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Specific date: 11/07/1936
Artist: Fielding, V.H. Ink drawing on ruled paper. LN: 36.17" x HT: 23.13"
Amphorae are specific vessels that were used for storing and transporting olive oil, wine, salted fish and preserved fruit. They were also used for building as construction and insulating material, as well as for filling in swampy areas. The characteristic Istrian amphora has a very pronounced egg-shaped body with long neck narrower than the body and small handles on opposite sides.
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.
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Installazione site specific, cortile di Palazzo Strozzi. 11.12.2014-25.01.2015
© photo: Martino Margheri
Just staring
From time to time I like to sit down, and just stare at the horizon, just loking away, wothout looking something in specific.
Like if I was waiting for something out of the ordinay to appear there, where my eyes can barely see the details, where it's difficult to see where the land endas, and the sky starts.
A daydreamer look, thats what a friend used to call it.
Is this being Jessica something similar, is it dreaming awake of something that is not there????
Confused.
Kisses
Jessica.
PS, about the pic, well finally got to use the new black-white shoes. It was fun.
First one, the long wig , still with the braids,,
Then I undid the braids, it was sad, it was a lot of work to make them. SO back is the long black hair.
Next the usual Jessica hair.
And the fourth one, thats my hair, yes, no wig in that one, one year and three months, and it is now that long, Me likes, still needs to grow a bit bigger.
Solo viendo
De vez en vez, me gusta sentarme en algun lado, i solo quedarme viendo con la vista en el horizonte, pero sin obnservar realmente algo en especifico.
Como si esperara que de repente algo fuera de lo ordinario apareceria, ahi donde mis ojos ya no son capaces de distinguir lo sdetalles, ahi donde es complicado saber donde termina la tierra y comienza el cielo.
Tienes mirada de soñar despierto, como un amigo solia decir
Es esto de ser Jessica algo simila, es esto un sueño despierto de algo que no esta ahi????
Confuso
Kisses
Jessica.
PS, sobre la foto, pues finalmente use ya los nuevos zapatos blanco y negro. Fue divertido.
La primera, la foto con las trenzitas, su despedida.
Luego pues deshice las trenzitas, fue triste, tanto trabajo que me costo hacerlas. Pero ya ta de regreso el pelo largo negro.
Luego la usual de Jessica.
Y la cuarta, la que les presumo, si mi cabello naturalito, en efecto, no llevo peluca en esa. Un año y tres meses, y ya va asi de larguito. Me gusta, aunque aun le falta un poco mas de crecimiento.
Arcangelo Sassolino, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
After identifying the specific nature of your physical challenges, you will be assigned specific stretches, movements, and exercises to optimally insure proper recovery and to restore your health and fitness. This occurs in a phased approach:
Phase I involves range of motion enhancement patterns and stretches designed to restore joint function.
Phase II involves core stability exercises designed to increase a joint’s weight-bearing ability while at the same time increasing pain-free range of motion.
Phase III involves specific strength and conditioning exercises designed to enable you to perform desired activities of daily living at least as well as, if not better than, you did before you were injured.
Do you feel fully informed on today's art world? Visit www.Warholian.com or follow us on Facebook at www.Facebook.com/Warholian Fan and we'll make sure that you're in the know!
Just a little over a month ago, our good friend Ken Harman began to bring together an amazing lineup of street artists to the newly established Lopo Gallery (Space Gallery) location. Enter the aptly name "Urban Osmosis", which exposes the work of some of the biggest names in the street art world today.
The amazing lineup of artists include: Sharktoof, Eddie Colla, Gats, Kelly Towles, D Young V - and rounding out the roster - San Francisco based legends Chor Boogie, Eon75, Sfaustina, Hugh Leeman and Zoltron have all created specific original fine art pieces for Urban Osmosis.
Each artist created works on 4’x4’ plywood panels in mediums varying from spray paint to wheatpaste to mixed media. The show brings a level of street presentation to the gallery setting, since most wheatpastes tend to be done on buildings under renovation and in areas of urban decay.
Read the rest of the story here: www.warholian.com/?p=1735
Photos by Michael Cuffe for www.Warholian.com
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
This is a photo taken during the Masterclass Place Branding and site-specific Design with Christian Pagh.
Mediamatic welcomed Christian Pagh, one of the top European designers in the fields of Culture Design and Urban Planning, to explore the theme of public urinals. Speaker at our Pis'talk: Pissing in Public, Pagh will also be giving an exclusive Masterclass where we will deconstruct the notion of the toilet through delving into his method of Space Branding. Our case study: Mediamatic’s new Dijkspark. Could we turn this space into a public urinal while using this as a positive feature for its identity?
More information and link event: www.mediamatic.net/393309/en/pissing-in-the-park
Photography: Xiang Yu Yeung
Matadero Madrid presenta, el viernes 5 de febrero, a las 19 h., (SELFI), un proyecto específico creado por Darya von Berner y comisariado por Carlota Álvarez Basso para la antigua cámara frigorífica del que fuera el matadero de Madrid, como parte de su programa Abierto x Obras. Se trata de una instalación que versa sobre la percepción, la atención, la ecología y el selfi.
La cámara digital ha sido una revolución técnica que, además de contribuir a la secularización, la democratización y la banalización de la fotografía, ha provocado un cambio radical en nuestra manera de expresarnos, de convivir y de comunicarnos con los demás. Plataformas como Instagram, Flickr, Photobucket, Tumblr o Picasa han modificado definitivamente la forma de escribir nuestras biografías y han decretado la muerte de los tradicionales álbumes de fotos familiares. La reciente aparición del selfi, además de visibilizar el narcisismo de nuestra sociedad, ha forjado un nuevo género fotográfico a caballo entre el autorretrato y la fotografía “conversacional”: ahora las imágenes actúan como mensajes fotográficos o como relatos visuales.
En (SELFI) hay dos auténticos protagonistas: la propia sala de Abierto x Obras y el visitante activo. Gracias a la creativa iluminación orgánica de la sala, ésta se expone por primera vez ante el público en su integridad. También se duplica el espacio arquitectónico sugiriendo que la nave se hace un selfi, un imaginario y grandioso autorretrato. Sólo la percepción atenta de la obra por parte del visitante permitirá que una nueva imagen de sí mismo le sea revelada al observarse y ser observado por los demás.
DARYA VON BERNER nació en México y creció en Madrid. Estudió en la School of Visual Arts de Nueva York, completando su formación con artistas como Antonio López, Tony Crag y Jannis Kounellis. Actualmente es artista residente en Luxemburgo en el proyecto BeHave/Public Art Experience. En 2015 ha realizado instalaciones en Amsterdam Light Festival, Tschumipavijlion Groningen (Holanda) y Paisagem de luz (Bahía, Brasil).
Antes, sus intervenciones de arte público, han tenido lugar en Dessau (Triennale der Moderne Bauhaus), Berlín, Colonia, Frankfurt (Ernst May Haus) y Göttingen (Kunstverein). En Italia (Flash Art Museum, Museo Perugia). En Holanda (Peace Palace, Den Haag; WWVF Stedelijk Museum, Amsterdam). En Bruselas (Nuit Blanche) y en Suiza (Art Basel). En España: Donostia (Arteleku), Córdoba (Fundación Capital Cultural), Murcia (Sala Verónicas), Madrid (CentroCentro, Tabacalera, Noche en Blanco, PhotoEspaña, Doméstico). En EEUU (Emory Museum, Nexus Art Center), Tokio (Mori Art Museum) y en Turquía (III Bienal Estambul).
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.
Abierto x Obras / Matadero Madrid
Del 5 de febrero al 31 de julio. Martes a viernes, de 16 a 21 h. Sábados, domingos y festivos de 11 a 21 h.
Imagen: Paco Gómez / Matadero Madrid
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
Sacrificing specific animal in specified days with the intention of pleasing Allah is called Qurbani (Ritual Slaughter) and sometimes the animal being sacrificed is termed as Ritual Slaughter. Ritual Slaughter is the Sunnah of Sayyiduna Ibrahim that has been retained for this Ummah and our Blessed Prophet (May Peace and blessing of Allah be upon him) was ordered to execute ritual slaughter. Allah has stated:
Translation: So offer the Salah for your Rab and execute the ritual slaughter. (Surah Kausar, Ayat-2, Parah-30)
(Bahar e Shariat, Vol-III, Page-162, Hadees 1498)
Breed-specific legislation (BSL), aka "pit bull bans", failed in hundred of cities over the past 30 years and are always a tremendous waste of public resources. Still, Mayor Denis Coderre think it's gonna work in Montreal. But eh, it's not his money, just ours. Meanwhile, nobody's safer because it doesn't work.
Election is November 5th, 2017. Vote Coderre out, Montreal.
This mural behind 6554 rue Saint-Hubert in Montreal was done by artist Jean Labourdette, aka Turf One. Photo has been taken on September 27th, 2016.
3 May 2021. ADB has developed an approach to ensure that its operations address the specific challenges and requirements of Fragile and Conflict-Affected Situations (FCAS) and Small Island Developing States (SIDS). ADB’s vision for a prosperous, inclusive, resilient, and sustainable Asia and the Pacific cannot be fully achieved if some countries remain fragile and vulnerable.
The FCAS and SIDS Approach was launched at a high-level panel on understanding the drivers of fragility in Asia and Pacific, how to address the needs in FCAS and SIDS, and the implications on development practices in the region.
In the photo, Christine Toetzke, Director for European Union and Multilateral Development Policy, at Germany's Federal Ministry for Economic Cooperation and Development (BMZ).
The event was held during the 54th Annual Meeting of the ADB Board of Governors.
A site specific work by Patrick Dougherty. Built of locally collected red maple and sweet gum saplings the whimsical installation was built on site in a two story gallery space overlooking the garden of the Gibbs Museum in Charleston, South Carolina. The spire look forms were inspired by the distinctive church spires of Charleston.
To be specific, this trig point: www.streetmap.co.uk/map.srf?x=331506&y=224137&z=1...
Looking to the East. A lovely view in spite of the dull weather and some windy conditions.
A very specific brief from Fletcher this year ..... he wanted Dusty from Disney's "Planes 2 .... Fire and Rescue" and Dusty with pontoons. He also especially wanted his candles to be on Dusty's wings !!!
( I had to put one candle on the body though because with an odd number of candles I didn't want the symmetry upset !! LOL )
For those not familiar with the film (!), Dusty puts out a fire in a National Park, hence the side decorations.
Chocolate cake covered with fondant. I tried making Dusty in RKT and sugar but the wings would not hold up, so he was made in polymer clay in the end. At least Fletcher can keep him now !
[ I think Dusty looks a touch like a candelabra with the candles but that's what Fletcher wanted and the customer always gets what they want, as you all know !!! ;o)) ]
Pic by Neil Palmer (CIAT). Colombia's outgoing president Alvaro Uribe meets the public during a visit to the Agro Del Pacífico 2010 agricultural fair in Cali on Friday (July 30). President Uribe also met CIAT's Andy Jarvis, who attended the event to promote an ambitious new Site-Specific Agriculture based on Farmers' Experiences (SSAFE) project. Please credit accordingly and let us know when you use a CIAT pic. Contact n.palmer@cgiar.org.
“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
“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
Nataraja
Spirograph Wall Drawing (2003)
at Allegheny College, Meadville PA
davidpohl.com/installationnataraja.html
A site specific drawing made directly on the walls of the gallery.
The drawing itself (made with the use of a spirograph, the 1960's
art making device for children) contains thousands of various small
circles representing "The Cosmic Dancer", an ancient image of the
divine dating back to prehistoric times in India. The drawing was
completed in three days.
Copyright © 2003 David Pohl
House of Pingting Archives
Nataraja
By Anu Kumar
Nataraja, "The Cosmic Dancer" is an ancient image of the divine dating back to prehistoric times in India. The earliest figurines are cast in stone and found amidst the ruins of the Indus Valley civilization (circa 4000-2800 C.E.) Later representations are cast in either bronze or iron and to be found in southern india from the time of the Chola Dynasty (800-1100 A.D.) The most famous of these is installed in the Siva temple at Chidambaram in Tamil Nadu where for centuries it has inspired the imagination and fervent devotion of pilgrims from all over India.
The image is deceptively simple at first glance. It reveals a sure-footed dancer-figure firmly holding down a crouched demon while the other is half-raised in a balancing pose. Four arms reach out expressively - the one on the left holds up a lighted torch from which issue burning flames that form a majestic aureole or a halo of fire around the figure, at once illuminating and encircling it. The right arm holds up a drum, the flying tassels of which indicate a rhythmic song in progress. The lower left hand is held up with palm out in a symbolic gesture, or "mudra", indicating and exhorting fearlessness. The lower right hand reaches gracefully across a lithe torso pointing down towards the delicate foot that is raised in movement. Here rest and salvation are assured to those seeking sincerely. The figure is androgynous with a dangling earring on the left side. Adorned with snakes as armlets, it holds the crescent moon like a jewel-clasp in the hair which is other-wise aflight in all directions in the frenzied ecstasy of dance.
Seen in the mystic imagination of poets from long ago, The Nataraja is a profound vision of the Absolute. This god is by no means aloof or hidden apart from creation in some transfixed realm. Rather He is supremely alive to a present moment in time that is charged with an extraordinary power and bliss. He is utterly joyful and unconstrained. The mystery of such joy lies in a paradox: to be alive is to die each moment and create anew. The Cosmic Dancer has an unstinting capacity to endure his own death and to leap forth into an unknown place where He will be emptied of every familar position or posession, claim or identity - indeed, of life itself. Through such a complete reversal and sacrafice, then, the Dancer attains a new life in an open ground that is now illuminated by the fires of self-knowledge and a triumphant self-awareness. This is the prize, the deepest mystery of His joy. The Nataraja is in complete union- is unity itself as living truth of action.
The sense of unity is expressed through a fine sensitivity to balance by the Cosmic Dancer. Rising above fear and ignorance, this deity knows that movement is an expansion from the limited into the unlimited, of matter into spirit, because He understands balance. Opposites abide in Him rather than exsisiting without: death and creation, lightness and dark, joy and pain, are but complementary poles to be conjoined through harmony and poise. The central axis of the Dancer's body is like a spinal column that knows an exquisite connection to all space and holds it together. Then the entire panorama of the world becomes a play or "lila"- a game, a dance, a spontaneous outflow of energy. The sacred is everywhere and in every step.
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
_
'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
The Pacific Ocean, from the Cliff House in San Francisco, California.
It was a bit too chilly to get in and frolic in the surf that day...
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
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.
Tune into radio station 106.9 when in the vicinity.
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.
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
_
'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
Site-specific construction set / sculpture
Made in Nikola-Lenivets.
Location: Udarnik, Kandinsky Prize Nomination
Width×Length×Height (meters): 6×8×4,5
Materials: Wood, stud fastening, sheets of reflective stainless steel.
Photo by Ilya Ivanov
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.
“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
Danish Army Specific: Delivered as part of the MDAP 1951/55. Closed cab (100 kb) versions delivered as well.
Historical: Design and development of the model 968 began in 1939, and it was adapted for production in 1940. Based on the Diamond T 967 and produced from 1941 to 1945.
From 1943 most produced with soft-top. Total produced cargo-trucks around 9.000.
Length: 6.83 m (266 inches).
Width: 2.44 m (95 inches).
Height: 3.05 m (118 inches).
Weight: 12.100 kg (26.620 lb.).
Engine: Hercules RXC 6-cylinder, 8.668 cm3 (529 cubic inches) displacement, liquid cooled, carburetor.
Horsepower: 106 at 2.300 rpm.
Transmission: 5-speed (OD top) gearbox.
Transfer case: 2 speed, type Wisconsin T76.
Electrical system: 6 volt, starter 12 volt, positive ground.
Brakes: Air.
Tyres: 9.00 - 20.
Fording depth:
without preparation: N/A.
with deep water fording kit: N/A.
Fuel type: Petrol.
Fuel capacity: 225 liter (50 gallons).
Range: 215 km (134 miles).
Crew: 1 + 17.
Armament: Some mounted with ringmount for 12.7 mm (cal .50) MG (shown).
Additional: Some mounted with Gar Wood 3.U.615 7.5 ton winch.
Sichem/ Dalkey Cemetery.
This is the only specific Lutheran cemetery that we know of on the Adelaide Plains. The cemetery, Lutheran church and government school were all established here by 1872 when the land had been recently acquired. The Hundred of Dalkey was declared in 1856 but no one took up land here until 1865. The first to do so was Ernst Traeger who took up 600 acres of land in 1865 which he soon increased to 1,700 acres. His grain was carted by teams to Port Wakefield the nearest township. The other pioneering families were two Schaeche families and the Stein family. They were soon followed by other German families – Winter, Lange, Beinke, Schoenbergh, Zobel etc. More German settlers followed in the mid-1870s. Wilhelm Schaeche sold five acres to the Lutheran church for a church, school and cemetery. 1869 was the year in which the school opened and it was also used as a church until a new church was built a year or so later. A new stone Lutheran school was built in 1906 but that school closed during World War One in 1917 by act of parliament. (Sichem was not one of the 69 SA place names changed by that 1917 as it was only a locality and that locality already had the name of Dalkey.) Pupils from Sichem School then had to transfer to the government Dalkey School which operated in the Bible Christian church. (The Dalkey School had opened in 1879 and finally closed in 1946.) The Sichem Lutheran church closed in 1899 as a new Lutheran church opened in Balaklava. Like the school room it was eventually demolished. The District Council of Dalkey was formed in Traeger’s home in 1875 and for many years into the 1890s Ernst Traeger was a local councillor. When the council chamber was built in the 1882 it was sited in Owen. Eventually in the 1930s it became the District Council of Owen. Locally the English settlers of Dalkey district called the village German Town rather than Sichem. Sichem was a Hebrew city near Canaan. The most famous resident of Sichem was a son of Ernst Traeger who invented the pedal radio which was essential for the establishment of the Royal Flying Doctor Service and later the School of the Air. Another Traeger son established an implements business in Hamley Bridge. The Sichem or Dalkey cemetery was established around 1870. Although later headstones were all written in English look for some of the early ones like the Neumann family headstones and Traeger family headstones which are written in old German script. Dalkey was named by Governor MacDonnell in 1856 for the Hundred. Dalkey was a seaside place in Dublin the home place of Governor MacDonnell the first Catholic governor of South Australia.
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
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
WARNING:
Specific Drums or Barrels needed to use in not licensed Grenade Launcher. Only Kyshira Armory Grenade Launchers made for standard use of the Schrotgranate.
-----------------------------------
Made for the upcoming KA Monday Night Combat Metal Hail Multi Grenade Launcher. In other words, it is a three barreled, revolver type grenade launcher, firing 3 Gauge 12 rounds per grenade. Metal Hail.
The two pins at the grenade are needed to fix the grenade inside the weapon to hit it with all three hammers.
-----------------------------------
Thanks to Badenian for his amazing Shotgun Shells. Danke mein Freund.
© Photograph by Noemí Jariod. Courtesy of the artist.
—
‘Schizophrenic Machine’ was the closure to the three-part project ‘COLLAPSE’ by Joan Morey (Malorca, 1972). This new site-specific performance took place on January 10, 2019, in the former prison La Modelo, 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.
Produced by the Contemporary Art Center of Barcelona - Fabra i Coats as the third and final part of the ‘COLLAPSE’ project.
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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...