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The four key themes of the Forum were introduced by key international experts in 9 interviews, regularly published in English and French on the Forum webite. Here is a review of the countries that were most interested in the interviews.
The map shows the close interest of selected countries in the specific topic of each interview. While France is the country with the most clicks, the topics treated by Robert Hunink and Ralph Ridder were most read in the US. Eva Mueller and Emmanuel Groutel called the attention of ATIBT contacts in the UK. Mamadou Sangaré attracted the highest interest of German readers. Emmanuel Ze Meka was unsurpassed in Italy. Henri Djombo had the most clicks in the Republic of Congo. Likewise Raymond Mbitikon in Gabon. Finally, Robert Simpson stood out in Indonesia.
Direct link to the interviews:
www.fb2013.org/press/4580041343
Visit the Forum website: www.fb2013.org
The specific identity of the sitters in this, Titian’s largest group portrait, is disputed, but the man in the centre is most likely Andrea Vendramin (1481–1547), while the one on his right is his brother Gabriel Vendramin (1484–1552), a significant collector of works of art. The boys are the former’s seven sons. The reliquary of the True Cross on the altar still exists in the Scuola di S. Giovanni Evangelista in Venice. It was presented to an earlier Andrea Vendramin, Guardian of the Scuola, on behalf of this confraternity in 1369. On one occasion he is said to have rescued it from a canal.
The painting was surely made for a specific site in the family’s Venetian palazzo. During execution, however, it was cut down on the left, probably because the patron changed the intended location. This accounts for the slightly awkward accommodation of the three boys at far left, who were surely painted by the artist's workshop. The two boys on the far right were probably also painted by an assistant: they are markedly drier of execution than the freely and luminously painted boy holding a puppy. Parts of the paint surface have become transparent with time, revealing to the naked eye Titian’s vigorous preparatory underdrawing of Gabriele.
Robert Llimós presents a new version of an action that was originally created in the summer of 1972. One of the very few performative works of an artist primarily known for his paintings and sculptures, “Los Corredores” (The Runners), was first realized as part of the legendary avant-garde art festival known as Los Encuentros de Pamplona (The Pamplona Meetings). On that occasion, three people dressed in identical running gear speed-walked throughout the city, connecting the various venues of the festival. As his project for the Composiciones programme, Llimós’s Los Corredores is now restaged on the streets of Barcelona. Three athletes criss-cross the city, seemingly rushing to see every venue of the Gallery Weekend. As in Pamplona, the white sports kits have been adorned by Llimós with black diagonal brushstrokes that symbolize the idea of painting. At times the speed-walking trio carry flowers, or have their ankles joined with elastic ribbon—a painting-as-workout that has left the studio for the street with decoration, discipline, and a dynamic sense of urgency. – Latitudes
Robert Llimós’s (Barcelona, 1943) long trajectory as a painter and sculptor began in the sixties within the Nueva Figuración (New Figuration) movement (1965-1968). Between 1969-1973 he went through a more conceptual phase returning to figurative painting with a greater emphasis on colour. His work has been exhibited individually at the Museum Bochum, Germany (1994), Galería Alejandro Sales, Barcelona (2009); Fundació Vila Casas, Barcelona (2010). in 1972 he was part of the landmark international avant-garde art festival Encuentros de Pamplona (The Pamplona Encounters), as well as participating in the unofficial programme of Documenta 5, Kassel. He has exhibited in institutions such as the Museo del Barrio, Nueva York (1976 and 1978); Fundació Miró, Barcelona (1979, 1983 and 1992); Museu d’Art Contemporani de Barcelona (1996, 1997 and 2005); Museo Reina Sofía, Madrid (2004 and 2009) and the Fundació Suñol, Barcelona (2010), amongst others. Since 2009 Llimós has been producing work depicting extraterrestrial life forms and flying objects. In 1994 the Generalitat de Catalunya awarded him the Fine Arts Award. Two of his public sculptures can be seen in Barcelona: “Marc” (1997) in the Olimpic area and “Mirastels” (2006) a floating sculpture in the Port of Barcelona.
––
“Los Corredores” (1972/2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
neolithic-like pottery
The prehistoric pottery in Romania fascinates by its diversity, quality and exquisite sense of beauty. A number of European Neolithic cultures are known all over the world for their extremely valuable pottery production. Each of these cultures can be distinguished according to their specific forms and decors. From the archaeological perspective, pottery is considered to be a “vectorial / leading fossil” helping to identify the human communities that occupied a certain area during a certain past period of time.
The project
The ongoing project entitled “Replica” intends to recreate, in an experimental manner, the clay “adventure” from its starting point as a geologic sediment to its final phase, when it becomes a finite art object. While achieving this complex process, we have minutely tried to rediscover and at the same time apply the prehistoric pottery and statue carving techniques.
The beginning
Basket working was considered to be the first handcrafted recipients. Later on these baskets were covered with clay. This is one of the hypotheses regarding the starting point of pottery making. It is believed that ceramic recipients appeared as a result of some chance basket burning. These recipients had a major peculiarity – water could be boiled into them. Gradually, people ceased using the wickerwork support and started using long clay bands to build the recipient. These bands went upwards, from the basis to the recipient aperture.
The clay
The first step taken in realising the recipient you are holding in this very moment was to discover a resource of high quality raw material. Thus, the clay we have used was found in the proximity of ancient pottery centres situated in the southern regions of Romania. It has been used for centuries in pottery production. The clay needs to be exposed to at least one winter frost in order to acquire the necessary plastic qualities; only afterwards water is added and it gets sufficiently well homogenized to obtain the consistency to mould the recipient.
The technique
The process we use to build the recipients tries to reproduce as close as possible the Neolithic one, called en colombin. The construction of such a recipient starts form the basis, superposing clay bands which are consequently homogenized, from both the interior and exterior, by means of a bone or wooden spatula. Building bigger dimension recipients raises some problems - in this case the technical procedure requires higher attention as well as a longer time for its construction. This technique resembles the one that swallows use to build their nests – while the basis of the recipient begins to dry, the upper part is maintained wet so that the building process could be continued. The recipients’ decoration with incisions or excisions is realised before they are completely dried. After the completion of these first stages, the recipients are stored in a shadowy place since a rapid dehydration could deform or even crack them.
The pigments
Before being burnt, the recipients are painted with mineral pigments, resistant to high temperatures of over 700° Celsius. The pigments’ extraction is realised in a quite resembling manner to the one practiced in prehistory. The red pigment is obtained from sediment containing a high concentration of iron oxide. The white is obtained from a special type of clay brought from an area rich in kaolin deposits, situated in the proximity of Medgidia town. The black colour is obtained by grinding the slag resulted from iron burning.
The kiln
The recipients are burnt in a kiln built after the Neolithic model – it is a bicameral clay kiln in which a high quality oxidising burning can be realised. The recipients are carefully placed into the kiln in a well established order so that the hot air can circulate, realising thus a complete burning. They are positioned in circles; the widest circle comes first. On the pile top, a lid of broken recipients is made.
The burning
At the beginning, the fire is made with soft wood such as poplar, lime tree or willow wood cut in small pieces – 30 cm at most. They have a lesser caloric power and are used for the gradual kiln heating. At this stage, the wood is set at the kiln aperture, as far as possible from the recipients because a high temperature without a preliminary gradual heating would crack them. This stage can last up to three hours. At this point, wood with a higher caloric power such as poplar, lime tree or willow wood is introduced. The best wood that can be used in pottery burning is the fir wood. The wood pieces should be 80 cm long and cut thinly. The burning can last up to twelve hours.
The culture of Cucuteni is known to have appeared around 5000 years ago in the eastern part of Romania, more precisely in the Central and Western parts of a region called Moldavia. It started its existence during the last phase of a Precucutenian culture and undertook some influences from Gumelnita and Petresti cultures. It belongs to the great painted ceramics complex known by the name of Ariuşd – Cucuteni – Tripolie. Further phases – A, A-B, B and C have been stratigraphically and typologically identified to have existed during its long-lasting life of more than 700 years (around 3500 BC – 2900 BC).
Working the land was considered to be the basic occupation of these communities, but they were animal breeders as well. They took great interest in breeding taurines. Haunting was of a secondary importance to them.
Among the countless and outstanding artistic manifestations belonging to the Neo- eneolithic epoch 5000 years ago, and which appeared in both Romania and the rest of Europe, Cucuteni culture stands as the symbol of one of the greatest achievements of the prehistoric man’s genius. As compared to the contemporary cultures, Cucuteni is undoubtly the most impressive of them. The artistic value of its painted pottery is genuine and surpasses the most exquisite manifestations belonging to most of the European cultures of that epoch.
Altering the specificity of T cell receptor (TCR) is one of the popular strategies to genetically modify T cells to enhance the tumor-killing activity of T cells.
Would you like a take a shortcut to a specific Snowman?
01. A Partridge in a Pear Tree (Jodie Silverman) | 02. Two Turtle Doves (Megan Evans) | 03. Three French Hens (Lei-Mai Lemaow) | 04. Four Calling Birds (Jenny Leonard) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a-Laying (Matilda Elizabeth) | 07. Seven Swans a-Swimming (Laura-Kate Chapman) | 08. Eight Maids a-Milking (Donna Newman) | 09. Nine Ladies Dancing (Lizzie Rose Chapman) | 10. Ten Lords a-Leaping (Hammo) | 11. Eleven Pipers Piping (Jess Loveday) | 12. Twelve Drummers Drumming (Jessica Perrin)
Entry in category 4. ©Bianca Ambrogina Silva; See also bit.ly/snsf_comp_copy
We used a novel transgenic mouse (TRAP line, Guenthner et al. 2013) that allows for the specific tagging of the neurons activated at a precise time. We made this mouse re-experience a specific memory and captured the neurons active at this very moment by making them express a fluorescent protein (tdTomato), so that we could image them later. We then made the brain fully transparent (CLARITY, Lee et al. 2016) and imaged its hippocampus by light sheet microscopy (Zeiss). Volume imaged: 2X2X2 mm. 3D processing and pseudo-coloring was done with Imaris.
The imaging of structures located deep inside the brain normally requires cutting it into very thin slices. However, with a revolutionary technique called CLARITY combined with light sheet microscopy, we can now make an intact brain fully transparent and image the whole tissue preserving its morphology. I used this trick to detect memory neurons throughout an area called dentate girus inside the mouse hippocampus. This part of the brain is the one creating new memories and storing them. With this revolutionary technique, we are now analyzing how neurons storing a specific memory connect to each other and how these connections change when memories are strengthened or attenuated. This will help us understand the neural mechanism of pathological forms of memory such as post-traumatic stress disorder, where traumatic memories are too strong, or Alzheimer’s disease, where memory is lost. ¦ Image#4_59
"Are there any specific challenges you've faced and overcome in your life and how have you they helped you grow as a person?"
"I think for me a lot of those things are existential. Wrestling my own motivational demons so to speak. The battle between what you think you're supposed to do, what you should do, what you want to do, finding something that sits in the middle of all this. I feel like that's always a work in progress for me. At one point I tried to work on music full time. I thought that was the thing I always wanted to do and I had this idea that because I had this job or other things stopping me it was keeping me from doing music all the time, and then I gave myself some time to try music full time and I realized almost instantaneously that it wasn't what I wanted to be doing. The fantasy I had built in my mind was totally incorrect. I realized I didn't want to sit in a room by myself just tinkering on stuff all day long. Maybe the reason I was enjoying that so much was when it was the antidote to something else. A relief from stress that was coming from other challenges. It was really disconcerting to realize that because for so long I had this idea that you peg your hopes on this thing that's the silver bullet and if I can just get to that point...now I've kind of realized I don't think there ever is a silver bullet. I've tried to accept that."
(3/4)
Neissa only wears purple and black outfits. She's the only one here with a specific wardrobe, and who doesn't share. She has got yesterday in the mail the h.jelly & Honey dress from Dolpa 18. The set wasn't complete, bought second hand, but it's very cute and sexy! She used to wear a dress of the same length, but this "nightdress" makes her look definitively more mature!
The rear of the T-shirt says: "Supporting lesbian, gay, bisexual & trans homeless young people".
That's a very specific target of people to support.
Presumably he is a Street Fundraiser, or Chugger "Charity Mugger" (if one wants be less generous with the description). He is waiting for a bus home after a long day trying to get people to sign up to a small monthly donation via direct debit.
Just so everything is clear, I've posted this picture as this is an unusual sight and I'm slightly taken aback at how narrow the target of people they will help. No other reason.
Nice stripey Taxi on the road.
en.wikipedia.org/wiki/Street_fundraising
The Albert Kennedy Trust
In 1989, 16 year old Albert Kennedy fell to his death from the top of a car park in Manchester whilst trying to escape from a group of homophobic bullies pursuing him in a car. Albert was a runaway from a children's home and was suffering depression. In his short life he had experienced rejection and abuse from society.
Little specific information about "Silver Galaxy Granite" from India is available. It has a foliated texture, so it is a metamorphic rock - it appears to be a gneiss. The dark red areas are very likely garnets. The matrix includes a sparkly component - likely mica.
I've seen this material attributed to Andhra Pradesh State (= southern Indian) and Rajasthan State (= northwestern India). Verified quarry location info. is lacking.
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.
#Singapore - #StrengthsFinder #Maximizer likes to soar with apex predators; the ones that dominate the top of that specific ecosystem. Maximizers run with the alphas and can quickly size up if a person belongs to the elite. They are constantly looking out for Eagles within their team The definition of StrengthsFinder Maximizer's GENIUS The genius of Maximizer talents is in your natural discrimination toward better and your preference for working with and toward the best #StrengthsFinderMaximizer #StrengthsFinderGenius #GallupStrengthsFinder #CliftonStrengths #StrengthsQuest #StrengthsSchool #Gallup #StrengthsFinderSG #Asia #HumanResource #SelfImprovement #SelfDevelopment #TeamBuilding #Workshop #StrengthsCoach #ProfessionalDevelopment #StrengthsFinderCoach #CoachJasonHo Jason Ho • SouthEast Asia & Singapore's 1st StrengthsFinder Certified Coach • Strengths School™ Singapore ift.tt/2bfTd4k
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. ITALIA / USA - Aggiornare: 'Petrolio - Ladri di bellezza 2018/2022'; Gli studiosi italiani: "Musei negli USA - Restituisci quello che hai rubato!"; in: RAI 1 HD / VIDEO (2018) & Senatrice & Archeologa Margherita Corrado / Fb (08/2022) = "Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo"; in: ARTRIBUNE & LOS ANGELES TIMES, USA (11/08/2022) [Italiano & English]. wp.me/pbMWvy-337
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018); s.v., Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154274
** Nota: tutte le fotografie qui sono dal video – “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26]; o specificato ed elencato come un’altra fonte citata. **
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888651
1). ITALIA / USA - "Petrolio Ladri di bellezza"; in: RAI 1 HD (08/12/2018) / Foto & Video [1:26].
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154079
Alla luce degli ultimi risvolti giudiziari e dopo aver acceso i riflettori sulla vicenda dell'Atleta di Fano di Lisippo, la statua in bronzo datata tra il IV e il Il secolo a.C., il capolavoro trafugato nell'Adriatico e venduto illegalmente al Getty Museum quarant'anni fa, "Petrolio - Ladri di bellezza" torna ad occuparsi del traffico di reperti archeologici, ricostruendo la rete capillare di contatti, rapporti, scambi di denaro che ha generato il quarto mercato illecito del mondo.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888726
Grazie al lavoro di inchiesta durato un anno attraverso fonti esclusive e testimonianze uniche di magistrati, carabinieri, uomini dell'FBI, esperti ed archeologi, "Petrolio", documenta i legami tra organizzazioni malavitose, mondo del collezionismo e i più importanti musei del mondo. Duilio Giammaria va negli Stati Uniti sulle tracce del traffico miliardario di reperti archeologici. In California intervista in esclusiva Timothy Potts, direttore del Getty Museum, in merito alla questione del bronzo di Lisippo. Un viaggio che prosegue a Ginevra, luogo di transito di molti dei reperti trafugati e a Cambridge dove l'archeologo forense Christos Tsirogiannis spiega il ruolo delle case d'asta in questo commercio illecito. Ospiti di Petrolio il critico d'arte Vittorio Sgarbi, lo storico dell'arte Tomaso Montanari e il tenente colonnello Nicola Candido, comandante del reparto operativo dei carabinieri per la Tutela del Patrimonio Culturale.
Fonte / source: Video & foto:
--- RAI 1 HD (08/12/2018) / Foto & Video [1:26].
www.raiplay.it/video/2018/11/Petrolio-2e271483-c1ca-4e3c-...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52279888541
2). ITALIA / USA - SE E' VERO, BISOGNA FESTEGGIARE!!!!!! Ricordate l'interrogazione 3-01243 di novembre 2019 dedicata proprio ad Orfeo e le Sirene? Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Foto: Senatrice & Archeologa Margherita Corrado et al., in: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
www.flickr.com/photos/imperial_fora_of_rome/52280370960
Chi volesse rinfrescarsi la memoria, può aprire questo link:
--- Senatrice & Archeologa Margherita Corrado et al., Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione). Pubblicato il 20 novembre 2019, nella seduta n. 167; Svolto nella seduta n. 181 della 7ª Commissione (05/08/2020).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
--- Anche: Senato della Repubblica / Legislatura 18 Atto di Sindacato Ispettivo n° 3-01243; Atto n. 3-01243 (in Commissione) [11/08/2022].
www.senato.it/japp/bgt/showdoc/18/Sindisp/0/1128243/index...
Foto: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022); s.v., Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154054
2.1). ITALIA / USA - ADELANTE, PEDRO, CUM JUICIO, SI PUEDES...
Eccola qui la prova del delitto (fotogramma tratto dal filmato trasmesso dalla trasmissione "Petrolio") ma il 2 luglio 2020 il (futuro) MinC mi rispondeva come leggete... Fonte: Senatrice & Archeologa Margherita Corrado / FB (11/08/2022).
Fonte / source:
--- Senatrice & Archeologa Margherita Corrado / Fb (11/08/2022);
www.facebook.com/profile.php?id=100058012031617
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904772
3). ITALIA / USA - Il Getty Museum di Los Angeles restituirà all’Italia un antico gruppo scultoreo. ARTIBUNE (11/08/2022).
COME PREVISTO DALLA POLICY DEL GRANDE MUSEO LOSANGELINO, CHE OBBLIGA AL RIMPATRIO DELLE OPERE SOTTRATTE ILLEGALMENTE, ORFEO E LE SIRENE TORNERANNO A SETTEMBRE 2022 A ROMA, SEGUITI DA ALTRI MANUFATTI IN UN SECONDO MOMENTO.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904902
Un momento storico per le restituzioni, e per l’Italia. Il J. Paul Getty Museum di Los Angeles ha annunciato oggi che restituirà al Paese il Gruppo scultoreo di un Poeta Seduto e Sirene, un gruppo di figure in terracotta a grandezza naturale della seconda metà del IV secolo a.C. proveniente dalla colonia magnogreca di Taranto, noto anche come Orfeo e le Sirene. Il museo statunitense starebbe inoltre collaborando con il Ministero della Cultura per organizzare la restituzione di altri quattro manufatti, a data da destinarsi. Il gigantesco museo a capo dell’omonimo centro per le arti ha già rimosso i manufatti dal percorso di visita in preparazione per il trasporto a Roma a settembre (peraltro molto difficile, vista la fragilità delle sculture), dove saranno affidati al Ministero della Cultura.
Foto: ARTIBUNE (11/08/2022).
www.flickr.com/photos/imperial_fora_of_rome/52280154144
IL GRUPPO SCULTOREO ORFEO E LE SIRENE
La restituzione non è per l’Italia una vera e propria sorpresa, dato che già all’inizio del 2006 l’opera compariva in un elenco di manufatti di cui si rivendicava il possesso e si chiedeva la restituzione. Stando alla commissione permanente in Senato su Istruzione pubblica, beni culturali, ricerca scientifica, spettacolo e sport riunitasi nell’agosto 2020, “il bene, databile secondo la maggior parte degli studiosi nell’ambito della seconda metà del IV secolo a.C., si compone di tre statue, originariamente policrome: due figure femminili stanti (140 per 55 centimetri circa), riconoscibili come sirene in base alla conformazione ornitomorfa della parte inferiore del corpo, e una figura maschile seduta, vestita del solo mantello, variamente identificata come poeta, come Orfeo o semplicemente come un defunto del quale poteva costituire parte del monumento sepolcrale.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154234
La figura maschile impugna con la mano destra un oggetto allungato, probabilmente il manico di un plektron, secondo l’interpretazione di Bottini e Guzzo, che ipotizzano nell’altra mano l’originaria presenza di uno strumento a corda. L’opera è riconducibile con certezza al patrimonio culturale italiano e proviene probabilmente dal territorio tarantino”. Lo stesso Getty Trust, si legge ancora nel verbale del Senato, aveva sottoscritto nel 2007 una convenzione con l’allora Ministero per i beni e le attività culturali che aveva permesso il rientro in Italia di molti beni preziosi e che stabiliva l’impegno del Ministero a “interpellare previamente il Getty Trust prima di procedere al recupero di beni archeologici dei quali sia acquisita la prova della provenienza da scavo clandestino e/o oggetto di esportazione illegittima dall’Italia di beni archeologici presenti nelle collezioni del Getty Trust
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904892
“. Sono passati un po’ di anni, certo, ma la collaborazione si può ora dire fruttuosa, nonostante i trascorsi anche burrascosi (vedasi la condanna del tribunale di Pesaro di qualche anno fa).
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154259
LA POLICY DI RESTITUZIONE DEL GETTY MUSEUM DEI MANUFATTI SOTTRATTI ILLECITAMENTE
Il Getty – un’istituzione di livello globale con una enorme collezione che va dalle opere greche alle fotografie del Novecento – ha adempiuto così alla propria policy di restituzione dei manufatti al Paese d’origine, obbligatoria nel caso in cui vi siano informazioni affidabili a indicare che siano stati rubati o scavati illegalmente. “Grazie alle informazioni fornite da Matthew Bogdanos e dall’Unità per il traffico di antichità dell’ufficio del procuratore distrettuale di Manhattan che indicano lo scavo illegale di Orfeo e delle sirene, abbiamo deciso che questi oggetti dovrebbero essere restituiti”, hanno dichiarato i direttori Timothy Potts, Maria Hummer-Tuttle e Robert Tuttle.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154264
Ma non finisce qui: secondo ricercatori dell’istituzione e studiosi indipendenti, bisognerà restituire anche una colossale testa in marmo di una divinità del II secolo d.C.; uno stampo in pietra del II secolo d.C. per la fusione di pendenti; un dipinto a olio intitolato Oracolo a Delfi (1881) di Camillo Miola; e un thymiaterion in bronzo etrusco del IV secolo a.C. I primi tre di questi oggetti furono acquisiti dal fondatore J. Paul Getty e dal Getty Museum negli anni ’70, il quarto nel 1996, e nessuno di loro è più stato esposto al pubblico negli ultimi anni. “Apprezziamo il nostro forte e fruttuoso rapporto con il Ministero della Cultura italiano e con i nostri numerosi colleghi archeologi, conservatori, curatoriali e altri studiosi in tutta Italia, con i quali condividiamo la missione di promuovere la conservazione del patrimonio culturale antico“, ha affermato il direttore Potts.
Fonte / source, foto:
--- ARTIBUNE (11/08/2022).
www.artribune.com/arti-visive/archeologia-arte-antica/202...
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52280378020
4). ITALIA / USA - Getty to return illegally excavated Orpheus sculptures, some great antiquities, to Italy. The Los Angele Times, USA (11 Aug., 2022).
The J. Paul Getty Museum is returning its Orpheus group of sculptures — a culturally significant group of nearly life-size terra-cotta figures known as “Orpheus and the Sirens,” some of the museum’s greatest antiquities — to Italy. The objects, which have been determined to have been illegally excavated and exported, will be sent to Rome in September. The institution is coordinating with Italy’s Ministry of Culture to send four other objects back as well at a future date.
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904817
“The Getty is not in a position to comment on information that led to the return of the Orpheus,” spokesperson Julie Jaskol said. “The information was supplied by Matthew Bogdanos of the Antiquities Trafficking Unit of the Manhattan district attorney’s office, who developed the evidence in an investigation unrelated to the Getty. The evidence persuaded us that the statues had been illegally excavated and it was appropriate to return them in accordance with Getty policy.”
Foto: The Los Angele Times, USA (11 Aug., 2022).
www.flickr.com/photos/imperial_fora_of_rome/52278904822
Bogdanos was not able to comment given that the investigation is still in progress, a spokesperson for the Manhattan district attorney’s office said.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888581
“This piece is being returned pursuant to an ongoing and active criminal investigation,” the spokesperson said in an email, “which uncovered the antiquity was illegally trafficked.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154109
“Orpheus and the Sirens” is extremely fragile, and the museum says it is working on “specially tailored equipment and procedures” regarding its transfer.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906673
J. Paul Getty purchased the Orpheus sculptures in the spring of 1976. It was among his final acquisitions prior to his June 6 death.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904762
In his diary, which is part of the Getty’s archives, an entry from Saturday, March 6, 1976, notes that he “bought the following objects” including “a group of 3 Greek statues made in Tarentum at the end of the 4th C.B.C.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279906703
They represent a singer Orpheus seated and 2 standing sirens. $550,000 from Bank Leu. All of these naturally were on [Czech American archaeologist Jiří Frel’s] recommendation.” Frel was the Getty’s antiquities curator from 1973 to 1986.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154284
The $550,000 Getty paid in 1976 is equivalent to around $3 million today, according to the U.S. Bureau of Labor Statistics’ CPI Inflation Calculator.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371120
The Orpheus group of sculptures is an incredibly important work to the Getty. It has been on view, in a ground floor gallery at the Getty Villa, since it was acquired more than four decades ago.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904857
“It is a very important work. I’d even say one of the most important in the [Getty Museum’s] collection,” Getty Museum director Timothy Potts said in an interview. “So it will be a loss as to what we can represent about the art of the ancient classical world, in this case southern Italy in the late fourth century B.C.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52279888676
Potts said the work is especially unique because of its scale, quality and subject matter — it suggests the mythical story of Jason and the Argonauts, which would make the sculpture’s seated man, who plays a harp-like instrument, Orpheus.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52278904867
“It’s just extremely rare and there’s nothing similar in our collection, or closely similar in any collection,” Potts said. “It does leave a hole in our gallery but with this evidence that came forth, there was no question that it needed to be sent back to Italy.”
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154224
“We value our strong and fruitful relationship with the Italian Ministry of Culture and with our many archaeological, conservation, curatorial, and other scholarly colleagues throughout Italy, with whom we share a mission to advance the preservation of ancient cultural heritage,” Potts said in a statement.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280154229
The other pieces being returned to Italy — none of which have been exhibited in recent years — are a colossal marble head of a divinity and a limestone mold for casting pendants, both from the second century A.D., along with a 19th century oil painting by Camillo Miola, “The Oracle,” and an Etruscan bronze thymiaterion, a ceremonial incense burner, from the fourth century B.C. The latter was acquired by the Getty in 1996 while the other three objects were acquired in the 1970s.
Foto: “Petrolio Ladri di bellezza”; in: RAI 1 HD (08/12/2018).
www.flickr.com/photos/imperial_fora_of_rome/52280371150
Fonte / source, foto:
--- The Los Angele Times, USA (11 Aug., 2022).
www.latimes.com/entertainment-arts/story/2022-08-11/getty...
I haven't yet been able to find out anything about these specific ones. Make sure you look at the large size photo.
This example provides the clearest representation of the area specific details embossed on the access doors in the base of these columns: - the image of a woman and child out at sea in a ship; the town motto 'Persevere' and the town authority's Latin insignia - Sigillium Oppidi de Leith or (Seal of the Town of Leith)
For further info on preserving Leith's historic lights go to: www.greenerleith.org/greener-leith-news/2012/4/10/leither...
Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act
A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG
Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.
The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.
At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.
Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.
Production
After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.
Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.
Text: Martin Jaeggi
DNA Art Gallery LLC is the only DNA Art company that makes portraits from specific genes for love, happiness, intelligence, creativity, passion, success, self control & faithfulness. DNA Art Paintings available at DNAartgallery.com.
Side Specific
2009
T.A.M.A.
Project "Side Effects"
Collectif (Lucy Ota, Maria Papadimiitriou, Gabi Scardi)
(travaux sur la situation des Roms en Europe)
Musée d'art contemporain
10ème Biennale de Lyon
Aaron Buchan – Level 3 Senior Trainer
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Tel 0403 534 611
spray paint on safety cabinets
stie specific artwork @ Casa Delle Letterature - Rome
time lapse here:
From The Consumerist, a graphic comparison of American Airlines' gender-specific search engines. (Posted for my RHET 3401 class.)
“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
Sara Schnadt
Network, Domestic Intervention
July 31st – August 21st, 2010
Opening reception Sat July 31st, 3pm – 8pm
Exhibition continues thru Sat Aug 21st by appointment
Sara Schnadt is a Chicago-based performance/installation artist. Raised on an international commune in Scotland, an ‘alternative’ context which considered itself as a social experiment outside of conventional culture, she spent formative years understanding herself as an outsider, an observer. Since moving to the United States in 1986, Sara has become fascinated with the unifying rituals and values that are common threads in contemporary western culture, and has made work that frames and resonates with those common threads.
Formally, Sara makes performance and installations that use task, found objects, interactivity, projection, and movement derived from common gestures. Her work creates environments that shift the audience regularly from spectator to participant as the performer constantly moves between pedestrian and more stylized or evocative activity and the viewer negotiates spacial immersion in the work.
Works often take shape as installations and live activities that translate data visualizations of large quantities of socially-resonant information into material, gestural and poetic form.
Network, Domestic Intervention
Since November 2009, site-specific versions of Network have been created in Chicago for an unused store front downtown and a gallery space at Hyde Park Art Center. For What it is, a version of Network will be created to inhabit the entire house that is the project space and artists’ live-work space and extend out into the garden.
Visualizing the idea that we simultaneously live in a real and virtual world, and that the virtual is infinitely expansive, Network uses large quantities of electric yellow twine (tied in patterns based on both social network structures and Internet network infrastructure) to suggest a virtual network landscape cutting through an otherwise ordinary space.
Artists/curators/residents Tom Burtonwood and Holly Holmes will also live with the work in their home for a month, negotiating their routines around it. A series of photographs will document their activity for the project catalog.
Sara Schnadt is a Chicago-based artist working in new media, installation and performance art. She has shown her in work in Chicago at Hyde Park Art Center, Pop-Up Art Loop temporary gallery series, 12×12: New Artists New Work at the MCA Chicago, Looptopia, the Site Unseen Performance Festival, Balloon Contemporary, and at Antena Gallery. National and international shows include Exchange Rate public projection series in LA and New York, Upgrade! – Chain Reaction in Skopje, Macedonia, CINEA Paris, FreeManifesta in Frankfurt, and the Busan Biennale in Busan, South Korea.
Christine Sciulli, Thomsens Ishus, 2013
A site specific projection by Christine Sciulli
Fjellerup, Denmark
Opening 8.8.13 19:00
Christine Sciulli has assembled images and stories from the Kattegat coast developed through talking with the local families who have been actively involved in fishing in the village for generations. Images gathered by the community were rephotographed by Sciulli and mixed with photos taken by her around the Ishus to propel a projection work that speaks to the past, present and future of the seaside town of Fjellerup through the virtual sublimation of walls of Thomsens Ishus.
A one night workshop was held for local tweens to experiment with drawing with light onto the projections.
Thomsens Ishus, site specific projection by Christine Sciulli is part of Fjellerup i Bund og Grund, an art project by Anna Lise Jensen with site-specific art projects in Fjellerup, supported by Norddjurs and made in collaboration with the townspeople and artists Norbert Francis Attard, Julia Whitney Barnes, Monica Carrier, Jo Q . Nelson and Christine Sciulli.
“Associated” is a site specific show in a severely damaged brownstone, currently with a Vacate Order, issued by the DOB. As you may recall, the huge fire on Nov 12th 2010 at the Associated Supermarket on 5th Avenue and 17th Street not only damaged the supermarket building including the Open Source Gallery, but also a brownstone next door. The 3 family house, the Gallery owners’ home, was also rendered uninhabitable by the blaze.
There is no exact date for the show. There will be a 2 week window when the Vacate Order will be dropped and the contractors will start their work. All participating artists are prepared to install their work any day within the next month.
opening up with the
OPEN SOURCE CARNIVAL
The Carnival involves a public celebration combining some elements of circus, performance, public fair and party. We encourage people to dress-up in costumes during the celebration and to bring a little bit of money for the future of OPEN SOURCE.
Participants
Sara Bouchard, Christian Brown, Reamonn Byrne, Wendy Chu, Ethan Crenson, Hubert Dobler, Peter Feigenbaum, Pirmin Hagen, Fumie Ishii, Der Kommissar, Stefanie Koseff, James Leonard, Loadingdock5, Katerina Marcelja, Amanda C. Mathis, Patrick May, Nolan McKew, Annelise E. Ream, Jason Reppert, Raphaela Riepl, Evan Robarts, Frank Scheiderbauer, Allison Read Smith, Miho Suzuki, Kathleen Vance, Letizia Werth, Lily White, Monika Wuhrer
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...
Would you like a take a shortcut to a specific Snowman?
01. A Partridge in a Pear Tree (Jodie Silverman) | 02. Two Turtle Doves (Megan Evans) | 03. Three French Hens (Lei-Mai Lemaow) | 04. Four Calling Birds (Jenny Leonard) | 05. Five Gold Rings (Adam Pekr) | 06. Six Geese a-Laying (Matilda Elizabeth) | 07. Seven Swans a-Swimming (Laura-Kate Chapman) | 08. Eight Maids a-Milking (Donna Newman) | 09. Nine Ladies Dancing (Lizzie Rose Chapman) | 10. Ten Lords a-Leaping (Hammo) | 11. Eleven Pipers Piping (Jess Loveday) | 12. Twelve Drummers Drumming (Jessica Perrin)
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.
collaboration wiht Julian Ronnefledt & Gillian Mc Iver
To create “herd” we searched site for detritus of the past and found rusted metal hooks used to move carcasses. Along with other found materials we created a “herd” of horned beasts standing on a scarlet ground. Surrounding the herd was a transparent wall of plastic, which was also used to wrap trays of “meat” – drawings of cows portioned into cuts of meat – much as the Mattatoio is portioned out into divided and uncommunicating areas each “wrapped” in their own concerns.
At the same time we could not avoid using the work to explore issues of industrial food production. Recent studies show that over 70% of UK children do not understand that the meat they eat comes from an animal. The open presence of a place such as the old Mattatoio is rare in Western cities now. The wrapped drawings in “herd” insist on recalling the traditional primeval relationship between the food and the act of killing/sacrifice, affirming that real life does not come shrink wrapped beyond recognition but is all an integrated, complex, sometimes messy and unified whole.
Served on Japan Airlines, this yogurt seems to indicate an expiration date that is oddly specific -- December 21, 2010, A.D.
Read more about how gender-specific knowledge is inspiring change in Kyrgyzstan’s walnut forests here: bit.ly/1gc60KW
Credit: National Academy of Sciences of the Kyrgyz Republic/K.Musuraliev
Read more about Bioversity International's work in Central and South Asia www.bioversityinternational.org/about-us/where-we-work/ce...
It never ceases to amaze me how images can evoke specific feelings from all along the spectrum of human emotion. I was going to title this "neglected," but the more I thought about it the feeling I got was a sense of being forsaken and forgotten. I am not sure why, but perhaps it has to do with the colors of the building, the deteriorated nature of it, and the barrenness of the immediate landscape around it in contrast to the power of the distant background.
Located a specific space in an assigned area of bachelor forest. The site must inform a sculpture. The installation of the work was temporary.
As a group project, my partner and I used nylon flagging tape to drape from a "wind blown" tree. We used 2 sets of complementary neon colors at varying lengths and hung from different branches. Conceptually, our idea represents materialism taking over our nature. Although sometimes beautiful, materialism is at the same time covering up our nature's beauty. Our choice of neon colors represent the boldness of this concept. Also, we believe our piece serves as two sculptures in one. For example, when at a stand still the piece shows the different vertical layer of ribbon, however when the wind is blowing, the colors interact with each other.
Materials: 4colors of nylon neon flagging tape, rubber bands, scissors, and a ladder.
Begin your search by using the network of concrete. Find a specific builder locator. You can find by area code or by state for entrepreneurs in your area, to create new concrete driveways and remodeling the walkways.
Other ways to drive an entrepreneur:
Look at the extravagant driveways in the neighbor area and get the contacts of the builders, who install the driveways and attract you most. Ensure to ask the owners about their experiences with the builders and the service of craftsmanship. Get referrals from friends or local builder’s .Obtain the contacts of the local yellow pages.
When you return with a wide list of builders contact, ensure to ask for a samples and a list of sample projects in your locality, that you can verify them easily. Also ask them that, how long they have been in concrete driveway installing business, if they are insured or not, if they achieve any expertise certifications, and whether they provide guarantee for their job etc.
What is the price of a concrete driveway made up stamp?
Your starting cost to make stamped concrete driveway is, in a range from $ 6 per sq ft for stamped concrete base (using a single model and color) to $ 15 or more per sq ft for the development of multi-pattern decoration with effects of special color (see Cost stamped concrete driveway). Although stamped driveway is more expensive than asphalt, which will have a much better performance for your invested money. Not only a driveway will last longer and it also requires minimum maintenance than other paving or decorated materials. It can help you to increase the resale valuation of your house, by extra adding of curb appeal.
Can people get a guarantee for their concrete driveway?
Yes! Various contractors provide guarantee of their job and you might be able to get an extended guarantee (three years or more) through your state association specific programs. Contractors and driveway producers joins in the program and be committed to the installation criteria and certain quality standards and also check for the time period of the warranty issues, which arise problem because of their negligence and mistakes.
What should people do if the color is not there what they expected?
It is unrealistic to expect that, your contractor can not able to make of exact perfection of your expected color from the sample in showrooms driveway, decorative concrete driveway.
How to repair your concrete driveway
While, it comes to a need of repairing concrete driveway, which normally should be left to professionals. But whether, you are in stylish and practical challenge, it is possible for a landlord to make some repairs in driveways.
Whether, the cracks are tiny in width then, use an asphalt sealer. If they are not tiny, use the patch of asphalt, which is also required to fill the holes. Read the instructions of the concrete driveway builders very carefully, because sometimes they give different kinds of instructions. Pay a great attention to the hole, if it is partially filled with the rocks or fully filled with the patch.After that, fill the hole unless and until you achieve about one inch layer from surface and then you should have to be tamped it with a part of wood. From there, normal sense will tell, if you need more patches and tampering.
What is sealer, it just use for - sealing the surface, just like paint or varnishing on the wood surface.
For the normal cracks, the most extravagant experts recommend mainly for NP1, which is a polyurethane caulking. This is more costly than some of caulking, but it lasts very longer.
The other product, which is being recommended like a plastic foam, backing rod, which mainly used to fill big cracks before caulking. This is also very vital, that the crack has to be swept and free from dirt before applying the sealer, to get a good grip. The normal time Caulk takes as 24 hours to proper setting. But to filling the cracks, it is being properly suggested that the expansion joint owner of the seal between sections of concrete and permanent textures, have to be clear from water by seeping inside. An owner may desire to take a jobs in small plots, depending on their tolerance for concrete harm. Although, it is not always possible to obtain a perfect match, where the professionals are more expert to make it close as matching the new concrete driveway. Resurfacing or recolor or color of present concrete driveway is another choice to improve the appearance without great expense of installing new concrete driveway. Staining or recoloring concrete is a friendly approach.
Various people do not realize how hard it is to create concrete driveway. It looks charming at all. Although concrete work could be reasonable for people, it is difficult to repair a large number, that may be required for large projects, especially in a short period of time.
If you want to find the best deals in concrete driveway costs visit ConcreteDrivewayCost.com.au
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
To improve the quality of taxi transport in Ouagadougou, specific promoters have attempted to set up fleets of vehicles with a certain level of comfort. This choice is justified given the dilapidation of the city's green taxi fleet, which, in 2025, is primarily made up of Mercedes-Benz 190Ds from the 1980s and 1990s. Despite the quality of the vehicles and the service (cleanliness, air conditioning, insurance ...), all experiments failed. This is probably due to costs and transport provided by other means by the target clientele (business tourism in particular). Note the nostalgia for Vespa, who parked his vehicle before the advertisement.
Dans le souci d'améliorer la qualité des transports en taxi dans la ville de Ouagadougou, certains promoteurs ont tenté de mettre en place des flottes de véhicules d'un certain confort. Ce choix se justifie au vu de la vétusté du parc de taxis verts de la ville qui, en 2025 est très largement composé de Mercedes-Benz 190D des années 1980 et 1990. Malgré la qualité des véhicules et du service (propreté, climatisation, assurances...), toutes les expériences se sont soldées par des échecs. Probablement en raison des coûts et du transport assuré par d'autres moyens par la clientèle visée (tourisme d'affaires notamment). A noter le nostalgique de la Vespa qui a garé son véhicule devant la publicité.
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
site-specific gecomponeerde totaalcollage
Nest heeft Wineke Gartz gevraagd een presentatie te maken binnen de Nestarchyserie die de afgelopen jaren is ontstaan en waarbinnen kunstenaars de complete tentoonstellingsruimte van Nest ter beschikking krijgen om mee aan de slag te gaan. Sinds Wineke Gartz in 1998 afstudeerde aan de Rijksakademie heeft ze een consistente carrière opgebouwd met installaties vol overlappende beelden, architectonische ingrepen, materialen en projecties.
Wineke Gartz heeft voor de kust van Scheveningen videomateriaal geschoten. Dat materiaal zal vermengd worden met materiaal van de kust van China waar ze enige tijd verbleef, en met filmfoto’s van Hollywoodsterren (de HotFreaks uit de titel), daklozen, bezinningscursussen, zelfportretten en performances uit Los Angeles. Het valt te verwachten dat het geheel een grote bewegende collage zal worden waarin alle oorspronkelijke ingrediënten hun oorsprong grotendeels verliezen en verworden tot een typische Wineke Gartz hallucinatie die de bezoeker een totaalervaring biedt en kan leiden tot een staat van trance. Tegelijkertijd worden esoterische clichés vermeden en doet het hedendaagse dagelijks leven volop mee.
Wineke Gartz exhibits in the Netherlands and in various countries worldwide. Her site-specific installations consist of complex overlays of imagery and media, often with the use of music and multiple video and slides projections and with the integral use of the architectural space. Her parallel realities include mixing the ordinary with the heroic, creating an almost hallucinatory experience. Her subjects relate to psychology, beauty, death, illusions and perception, nature versus urban life, art and mass media. Gartz is interested in the combination of spirituality, art and science. Currently she is developing video lectures about her work and started to collaborate with musicians.