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Installation site specific of poster art - WK INTERACT
Muro di contenimento dell’Ex Omni
Porta Pia - Via XXIX Settembre
ANCONA
photo by Giulio Garavaglia
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...
(details tk on specific images) Cargill Learning Journey to South Africa and Zambia, to explore food security issues in the region. June 20-26. These photos are my personal glimpses and impressions over the course of this trip. More information on the substance of this trip can be found here: www.cargill.com/learning-journey/africa/
The specific page for the image opens. I click on the "share" arrow at the bottom right of the window to access the code for the photo.
You can also post the URL for the page between the square brackets - but this will post the original size image - and you may not want to do this... the "share" arrow method lets you select a small, medium, or large image to post.
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.
Supplied with Enve wheels and rims these rim specific pads work flawlesly. Braking is smooth and ample in the wet but be ready to make frequent pads changes as they last about 1/4 of a regular pad.
Photo taken through Glass!
White Tigers
White tigers are very rarely found in the wild. In about 100 yeas only 12 white tigers have been seen in the wild in India. They are almost extinct and most of the ones living are in captivity, mostly in zoos. This specific tiger is neither an albino nor a seperate subspecies of the tiger. They are beautifully white colored and have black stripes. It has blue eyes and a pink nose. It also has white colored fur. The white tiger is born to a bengal tiger that has the gene needed for white coloring. A pure white tiger has no stripes and are totally white.
Pristine wildness !
The striking white coat is caused by a double recessive allele in the genetic code, and only turns up naturally about once in every 10,000 births. Amazingly, the Bengal tiger is the only subspecies in which it seems to happen. As beautiful as it may look, life as a white tiger can't be easy when your life depends on being able to hide from and/or sneak up on things.
Habitat & Range: Tigers usually stay in an area from about 10 to 30 square miles where there is enough prey, cover/shelter and water to support them. Territory actually depends on the amount of prey that is available. The more concentrated the prey the smaller an area a tiger needs to survive.
Life span: White tigers in the wild live to be about 10 to 15 years while tigers in zoos usually live between 16 and 20 years.
Diet: Tigers do not hunt in social groups like lions. They are generally solitary animals. In the wild, tigers will eat pig, cattle and deer. They can eat as much as 40 pounds of meat at one time! After such a big meal a tiger will not eat again for several days. White Tigers have 30 large teeth ranging from 2.5 to 3 inches.
Caring for Young: Tigers are generally solitary animals, except when caring for their young. Tigers keep their young with them for 2 or 3 years until the young tigers can fend for themselves.
Fascinating facts about white tiger:
- The White Tiger is a good swimmer, but a very poor climber.
- They may be slow runners, but they are stealthy enough to catch any prey in their sights.
- Because they are solitary animals, they hunt mostly at night
- White tigers are born to - - Bengal tigers that carry an unusual gene needed for white coloring.
- The other four sub-species of tiger are Siberian, South China, Indochinese, and Sumataran. There are only approximately 5,000 to 7,400 tigers left in the wild.
Status: At the beginning of this century it is estimated that there were 100,000 wild tigers, today the number is less than 8,000. Simply put, tigers are disappearing in the wild. The main threats to tigers are poaching, habitat loss and population fragmentation.
This specific automatic door in this crappy picture (located at the Market Mall in Saskatoon) is actually powered by a Stanley panel. However, the sticker with the arrow on it is normally used on doors from Horton Automatics. It looks unusual, because it appears to have been cut from a normal "automatic door - keep moving" decal.
Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010
Chemsex involves using one or more (specific) drugs to enhance sex.
Taking drugs to deliberately enhance sex is a different kind of recreational drug use, and has specific sexual health risks.
The three main drugs used for chemsex are GHB, mephedrone and crystal meth. Each one has very different mental and physical effects.
Participating in chemsex is never 100% safe, but there are precautions you can take to stay safe and protect yourself from HIV.
If you’ve had chemsex and are worried you’ve put yourself at risk of HIV, get advice from a sexual health professional as soon as you can.
Chemsex (also known as chemfun, party and play or PNP) involves using one or more drugs to enhance sex; it can last for many hours at a time, and often with multiple sexual partners.
ORDER FREE MATERIAL TO PLAY SAFER ON EXAEQUO’ S ONLINE SHOP!
www.exaequo.be/en/hauptnavigation/your-health/commander-d...
DES QUESTIONNAIRES POUR FAIRE LE POINT !
MONBUZZ.ca : bilan sur ta consommation d’alcool et de drogues et sur les effets possibles sur sa sexualité par le RÉZO, santé et mieux-être des hommes gais et bisexuels, cis et trans, et l’Université de Sherbrooke (Canada)
Plan d’action Chemsex proposé par David Stuart
www.davidstuart.org/care-plan-fr
Life Check Quiz sur le site Friday/Monday du Terrence Higgins Trust (en anglais)
www.fridaymonday.org.uk/is-this-a-problem/drugs-and-you-c...
La seconde étape, c’est de chercher de l’aide. Quoiqu’il t’arrive, que tu considères la situation grave ou pas, il y a une variété d’options à considérer et des gens et des structures pour t’accompagner dans celle que tu choisiras.
Rompre l’isolement et trouver de l’aide.
On peut souhaiter parler avec d’autres consommateurs ou d’autres ex-consommateurs. Avec des professionnels aussi.
Avoir besoin de dénoncer une violence, un viol.
Essayer d’espacer les prises, de réduire les doses tout en continuant de consommer.
Décider d’arrêter net ou petit à petit, de faire une pause.
Peu importe nos choix, des structures peuvent aider.
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
Colocasia esculenta
Kalo or Taro (Hawaiian variety)
Family: Araceae (Arum family)
Oʻahu, Hawaiʻi (Cultivated)
The cultivar name 'Piko Kea' literally means "white navel (belly button; umbilicus)" in Hawaiian. The piko is the center of the leaf where it meets the petiole.
This is the petiole or leaf stalk (hā).
Early Hawaiians were often very specific in their descriptions of plants and varieties they encountered or cultivated.
Piko Kea is a very important poi taro, particularly on Oʻahu. The Kalo Piko Group are known for their good poi.
Beamish - The Living Museum of the North
Beamish, the North of England Open Air Museum is an open-air museum located at Beamish, near the town of Stanley, County Durham, England. The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century.
Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution in 1825. On its 300 acres (120 ha) estate it utilises a mixture of translocated, original and replica buildings; a huge collection of artefacts, working vehicles and equipment; as well as livestock and costumed interpreters.
Specific layout assigned, used textures from 2 Little Owls and Kim Klassen. Photos are mine, hand written text brush by Maya.
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.
In this photo, I thought I'd go a little further and photograph every non-standard head piece I have.
Part of a site-specific installation produced for Constance ARI in April, 2013. Detail of the gallery model looking north east, showing the sculpture garden down the bottom (with existing neighbouring cottage and tree), and distinctive red floating staircase and green (or living) roof.
The explanation of the supposed "redevelopment":
"To coincide with Inflight’s change of name and scope, the existing gallery building at 100 Goulburn St will be redeveloped. Based on current trends in museum architecture, the humble ARI will be transformed into a cutting edge monument to rival institutions such as the Guggenheim(s), the New Museum, the Tel Aviv Museum of Art and MONA. The redevelopment will retain the building’s existing white cubic base, but will have three additional levels on top, will include the neighbouring apartment in the same building, and convert the current carpark into a concrete-paved sculpture garden.
The art museum is no longer built in the image of a Greek temple. Instead, it strives to be unique in every way, from the toilets to the shiny coloured enamel exterior. However, the features designed to create a unique structure paradoxically tend to be common to most new museum buildings. These features include bizarre angles, curved or polished concrete, confusing layout, large entrance courtyards, water features, unlikely toilets, rust, and floating or unusual staircases. The institution will encourage site-specific artworks that respond to the architecture, with art invading the lift shafts, stairs and toilets. Importantly, the ‘visitor experience’ is enhanced through the provision of a gift shop, bar, restaurant and/or café. I have identified the most common of these features and have attempted to apply as many as possible to the new Constance ARI design, with the aim of providing Hobart with (another) ‘unique’ contemporary art museum."
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
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.
Europa: Pasajes de Invierno es 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.
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
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.
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.
In the 19th century, specific buildings for entertainment appeared in many cities, including stone circuses. Ghent also joined this international trend. In 1894, the so-called "Nieuw Cirkus" was built, designed by architect Emile De Weerdt .and was eventually inaugurated as a stone circus, where numerous companies gave performances, also during the winter.
Shortly after World War II, the Winter Circus was transformed into Ghislain Mahy's garage. In this transformation, the entire circus interior was lost. In its place came a completely new concrete structure with an elaborate system of ramps that allowed cars to drive all the way to the top. In 1978, the garage closed its doors and the building continued to serve as a depot for vintage cars for two more decades. After that, the building stood virtually empty.
n order of the City, sogent purchased the historically valuable building in 2005 with the intention of renovating and repurposing it with respect for its rich heritage value.
Prof Worsley was speaking in Houston, which is often regarded as the energy capital of the world. His work is in developing coatings that allow buildings to capture, store and release their own - renewable - energy.
Some NZ specific touches can be found on the riders' bikes. This particular one belongs to Dan Wolfe
Europa: Pasajes de Invierno es 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.
Trump’s rise and persistence as a presidential candidate has been credited to name recognition, to voter anger and to a specific contempt for the Republican Party establishment. www.washingtonpost.com/politics/why-donald-trump-makes-se...
A gigantic dragon, one of the site-specific art installations at Alcatraz, by the Chinese artist Ai Waiwai in his tireless campaigning for freedom of expression.
Europa: Pasajes de Invierno es 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'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...
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
Specific Design Assessment
-Through-block pedestrian connection has logical connections to transit, such as the Seattle Streetcar and multiple bus lines
Relevant Land Use Code Sections
20.25A.150.C - Relationship to Transportation Elements
2010 © Molly Mellinger
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Package 2
Two 4”x6” and one 8”x10” Prints: $27.00
Package 3
Two 5”x7” and one 8”x10” Prints: $30.00
Package 4
Two 8”x10” Prints: $25.00
Electronic Package
Also available are electronic versions of the images (which is a file that would be large enough to print a quality resolution image at 8x10") with copyright release to the images for $20 per image for the first 3 images and then $10 an image from then on processed on a CD.
Please send all orders to MMellinger13@sc.stephens.edu
Ordering Information
Please email all orders.
Include in email:
•Image name (i.e. img_1407)
•Quantity of image
•Size(s) of image
•Please repeat for each image ordered
•Return email address
Unless planning to pick up prints or CD please include mailing address for shipping prints to.
Order will take approximately 1-3 weeks to process.
If there is any sort delay in processing, I will email with details.
Once orders are finalized there is a no refund policy unless there is an error in processing.
Please send all orders to MMellinger13@sc.stephens.edu
2017-01 [8 cm pot]
The mother plant was a gift from MR (2009-06). Copy planted in 2015.
Specific affinities unclear. Some consider it a hybrid of Aeonium davidbramwellii.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
Development photograph for the site specific project that experiments with a surreal composition.
February 2011
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.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.