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Visions of America: Amériques
Audio/Visual Performance conducted by Esa-pekka Salonen, performed by Los Angeles Philharmonic
6th of November, 2014
Walt Disney Concert Hall, Los Angeles
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'The Los Angeles Philharmonic’s multimedia presentation of Edgard Varèse’s Amériques launched the new in/SIGHT series at Walt Disney Concert Hall,The presentation of Amériques is accompanied by the new Anadol site-specific architectural video installation, which was developed to illuminate and enhance the Varèse's composition and to activate the architecture of Walt Disney Concert Hall. The dynamic visual program created by Anadol uses custom-built algorithmic sound analysis to listen and respond to the music in real time, using architecture as a canvas and light as a material. Additionally, the movements of Salonen, as he conducts, will be captured by next generation Microsoft Kinect hardware and 3-D depth camera analysis to inform the visuals displayed. The result was a powerful and immersive experience for the audience that engaged their visual and auditory senses.'
Launching in/SIGHT – the LA Phil's groundbreaking series of concerts with video – this program embodies the vision of the New World as a place of unlimited artistic freedom. Amériques was the first musical piece that Varèse composed upon coming to New York and this project is fittingly the first site-specific audio-visual performance that I produce in the U.S. I approached this collaboration from the standpoint of a non-linear and ephemeral interaction between Salonen, Varèse, and me, and hope that I will be able to transform Varèse’s timeless musical fiction into an immersive visual medium through which a new kind of storytelling will occur. Rather than approaching this medium as a means of escape into some disembodied techno-utopian fantasy, this project sees itself as a means of return. It aims to facilitate a temporary release from our habitual
perceptions and culturally biased assumptions about being in the world, and to enable us, however momentarily, to perceive our own stories and the stories around us freshly.
In a recent interview with the Huffington Post, Anadol stated regarding this work, “Instead of creating a media screen, there will be a story inside the space. What happens if you add a video layer that speaks to the audience in a whole new experience? We're exploring the boundaries of what is real, what is physical, what is virtual…”
I would like to sincerely thank everyone who made this project possible. This project would never have been possible without the tremendous and generous support of Los Angeles Philharmonic, President and CEO Deborah Borda; Vice President of Artistic Planning Chad Smith; Artistic Administrator Meghan Martineau and Concert Operations Manager Taylor Saleeby. I would also like to thank for their open-handed support the University California, Los Angeles, Department of Media Arts’ faculty members, Microsoft Research, and Lili Cheng, Finally and specially I would like to thank Frank Gehry for his dreamful canvas and Esa-Pekka Salonen for his open-minded collaboration with me to discover “New Worlds.”
CREDITS
Video Artist: Refik Anadol
Artistic Management: Dave Hunt
Executive Producer: Efsun Erkilic
Senior Generative Designers: Sebastian Neitsch & Woeishi Lean
Senior 3D Designer: Raman K. Mustafa
Senior Animator: Simon Russell
Junior Animators: Bahadir Dagdelen, Michael Hsiu, Kian Khiaban, Toby Heinemann,
Laurence Menor.
Research Assistant: Jarad Solomon
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
QUALIFICATIONS
C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
Registered Advanced Punchfit
SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017) Site specific installation. Work in progress.
“When I was growing up I always wanted to be someone. Now I realize I should have been more specific.”
inspirationalquotes.club/when-i-was-growing-up-i-always-w...
Bukit Kuang, Kedah, Malaysia.
"Tunggul cantum getah berakar bogel"
Freshly pulled bare-root budded stumps from Hevea rubber ground nursery ready for planting in earth-filled poly-bags. After a bit of trimming to the excessive secondary roots and the long tap roots the stumps are promptly planted to avoid dessication.
Note: The greenish portion at the stumps with the polythene tape removed are the successful bud patches with the specific rubber clone.
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
Blue Man Group at Las Vegas 51s Baseball Game
(They would hold up this sign when they were done with a specific sketch and wanted the audience to stop cheering)
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.
Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below
No. 1: Love, Paddington X (Lulu Guinness) |
No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |
No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
QUALIFICATIONS
C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
Registered Advanced Punchfit
SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
Multinational students attending the International Special Training Center's (ISTC) Advanced Close Quarter Battle Course participate in a field training exercise at the Hohenfels Training Area, Germany, May 29, 2013. The ISTC, headquartered in Pfullendorf, Germany, trains U.S. and partner nation Special Operations Forces and enablers in special forces-specific patrol, medical, staff training, recognition and survival techniques.
(U.S. Army photo by Markus Rauchenberger/Released)
Intersection, a colorful, site-specific mural was produced by three artists, Heidy Garay, Mikell Fine Isles and Sam Vernon, in partnership with the Dumbo Business Improvement District for a corrugated metal fence on Front Street in Dumbo. This mural symbolizes the constant movement of DUMBO. The curved lines, painted in seven distinct colors, play on the straight, unwavering lines of the corrugated metal fence. The piece is meant to brighten the landscape underneath the Manhattan Bridge, while referencing the New York City Subway map as well as the cross-sections of cultures in this neighborhood.
NYCDOT Urban Art Program, pARTners
Intersection by Heidy Garay, Mikell Fine Isles, and Sam Vernon
Presented with DUMBO Business Improvement District
Front and Adams Streets, Brooklyn
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. ITALIA / USA - Aggiornare: 'Petrolio - Ladri di bellezza 2018/2022'; Gli studiosi italiani: "Musei negli USA - Restituisci quello che hai rubato!"; in: RAI 1 HD / VIDEO (2018) & Senatrice & Archeologa Margherita Corrado / Fb (08/2022) = "Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo"; in: ARTRIBUNE & LOS ANGELES TIMES, USA (11/08/2022) [Italiano & English]. wp.me/pbMWvy-337
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018); s.v., Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154274
** Nota: tutte le fotografie qui sono dal video – “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26]; o specificato ed elencato come un’altra fonte citata. **
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888651
1). ITALIA / USA - "Petrolio Ladri di bellezza"; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26].
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154079
Alla luce degli ultimi risvolti giudiziari e dopo aver acceso i riflettori sulla vicenda dell'Atleta di Fano di Lisippo, la statua in bronzo datata tra il IV e il Il secolo a.C., il capolavoro trafugato nell'Adriatico e venduto illegalmente al Getty Museum quarant'anni fa, "Petrolio - Ladri di bellezza" torna ad occuparsi del traffico di reperti archeologici, ricostruendo la rete capillare di contatti, rapporti, scambi di denaro che ha generato il quarto mercato illecito del mondo.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888726
Grazie al lavoro di inchiesta durato un anno attraverso fonti esclusive e testimonianze uniche di magistrati, carabinieri, uomini dell'FBI, esperti ed archeologi, "Petrolio", documenta i legami tra organizzazioni malavitose, mondo del collezionismo e i più importanti musei del mondo. Duilio Giammaria va negli Stati Uniti sulle tracce del traffico miliardario di reperti archeologici. In California intervista in esclusiva Timothy Potts, direttore del Getty Museum, in merito alla questione del bronzo di Lisippo. Un viaggio che prosegue a Ginevra, luogo di transito di molti dei reperti trafugati e a Cambridge dove l'archeologo forense Christos Tsirogiannis spiega il ruolo delle case d'asta in questo commercio illecito. Ospiti di Petrolio il critico d'arte Vittorio Sgarbi, lo storico dell'arte Tomaso Montanari e il tenente colonnello Nicola Candido, comandante del reparto operativo dei carabinieri per la Tutela del Patrimonio Culturale.
Fonte / source: Video & foto:
--- RAI 1 HD (08/12/2018) / Foto & Video [1:26].
www.raiplay.it/video/2018/11/Petrolio-2e271483-c1ca-4e3c-...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52279888541
2). ITALIA / USA - SE E' VERO, BISOGNA FESTEGGIARE!!!!!! Ricordate l'interrogazione 3-01243 di novembre 2019 dedicata proprio ad Orfeo e le Sirene? Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Foto: Senatrice & Archeologa Margherita Corrado et al., in: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
www.flickr.com/photos/imperial_fora_of_rome/52280370960
Chi volesse rinfrescarsi la memoria, può aprire questo link:
--- Senatrice & Archeologa Margherita Corrado et al., Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
--- Anche: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione) [11/08/2022].
www.senato.it/japp/bgt/showdoc/18/Sindisp/0/1128243/index...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022); s.v., Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154054
2.1). ITALIA / USA - ADELANTE, PEDRO, CUM JUICIO, SI PUEDES...
Eccola qui la prova del delitto (fotogramma tratto dal filmato trasmesso dalla trasmissione "Petrolio") ma il 2 luglio 2020 il (futuro) MinC mi rispondeva come leggete... Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904772
3). ITALIA / USA - Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo. ARTIBUNE (11/08/2022).
COME PREVISTO DALLA POLICY DEL GRANDE MUSEO LOSANGELINO, CHE OBBLIGA AL RIMPATRIO DELLE OPERE SOTTRATTE ILLEGALMENTE, ORFEO E LE SIRENE TORNERANNO A SETTEMBRE 2022 A ROMA, SEGUITI DA ALTRI MANUFATTI IN UN SECONDO MOMENTO.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904902
Un momento storico per le restituzioni, e per l’Italia. Il J. Paul Getty Museum di Los Angeles ha annunciato oggi che restituirà al Paese il Gruppo scultoreo di un Poeta Seduto e Sirene, un gruppo di figure in terracotta a grandezza naturale della seconda metà del IV secolo a.C. proveniente dalla colonia magnogreca di Taranto, noto anche come Orfeo e le Sirene. Il museo statunitense starebbe inoltre collaborando con il Ministero della Cultura per organizzare la restituzione di altri quattro manufatti, a data da destinarsi. Il gigantesco museo a capo dell’omonimo centro per le arti ha già rimosso i manufatti dal percorso di visita in preparazione per il trasporto a Roma a settembre (peraltro molto difficile, vista la fragilità delle sculture), dove saranno affidati al Ministero della Cultura.
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154144
IL GRUPPO SCULTOREO ORFEO E LE SIRENE
La restituzione non è per l’Italia una vera e propria sorpresa, dato che già all’inizio del 2006 l’opera compariva in un elenco di manufatti di cui si rivendicava il possesso e si chiedeva la restituzione. Stando alla commissione permanente in Senato su Istruzione pubblica, beni culturali, ricerca scientifica, spettacolo e sport riunitasi nell’agosto 2020, “il bene, databile secondo la maggior parte degli studiosi nell’ambito della seconda metà del IV secolo a.C., si compone di tre statue, originariamente policrome: due figure femminili stanti (140 per 55 centimetri circa), riconoscibili come sirene in base alla conformazione ornitomorfa della parte inferiore del corpo, e una figura maschile seduta, vestita del solo mantello, variamente identificata come poeta, come Orfeo o semplicemente come un defunto del quale poteva costituire parte del monumento sepolcrale.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154234
La figura maschile impugna con la mano destra un oggetto allungato, probabilmente il manico di un plektron, secondo l’interpretazione di Bottini e Guzzo, che ipotizzano nell’altra mano l’originaria presenza di uno strumento a corda. L’opera è riconducibile con certezza al patrimonio culturale italiano e proviene probabilmente dal territorio tarantino”. Lo stesso Getty Trust, si legge ancora nel verbale del Senato, aveva sottoscritto nel 2007 una convenzione con l’allora Ministero per i beni e le attività culturali che aveva permesso il rientro in Italia di molti beni preziosi e che stabiliva l’impegno del Ministero a “interpellare previamente il Getty Trust prima di procedere al recupero di beni archeologici dei quali sia acquisita la prova della provenienza da scavo clandestino e/o oggetto di esportazione illegittima dall’Italia di beni archeologici presenti nelle collezioni del Getty Trust
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904892
“. Sono passati un po’ di anni, certo, ma la collaborazione si può ora dire fruttuosa, nonostante i trascorsi anche burrascosi (vedasi la condanna del tribunale di Pesaro di qualche anno fa).
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154259
LA POLICY DI RESTITUZIONE DEL GETTY MUSEUM DEI MANUFATTI SOTTRATTI ILLECITAMENTE
Il Getty – un’istituzione di livello globale con una enorme collezione che va dalle opere greche alle fotografie del Novecento – ha adempiuto così alla propria policy di restituzione dei manufatti al Paese d’origine, obbligatoria nel caso in cui vi siano informazioni affidabili a indicare che siano stati rubati o scavati illegalmente. “Grazie alle informazioni fornite da Matthew Bogdanos e dall’Unità per il traffico di antichità dell’ufficio del procuratore distrettuale di Manhattan che indicano lo scavo illegale di Orfeo e delle sirene, abbiamo deciso che questi oggetti dovrebbero essere restituiti”, hanno dichiarato i direttori Timothy Potts, Maria Hummer-Tuttle e Robert Tuttle.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154264
Ma non finisce qui: secondo ricercatori dell’istituzione e studiosi indipendenti, bisognerà restituire anche una colossale testa in marmo di una divinità del II secolo d.C.; uno stampo in pietra del II secolo d.C. per la fusione di pendenti; un dipinto a olio intitolato Oracolo a Delfi (1881) di Camillo Miola; e un thymiaterion in bronzo etrusco del IV secolo a.C. I primi tre di questi oggetti furono acquisiti dal fondatore J. Paul Getty e dal Getty Museum negli anni ’70, il quarto nel 1996, e nessuno di loro è più stato esposto al pubblico negli ultimi anni. “Apprezziamo il nostro forte e fruttuoso rapporto con il Ministero della Cultura italiano e con i nostri numerosi colleghi archeologi, conservatori, curatoriali e altri studiosi in tutta Italia, con i quali condividiamo la missione di promuovere la conservazione del patrimonio culturale antico“, ha affermato il direttore Potts.
Fonte / source, foto:
--- ARTIBUNE (11/08/2022).
www.artribune.com/arti-visive/archeologia-arte-antica/202...
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52280378020
4). ITALIA / USA - Getty to return illegally excavated Orpheus sculptures, some great antiquities, to Italy. The Los Angele Times, USA (11 Aug., 2022).
The J. Paul Getty Museum is returning its Orpheus group of sculptures — a culturally significant group of nearly life-size terra-cotta figures known as “Orpheus and the Sirens,” some of the museum’s greatest antiquities — to Italy. The objects, which have been determined to have been illegally excavated and exported, will be sent to Rome in September. The institution is coordinating with Italy’s Ministry of Culture to send four other objects back as well at a future date.
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904817
“The Getty is not in a position to comment on information that led to the return of the Orpheus,” spokesperson Julie Jaskol said. “The information was supplied by Matthew Bogdanos of the Antiquities Trafficking Unit of the Manhattan district attorney’s office, who developed the evidence in an investigation unrelated to the Getty. The evidence persuaded us that the statues had been illegally excavated and it was appropriate to return them in accordance with Getty policy.”
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904822
Bogdanos was not able to comment given that the investigation is still in progress, a spokesperson for the Manhattan district attorney’s office said.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888581
“This piece is being returned pursuant to an ongoing and active criminal investigation,” the spokesperson said in an email, “which uncovered the antiquity was illegally trafficked.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154109
“Orpheus and the Sirens” is extremely fragile, and the museum says it is working on “specially tailored equipment and procedures” regarding its transfer.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906673
J. Paul Getty purchased the Orpheus sculptures in the spring of 1976. It was among his final acquisitions prior to his June 6 death.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904762
In his diary, which is part of the Getty’s archives, an entry from Saturday, March 6, 1976, notes that he “bought the following objects” including “a group of 3 Greek statues made in Tarentum at the end of the 4th C.B.C.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906703
They represent a singer Orpheus seated and 2 standing sirens. $550,000 from Bank Leu. All of these naturally were on [Czech American archaeologist Jiří Frel’s] recommendation.” Frel was the Getty’s antiquities curator from 1973 to 1986.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154284
The $550,000 Getty paid in 1976 is equivalent to around $3 million today, according to the U.S. Bureau of Labor Statistics’ CPI Inflation Calculator.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371120
The Orpheus group of sculptures is an incredibly important work to the Getty. It has been on view, in a ground floor gallery at the Getty Villa, since it was acquired more than four decades ago.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904857
“It is a very important work. I’d even say one of the most important in the [Getty Museum’s] collection,” Getty Museum director Timothy Potts said in an interview. “So it will be a loss as to what we can represent about the art of the ancient classical world, in this case southern Italy in the late fourth century B.C.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888676
Potts said the work is especially unique because of its scale, quality and subject matter — it suggests the mythical story of Jason and the Argonauts, which would make the sculpture’s seated man, who plays a harp-like instrument, Orpheus.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904867
“It’s just extremely rare and there’s nothing similar in our collection, or closely similar in any collection,” Potts said. “It does leave a hole in our gallery but with this evidence that came forth, there was no question that it needed to be sent back to Italy.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154224
“We value our strong and fruitful relationship with the Italian Ministry of Culture and with our many archaeological, conservation, curatorial, and other scholarly colleagues throughout Italy, with whom we share a mission to advance the preservation of ancient cultural heritage,” Potts said in a statement.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154229
The other pieces being returned to Italy — none of which have been exhibited in recent years — are a colossal marble head of a divinity and a limestone mold for casting pendants, both from the second century A.D., along with a 19th century oil painting by Camillo Miola, “The Oracle,” and an Etruscan bronze thymiaterion, a ceremonial incense burner, from the fourth century B.C. The latter was acquired by the Getty in 1996 while the other three objects were acquired in the 1970s.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371150
Fonte / source, foto:
--- The Los Angele Times, USA (11 Aug., 2022).
www.latimes.com/entertainment-arts/story/2022-08-11/getty...
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
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C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
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SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
QUALIFICATIONS
C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
Registered Advanced Punchfit
SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
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Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
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Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
Aaron Buchan – Level 3 Senior Trainer
FF Trainer of the Year – 2011
Creator/Manager of Cross Training Systems
Since becoming a Personal Trainer, I have always had a passion towards helping people achieve their goals. I have often wondered what would be the best way to achieve the best results in the fastest possible way? That’s what prompted me to start developing Cross Training Systems – easy to follow structured programs suited to every individual’s needs.Aaron profile pic new
QUALIFICATIONS
C.H.E.K Exercise Coach
C.H.E.K Holistic Life Coach Level 1
Advanced Back Care Specialist
SA Fitness First “Personal Trainer of the Year” 2011
Pre/Post Natal Pregnancy
Registered Advanced Punchfit
SPECIALTIES
Advanced long term weight loss
Strength and conditioning
Female specific conditioning
Back and shoulder rehabilitation
Motocross/kite surfing specific training
Core conditioning/Muay Thai KIckboxing
aaroncrosstraining@gmail.com
Tel 0403 534 611
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
PCA - Specific Element: Chair
Image Tag: pca320
Assignment:
This two-week assignment challenges you to incorporate an every day item into your photograph -- a chair. You may use the chair as the main subject or as a supporting element in the composition. It can be empty or occupied, new, old, damaged, underwater, used in an unusual way, etc. There can be one chair or many. You may show only part of a chair if you wish, but it must be identifiable as a chair and a meaningful part of the composition.
The only real constraint is that a chair must be an important part of the image.
WIT: I didn't think that I would be able to partciipate in this assignment due to time constraints. However, a special chair was found and I hereby submit!
We were driving and all these huge chairs were suspended on tall poles. I remembered this assignment and began looking for lower ones. As they are an advertisement for lake cottages, I was happy to find that there were several along our drive. Some of them were unacessible, but we found this one, did a U-y and piled the kids on it. I was hoping that they could all sit, but it was wet and dirty so they didn't.
In post, I removed some power lines - they were everywhere!!! and I couldn't compose without having at least some in the shot. (I tried!) and then a slight crop for composition, levels and ACR diminishing the highlights.
SPECIFIC's pilot production plant is unique in the world.
It is a vital stepping-stone in the development of novel coatings, as they mature from lab samples into real products, and it is also a proving ground for the new industry and the manufacturing systems that will drive their commercial success.
With academics and product development specialists working closely together, on one site, ideas can move quickly between the lab and factory floor.
In addition to the pilot manufacturing facilities, labs and engineering workshops support product integration and system development and allow us to build demonstrators and bespoke equipment in-house.
#21CSteel
Absence and presence - names written on the sand - the St Andrews (Scotland) specific works of Daniel Fisher bring together communal memory and the temptation of forgetfulness.
Experimenting in the last two years with traditional chemical process and extended exposures, the above pictured is the most notable of his solarographic photographs. So called because of the genre’s pin-hole camera capacity to render visual histories of the sun. In 2011 Fisher deployed an array of disposable eyes - each innocuous, hidden, impenetrable to all but the sun, and composed of daily detritus. It is in this very working method that the artist makes plain the ambiguity, power and intimacy of his work.
This array of small hand-made pin-hole cameras, seemingly blind, and undisturbed for 7 months, was stretched taught over the St Andrews landscape that so resonates with the photographer. As if pairing his own sight with the landscape, he also debases his own practice which, concretely, is a layer of simple unseeing refuse - beer cans and duct-tape, themselves the living materials of the artist’s experience of the town. With these he stretches himself across his home like flotsam, a distended skin, receptive, but taught, fragile, fractured and imperfect. Like a Surrealist self-enucleation before the sun of reason, Fisher registers his images with irrationality and melancholy. He reads the landscape, the photograph, laterally. These, though they present social documents, wilfully ignore the clarity and verticality of the conventional photograph, the 1-point perspective or the stereoscopic gaze. Instead they register light and trace flat, a sensitive skin, or moreover, a sandy beach that registers the water crossing it obliquely.
In the end, again and again, as the tide draws out, this boils down to time and the people that make it wobble. In works like this one, playing with fire is writ in long exposure and an eye that delights in soft light, a hair’s breadth from invisibility. The figure bleeds out. The trace remains. Play tints melancholy and vice versa. In his solarography the sun itself commits the gestural play of light to chemistry. Like the froth at the edge of a wave, the cycling of the sun above a ruined castle, the fire poi around the blurred dancer, these photographs bear the high-water mark of the times they lived in. An intensity that we cannot see in the instant, and in the case of the sun would blind us.
In a cold blue photo-chemical exchange, the shifting sand of his medium registers the sun as at once omnipresent and absent, punctuated by its occlusion under cloud, while simultaneously only being readable here because its past traces (now long gone) are inscribed in the sky. It is written and unwritten in its index, its transient nature affirmed by breaks as much as its dominance of the composition - a barcode-like pall that hangs over the landscape it struggles to illuminate. Like a system of numbers capable of registering the punctuation of extended matter, but that illuminates, records, itself more than the world below. A sun, that struggles, eve, to illuminate, that seems so tiny because it is written so large -what is the sun of the present, compared with 7 months of its light held in suspension? A sun we ordinarily can’t look at for more than a second because of its ferocity, here cursory and impotent compared to the vastness of time. Here our gaze is almost inverted, a slight shift in the camera’s angle makes the ground seem to jump, like the eye blinking in the sunlight, but in this scene it is the opaque ground that we can’t look at, not the sun, and this blink may be months long, and though all light is registered, we are left with the huge unknown of undifferentiable time. A sun as something we see and cannot see - it signals loss, a loss irreconciliable because its material facticity seems to stare us in the face, but like the ruin below it, it can never be restored to what it has been, like the medium of photography itself which signals a past made present and yet long gone. Even with a vastness of exposure time, of a diligent and superhuman capacity to record the trace, this photograph seems to signal the irretrievability of time.
Sensitive and exposed, his work is the wave that writes itself on the sand.
-Merlin Seller, 2012
presdigitator.tumblr.com/post/22543927858/writing-sand-th...
2014
Wheatpaste and static cling vinyl
This site specific piece was done for "Existing Conditions", the inaugural show for Eyedrum's new permanent space.
This was a blast to do, and a huge learning experience. I taught myself to wheatpaste (thanks world wide web!) and used static cling, laser-printable vinyl to create signage for the 5 storefronts now occupied by Eyedrum.
©Ashley Anderson
Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location.
The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'. Traditionally, the Gomira dance starts with the entry of two characters, Buro-Buri, (old couple). After the initial round of dancing, characters are called on to the arena or stage. They dance to the accompaniment of Dhak (percussion drum ethnic to rural Bengal) and Kansar (bell-metal disk used as cymbal). There are no songs or chants. The dancers choose their own movements, which include rotations and hops.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. ITALIA / USA - Aggiornare: 'Petrolio - Ladri di bellezza 2018/2022'; Gli studiosi italiani: "Musei negli USA - Restituisci quello che hai rubato!"; in: RAI 1 HD / VIDEO (2018) & Senatrice & Archeologa Margherita Corrado / Fb (08/2022) = "Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo"; in: ARTRIBUNE & LOS ANGELES TIMES, USA (11/08/2022) [Italiano & English]. wp.me/pbMWvy-337
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018); s.v., Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154274
** Nota: tutte le fotografie qui sono dal video – “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26]; o specificato ed elencato come un’altra fonte citata. **
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888651
1). ITALIA / USA - "Petrolio Ladri di bellezza"; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26].
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154079
Alla luce degli ultimi risvolti giudiziari e dopo aver acceso i riflettori sulla vicenda dell'Atleta di Fano di Lisippo, la statua in bronzo datata tra il IV e il Il secolo a.C., il capolavoro trafugato nell'Adriatico e venduto illegalmente al Getty Museum quarant'anni fa, "Petrolio - Ladri di bellezza" torna ad occuparsi del traffico di reperti archeologici, ricostruendo la rete capillare di contatti, rapporti, scambi di denaro che ha generato il quarto mercato illecito del mondo.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888726
Grazie al lavoro di inchiesta durato un anno attraverso fonti esclusive e testimonianze uniche di magistrati, carabinieri, uomini dell'FBI, esperti ed archeologi, "Petrolio", documenta i legami tra organizzazioni malavitose, mondo del collezionismo e i più importanti musei del mondo. Duilio Giammaria va negli Stati Uniti sulle tracce del traffico miliardario di reperti archeologici. In California intervista in esclusiva Timothy Potts, direttore del Getty Museum, in merito alla questione del bronzo di Lisippo. Un viaggio che prosegue a Ginevra, luogo di transito di molti dei reperti trafugati e a Cambridge dove l'archeologo forense Christos Tsirogiannis spiega il ruolo delle case d'asta in questo commercio illecito. Ospiti di Petrolio il critico d'arte Vittorio Sgarbi, lo storico dell'arte Tomaso Montanari e il tenente colonnello Nicola Candido, comandante del reparto operativo dei carabinieri per la Tutela del Patrimonio Culturale.
Fonte / source: Video & foto:
--- RAI 1 HD (08/12/2018) / Foto & Video [1:26].
www.raiplay.it/video/2018/11/Petrolio-2e271483-c1ca-4e3c-...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52279888541
2). ITALIA / USA - SE E' VERO, BISOGNA FESTEGGIARE!!!!!! Ricordate l'interrogazione 3-01243 di novembre 2019 dedicata proprio ad Orfeo e le Sirene? Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Foto: Senatrice & Archeologa Margherita Corrado et al., in: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
www.flickr.com/photos/imperial_fora_of_rome/52280370960
Chi volesse rinfrescarsi la memoria, può aprire questo link:
--- Senatrice & Archeologa Margherita Corrado et al., Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
--- Anche: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione) [11/08/2022].
www.senato.it/japp/bgt/showdoc/18/Sindisp/0/1128243/index...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022); s.v., Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154054
2.1). ITALIA / USA - ADELANTE, PEDRO, CUM JUICIO, SI PUEDES...
Eccola qui la prova del delitto (fotogramma tratto dal filmato trasmesso dalla trasmissione "Petrolio") ma il 2 luglio 2020 il (futuro) MinC mi rispondeva come leggete... Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904772
3). ITALIA / USA - Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo. ARTIBUNE (11/08/2022).
COME PREVISTO DALLA POLICY DEL GRANDE MUSEO LOSANGELINO, CHE OBBLIGA AL RIMPATRIO DELLE OPERE SOTTRATTE ILLEGALMENTE, ORFEO E LE SIRENE TORNERANNO A SETTEMBRE 2022 A ROMA, SEGUITI DA ALTRI MANUFATTI IN UN SECONDO MOMENTO.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904902
Un momento storico per le restituzioni, e per l’Italia. Il J. Paul Getty Museum di Los Angeles ha annunciato oggi che restituirà al Paese il Gruppo scultoreo di un Poeta Seduto e Sirene, un gruppo di figure in terracotta a grandezza naturale della seconda metà del IV secolo a.C. proveniente dalla colonia magnogreca di Taranto, noto anche come Orfeo e le Sirene. Il museo statunitense starebbe inoltre collaborando con il Ministero della Cultura per organizzare la restituzione di altri quattro manufatti, a data da destinarsi. Il gigantesco museo a capo dell’omonimo centro per le arti ha già rimosso i manufatti dal percorso di visita in preparazione per il trasporto a Roma a settembre (peraltro molto difficile, vista la fragilità delle sculture), dove saranno affidati al Ministero della Cultura.
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154144
IL GRUPPO SCULTOREO ORFEO E LE SIRENE
La restituzione non è per l’Italia una vera e propria sorpresa, dato che già all’inizio del 2006 l’opera compariva in un elenco di manufatti di cui si rivendicava il possesso e si chiedeva la restituzione. Stando alla commissione permanente in Senato su Istruzione pubblica, beni culturali, ricerca scientifica, spettacolo e sport riunitasi nell’agosto 2020, “il bene, databile secondo la maggior parte degli studiosi nell’ambito della seconda metà del IV secolo a.C., si compone di tre statue, originariamente policrome: due figure femminili stanti (140 per 55 centimetri circa), riconoscibili come sirene in base alla conformazione ornitomorfa della parte inferiore del corpo, e una figura maschile seduta, vestita del solo mantello, variamente identificata come poeta, come Orfeo o semplicemente come un defunto del quale poteva costituire parte del monumento sepolcrale.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154234
La figura maschile impugna con la mano destra un oggetto allungato, probabilmente il manico di un plektron, secondo l’interpretazione di Bottini e Guzzo, che ipotizzano nell’altra mano l’originaria presenza di uno strumento a corda. L’opera è riconducibile con certezza al patrimonio culturale italiano e proviene probabilmente dal territorio tarantino”. Lo stesso Getty Trust, si legge ancora nel verbale del Senato, aveva sottoscritto nel 2007 una convenzione con l’allora Ministero per i beni e le attività culturali che aveva permesso il rientro in Italia di molti beni preziosi e che stabiliva l’impegno del Ministero a “interpellare previamente il Getty Trust prima di procedere al recupero di beni archeologici dei quali sia acquisita la prova della provenienza da scavo clandestino e/o oggetto di esportazione illegittima dall’Italia di beni archeologici presenti nelle collezioni del Getty Trust
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904892
“. Sono passati un po’ di anni, certo, ma la collaborazione si può ora dire fruttuosa, nonostante i trascorsi anche burrascosi (vedasi la condanna del tribunale di Pesaro di qualche anno fa).
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154259
LA POLICY DI RESTITUZIONE DEL GETTY MUSEUM DEI MANUFATTI SOTTRATTI ILLECITAMENTE
Il Getty – un’istituzione di livello globale con una enorme collezione che va dalle opere greche alle fotografie del Novecento – ha adempiuto così alla propria policy di restituzione dei manufatti al Paese d’origine, obbligatoria nel caso in cui vi siano informazioni affidabili a indicare che siano stati rubati o scavati illegalmente. “Grazie alle informazioni fornite da Matthew Bogdanos e dall’Unità per il traffico di antichità dell’ufficio del procuratore distrettuale di Manhattan che indicano lo scavo illegale di Orfeo e delle sirene, abbiamo deciso che questi oggetti dovrebbero essere restituiti”, hanno dichiarato i direttori Timothy Potts, Maria Hummer-Tuttle e Robert Tuttle.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154264
Ma non finisce qui: secondo ricercatori dell’istituzione e studiosi indipendenti, bisognerà restituire anche una colossale testa in marmo di una divinità del II secolo d.C.; uno stampo in pietra del II secolo d.C. per la fusione di pendenti; un dipinto a olio intitolato Oracolo a Delfi (1881) di Camillo Miola; e un thymiaterion in bronzo etrusco del IV secolo a.C. I primi tre di questi oggetti furono acquisiti dal fondatore J. Paul Getty e dal Getty Museum negli anni ’70, il quarto nel 1996, e nessuno di loro è più stato esposto al pubblico negli ultimi anni. “Apprezziamo il nostro forte e fruttuoso rapporto con il Ministero della Cultura italiano e con i nostri numerosi colleghi archeologi, conservatori, curatoriali e altri studiosi in tutta Italia, con i quali condividiamo la missione di promuovere la conservazione del patrimonio culturale antico“, ha affermato il direttore Potts.
Fonte / source, foto:
--- ARTIBUNE (11/08/2022).
www.artribune.com/arti-visive/archeologia-arte-antica/202...
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52280378020
4). ITALIA / USA - Getty to return illegally excavated Orpheus sculptures, some great antiquities, to Italy. The Los Angele Times, USA (11 Aug., 2022).
The J. Paul Getty Museum is returning its Orpheus group of sculptures — a culturally significant group of nearly life-size terra-cotta figures known as “Orpheus and the Sirens,” some of the museum’s greatest antiquities — to Italy. The objects, which have been determined to have been illegally excavated and exported, will be sent to Rome in September. The institution is coordinating with Italy’s Ministry of Culture to send four other objects back as well at a future date.
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904817
“The Getty is not in a position to comment on information that led to the return of the Orpheus,” spokesperson Julie Jaskol said. “The information was supplied by Matthew Bogdanos of the Antiquities Trafficking Unit of the Manhattan district attorney’s office, who developed the evidence in an investigation unrelated to the Getty. The evidence persuaded us that the statues had been illegally excavated and it was appropriate to return them in accordance with Getty policy.”
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904822
Bogdanos was not able to comment given that the investigation is still in progress, a spokesperson for the Manhattan district attorney’s office said.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888581
“This piece is being returned pursuant to an ongoing and active criminal investigation,” the spokesperson said in an email, “which uncovered the antiquity was illegally trafficked.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154109
“Orpheus and the Sirens” is extremely fragile, and the museum says it is working on “specially tailored equipment and procedures” regarding its transfer.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906673
J. Paul Getty purchased the Orpheus sculptures in the spring of 1976. It was among his final acquisitions prior to his June 6 death.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904762
In his diary, which is part of the Getty’s archives, an entry from Saturday, March 6, 1976, notes that he “bought the following objects” including “a group of 3 Greek statues made in Tarentum at the end of the 4th C.B.C.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906703
They represent a singer Orpheus seated and 2 standing sirens. $550,000 from Bank Leu. All of these naturally were on [Czech American archaeologist Jiří Frel’s] recommendation.” Frel was the Getty’s antiquities curator from 1973 to 1986.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154284
The $550,000 Getty paid in 1976 is equivalent to around $3 million today, according to the U.S. Bureau of Labor Statistics’ CPI Inflation Calculator.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371120
The Orpheus group of sculptures is an incredibly important work to the Getty. It has been on view, in a ground floor gallery at the Getty Villa, since it was acquired more than four decades ago.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904857
“It is a very important work. I’d even say one of the most important in the [Getty Museum’s] collection,” Getty Museum director Timothy Potts said in an interview. “So it will be a loss as to what we can represent about the art of the ancient classical world, in this case southern Italy in the late fourth century B.C.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888676
Potts said the work is especially unique because of its scale, quality and subject matter — it suggests the mythical story of Jason and the Argonauts, which would make the sculpture’s seated man, who plays a harp-like instrument, Orpheus.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904867
“It’s just extremely rare and there’s nothing similar in our collection, or closely similar in any collection,” Potts said. “It does leave a hole in our gallery but with this evidence that came forth, there was no question that it needed to be sent back to Italy.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154224
“We value our strong and fruitful relationship with the Italian Ministry of Culture and with our many archaeological, conservation, curatorial, and other scholarly colleagues throughout Italy, with whom we share a mission to advance the preservation of ancient cultural heritage,” Potts said in a statement.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154229
The other pieces being returned to Italy — none of which have been exhibited in recent years — are a colossal marble head of a divinity and a limestone mold for casting pendants, both from the second century A.D., along with a 19th century oil painting by Camillo Miola, “The Oracle,” and an Etruscan bronze thymiaterion, a ceremonial incense burner, from the fourth century B.C. The latter was acquired by the Getty in 1996 while the other three objects were acquired in the 1970s.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371150
Fonte / source, foto:
--- The Los Angele Times, USA (11 Aug., 2022).
www.latimes.com/entertainment-arts/story/2022-08-11/getty...
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
Would you like a take a shortcut to a specific Snowman?
01. A Partridge in a Pear Tree (Jodie Silverman) | 02. Two Turtle Doves (Megan Evans) | 03. Three French Hens (Lei-Mai Lemaow) | 04. Four Calling Birds (Jenny Leonard) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a-Laying (Matilda Elizabeth) | 07. Seven Swans a-Swimming (Laura-Kate Chapman) | 08. Eight Maids a-Milking (Donna Newman) | 09. Nine Ladies Dancing (Lizzie Rose Chapman) | 10. Ten Lords a-Leaping (Hammo) | 11. Eleven Pipers Piping (Jess Loveday) | 12. Twelve Drummers Drumming (Jessica Perrin)
(more pictures you can see by clicking on the link at the end of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017) Site specific installation. Work in progress.
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.
In a site-specific installation, Artistic Bokeh presents a collaboration with Georgios Papadopoulos (GR) and Société Réaliste (FR) thematizing the symbolic value of artistic production and its subordination by the valuation of markets.
"There is never enough money, especially for cultural production; but also too much since money and market tend to impose their interpretation of artistic and cultural value. The system of prices organizes an order of meaning, where taste, subjectivity and community are reconfigured according to the mandates and the geopolitics of the market. In this hostile environment, the artist needs to create new possibilities of independence at the same time as she has to survive and thrive, despite the exploitative conditions of employment that more often than not define artistic work. Too Much Money is not the solution. but a tiny a reminder of the poverty of the artist in a system that celebrates (and profits from) the value of art."
(Text: G.Papadopoulos)
A lecture-performance of C.Lisecki / G.Papadopoulos will mark the opening on Thursday, February 27, accompanied by the film screening of "Art Accounts Deutsche Bank (2013)" by Carsten Lisecki.
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Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act
A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG
Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.
The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.
At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.
Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.
Production
After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.
Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.
Text: Martin Jaeggi
Preparatory Drawing for HOMAGE TO PAUL APOSTLE
1971
Pencil on brown paper
12 1/2" x 18"
Homage to Paul Apostle is the first part of THE NARCISSUS PENTOLOGY which consists of:
HOMAGE TO PAUL APOSTLE
VATICAN CORRIDOR, A Non-Specific Autobiography
GLIMPSES OF THE QUEEN, 21 Studies for a Portrait of B.T. In the Form of a Triangle
SANCTUARY, Autobiography of a Studio Bench
CURIA, Nine Sectioned Lay-Ins With Predella
Each of the five parts of THE NARCISSUS PENTOLOGY addresses itself to a particular view of the artist: HOMAGE TO PAUL APOSTLE, in the form of a square, is a self-portrait as seen through the eyes of another; VATICAN CORRIDOR, A Non-Specific Autobiography, in the form of a rectangle, is how he sees himself; GLIMPSES OF THE QUEEN, 21 Studies for a Portrait of B.T. in the Form of a Triangle is how he sees another; SANCTUARY, Autobiography of a Studio Bench, in the form of a circle, is how he sees his work; and CURIA, Nine Sectioned Lay-Ins With Predella, in the form of a line, is how he sees those who have created him.
The name, HOMAGE TO PAUL APOSTLE, does not refer to Paul the Apostle but to an individual who was an avid collector of the work of Robert Cremean. This apparent avidity led him to amass a sizable collection of the artist’s sculpture, drawings, lithographs and published books. But it was not so much that he collected but how he did so. He seemed to appreciate the work to such an extent that he purchased numerous pieces from the artist’s gallery on time payments and continued doing so even during such periods when he was unemployed and living on a modest benefit, a portion of those monies assiduously set aside for such purchase. He displayed his collection in whatever place he then called home, whether a lavish house in the Hollywood hills in times of prosperity or a small apartment on the flatlands below during times more spartan. And, in the latter, he displayed the work wherever possible: on the floor, on the walls and even suspended from the ceiling. During a period of nearly twenty years, he continued to collect and always was articulate both in his praise and in his criticism of the work, never missing a gallery or museum exhibition opening, never failing subsequently to attend each repeatedly. Devotedly, he wrote many letters to the artist in which he expressed his thoughts about the work and of whatever literary reviews that appeared in print. He was both analytical and praiseful of the work as well as brutally frank about any aspect of it he viewed with suspicion or disdain, at times annoying the artist to distraction.
For all of these reasons, Robert Cremean decided to pay homage to the collector with a work in which he chose to portray himself, within the NARCISSUS PENTOLOGY, as he saw himself through the eyes of another and recording in three dimensional form actual and intellectual change and development...and diminishment, from the physical glory of youth through inevitable physical maturing and aging, to the ultimate abstraction of intellectual and artistic maturity.
HOMAGE TO PAUL APOSTLE was carved from four blocks of marble, each 35½" x 15¾" x 15¾", all sides polished, cut from a large chunk selected by the artist in a quarry in Massa Carrara, Italy. For ten months, after having completed a series of preparatory drawings for it, he worked on the sculpture—mallet, chisels, various rasps and sandpaper his only tools. He was virtually cut off from any intercourse other than with his own thoughts and ideas and with the marble. It was the intention of the artist that ultimately each of the four torsos would be permanently affixed to polished blocks of pietra serena, the native grey stone of Tuscany, each block the same dimension as the marbles. These six foot tall monoliths would then be set at the corners of a floor of polished pink Portuguese marble tiles for an over-all floor dimension of thirteen feet by thirteen feet.
Collection:
Crocker Art Museum
Sacramento, California
Built at Governor Macquarie's direction on a site selected for that specific purpose, it is one of the most beautiful buildings in Australia. The corner stone was laid by Governor Macquarie in October 1817. The church was consecrated in December 1822 with Samuel Marsden conducting the opening service. It is the masterpiece of Francis Greenway, the convict architect, who was retained by Governor Macquarie to rectify the poor standard of building in the colony. It is one of the few early buildings which is cluttered by its modern surroundings. It can be seen from a great many parts of the Hawkesbury, and is the district's famous landmark. In the 1867 flood it was the chief point of safety for flood victims.
Even older than then church is the graveyard. The earliest marked grave in Andrew Thompsons who died in 1810. There are a number of other graves of prominent pioneers, including a number who sailed to Australia with the First Fleet. These graves are identified by a small plaque. William Cox is also buried here, and of particular interest is the Tebbut family vault, with its astrological features on each corner.