latterino capoccione, il cefalo bosega, il ghiozzo nero, il ghiozzetto minuto, la bavosa pavone e il pesce ago, a cui si aggiungono, negli ambienti a salinità marina, il grongo, la spigola e la mormora.

Sport Specific Workout by Team Swimex

Blake's BMW F82 M4 with 18" ARC-8 Wheels in Anthracite by Apex Wheels

F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 and 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Tires: Nitto NT01

1925 Rolls Royce Silver Ghost 02 by Glenister

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The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.

Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.

The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.

In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.[2]

The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six. A three speed transmission was fitted at first with four speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication and the centre main bearing was made specially large to remove vibration, essentially splitting the engine into two three cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919. Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.

During World War I development of the Silver Ghost was suspended, but the chassis and engine were supplied for use in a range of Rolls-Royce Armoured Cars.

The substantial chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever with a pedal operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913, but from 1923, four-wheel, servo-assisted brakes became optional.[3]

Despite these improvements, by the early 1920s the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded. Sales declined from 742 in 1913 to 430 in 1922, and the company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.

In all, a total of 7874 Silver Ghost cars were produced from 1907 to 1926 including 1701 from the American Springfield factory, many of them still running to this day.

aimage006-Luzern-Re6-6-Metropolitano-11679 by tisdalem2001