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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.
Site-specific installation: Philips Hue light bulbs, Philips Hue wireless bridge, ethernet bridge, router, Raspberry Pi, open-source and custom software.
A former hairdressers on Arachovis Street forms the context for an installation of “smart” lights programmed according to statutory international working hours. Operating at fixed hours, they take into account the limits to weekly working hours, periods of rest and holiday. James Bridle employs the increasingly widespread technology of the “internet of things” to make visible the EU Working Time Directive (2003/88/EC) which was created to protect workers’ rights. When activated, the light bulbs shine continuously during working hours, go dim and change colour during overtime and non-working hours. In addition, the lights change periodically to visualise the different actual working hours around the globe.
Cheaper by the Dozen continues James Bridle’s interest in algorithmic law, the processes of automation, and the political implications of the "internet of things". By addressing the guidelines to working hours in the context of a deactivated hairdressers shop, the artist draws upon the sensitivities and prejudices inherent to national working rhythms and the gross domestic product. More specifically, Bridle took inspiration from Frank and Lillian Gilbreth, pioneers of scientific management and the study of time and motion, who measured and assessed workers’ productivity through the technique of light painting. Their theoretical heritage was fundamental to the deployment of labour practices in the 20th century, just as the implementation of often opaque political intent in software is fundamental to those of the 21st century. By inserting other social values into the software layer of contemporary labour practices, the work seeks to challenge the logic of technodeterminism and alienation deployed by late capitalism.
Photographs by Paris Tavitian.
City Park
(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.
Read more about how gender-specific knowledge is inspiring change in Kyrgyzstan’s walnut forests here: bit.ly/1gc60KW
Credit: National Academy of Sciences of the Kyrgyz Republic/K.Musuraliev
Read more about Bioversity International's work in Central and South Asia www.bioversityinternational.org/about-us/where-we-work/ce...
For photovoltaics to succeed they must move quickly from the lab bench to the factory floor.
The SPECIFIC project, led by Swansea Uni, with Tata Steel as one of the key partners, is developing a range of solar cell technologies and processing techniques that will allow high-efficiency thin-film photovoltaics to be manufactured at scale using earth-abundant, low cost materials.
They are also working to understand the stability and lifetime of these devices, by characterising their degradation mechanisms and finding ways to improve longevity.
They consider ourselves ‘technology agnostic’, which means that they work with the most promising photovoltaic technologies to find ways to manufacture them at scale.
Currently they have people working on four distinct technologies: perovskites, CZTS (copper, zinc, tin, sulphur), organic photovoltaics and dye sensitised solar cells.
#21CSteel
Site specific theatre theater performance perform performance art
site-specific theatricality installation site specific create process San Francisco bay area
Poland Prague Cargo Ship Art ship Theatrical
Theatrically devised collaborate collaborative
collaboratively thetre thatre theter theatr theate
teatr divadlo predstaveni predstavani ensemble work
artwork scultpture installation umeni compose composed
composer hudba react reaction place site room
performed Boston New York Los Angeles experimental
avant garde experiment performative installation
instalation install sculpt puppet puppeteer oakland
company scrap and salvage James Mulligan Rafal
Klopotowski Emiko Lewis Frank Lee Erin Blendu Eric
ANdler Molly Rhodes Emily Rosenthal Allison Wyper
bluespace 1000 van ness 1k this end up #3 hold piwnica
marchewy lorca project
The four key themes of the Forum were introduced by key international experts in 9 interviews, regularly published in English and French on the Forum webite. Here is a review of the countries that were most interested in the interviews.
The map shows the close interest of selected countries in the specific topic of each interview. While France is the country with the most clicks, the topics treated by Robert Hunink and Ralph Ridder were most read in the US. Eva Mueller and Emmanuel Groutel called the attention of ATIBT contacts in the UK. Mamadou Sangaré attracted the highest interest of German readers. Emmanuel Ze Meka was unsurpassed in Italy. Henri Djombo had the most clicks in the Republic of Congo. Likewise Raymond Mbitikon in Gabon. Finally, Robert Simpson stood out in Indonesia.
Direct link to the interviews:
www.fb2013.org/press/4580041343
Visit the Forum website: www.fb2013.org
Researcher Dr Rachel Woods with a steel sheet on the production line at SPECIFIC, which develops "Active Buildings" that generate, store and release their own solar energy.
SPECIFIC is an academic and industrial consortium led by Swansea University with Akzo Nobel, NSG Pilkington, Tata Steel and Cardiff University as strategic partners.
SPECIFIC is funded by the EPSRC, Innovate UK and the European Regional Development Fund through the Welsh Government.
#21CSteel
PrintOclock - Tarifs et dlais de choc
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Puma x MIT Design Lab x Biorealize Breathing Shoe (2018)
These prototypes, developed in a collaboration between MIT Design Lab, Puma and Biorealize, change in responses to the wearer. The upper is made from a material moulded to include cavities that are filled with bacteria. Once activated by heat, the bacteria begins to eat the material to create a unique pattern, enabling air to pass through the hottest areas.
[Design Museum]
Sneakers Unboxed: Studio to Street
(May - September 2021)
From trainers originally designed for specific athletic activities like the Converse Chuck Taylor All Star, the Puma Disc, and Nike Air Zoom Alphafly Next%, discover how sneakers such as the Reebok InstaPump Fury, the Vans Half Cab and the Asics Gel Lyte III have become cultural symbols of our times.
Take a journey through the design process behind some of the most technically inventive shoes of today with the Adidas FutureCraft.Strung shoe-making robot designed by Kram/Weisshaar, Satoshi, a brand using blockchain certification and the world’s first biologically active shoes developed by MIT Design Lab and Biorealize for Puma.
Then delve into the lucrative resale market that is currently valued at $10 billion in data visualisations from Stock X, before reliving the streetwear staple's high-fashion reinvention including sneakers by Balenciaga, Comme des Garçons and Y-3 and runway looks from A-COLD-WALL* and CRAIG GREEN.
Uncover the icons and collaborations that have shaped the sneaker scene over the years from Michael Jordan and Run-DMC to Kanye West, experience visuals and graphic work from Jamel Shabazz, Grace Ladoja, Simon Wheatley and Reuben Dangoor, and meet the designers working to make the industry more sustainable, Stella McCartney, Helen Kirkum and Alexander Taylor.
[Design Museum]
Taken in the Design Museum
Haleakala Crater hike on Haleakala Crater Hike on 7/9/2019
I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.
I took a carry-on duffel bag and a photo backpack ( no checked bags )
Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.
Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additionally a specific Airport Access road was constructed and in use by this trip.
7:40 am left 7-Eleven for Haleakala.
7:30 am arrived at park entrance. $25 entrance fee by credit card only.
8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.
8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.
9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.
9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )
11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.
12:06 pm I would start on the trial to Holua Cabin
12:59 pm top of the ascent to "Ka Moa o Pele"
1:24 pm trail juncture on the left of "Halali'i"
2:14 pm Silver Sword loop begin ( did not take the loop )
2:22 pm Silver Sword loop end
3:05 pm Holua Cabin - rested
3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.
4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.
4:27 pm started up the crater rim switch backs.
6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.
7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )
7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.
8:00 pm I would reach the Halemau'u parking lot and my car.
8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro-photography.
8:45 pm arrive at Kalahaku overlook to check out the possibility of astro-photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.
I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsible water bag w/filter to refill water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.
The weather reports for the previous week were about the possibility of hurricane Barbara hitting the islands the day before my trip. Fortunately Barbara down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.
The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.
Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.
I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.
There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.
Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.
I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.
Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.
I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Surprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"
Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.
Once again I brought chapstic but didn't use it.
-----------------------------------
CamelBak Octane 16X Hydration Pack (3L Hydration bladder)
3 liters of water = 6.6 pounds
1x Nikon D700 w/battery grip - Nikon 28-300mm
1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye
Tokina 16-28mm f2.8
Camera & lens weight = 12 pounds
I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.
© Photograph by Noemi Jariod. Courtesy of the artist.
—
‘Schizophrenic Machine’ was the closure to the three-part project ‘COLLAPSE’ by Joan Morey (Mallorca, 1972). This new site-specific performance took place on January 10, 2019, in the former prison La Model, a location that was kept in secret up until the 113 guests were driven in coaches from either Centre d'art Contemporani - Fabra i Coats, or the Centre d'art Tecla Sala.
The audience previously registered to attend the closed-door performance and agreed to comply with the strict dress code. The performance script integrated the 1904 chilling architecture of the prison through voice and technological devices such as drones, surveillance cameras, strobe lighting, an architecture scanning laser. Each one activated and deactivated the building's memories making ‘Schizophrenic Machine’ be Morey's first performance with no human actors as protagonists. ‘Schizophrenic Machine’ continued Morey's long-standing exploration of power structures and control of the body.
‘Schizophrenic machine’ took the physical and discursive past of La Model as a scenario for performance where bodies were not acting and the protagonist was the architecture itself. The Panopticon-inspired prison was inaugurated on June 9, 1904, and was conceived as a model for the Spanish penitentiary system: an example of the reintegration of criminals into society through discipline, isolation and religious morality. La Model was one of the main sites of political repression and social control in the city. Followers of all political persuasion passed through its cells, aside from common criminals, yet during the long totalitarian dictatorship of General Franco (1939–1975), it was especially notorious as a site for the repression of political dissidents. La Model closed on June 8, 2017, 113 years after its inauguration.
‘Schizophrenic machine’ took over the unoccupied building and created a phantasmagoric presence that activated and deactivated its own memory. Conceived as an all-encompassing experience the event took on a singular awareness of the building and the site. The sequential dramatisation of its radial spaces articulated a dystopian representational device. A cast of technological interpreters —voices, sound, lights, cameras, drones and other devices— took the place of performing bodies. Moreover, the panopticon architecture itself seemed to address spectators through a female voice that spoke on the principles of control, power and the paradigm of a surveillance society. La Model became a schizophrenic machine, an imperious disciplinary mechanism for the 21st century.
© Text by Latitudes.
Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
—> info: ajuntament.barcelona.cat/centredart/es/projectes/anterior...
The rear of the T-shirt says: "Supporting lesbian, gay, bisexual & trans homeless young people".
That's a very specific target of people to support.
Presumably he is a Street Fundraiser, or Chugger "Charity Mugger" (if one wants be less generous with the description). He is waiting for a bus home after a long day trying to get people to sign up to a small monthly donation via direct debit.
Just so everything is clear, I've posted this picture as this is an unusual sight and I'm slightly taken aback at how narrow the target of people they will help. No other reason.
Nice stripey Taxi on the road.
en.wikipedia.org/wiki/Street_fundraising
The Albert Kennedy Trust
In 1989, 16 year old Albert Kennedy fell to his death from the top of a car park in Manchester whilst trying to escape from a group of homophobic bullies pursuing him in a car. Albert was a runaway from a children's home and was suffering depression. In his short life he had experienced rejection and abuse from society.
Wang Yu Yang, Artificial Moon, 2007
Installation view at Palazzo Strozzi's courtyard. Florence
photo: Marco Annunziata - marcoannunziata.tumblr.com/
RENEE PETROPOULOS
“PERSHING SQUARE/TITLE”
Curated by Susan Horowitz- Independent Curator for Phantom Galleries LA
PERSHING SQUARE/ TITLE GUARANTEE BUILDING LOFTS
1929-31 JOHN & DONALD PARKINSON ARCHITECTS
CITY OF LA HISTORIC-CULTURAL MONUMENT- DESIGNATED 1984
411 West 5th Street Los Angeles, 90013
car radio (106.9 fm) when traveling in the vicinity
Exhibit runs: April 22- June 30, 2008.
Pedestrian viewing 24/7
PERSHING SQUARE/TITLE is a site-specific visual and sound installation by artist Renee Petropoulos. This project continues Renee Petropoulos' exploration of the relationship between the architectural and social culture of LA. The starting point for this project is the original function of the building which housed the Title Guarantee and Trust Co., a business comprised of holding the deeds to LA properties. The work consists of a series of audio commentaries by various voices (people) revealing their points of view on different LA locations. Both amateur and authoritative voices are included and the often poetic, emotional nature of the language of these perceptions reveals unexpected passions for the historic and the current elements of the city. Descriptions of hospital rooms, immigration offices, cinema locations and palatial pink factories serve to illuminate our cumulative and collective response to LA. The fusion of the public and private perceptions of the city furthers ideas about architecture, ownership and individual interior reflection.
The project will be in constant evolution reflecting a changing situation through both audio and visual encounters. The audio component of the interviews will be broadcast from the building being available at street level, and through your car radio (106.9fm) when traveling in the vicinity and via the PhantomGalleriesLA.com website, excerpts made of vinyl lettering, culled from the interviews will be added one sentence at a time on a weekly basis to the Title Guarantee Building Art Space Windows.
“PERSHING SQUARE/TITLE” at the Art Deco/ Zigzag Moderne LA Historic-Cultural Monument on Pershing Square, presents a compelling urban street experience of encountering diverse perspectives of LA. The Pershing Square area is central to Downtown LA’s extraordinary urban transformation as a vital place to work, live and visit. It is a resonant place to consider the issues raised by this public art work.
Media contact Phantom Galleries LA:
Liza Simone
213.626.2854
Liza@PhantomGalleriesLA.com
Upcoming Title Guarantee Building Art Space Exhibits:
July curated by Dangerous Curve DangerousCurve.org
August curated by LACDA lacda.com
September curated by Edgar Varela Fine Art EdgarVarelaFineArts.com
LA artist Renee Petropoulos has produced permanent public art here including her mural in the rotunda of the LA Central Library, installations in Culver City and the Metro Green Line in El Segundo. She has exhibited her work extensively and produced temporary and permanent installations internationally. Her recent 2007 exhibition, Social Arrangements, featured five related ongoing projects encompassing painting, sculpture and audio. She is represented here by the Rosamund Felsen Gallery (rosamundfelsen.com/petropoulos/index.php). and is currently a professor in the graduate division of the Otis College of Art and Design.
Susan Horowitz is an independent curator and artist. She is working with Phantom Galleries LA to curate exhibits that illuminate contemporary urban issues. Her photo/text art work focuses on an exploration of the complex relationship between the individual, nature, and architecture of the urban West. Her current exhibition LA CONTINUUM, a collaboration with Carol Bishop, is a collection of glimpses of the flux of urban land, development and architecture. Hennessey and Ingalls Art and Architecture Books in Santa Monica (hennesseyingalls.com).
WEBSITE - susanhorowitz-laprojects.com
Phantom Galleries LA is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Title Guarantee Building Lofts
While the exterior architecture has qualified the building for inclusion on the Nation Historic Register, the completely reconstructed interiors are perfect for today’s modern living. Experience the excitement of the new Downtown Los Angeles and live in a landmark. For further information about The Title Guarantee Building Lofts contact 213. 627.3939 or titleguaranteebuilding.com
For further information about this exhibit contact - susanhorowitzproject@mac.com
For further information about Phantom Galleries LA contact Liza@PhantomGalleriesLA.com www.PHANTOMGALLERIESLA.COM
INSTALLATION IMAGES + STREAMING AUDIO ON PHANTOMGALLERIESLA.com
Phantom Galleries LA is proud to announce their invitation to curate and oversee exhibits showcasing the Art and Culture of Downtown Los Angeles at the new Title Guarantee Building Public Art Window Space. Exhibits are curated by Downtown LA Arts Organizations, Galleries, Independent Curators, and Artists and/or focus on topics about Downtown Los Angeles.
'Hair ice' forms only in very specific conditions. There must be moist air slightly below freezing temperature, and it grows on moist rotting dead wood which contains the fungus Exidiopsis effusa. Direct sunlight can melt the fine filaments, so it's usually found in the shade. Found on dead rhododendron in woodland near my house.
Fairy Ring, temporary site-specific installation
thermoplastic objects, organic matter, time, light, nature
2021 | 962 square feet | 26 ft. inner diameter
I Heart Rail Trail: Lights | temporary site-specific, pubic work at Atherton Mill, Charlotte, NC by Artist: Meredith Connelly
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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.
Ex.Route Specific paintjob for route 1.Also has been seen with a gold nose
Seen at The Broadway in Crowborough while hunting down the new gold and purple Regency Route buses, one escaped me so I'll have to wait a bit until I go to Crowborough again.
"Are there any specific challenges you've faced and overcome in your life and how have you they helped you grow as a person?"
"I think for me a lot of those things are existential. Wrestling my own motivational demons so to speak. The battle between what you think you're supposed to do, what you should do, what you want to do, finding something that sits in the middle of all this. I feel like that's always a work in progress for me. At one point I tried to work on music full time. I thought that was the thing I always wanted to do and I had this idea that because I had this job or other things stopping me it was keeping me from doing music all the time, and then I gave myself some time to try music full time and I realized almost instantaneously that it wasn't what I wanted to be doing. The fantasy I had built in my mind was totally incorrect. I realized I didn't want to sit in a room by myself just tinkering on stuff all day long. Maybe the reason I was enjoying that so much was when it was the antidote to something else. A relief from stress that was coming from other challenges. It was really disconcerting to realize that because for so long I had this idea that you peg your hopes on this thing that's the silver bullet and if I can just get to that point...now I've kind of realized I don't think there ever is a silver bullet. I've tried to accept that."
(3/4)
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...
Little specific information about "Silver Galaxy Granite" from India is available. It has a foliated texture, so it is a metamorphic rock - it appears to be a gneiss. The dark red areas are very likely garnets. The matrix includes a sparkly component - likely mica.
I've seen this material attributed to Andhra Pradesh State (= southern Indian) and Rajasthan State (= northwestern India). Verified quarry location info. is lacking.
Europa: Pasajes de Invierno, una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.
La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.
“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.
Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.
Abierto x Obras
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.
I thought it might be interesting to see all the character exclusive LEGO head molds in one shot.
I had to use a couple extra pieces to get some of the head pieces to stand up.
It's fascinating how many character-specific head designs LEGO have produced over the years.
Huguette got really interested at photographing a specific subject. What was it? I'll show this tomorrow!
Side Specific
2009
T.A.M.A.
Project "Side Effects"
Collectif (Lucy Ota, Maria Papadimiitriou, Gabi Scardi)
(travaux sur la situation des Roms en Europe)
Musée d'art contemporain
10ème Biennale de Lyon
Served on Japan Airlines, this yogurt seems to indicate an expiration date that is oddly specific -- December 21, 2010, A.D.
Sneakers Unboxed: Studio to Street
(May - September 2021)
From trainers originally designed for specific athletic activities like the Converse Chuck Taylor All Star, the Puma Disc, and Nike Air Zoom Alphafly Next%, discover how sneakers such as the Reebok InstaPump Fury, the Vans Half Cab and the Asics Gel Lyte III have become cultural symbols of our times.
Take a journey through the design process behind some of the most technically inventive shoes of today with the Adidas FutureCraft.Strung shoe-making robot designed by Kram/Weisshaar, Satoshi, a brand using blockchain certification and the world’s first biologically active shoes developed by MIT Design Lab and Biorealize for Puma.
Then delve into the lucrative resale market that is currently valued at $10 billion in data visualisations from Stock X, before reliving the streetwear staple's high-fashion reinvention including sneakers by Balenciaga, Comme des Garçons and Y-3 and runway looks from A-COLD-WALL* and CRAIG GREEN.
Uncover the icons and collaborations that have shaped the sneaker scene over the years from Michael Jordan and Run-DMC to Kanye West, experience visuals and graphic work from Jamel Shabazz, Grace Ladoja, Simon Wheatley and Reuben Dangoor, and meet the designers working to make the industry more sustainable, Stella McCartney, Helen Kirkum and Alexander Taylor.
[Design Museum]
Taken in the Design Museum
In the last couple of years or so, Surrey CC have gone for stop specific timetables, which is fair enough as it's the way things are going industry-wide.
Personally, I'm not a fan - as stop specific gives less information, and I can read a bus timetable.
New timetables are now up ready for the SCC Bus Review changes to the 34 and 35 from 30th August 2015. Here's the Camberley-bound stop at Woking station.
Two questions arise: how do you know it goes via Hermitage Estate on Sundays (indeed the route bar at the top says 'Knaphill Surrey Hermitage' (=Hermitage, The Surrey) so specifically says that Sunday buses go that way when they don't)?
Secondly, why isn't it combined with the 35 times on one sheet?!
Also, the 134 is missing so it only shows the 1550 departure as a 34 on non-schooldays only.
A general issue with stop specific timetables is that they only give an approximate journey time, for example the 34 to Camberley here is shown as 55 minutes to reach the destination. But, on long routes, there can be significant variance. For example, a quick look at the timetable shows one journey timed to do it in 40 minutes!
The Broadway, Woking, Surrey.
Aaron Buchan – Level 3 Senior Trainer
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Tel 0403 534 611
RICHARD WILSON 20:50 - Site Specific Oil Installation: 1987, used sump oil and steel, dimensions variable. Displayed at The Saatchi Gallery. Copyright © 2012 by Scott A. McNealy Photographer. See more of my work at www.noboundaryphotography.co.uk or www.flickr.com/photos/scottamcnealy/
spray paint on safety cabinets
stie specific artwork @ Casa Delle Letterature - Rome
time lapse here:
A trullo (plural, trulli) is a traditional Apulian dry stone hut with a conical roof. Their style of construction is specific to the Itria Valley, in the Murge area of the Italian region of Apulia. Trulli were generally constructed as temporary field shelters and storehouses or as permanent dwellings by small proprietors or agricultural labourers. In the town of Alberobello, in the province of Bari, whole districts contain dense concentrations of trulli. The golden age of trulli was the nineteenth century, especially its final decades, which were marked by the development of wine growing.
There are many theories behind the origin of the design. One of the more popular theories is that due to high taxation on property, the people of Apulia built dry stone wall constructions so that they could be dismantled quickly when tax inspectors were in the area.
In available historical records from the mid-fourteenth century to the late sixteenth century, the area of Alberobello is referred to mostly as selva ("forest") and occasionally, as a land from which grazing animals were excluded. Evidence is lacking as to the existence of dwellings in the area prior to the seventeenth century.
A Plan of the Territory of Mottala drawn by Donato Gallerano in 1704 reveals the existence of a nucleus of trulli in the midst of a large wood, making up the initial settlement of Arbore bello.
In a geographical map drawn by Giovanni Antonio Rizzi Zannoni in 1808, one may see the selva of Alberobello and, in the midst of it, a clearing with a settlement pattern of scattered houses that bears a striking resemblance to the present-day urban pattern.
In an 1897 photograph of the rione Monti (the district of the Mounts), the trulli are far less densely packed than today, being surrounded by enclosed gardens.
The urban trulli still extant in Alberobello date from the eighteenth, nineteenth and twentieth centuries. After having undergone a process of densification in the first decades of the twentieth century, the trulli settlements began to be deserted during the second half of the twentieth century.
The rural trulli, on cheaper land, ceased to be built when the cost of labour began to rise in the twentieth century. The sheer expense of handling the hundreds of tons necessary for a single house became prohibitive
Christine Sciulli, Thomsens Ishus, 2013
A site specific projection by Christine Sciulli
Fjellerup, Denmark
Opening 8.8.13 19:00
Christine Sciulli has assembled images and stories from the Kattegat coast developed through talking with the local families who have been actively involved in fishing in the village for generations. Images gathered by the community were rephotographed by Sciulli and mixed with photos taken by her around the Ishus to propel a projection work that speaks to the past, present and future of the seaside town of Fjellerup through the virtual sublimation of walls of Thomsens Ishus.
A one night workshop was held for local tweens to experiment with drawing with light onto the projections.
Thomsens Ishus, site specific projection by Christine Sciulli is part of Fjellerup i Bund og Grund, an art project by Anna Lise Jensen with site-specific art projects in Fjellerup, supported by Norddjurs and made in collaboration with the townspeople and artists Norbert Francis Attard, Julia Whitney Barnes, Monica Carrier, Jo Q . Nelson and Christine Sciulli.
“Associated” is a site specific show in a severely damaged brownstone, currently with a Vacate Order, issued by the DOB. As you may recall, the huge fire on Nov 12th 2010 at the Associated Supermarket on 5th Avenue and 17th Street not only damaged the supermarket building including the Open Source Gallery, but also a brownstone next door. The 3 family house, the Gallery owners’ home, was also rendered uninhabitable by the blaze.
There is no exact date for the show. There will be a 2 week window when the Vacate Order will be dropped and the contractors will start their work. All participating artists are prepared to install their work any day within the next month.
opening up with the
OPEN SOURCE CARNIVAL
The Carnival involves a public celebration combining some elements of circus, performance, public fair and party. We encourage people to dress-up in costumes during the celebration and to bring a little bit of money for the future of OPEN SOURCE.
Participants
Sara Bouchard, Christian Brown, Reamonn Byrne, Wendy Chu, Ethan Crenson, Hubert Dobler, Peter Feigenbaum, Pirmin Hagen, Fumie Ishii, Der Kommissar, Stefanie Koseff, James Leonard, Loadingdock5, Katerina Marcelja, Amanda C. Mathis, Patrick May, Nolan McKew, Annelise E. Ream, Jason Reppert, Raphaela Riepl, Evan Robarts, Frank Scheiderbauer, Allison Read Smith, Miho Suzuki, Kathleen Vance, Letizia Werth, Lily White, Monika Wuhrer
Research engineer Joel Troughton and technology transfer fellows Cecile Charbonneau and Matthew Davies
I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.
Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.
blog.autochthonous-evolved.com/2013/04/making-sure-your-g...
Let's see...when should I wear this t-shirt? When I'm cleaning doors?
Creative Commons Share and share alike. Credit WikiThreads and link to www.wikithreads.com.
collaboration wiht Julian Ronnefledt & Gillian Mc Iver
To create “herd” we searched site for detritus of the past and found rusted metal hooks used to move carcasses. Along with other found materials we created a “herd” of horned beasts standing on a scarlet ground. Surrounding the herd was a transparent wall of plastic, which was also used to wrap trays of “meat” – drawings of cows portioned into cuts of meat – much as the Mattatoio is portioned out into divided and uncommunicating areas each “wrapped” in their own concerns.
At the same time we could not avoid using the work to explore issues of industrial food production. Recent studies show that over 70% of UK children do not understand that the meat they eat comes from an animal. The open presence of a place such as the old Mattatoio is rare in Western cities now. The wrapped drawings in “herd” insist on recalling the traditional primeval relationship between the food and the act of killing/sacrifice, affirming that real life does not come shrink wrapped beyond recognition but is all an integrated, complex, sometimes messy and unified whole.
The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.
Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.
The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.
The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.
In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.
The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six.