specific photos on Flickr

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

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

en.wikipedia.org/wiki/Thierry_Geoffroy

Documenta From Wikipedia,

The Fridericianum during documenta (13)

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

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

Etymology of documenta

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

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

History

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

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

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

Criticism

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

Directors

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

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

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

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

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

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

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

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

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

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

891.500 in Kassel

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

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

Venues

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

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

Rahmenbau (1977) by Haus Rucker und Co.

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

documenta archive

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

Management

Visitors

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

References

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further reading

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

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

other biennales :

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

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

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

#protestart

PREMIK RUSSELL TUBBS, Multi-Instrumentalist | World Music, Jazz, Experimental, Improv, East-West, Ambient, Pop by Premik Tubbs

'Infinite... All of us within the One and the Oneness of all.... ' -Premik Russell Tubbs

****

“To be completely within myself, in perfect communion WITH the self, the atman, the overmind, beyond both knower and known… a place of perfect poise, not affected by the din and commotion of the outer world….Aum Tat Sat” –Premik Russell Tubbs

****

"Improvisation is an onion of infinite layers. You explore one set of ideas or a specific pattern, taking it to the enth degree, than another layer presents itself. Then another, then another, ad infinitum. Then you wonder why so many creative artists over the years have turned to drugs or other substances, hoping for a short cut to that final layer, but there is no short cut or final layer. That’s the wonderful thing about creativity." -Premik Russell Tubbs

****

“There is never any end. There are always new sounds to imagine; new feelings to get at. And always, there is the need to keep purifying these feelings and sounds so that we can really see what we've discovered in its pure state. So that we can see more and more clearly what we are. In that way, we can give to those who listen the essence, the best of what we are. But to do that at each stage, we have to keep on cleaning the mirror.” ― John Coltrane

_________

Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.

Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.

Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).

Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.

www.premik.com/recordings/discography/

www.premik.com

New music coming soon!

____________

YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980

Russel Tubbs, saxo

Devadip Santana, guitar

www.youtube.com/watch?v=lv_jsp_43h0

____________

Most recent recordings and projects:

In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'

Sound Samples: www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"

****

Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.

Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.

‘Premik has become part of the family...'

www.newagemusicworld.com/will-ackerman-interview-new-in-2...

imaginaryroadstudios.com/

*****

Premik plays on both of these albums

Winners in 2013

10th Annual ZMR Awards

Album: Masako

Artist: Masako M. Kumano

Award Category- Best New Artist

Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)

Album: Dreaming of Now Best

Artist: Shambhu

Award Category: Contemporary Instrumental Album

Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)

www.zonemusicreporter.com/admin/2013award_finalists.asp

****

Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.

www.zonemusicreporter.com/admin/performers.asp

ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/

****

New Age / Ambient / World Top 100 Radio Chart

ZoneMusicReporter.com

Top 100 Radio Play - #1 Top Recordings for January 2014

Title: Call of the Mountains - Artist: Masako

www.zonemusicreporter.com/charts/top100.asp

Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".

****

Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?

Sound samples here: www.bangalorebreakdown.com/music.html

****

Premik and Uli Geissendoerfer released their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com

www.flickr.com/photos/42514297@N04/15543396956/in/set-721...

****

Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com

****

Premik’s ‘Journey To Light Ensemble’

Sound is East/West, jazz., a journey....

With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),

www.premik.com

Dave Phelps (guitar),

www.davidphelpsguitar.com/

Leigh Stuart (cello),

leighstuart.com/about/

Nathan Peck (upright & electric bass),

www.alexskolnick.com/biography-nathan-peck/

Todd Isler (drums, percussion)

toddisler.com/

Naren Budakar (tabla)

www.sooryadance.com/html/Milan/naren.htm

Watch for a Journey To Light Ensemble album to be released in 2014

YouTube JTLE

www.youtube.com/watch?list=UU3hE8wtW3VeyOU17sQd2GQQ&v...

****

TriBeCaStan

Premik (saxophones, flutes, lap steel, wind synth)

tribecastan.tv/

"Coal Again"

www.flickr.com/photos/42514297@N04/15447303643/

***

Premik has performed in Rock for the Rainforest, a biennial benefit concert held by the Rainforest Foundation Fund and Rainforest Foundation US, hosted by the organizations' founders Sting and his wife Trudie Styler in 2008, 2010, 2012 and 2014.

25th Anniversary of the Rainforest Fund Benefit Concert

Thursday, April 17, 2014

Carnegie Hall

Stern Auditorium / Perelman Stage

7 PM

www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...

***

Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA

Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014

Watch/Listen

YouTubes

Premik solo with the London Royal Philharmonic performing "Apla Kathar."

The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.

www.youtube.com/watch?v=XbhReDbyIOY

High praise from Craig Pruess:

"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer

www.heaven-on-earth-music.co.uk/

www.youtube.com/watch?v=4euUuBNUzco

Song of the Ocean by Kristin Hoffmann

All performers of the evening take the stage with the London Royal Philharmonic Orchestra

***

Premik will guest and record with the Five Toe Dragon

Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014

YouTubes 4-18-2014

www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2

www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2

The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.

J. ERIC JOHNSON

F. CARTER HOODLESS

BRIAN LEE

Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth

All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.

Carman Moore is a 2013 Guggenheim Fellowship winner.

www.carmanmoore.com

______________

BeanRunner Cafe

www.beanrunnercafe.com

A wonderful venue!

Owners Ted and Drew are true champions of the arts.

****

Premik Russell Tubbs | The Music of Karl Jenkins | Carnegie Hall

MARTIN LUTHER KING DAY

Monday, January 19, 2015

Premik Russell Tubbs played "bansuri & ethnic flutes" in this concert. (Bansuri is an Indian bamboo flute).

nyconcertreview.com/reviews/distinguished-concerts-intern...

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

www.karljenkins.com/

***

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

4

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

20 euros offerts pour l'impression de vos documents by Coordination Gironde Ouest Téléthon

Printoclock - Tarifs et délais de choc

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Robert Cremean: STUDIO SECTION 2008-2009 by rdlv1

MONOLOGUE OF ART, on the left quadrant of the center diptych of the West Wall, which may be read below.

STUDIO SECTION 2008-2009 is an extension of the “non-specific autobiography” realized and examined by Robert Cremean in VATICAN CORRIDOR, A Non-Specific Autobiography. It consists of three parts: East Wall: Calvary—Donors With Crucifixion, in which the artist gives unprecedented voice both to Gestas and to Dismas who were crucified with Jesus; Il Passetto, the corridor in which he makes a metaphoric exposition of the treatment of women by the three “hats”: the helmet of the warrior, the mitre of religion, and the bowler of commerce; and West Wall: Self-Portrait As a Young Artist in which “the young artist” is addressed verbally and metaphorically through three monologues: the Monologue of Art, the Monologue of the Artist, and the Monologue of History. Listening to the conflicting and diametrically opposing views written on the diptych behind him on the West Wall is the bust of the young artist who looks with an inscrutable gaze through the horrors of Il Passetto to the horrors of Calvary on the East Wall and at the Donors, aloof and blinded to the controlled chaos behind and in front of them.

These are but a few of the ideas and images contained within STUDIO SECTION 2008-2009. As in any work of art, the viewer may create his own world out of the images, metaphors and words confronted therein.

STUDIO SECTION 2008-2009

East Wall: Calvary--Donors With Crucifixion

West wall: Self-Portrait As A Young Artist

Middle: Il Passetto

2008-2009

Wood, wood mâché, metal, gesso, modeling paste, acrylic, graphite

Each of the six diptychs measures 8' x 8' 1"

Over all dimension for exhibition: 40' x 40'

Collection:

Toledo Art Museum

Toledo, Ohio

Monologue of Art

I am that which you seek but cannot find...never find...must never find. Listen...your ear creates my voice. I have no other. I am silence. You call me Art. Others call me God...but I am silence. I am that which remains among the ashes after the death of species...that which has never been and will always be. Voiceless, it is I, only I which will remain. You dream of mastery yet only failure can create you. You are neither too young to hear my voice nor too old to seek my song. My distance remains the same. Like the horizon, I am unattainable. Failure is your fortune and your legacy. Embrace it. Create my voice. There is no greater joy—no more thrilling existence than the creation of silence. I make verbs out of nouns. From silence, the creation of my voice, you can hear the thunder of my song. I will enter you. I will change you. If you are open to me, I will enter you. As the alchemist can turn lead into gold, I will change noise into silence. Through your work, through my song, you can force the silence. Young artist, history will inform you that fame and fortune is the name of the game—and he is just in his honesty. But what if it is not a game...what if it is something else entirely? My utterances cannot be deemed honest for there is no proof of their existence. My song lies within the bourn of the responder. Only he or she can bear witness to my existence. Only he or she can give testimony to my being...to my Isness. I do not exist in nature. I am resident in artifacts of art, music, and poetry but am discovered only within the bourn of the responder. Only he or she can create me, make my song tactile within the bourn. I cannot be recorded or historicized...nor would the responder wish it so. Our intimacy goes beyond intimacy. It is wordless and absent of description, life changing and orgasmic. If an artist creates my song within his bourn, his Desire cannot be tethered. He will embrace me forever within the ecstasy of failure. You are feeling the first stirrings of Desire—longing, detachment, otherness, expectation. I am your purpose. You will serve no other. You know also who you are and what you must seek. You are free. Embrace me. Seek my song. You are yet to be. I do not remember my first creation nor do I remember my last. On rare occasions, perhaps, they occur simultaneously on separate points of the horizon on different continents with differing intensities of climax. My inception is of no concern...where or with whom is not my concern. That I am capable of inception is my only concern. I cannot be taught. I cannot be learned. I can be conceived only within the bourn of the responder and any artifact is capable of inducing response on any level at any place at any time to anyone. I am a threat to any and all order...culture, history, isms, and schisms. I am chaos. I am Art. Odes are written to me but these are adulations of my masks of seduction: cultural compatability, historical compliance, servility in hierarchism, commercial desirability, societal pliability, adornment, harmony of consensus, and on and on...But I am created within the solitary bourn of the responder, and for that I am borne without masks. I simply occur. Without pretense or placement, I simply occur, unexpected and unintended. History records my masks. He sees no other countenance. How could he?—Why should he? Our realities lie on opposite sides of the horizon. My entelechy repudiates actualism. Facts and dates. Movements and influences are history’s province. If you find necessity in such matters. If you seek answers rather than questions, young artist, you will not live beyond your years. Through esthetic response I penetrate the bourn. The responder has no defense against my injection. The conception is immediate and can be cataclysmic depending on the profundity of response. Only sexual orgasm is comparable. It, too, exists without vocabulary. It, too, is ahistorical. It, too, is nondescriptive with a response that is a sudden shift in reality. It, too, need happen only once to instill abiding Desire within the sanctum of the bourn. I ask nothing of you nor do I instruct. I speak only if you hear my voice. Many artists create artifacts without having heard my voice and yet their artifacts may create response within the bourn of the responder. Who responds and who creates is not our concern for you know, at least, that we are not strangers. Your response in Florence was orgasmic. You have wrung my song from me with a passion for one so young. It will attend you always, for the better or for worse. You have confirmed my reality. Do not mistake me for the artifact that carries me. Art is not extant in objects or artifice. I exist as verb rather than noun contained by event. I am chaos unleashed by response to shatter the bourn. Only questions exist for you now...and failure. Only Desire lies extant within your bourn. Shorn of ego, you must build a new gestalt. There are no rewards to nourish you outside the reality of the bourn, All climax will be onanistic. As an artist, you have no further need of me. My song has freed you from the bonds of history and culture. You have created my voice within the bourn and have no further need of me...and by experiencing my reality you have reconfirmed my Isness. Transparency is our beginning and our end.Neither one of us can prove that the other exists except through response. We must be confirmed within the bourn of the responder as the responder is created creator within the sanctity of the bourn. Not all artists are created equal. Some few imbue within their artifacts strengths that transcend the cultural metaphors of their time. This seems especially true of music...you, however, are a sculptor and must overcome the physicality of your craft. Apart from architecture, which houses us all, sculpture is too there and not there enough. Of all the arts, it moves clumsily through time and space...But you are a sculptor...By desire and temperament you are a sculptor. Is your desire large enough, strong enough to sustain penetration?..To make that which is three dimensional two dimensional, and that which is two dimensional, three dimensional? These are the near impossibilities of your craft. To draw in space requires wizardry. Are your hands coherent and your eye compliant?..and your reach?..and your courage?..and your strength? There is some weakness that I sense, some flaw, something not secure in the spine of self...Whether I abide in your confections is neither here nor there to me. This is your dilemma, young artist. You must become authentic. I reside where and when I am found. I do not choose my abode. Only the responder is my creator. I reside where I am found and found where I am created. Art history is my nemesis. It seeks to force into linear time my most potent artifacts, limiting accessability and encouraging prejudice. By establishing an artificial distance between artifact and viewer, response is hampered and confusion occurs. To view an object—any object—viewer and object must exist in the same space at the same time. To impose historical distance when response is imminent is like having a chaperon in the room...except for “contemporary art” wherein group fornication is encouraged. My creation occurs only when one viewer responds to one artifact in one space at one time. I exist only in the bourn of that one responder, my only furtherance being the life span of that bourn. I am acultural, ahistorical, indescribable, and irrevocable, my existence, mythical, except to the altered state of my creator. My greatest fecundity gestates within artifacts of deep transparency and responders of fierce Desire and necessity...I am of rare creation. Appreciation opacifies my transparency, obscuring reflection, emphasizing object. Often the objects that contain me become entombments through oppressive historicity. Desire is conflicted through bifurcation of furtherance and I am removed from possibility of broad random response. This duality between Art and artifact is of delicate balance. Spontaneity of response is subject to intellectual restraint and deflection. Nothing, however, can restrain response once engagement has been made. Regardless of historical labeling and cultural accreditation, any artifact, no matter how humble or critically acclaimed, has the potential to induce response. Only the viewer/responder can create me. Only the responder can determine the depth of profundity of response. I can reside in a child’s beloved toy and in a grand collector’s “masterpiece” and if response does not catalyze my becoming, I do not exist. I am a gestalt of many metaphors; none, however, define my totality...all ensure my furtherance. Metaphors such as art is beauty, art is pleasure, art is treasure, art is entertainment, art is culture—all of these ensure the endurance and resurgence of my artifacts. I am man’s beginning and his end, Desire, his perfect isness. Through Art, I am revealed in awesome certitude. If and when response occurs, I will feel nothing. I am not imbued with empathy. I am mankind’s beginning and its end...not its witness. Man is part of my gestalt, not I his. He is that which I am and have always been and will be until we are no more. He seeks fulfillment. He seeks what he cannot attain which is himself. He must eternally glimpse and grasp because his isness is Desire. He plays with death because life is too complex and too simple to grasp. He cannot gain or grasp me for I am himself...and he fears himself. He fears Art. He fears transparency. He fears response. He must be taken by surprise. Culture seeks to protect him offering instruction and formulae to ward off ambush. Ridicule is a powerful ally when enforcing conformity and there is nothing more ludicrous than ignorance. Resistance to cultural intimidation requires courage. The creation of Art has nothing to do with the creation of culture. We are not synonymous. It is culture, young artist, that will test you to the limits of your weakness and your strength. Friends will become enemies or, worse, strangers. Enemies will remain enemies, therefore a source of consistency...and ever and always your survival relies on an embrace of failure. You must judge always from the inside out rather than be judged from the outside in. Accept neither praise nor criticism...both will destroy you...both seek to control. The search for transparency is your sole reward and purpose. There is no other constancy. I am culture’s enemy for it cannot control my residency; only you have the power to enfold me. Though I can be created only within the bourn of the responder, your artifacts are the catalysts for Art’s creation. Be humble though it be mistaken for arrogance. Your critics can neither create nor destroy you. They are as frass in amber. As you seek to increase my transparency, I increase my depth. It is only your embrace of failure that makes your endurance plausible. I am that which you seek but cannot find...will never find...must never find. Only your artifacts are significant. Only they are of necessity. Only they enfold the possibility for my creation. It is only my release from your artifacts that gives their making meaning. It is for history to recored your significance...It is for me to forgive your life. As science stretches out toward the beginning of the universe, Art’s transparency opens inward to the revelation of Desire. Hubble, an artifact of science, transmits data that is transforming humanity’s idea of itself, dispelling superstition, and confronting ignorance. Artifacts of art rely on history to certify their qualifications for ensurance of furtherance. Would it were otherwise, young artist. Your culture has abandoned the Now to be reflected in the mirror of a future that will never be. My nowness cannot flourish in a past of such obvious fabrication...And you, young artist, must avoid remembrance in such reflection. You will be dead soon enough without embellishing the corpse of a culture in atrophication. History is linear. It seeks to connect all links. Since history ended on 8/6/45, culture-makers seek now to fill a void with objects and isms in a pretense toward linkage. These attempts are futile. All life hangs within the suicide’s time frame. All that is has been irrevocably changed. The making of historical links has become mannered and meaningless; the artifacts, hollow and circumstantial. What then of you, young artist, why do you labor? I have enough, more than enough, artifacts to catalyze my creation. I have no need of more... Desire was my beginning and Desire will be our end. What began as Art will end with science...Mankind has misdirected both and history will lead us unrecorded into nihility. 8/6/45 is a date like no other. In actuality, parts and pieces of life may survive its significance. But for my creator three generations have since devolved into mutation. Reality is where I am created deep in the bourn of the responder. My creation has become a cause for pain and profound sorrow. Ecstasy no longer describes the orgasmic experience within the bourn...There is also anger and resentment against the forces that have brought humanity to conclusion and all life to finality. The aesthetic experience no longer creates passionate silence but intolerable rage. The words, “How dare they!” ride the tongue of my responder...“How dare they ignore what they have done!” “How dare they pretend that nothing has irrefragably changed!” “How dare they continue their drive toward annihilation with blind compulsion!” Enough!

The Paddington on the Corner of Clifford Street and Old Bond Street by Matthew Wells

1

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) |

Colour Highlighted Effect by Kev

5 2

This effect is great for highlighting a specific colour in a pic to draw your attention to it.

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

1

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

PICT02 by Ingmar Spijkhoven

1

Model "Trailer Tr3 MkII” is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of trailer. This build represents a three axle log trailer with liftable third axle.

The trailer features: solid axle suspension on all axles, one set of lights, kingpin, remotely controlled landing gear and parking break, remotely controlled liftable third axle that simultaneously extends or retracts the rear impact guard and this model has many details.

This newly designed and engineered trailer utilizes the same suspension as US Truck T2 MkII which uses LEGO® rubber belts and LEGO® rubber axle connectors.

This model is another custom design by Ingmar Spijkhoven AKA 2LegoOrNot2Lego that comes with building instructions and inventory/parts list!

You can build it yourself! To do so you can buy the Building Instructions. Early in the building process you will see what it is that you are building. You will be very excited from the moment you start the build of "Trailer Tr3 MkII" till you finish it with a total number of parts of about 1000 pieces.

Simultaneously with lifting the third axle the rear impact guard is retracted. So with the third axle down the rear impact guard is fully extended, this to increase safety when hauling loads. Unloaded the total length of the combination is reduced with the third axle lifted and the rear impact guard in.

As with most log trailers this model has so called bolsters or bunks. Those are the U shaped frames on top of the trailers chassis. Bolsters are obviously necessary to keep the logs in place. Even though the bolsters on this specific model are fixed they can easily be re-located if wanted. The number of six can also be altered to your own needs. Give this trailer the setup you want it to have.

To learn more about this and other creations visit me at MOCpages.com, Flickr.com or YouTube.com.

Primates. Baboon. Kruger National Park. Kruger Shalati. The Train on the Bridge. South Africa. May/2021 by EKatBoechat

Primates. Baboon. Kruger National Park. Kruger Shalati. The Train on the Bridge. South Africa. May/2021

Baboon

Baboons are Old World monkeys belonging to the genus Papio, part of the subfamily Cercopithecinae which are found natively in very specific areas of Africa and the Arabian Peninsula. The five species are some of the largest non-hominoid members of the primate order; only the mandrilland the drill are larger. Previously, the closely related gelada (genus Theropithecus) and the two species (mandrill and drill) of genus Mandrillus were grouped in the same genus, and these Old World monkeys are still often referred to as baboons in everyday speech. They range in size and weight depending on species. The Guinea baboon is 50 cm (20 in) and weighs only 14 kg (31 lb), while the largest chacma baboon can be 120 cm (47 in) and weigh 40 kg (88 lb).

Source: Wikipedia

Babuíno

Os babuínos são macacos do Velho Mundo pertencentes ao gênero Papio, parte da subfamília Cercopithecinae, encontrada nativamente em áreas muito específicas da África e da Península Arábica. As cinco espécies são alguns dos maiores membros não hominóides da ordem dos primatas; somente o mandril e a broca são maiores. Anteriormente, a gelada (gênero Theropithecus) e as duas espécies (mandril e broca) do gênero Mandrillus estavam agrupadas no mesmo gênero, e esses macacos do Velho Mundo ainda são freqüentemente chamados de babuínos na fala cotidiana. Eles variam em tamanho e peso, dependendo da espécie. O babuíno guiné tem 50 cm (20 pol) e pesa apenas 14 kg (31 lb), enquanto o maior babuíno chacma pode ter 120 cm (47 pol) e pesar 40 kg (88 lb).

Fonte: Wikipedia (tradução livre)

Kruger National Park

Kruger National Park is one of the largest game reserves in Africa. It covers an area of around 20,000 square kilometres in the provinces of Limpopo and Mpumalanga in northeastern South Africa, and extends 360 kilometres (220 mi) from north to south and 65 kilometres (40 mi) from east to west.

Source: Wikipedia

Parque Nacional Kruger

O Parque Nacional Kruger é a maior área protegida de fauna bravia da África do Sul, cobrindo cerca de 20 000 km2. Está localizado no nordeste do país, nas províncias de Mpumalanga e Limpopo e tem uma extensão de cerca de 360 km de norte a sul e 65 km de leste a oeste.

Os parques nacionais africanos, nas regiões da savana africana são importantes pelo turismo com safári de observação e fotográfico.

O seu nome foi dado em homenagem a Stephanus Johannes Paul Kruger, último presidente da República Sul-Africana bôere. Foi criado em 31 de Maio de 1926

Fonte: Wikipedia

Kruger Shalati

Kruger Shalati: The Train on the Bridge. One of the most anticipated and exciting new offerings coming to the iconic Kruger National Park, South Africa. A perfect combination of Africa’s most breathtaking natural splendours with well-deserved luxuries aboard a newly refurbished train that’s reminiscent of African excellence.

Permanently stationed on the historically-rich Selati Bridge above the Sabie River, Kruger Shalati will offer the most unique luxury accommodation in a re-envisioned train which will pay homage to the guests who explored the park nearly 100 years ago while welcoming new explorers from near and far. The train celebrates where the first visits to the iconic park were allowed in the early 1920s, the train would park overnight in the exact spot where Kruger Shalati will be positioned.

Offering 31 rooms, consisting of 24 carriage rooms and 7 Bridge House rooms, all of which will provide a deeply visceral experience, tailored for immersive comfort. Whether you’re looking for a one-of-a-kind adventure, an enthralling break or to simply immerse yourself in earth’s finest creations, Kruger Shalati looks forward to welcoming you on a journey of discovery with nature in the most extraordinary way imaginable.

Source: www.krugershalati.com

Kruger Shalati: O trem na ponte. Uma das novas ofertas mais esperadas e emocionantes que chegam ao icônico Parque Nacional Kruger, na África do Sul. Uma combinação perfeita dos esplendores naturais mais deslumbrantes da África com luxos bem merecidos a bordo de um trem recém-reformado que lembra a excelência africana.

Permanentemente estacionado na histórica Ponte Selati acima do Rio Sabie, Kruger Shalati oferecerá a acomodação de luxo mais exclusiva em um trem reformulado que homenageará os hóspedes que exploraram o parque há quase 100 anos, enquanto recebe novos exploradores. O trem celebra onde as primeiras visitas ao parque icônico foram permitidas no início dos anos 1920, o trem estacionaria durante a noite no local exato onde Kruger Shalati será posicionado.

Oferecendo 31 quartos, consistindo de 24 quartos de carruagem e 7 quartos Bridge House, todos os quais proporcionarão uma experiência profundamente visceral, adaptada para um conforto imersivo. Esteja você procurando por uma aventura única, uma pausa cativante ou simplesmente mergulhar nas melhores criações da terra, Kruger Shalati espera recebê-lo em uma jornada de descoberta com a natureza da maneira mais extraordinária que se possa imaginar.

Fonte: www.krugershalati.com (tradução livre)

Two Eds Are Better Than One by Matthew Wells

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

Blazing Saddles by Matthew Wells

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

PREMIK RUSSELL TUBBS, Multi-Instrumentalist | World Music, Jazz, Experimental, Improv, East-West, Ambient, Pop by Premik Tubbs

Oneness.....

'Infinite... All of us within the One and the Oneness of all.... ' -Premik Russell Tubbs

****

“Everything in the universe is within you. Ask all from yourself.”

― Rumi

****(

“To be completely within myself, in perfect communion WITH the self, the atman, the overmind, beyond both knower and known… a place of perfect poise, not affected by the din and commotion of the outer world….Aum Tat Sat” –Premik Russell Tubbs

****

"Improvisation is an onion of infinite layers. You explore one set of ideas or a specific pattern, taking it to the enth degree, than another layer presents itself. Then another, then another, ad infinitum. Then you wonder why so many creative artists over the years have turned to drugs or other substances, hoping for a short cut to that final layer, but there is no short cut or final layer. That’s the wonderful thing about creativity." -Premik Russell Tubbs

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“There is never any end. There are always new sounds to imagine; new feelings to get at. And always, there is the need to keep purifying these feelings and sounds so that we can really see what we've discovered in its pure state. So that we can see more and more clearly what we are. In that way, we can give to those who listen the essence, the best of what we are. But to do that at each stage, we have to keep on cleaning the mirror.” ― John Coltrane

_________

Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.

Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.

Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).

Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.

www.premik.com/recordings/discography/

www.premik.com

New music coming soon!

____________

YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980

Russel Tubbs, saxo

Devadip Santana, guitar

www.youtube.com/watch?v=lv_jsp_43h0

____________

Most recent recordings and projects:

In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'

Sound Samples: www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"

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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.

Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.

‘Premik has become part of the family...'

www.newagemusicworld.com/will-ackerman-interview-new-in-2...

imaginaryroadstudios.com/

*****

Premik plays on both of these albums

Winners in 2013

10th Annual ZMR Awards

Album: Masako

Artist: Masako M. Kumano

Award Category- Best New Artist

Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)

Album: Dreaming of Now Best

Artist: Shambhu

Award Category: Contemporary Instrumental Album

Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)

www.zonemusicreporter.com/admin/2013award_finalists.asp

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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.

www.zonemusicreporter.com/admin/performers.asp

ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/

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New Age / Ambient / World Top 100 Radio Chart

ZoneMusicReporter.com

Top 100 Radio Play - #1 Top Recordings for January 2014

Title: Call of the Mountains - Artist: Masako

www.zonemusicreporter.com/charts/top100.asp

Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".

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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?

Sound samples here: www.bangalorebreakdown.com/music.html

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Premik and Uli Geissendoerfer released their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com

www.flickr.com/photos/42514297@N04/15543396956/in/set-721...

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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com

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Premik’s ‘Journey To Light Ensemble’

Sound is East/West, jazz., a journey....

With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),

www.premik.com

Dave Phelps (guitar),

www.davidphelpsguitar.com/

Leigh Stuart (cello),

leighstuart.com/about/

Nathan Peck (upright & electric bass),

www.alexskolnick.com/biography-nathan-peck/

Todd Isler (drums, percussion)

toddisler.com/

Naren Budakar (tabla)

www.sooryadance.com/html/Milan/naren.htm

Watch for a Journey To Light Ensemble album to be released in 2014

YouTube JTLE

www.youtube.com/watch?list=UU3hE8wtW3VeyOU17sQd2GQQ&v...

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TriBeCaStan

Premik (saxophones, flutes, lap steel, wind synth)

tribecastan.tv/

"Coal Again"

www.flickr.com/photos/42514297@N04/15447303643/

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Premik has performed in Rock for the Rainforest, a biennial benefit concert held by the Rainforest Foundation Fund and Rainforest Foundation US, hosted by the organizations' founders Sting and his wife Trudie Styler in 2008, 2010, 2012 and 2014.

25th Anniversary of the Rainforest Fund Benefit Concert

Thursday, April 17, 2014

Carnegie Hall

Stern Auditorium / Perelman Stage

7 PM

www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...

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Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA

Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014

Watch/Listen

YouTubes

Premik solo with the London Royal Philharmonic performing "Apla Kathar."

The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.

www.youtube.com/watch?v=XbhReDbyIOY

High praise from Craig Pruess:

"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer

www.heaven-on-earth-music.co.uk/

www.youtube.com/watch?v=4euUuBNUzco

Song of the Ocean by Kristin Hoffmann

All performers of the evening take the stage with the London Royal Philharmonic Orchestra

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Premik will guest and record with the Five Toe Dragon

Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014

YouTubes 4-18-2014

www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2

www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2

The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.

J. ERIC JOHNSON

F. CARTER HOODLESS

BRIAN LEE

Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth

All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.

Carman Moore is a 2013 Guggenheim Fellowship winner.

www.carmanmoore.com

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BeanRunner Cafe

www.beanrunnercafe.com

A wonderful venue!

Owners Ted and Drew are true champions of the arts.

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Premik Russell Tubbs | The Music of Karl Jenkins | Carnegie Hall

MARTIN LUTHER KING DAY

Monday, January 19, 2015

Premik Russell Tubbs played "bansuri & ethnic flutes" in this concert. (Bansuri is an Indian bamboo flute).

nyconcertreview.com/reviews/distinguished-concerts-intern...

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

www.karljenkins.com/

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Possum Kingdom State Park SP65_031 by Texas State Archives

3

Title: Picnic Fireplaces

Specific Date: 12//1941

Architect: Chambers, Ben R., draftsman

Remarks: Black ink and pencil on paper showing picnic fireplaces, including grill, top or plan view, side elevation, end elevation, pattern details of bar grill.

Dimensions: LN: 36.25" x WD: 24.50"

Hound Dog by Matthew Wells

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

Olinda by Plic

6 1

Olinda- Pernambuco - Brasil

*site specific

*Plic*

gabrieow@gmail.com

verão 2011

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

1

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

The Paddington within Rembrandt Gardens by Matthew Wells

Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

No. 1: Love, Paddington X (Lulu Guinness) |

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