Europa: Pasajes de Invierno, una instalación site specific de Florentino Díaz comisariada por Carlota Álvarez Basso para el programa de intervenciones Abierto x Obras, en la antigua cámara frigorífica de lo que fue el matadero municipal. La pieza se inscribe además en la programación de PhotoEspaña 2015.

La pieza conformada a partir de materiales de derribo, representa un barracón sobre el que no cesa de caer la lluvia. En su interior, pantallas de video nos muestran las imágenes de vidas anónimas del siglo XX, recogidas de álbumes encontrados en mercadillos, con el Winterreise (Viaje de invierno) de Schubert sonando de fondo. Según la comisaria Carlota Álvarez Basso, son “historias que hablan de los momentos de felicidad ajena que han caído en el olvido, de la fragilidad de nuestra existencia y de la inconsistencia de la memoria, tanto de la individual como de la colectiva”.

“El espectador debe recorrer estos pasajes de invierno a través de estos videos en los que, paradójicamente, no cabe imaginar el trágico destino que aguarda a sus protagonistas, y que nos hacen pensar en el incierto destino que nos espera” señala Florentino Díaz. Respecto al título, Díaz se inspira en El Libro de los Pasajes, el gran proyecto inacabado de Walter Benjamin, fallecido en 1940, que “cuestiona el desarrollo de una historia que hasta ese momento no había cumplido las expectativas de liberación humana, y que en sus ruinas mostraba la imposibilidad de alcanzar sus metas últimas”, explica el artista.

Las obras de Florentino Díaz (Cáceres - 1954) se caracterizan, desde los años 1990, por el uso de materiales e imágenes recuperadas, elementos aparentemente sencillos pero cargados de sentido y de connotación emocional. Desde hace muchos años Florentino Díaz ha ido guardando pequeños tesoros encontrados en el Rastro de Madrid o de las ciudades que visitaba en sus viajes. Objetos, libros, fotografías que a veces nos desvelan y otras se guardan los secretos de vidas e historias de otro tiempo. El artista es además un referente cuyo trabajo ha girado siempre en torno al concepto de lo doméstico, de la casa, concebida como un espacio cada vez más difícil de habitar. Sus instalaciones se han expuesto en centros nacionales e internacionales, como el CAB DE Burgos, MEIAC de Badajoz, Museo Barjola de Gijón, Casal Solleriç Espai 4 de Mallorca, Museo de Cáceres, Salón de los 16, Kunstamt Kreuzberg-Bethanien de Berlín, y en ferias como Art Cologne, MACO-MEXICO, Liste The Young Art Fair de Basel, Art Chicago, Busan Bienal de Corea. Y forma parte de colecciones privadas, museos e instituciones como CGAC de A Coruña, Colección La Caixa, Fundación Coca-Cola España, Colección Banco de España, Museo de Cáceres, entre otras.

Abierto x Obras

Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que incentiva el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Desde 2007 Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, o Eugenio Ampudia, entre otros. Próximamente se podrá disfrutar del trabajo del artista británico Haroon Mirza.

♥Details about this Specific Listing:

Attention all lovers of oranges and yellows.

This necklace is bold, textural, vivid and quite a statement piece.

It was designed using strong orange nylon cording, and then I hand strung an array of beads, some gorgeous mussel shell coin shaped beads (average about 15mm across), a large amount of cube and round painted wooden beads (ranging from about 10mm-14mm across), as well as an assortment of glass beads ranging from 3mm to 8mm, along with some lucite floral beads.

By beading and connecting the two nylon strands at random points, creating one chunky, bold strand that can be worn as a single strand or wrapped (depending on the size of the wearer's neck) and worn as a double or triple (colour/choker) strand necklace. As well, it can be wrapped multiple times around your wrist, creating a super wide cuff wrap bracelet.

This piece is full of textural and visual elements from matte finishes to shiny iridescence and loads of whimsy, bold, hot colours!

This piece is weighty because of the incredible amount of spectacular beads.

The clasp was created making a loop with the bead cord, with a large wooden bead to loop it onto (see photo 4). Because of that clasp, it can be wrapped around your wrist and neck how ever many times you want. Again see the photos.

Versatility!

1. wrapped cuff bracelet

2. wear it as a single long strand

3. Wrap twice as a double strand necklace

4. Wrap it three times and for some it can be a choker/collar statement piece.

5. Wear it as body jewellery

Spectacular!

None other like this!

TOTAL NECKLACE LENGTH: about 51 inches

METRIC CONVERSION: (25.4mm = 1 inch)

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.

Ordem Informal

curadoria Bruno de Almeida

A Galeria Leme apresenta o terceiro site-specific comissionado para o projeto SITU, curado por Bruno de Almeida, dando continuidade a uma pesquisa mais ampla sobre formas de pensar e discutir a produção do espaço (urbano) através de um diálogo entre arte, arquitetura e cidade.

SITU convida o artista Venezuelano Ricardo Alcaide a conceber uma obra que resulte de uma reflexão sobre o contexto urbano entendido como ampla matriz físico-social, e que se relacione simultaneamente com o exterior do edifício da galeria e com o espaço público contíguo.

Ricardo Alcaide projeta um grande volume geométrico negro que ocupa quase a totalidade do pátio externo da galeria. A face que se apresenta para o transeunte se desenvolve em rampa desde o chão, mais próximo à calçada, se elevando até ao topo da parede ao fundo do pátio e chegando a seis metros de altura. O volume disseca diagonalmente as fachadas da galeria, anulando o espaço externo e bloqueando quase inteiramente as duas entradas para o edifício. Para a construção deste elemento monumental o artista usa uma madeira vulgarmente utilizada na construção civil como estrutura para moldes de concreto in loco, o mesmo processo de construção das paredes da galeria.

Devido à obstrução do acesso habitual ao edifício, Alcaide desloca a entrada para a fachada oposta, utilizando uma porta que se encontra habitualmente fechada. Este novo acesso faz referência à entrada original do primeiro projeto da galeria, do arquiteto Paulo Mendes da Rocha, construída em 2004 e depois demolida em 2011 para dar lugar à sua réplica, a estrutura que existe hoje. Com a realocação e a reorientação do edifício, o projeto inicial foi readaptado e consequentemente a inversão da entrada foi incorporada.

Através da ocupação e quase inutilização de um espaço (semi)público e da consequente adaptação do percurso de entrada, Ricardo Alcaide induz a um reexame da relação física do visitante com o edifício e subverte o funcionamento normal da instituição. Criando uma circunstância espacial que se localiza no limiar entre conflito e uma espécie de institucionalização da provisoriedade, o artista tira partido da fricção entre rigidez e improviso institucional que está frequentemente presente na nossa experiência da cidade, se materializando comumente no encontro entre a arquitetura “oficial" e as construções improvisadas que cumulativamente se acoplam a esta e são resultados de pactos territoriais paralelos à própria ordem jurídico-normativa oficial.

Mais informações: www.projetositu.wordpress.com

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Informal Order

curated by Bruno de Almeida

Galeria Leme presents the third site-specific commissioned for SITU, curated by Bruno de Almeida, giving continuity to a broader research on ways of thinking and discussing the production of (urban) space through a dialogue between art, architecture and city.

SITU invites Venezuelan artist Ricardo Alcaide to devise a work that results from a reflection on the urban context understood as a broad physical-social matrix, and that simultaneously relates to the exterior of the gallery’s building and to the adjacent public space.

Ricardo Alcaide designs a large black geometric volume that occupies almost the entire outdoor patio of the gallery. The face that presents itself to the passersby develops in ramp from the ground, closer to the sidewalk, rising up to six meters until the top of the wall at the back of the courtyard. The volume diagonally dissects the gallery facades, nullifying the external space and almost entirely blocking the two entrances to the building. For the construction of this monumental element the artist uses a wood that is commonly used in construction as a framework for molds of in situ concrete, the same construction process of the gallery’s walls.

Due to the obstruction of the normal access into the building, Alcaide displaces the entry to the opposite facade, using a door which is customarily closed. This new access refers to the original entry of the gallery’s first project, from architect Paulo Mendes da Rocha, built in 2004 and then demolished in 2011 to make way for its replica, the structure that exists today. With the relocation and reorientation of the building the initial project was readapted and consequently the reversal of the entrance was incorporated.

Through the occupation and almost obliteration of a (semi)public space and the subsequent adaptation of the entrance route, Ricardo Alcaide induces a reexamination of the visitor's physical relationship with the building and subverts the normal functioning of the institution. Creating a spatial condition that is located on the threshold of conflict and an “institutionalization” of provisionality, the artist takes advantage of the friction between rigidity and institutional improvisation that is often present in our experience of the city, commonly materializing itself in the clash between the “official” architecture and the makeshift constructions that are cumulatively coupled to it, being the result of territorial pacts that are parallel to the official legal-normative order.

More info: www.projetositu.wordpress.com

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Foto / Photo: Filipe Berndt

Construção e Produção / Construction and Production: Marton Estúdio

AMBIENTE/TRASFORMAZIONI

NUOVO NATURALISMO GLOBALE

“La natura non fa niente di inutile”

(Aristotele)

Sebbene un intervento critico dovrebbe lasciare al lettore un ipotesi ermeneutica, vorrei iniziare la presentazione della mostra fornendo allo spettatore solamente gli strumenti necessari perché egli possa intraprendere autonomamente e senza forzature concettuali il percorso espositivo.

Innanzitutto il titolo: “Nuovo Naturalismo Globale”. Prima di specificare il sentimento naturalistico che lega poeticamente tutte le opere presenti, mi vorrei soffermare sulla designazione da me scelta che caratterizza in primis il naturalismo qui presente: l’aggettivo “nuovo”. Le necessità di nominare “un sentore” con una qualificazione temporale, ovvero “nuovo”, matura dalle ceneri di un passato critico di tutto rispetto che vede al centro la figura di Francesco Arcangeli e la sua riflessione “Gli ultimi naturalisti” apparsa sulla rivista “Paragone” nel 1954 che, accendendo controversie, ha avviato la militanza critica ad un nuovo metodo di osservazione di cui siamo ancor oggi debitori.

Assumendomi tutte le responsabilità intellettuali mi avvio, da giovane osservatrice d’arte contemporanea, a promuovere con molta ambizione l’ipotesi di un ritorno del naturalismo, dopo quello avvertito come “ultimo” da Arcangeli; un ritorno che rientra perfettamente nella ciclicità degli eventi e che si presenta alla soglia del contemporaneo con delle coordinate e delle motivazioni completamente diverse da quelle che hanno segnato gli esiti artistici della metà degli anni cinquanta del secolo scorso. Dunque, ribadisco, il significato della qualificazione “nuovo” è da interpretare come disposizione attuale rispetto ad un atteggiamento estetico del passato che non si intende assolutamente confutare e che è anzi è stata lo stimolo alla riflessione e di cui la mostra è testimonianza.

Con la designazione “globale”, seconda caratteristica enunciata dal titolo dell’esposizione, invece, si intende marcare il senso della diversità rispetto al precedente esame: se per Arcangeli la parola chiave è “tradizione locale” il naturalismo qui presente non sorge da un regionalismo che ha impresso la propria essenza nel dna dell’artista, ma emerge da una, mi sia concesso, “imprimitura genetica” segnata della cultura immateriale dell’era internet. L “hic et nunc”, per le generazioni attive ora, è solo un frammento temporale della possibilità di essere “fast” in qualsiasi luogo trasformando il “qui e ora” in “ora e ovunque”; le categorie “macro-micro” rappresentano una dicotomia più a parole che nei fatti dato che la rifrazione percettiva delle dimensioni si presenta nelle generazione di giovani artisti come una ineludibile caratteristica di sopravvivenza che premia l’elasticità mentale a scapito di una pesante conoscenza monodirezionale. Si opera nel territorio individuale con la piena consapevolezza della universalità del linguaggio artistico: un’officina, citando Longhi, che ha ampliato la portata d’azione divenendo appunto globale sia nell’operatività, sia nell’uso di mezzi, sia nella percezione.

Ancora cito Arcangeli per marcare non solo simbolicamente, ma sopratutto razionalmente il percorso filologico che riprende la matrice storica del naturalismo dopo la letargia in cui ha sedimentato durante l’auge della pop, del consumismo, del concettuale, della Body art: un riposo necessario, con i suoi sobbalzi e singoli risvegli improvvisi di cui non si intende certo negare il valore, ma presenze forse troppo latenti per chiamare in causa una primavera naturalistica; un sonno lungo che esalta la genesi del riavvio con la consapevolezza che qualcosa è cambiato.

Senza fare moralismi ad essere cambiato è il mondo stesso, senza dare giudizi sul cambiamento domando: “Qual è il sentimento con cui si osserva il presente?”

Se nel 1954 Arcangeli definisce natura “La cosa immensa che non dà tregua perché la sentite vivere tremando fuori, entro voi: stato profondo di passione e di sensi, felicità e tormento” oggi credo che il sentimento romantico sia sostituito dal senso della perdita, dalla paura dell’irreversibilità dell’agire umano sul territorio, dalla catastrofe di un esistenza che ha annullato il proprio “habitat verde” a favore di una partita rischiosa in cui è il futuro stesso ad essere messo in gioco.

Più che mai sento in questo “Nuovo Naturalismo Globale” la materializzazione delle parole di Achille Bonito Oliva secondo cui “L’arte è per principio contro ogni perdita”: non solo l’eternità del manufatto (o del concetto) conservata in teche di memoria, ma la semiosi stessa di ogni opera può essere interpretata come il monito ad un cambiamento di rotta per preservare con coscienza il presente che rimane: un attenzione al dato naturalistico per porre attenzione alla natura stessa in tutte le sue dimensioni (temporali, spaziali, macro-micro, individuali-collettive…), un aspra critica alle mutilazioni irreparabili e alle alterazioni sulla natura attraverso i segni della natura stessa.

Con sguardo per nulla ingenuo gli artisti presenti in mostra elaborano la ricerca laica e coscienziosa del destino umano liberando la rappresentazione della natura dai connotati lirici d’ascendenza ottocentesca e, caricando l’espressione di una esperienza emozionale lontana dal mito, si avviano, ognuno con la propria cifra stilistica, non solo a provare a far parte di quell’ “enorme vicenda” ma anche di coinvolgere sollecitando un’etica individuale “purificata”.

Credo sia anche corretto chiarire fin da subito che la mia proposta critica non ambisce a designare la nascita di un nuovo gruppo, di un movimento o di una categoria estetica ma intende presentarsi come un’ipotesi, un suggerimento di lettura del panorama artistico contemporaneo in cui, tra le infinite brame oggettuali e concettuali, mi pare di poter cogliere la presenza insistente del referente naturalistico, sia esso la più diretta immagine di un ramo, la meticolosità di preparazione del colore oppure la ripresa-video della distruzione di un edificio industriale.

Omaggiando nuovamente la figura di Arcangeli e la sua acuta intuizione concludo il mio intervento proprio con le parole dello stesso con l’intenzione di raccogliere l’eredità del maestro lasciando comunque aperta l’esegesi; dice il critico negli anni ’70: “Sarà il compito, se a loro liberamente parrà, dei nostri allievi; o di chi, comunque, verrà dopo di noi; di chi si prepara a vivere in un mondo diverso” . Consapevoli che il mondo è diverso, oggi desidereremo invertire la tendenza autodistruttiva iniziando da una maggior cura della natura che conserva fin dalla sua etimologia (dal latino natus participio del verbo nascere) la forza che genera e rigenera.

Alice Zannoni

A new world-class research and technology facility to support the growth of a new industry centre in Wales is to be opened in June by Mrs Edwina Hart, MBE CStJ AM, Minister for Economy, Science and Transport. The facility, based in Baglan, South Wales has been made possible by the SUPER project (SPECIFIC Up-scaling Pilot Engineering Resource) which has received almost £2 million funding through the Welsh Government’s Academic Expertise For Business programme (A4B).

Site-specific construction set / sculpture

Made in Nikola-Lenivets.

Location: Udarnik, Kandinsky Prize Nomination

Width×Length×Height (meters): 6×8×4,5

Materials: Wood, stud fastening, sheets of reflective stainless steel.

Photo by Ilya Ivanov

Om Shanti Om Yoga School offers residential 200-hour Yoga Teacher Training in India that is 25 days for 200 hours of certifications. Our courses are designed following the rules and regulations as outlined by Yoga Alliance USA. Yoga Teacher Training at Om Shanti Om Yoga School includes asanas, pranayama, chanting, mantra, meditation, and other traditional yoga techniques as well as a sound foundation in philosophy, anatomy, and physiology of yoga. We aim to release our students from our training with genuine knowledge for a better tomorrow.

Om Shanti Om Yoga School is a globally recognized yoga school. This is a premier destination for those who are interested in programs like Yoga Teacher Training India or Yoga Teacher Training Rishikesh. Yoga is an ancient art that helps in bringing perfect balance to life.

200 hr Yoga Teacher Training Course is designed according to 200 Hour YTTC requirements of Yoga Alliance. The objective of 200 hr yoga teacher training course is to provide you with a solid base of knowledge, practice, and self-confidence to begin to teach yoga and take your practice to the next level.

This course also gives an amazing opportunity to discover your true nature and learn how to live your life mindfully and also with more passion and joy. This is 15 days of the intensive program which necessitates completing the pre-preparation part at your home before arriving here.

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We offer both shared and private rooms. For private rooms, you need to pay extra.

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FOOD

We serve vegetarian food. According to the needs of our students, we also serve gluten-free and vegan food. However, if you have any specific conditions with the food such as food allergies, etc., we will be happy to prepare special food for you if you inform us in advance.

3 meals are served in a day, breakfast, lunch, and dinner. The food menu is prepared by taking into consideration balanced nutrition needs.

COST AND PAYMENT

We kindly ask you to pay the deposit in advance so that we will make your registration and secure your place.

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(L) The image on the left is from the published Soil Survey of Carter County, Kentucky.

(R) The image on the right is from the original soil scientist's field sheet.

Soil mapping is the process of delineating natural bodies of soils, classifying and grouping the delineated soils into map units, and capturing soil property information for interpreting and depicting soil spatial distribution on a map.

The soils and miscellaneous areas (e.g., Rock outcrop) in a survey area are in an orderly pattern that is related to the geology, landforms, topography, climate, and natural vegetation. Each kind of soil and miscellaneous area is associated with a particular kind of landform or with a segment of the landform. Soil scientists delineate these repeating patterns of landform segments, or natural bodies, on a map. By observing the soils and miscellaneous areas in the survey area and relating their position to specific segments of the landform, a soil scientist develops a concept, or model, of how they formed. Thus, during mapping, these models enable the soil scientist to predict with considerable accuracy the kind of soil or miscellaneous area on the landscape (Hudson, 1992).

The repetitive patterns imprinted in soils by the soil-forming factors can be observed at scales ranging from continental to microscopic. These patterns are the basis for soil identification and mapping at different scales. A system of terminology, definitions, and operations can be ascribed to the various scales. Hierarchical systems of classes and subclasses are established to produce groupings at the different scales.

Commonly, individual soils on the landscape merge into one another as their characteristics gradually change. To construct an accurate soil map, however, soil scientists must determine the boundaries between the soils. Some boundaries are sharp, where soils change over a few meters, while others are more gradual. Soil scientists can observe only a limited number of pedons. Nevertheless, these observations, supplemented by an understanding of the soil-vegetation-landscape relationship, are sufficient to verify predictions of the kinds of soil and to determine their boundaries.

Soil scientists record the characteristics of the pedons, associated plant communities, geology, landforms, and other features that they study. They describe the kind and arrangement of soil horizons and their color, texture, size and shape of soil aggregates, kind and amount of rock fragments, distribution of plant roots, reaction, and other features that enable them to classify and identify soils (see chapters 2 and 3 for details). They describe plant species present (their combinations, productivity, and condition) to classify plant communities, correlate them to the soils with which they are typically associated, and predict their response to management and change.

After the soil scientists identify and describe the properties of landscape components, or natural bodies of soils, the components are correlated to an appropriate taxonomic class, which is used for naming map units. Correlation, or comparison of individual soils with similar soils in the same taxonomic class in other areas, confirms data and helps the staff determine the need to assemble additional data. Taxonomic classes are concepts. Each taxonomic class has a set of soil characteristics with precisely defined limits. The classes are used as a basis for comparison to classify soils systematically. Soil Taxonomy, the system of taxonomic classification used in the United States, is based mainly on the kind and character of soil properties and the arrangement of horizons within the profile (Soil Survey Staff, 1999).

While a soil survey is in progress, samples of some of the soils in the area are collected for laboratory analyses. Soil scientists interpret the data from these analyses and tests as well as the field observed characteristics of the soil properties to determine the range of values for key soil properties for each soil. They also use these data to determine the expected behavior of the soils under different uses. Soil property data is organized and stored in a database, where it is used to generate soil interpretations for use and management. Interpretations for all of the soils are field tested through observation of the soils in different uses and under different levels of management. Special studies to document dynamic soil properties that are affected by use and management may be conducted. Data are assembled from other sources as well, such as research information and field experience of specialists.

After survey staff locate and identify the significant natural bodies of soil in the survey area, they draw the boundaries of these bodies on a map and identify each as a specific map unit by name. Imagery showing trees, buildings, roads, and rivers is commonly used as a base map to help in locating boundaries accurately. Tonal shades and patterns on aerial photographs or digital images are used to indicate potential changes in vegetation, drainage conditions, parent materials, and other factors affecting surface reflectance. As digital mapping techniques are being increasingly integrated into mapping (see chapter 5), additional sources of information, such as multispectral bands, digital elevation models, and other data layers (such as geology), along with global positioning systems (GPS) are used to accurately locate map unit boundaries. Although the processes used in digital mapping techniques are different from nondigital conventional methods, the principles are the same.

In the United States, soil surveys vary in scale and in intensity of observations. The components of map units are designated by taxa in Soil Taxonomy (Soil Survey Staff, 1999) or as miscellaneous areas (i.e., nonsoil areas). In naming a map unit, soil taxa names (commonly a soil series name) are modified with phase terms (indicating surface texture, slope, flooding, stoniness, etc.) to convey information that is either more specific than the wider range of properties defined for the series (e.g., surface texture) or that represents a property outside of the soil itself (e.g., flooding). The phase commonly is a portion of the range of properties exhibited by the taxon. For example, a certain soil series may have slopes ranging from 3 to more than 60 percent but the map units are shown with narrower ranges (e.g., 3 to 8, 8 to 15, 15 to 25) to provide information that is useful in managing the soils in the area.

Historically, soil surveys have classified entire polypedons and grouped their properties for interpretative output as vector maps (polygons). Some contemporary surveys classify only certain soil properties, such as surface rock fragment cover, and output the information as raster maps, in which each pixel represents a specific value of the property. With these maps, commonly called “soil property maps,” the user can decide how to group or aggregate the information for their needs. Strictly speaking, maps of individual soil properties are not synonymous with soil surveys, which by definition delineate natural soil bodies.

Specific to Santa Fe - Emergency!

3 fingers up. Requires Immediate Attention.

Check out the brand new Occupy Santa Fe pool, a group with very practical discussion threads:

www.flickr.com/groups/occupysantafe/

uomis.blogspot.com/search/label/Occupy%20Santa%20Fe

www.engincycles.com

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.

To be more specific, it's the Northern Reflecting Pool...

Madison Square is formed by the intersection of Fifth Avenue and Broadway at 23rd Street in the New York City borough of Manhattan. The square was named for James Madison, fourth President of the United States and the principal author of the United States Constitution. The focus of the square is Madison Square Park, a 6.2 acre public park.

The park and the square are at the northern end of the Flatiron District neighborhood of Manhattan. The use of "Madison Square" as a name for the neighborhood has fallen off, and it is rarely heard. The neighborhood to the north and west of the park is NoMad ("NOrth of MADison Square Park") and to the north and east is Rose Hill.

Notable buildings around Madison Square include the Flatiron Building, the Toy Center, the New York Life Building, and the

Met Life Tower. Another bit of trivia about the park, is that from 1876 to 1882, the torch and arm of the Statue of Liberty were

exhibited in the park in an effort to raise funds for the building of the pedestal of the statue.

(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/

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Fun facts (and legends) about Charles Bridge in Prague, Czech Republic:

1. It's 516 meters (1,693 feet) long, and about 10 meters (33 feet) wide.

2. It was built to connect the castle to the Old Town.

3. There are three towers on the bridge: two on the castle side, one on the Old Town side. (I think you can go up one, maybe more, for slightly better panoramic views.)

4. Its construction has a very specific start time: 5:31 a.m. on the 9 July 1357. (Written another way: 1357.9.7.5:31.) So, it's a palindromic bridge. Supposedly stronger because of it. It was completed 45 years later in 1402.

5. The first stone was laid at the above minute by the Holy Roman Emperor Charles, for whom the bridge is named.

6. It didn't get the name "Charles Bridge" until 1870.

It originally had the more creative names of Stone Bridge or Prague Bridge. The river it spans, by the way, is the Vitava.

7. Prague is famous for being the filming locations of a handful of Hollywood movies (Amadeus, Immortal Beloved, Mission Impossible...and the pinnacle of Hollywood production, XXX -- the first one. For those of you who have deigned to sit through that gem, you'll know the setting was Prague. The final scene (well...penultimate) is of Vin Diesel sitting on these little wooden thingies next to the bridge. You're welcome for the memory, everyone...

8. There are 16 arches shielded by ice guards. (I think that's what the little wooden thingies are.)

9. There are 30 statues or statuaries on the bridge -- 15 on each side -- mostly of religious folk, saints and the like -- that were originally erected around 1700. How many of these are original? Zip. Zero. Nada. All replicas, with the originals in the National Museum, it seems.

10. This bridge/river/area is famous for swans. Why they're here and why they stay, I have no idea. But, they're nice. I saw them, but from a distance.

Now for my personal notes...

I've been on a severely sprained ankle the past few days, so haven't done much shooting in Prague, I'm sad to say. But, this bridge? I imagine it's easily the most photogenic (especially for panoramas) in the city. Looking at these pictures, I'm crying for the loss of my DSLRs and P&S cameras earlier this year. These turned out...ok, and a few slightly better than ok.

The problem with this is that every tourist (and all tourist companies) know this. Whatever you do, do NOT come between...I don't know...11:00 a.m. and 4:00 p.m. or afternoon at all unless you love seeing throngs of people photobombing your shots. Come at sunrise or sundown. Sundown would give the best backlighting and blue hour shots of Old Town, and sunrise would give you the misty/foggy shots of the river and Old Town.

If I lived in Prague, this is exactly the place I'd come, probably once a week or every other week, to shoot in different times and seasons. It's that nice of a spot. Of course, I'd do that if I had my cameras back...

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.

SMART (Specific, Measurable, Attainable, Relevant, Time-bound) goal setting concept presented on blackboard with colorful crumpled sticky notes and white chalk handwriting

Dan Prejovschi, Site specific - Time specific, 2008

Installation view at CCC Strozzina, Palazzo Strozzi, Firenze

Ordem Informal

curadoria Bruno de Almeida

A Galeria Leme apresenta o terceiro site-specific comissionado para o projeto SITU, curado por Bruno de Almeida, dando continuidade a uma pesquisa mais ampla sobre formas de pensar e discutir a produção do espaço (urbano) através de um diálogo entre arte, arquitetura e cidade.

SITU convida o artista Venezuelano Ricardo Alcaide a conceber uma obra que resulte de uma reflexão sobre o contexto urbano entendido como ampla matriz físico-social, e que se relacione simultaneamente com o exterior do edifício da galeria e com o espaço público contíguo.

Ricardo Alcaide projeta um grande volume geométrico negro que ocupa quase a totalidade do pátio externo da galeria. A face que se apresenta para o transeunte se desenvolve em rampa desde o chão, mais próximo à calçada, se elevando até ao topo da parede ao fundo do pátio e chegando a seis metros de altura. O volume disseca diagonalmente as fachadas da galeria, anulando o espaço externo e bloqueando quase inteiramente as duas entradas para o edifício. Para a construção deste elemento monumental o artista usa uma madeira vulgarmente utilizada na construção civil como estrutura para moldes de concreto in loco, o mesmo processo de construção das paredes da galeria.

Devido à obstrução do acesso habitual ao edifício, Alcaide desloca a entrada para a fachada oposta, utilizando uma porta que se encontra habitualmente fechada. Este novo acesso faz referência à entrada original do primeiro projeto da galeria, do arquiteto Paulo Mendes da Rocha, construída em 2004 e depois demolida em 2011 para dar lugar à sua réplica, a estrutura que existe hoje. Com a realocação e a reorientação do edifício, o projeto inicial foi readaptado e consequentemente a inversão da entrada foi incorporada.

Através da ocupação e quase inutilização de um espaço (semi)público e da consequente adaptação do percurso de entrada, Ricardo Alcaide induz a um reexame da relação física do visitante com o edifício e subverte o funcionamento normal da instituição. Criando uma circunstância espacial que se localiza no limiar entre conflito e uma espécie de institucionalização da provisoriedade, o artista tira partido da fricção entre rigidez e improviso institucional que está frequentemente presente na nossa experiência da cidade, se materializando comumente no encontro entre a arquitetura “oficial" e as construções improvisadas que cumulativamente se acoplam a esta e são resultados de pactos territoriais paralelos à própria ordem jurídico-normativa oficial.

Mais informações: www.projetositu.wordpress.com

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Informal Order

curated by Bruno de Almeida

Galeria Leme presents the third site-specific commissioned for SITU, curated by Bruno de Almeida, giving continuity to a broader research on ways of thinking and discussing the production of (urban) space through a dialogue between art, architecture and city.

SITU invites Venezuelan artist Ricardo Alcaide to devise a work that results from a reflection on the urban context understood as a broad physical-social matrix, and that simultaneously relates to the exterior of the gallery’s building and to the adjacent public space.

Ricardo Alcaide designs a large black geometric volume that occupies almost the entire outdoor patio of the gallery. The face that presents itself to the passersby develops in ramp from the ground, closer to the sidewalk, rising up to six meters until the top of the wall at the back of the courtyard. The volume diagonally dissects the gallery facades, nullifying the external space and almost entirely blocking the two entrances to the building. For the construction of this monumental element the artist uses a wood that is commonly used in construction as a framework for molds of in situ concrete, the same construction process of the gallery’s walls.

Due to the obstruction of the normal access into the building, Alcaide displaces the entry to the opposite facade, using a door which is customarily closed. This new access refers to the original entry of the gallery’s first project, from architect Paulo Mendes da Rocha, built in 2004 and then demolished in 2011 to make way for its replica, the structure that exists today. With the relocation and reorientation of the building the initial project was readapted and consequently the reversal of the entrance was incorporated.

Through the occupation and almost obliteration of a (semi)public space and the subsequent adaptation of the entrance route, Ricardo Alcaide induces a reexamination of the visitor's physical relationship with the building and subverts the normal functioning of the institution. Creating a spatial condition that is located on the threshold of conflict and an “institutionalization” of provisionality, the artist takes advantage of the friction between rigidity and institutional improvisation that is often present in our experience of the city, commonly materializing itself in the clash between the “official” architecture and the makeshift constructions that are cumulatively coupled to it, being the result of territorial pacts that are parallel to the official legal-normative order.

More info: www.projetositu.wordpress.com

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Foto / Photo: Filipe Berndt

Construção e Produção / Construction and Production: Marton Estúdio

Salem United Church, Salem, Ontario, Canada.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

Order of the Eastern Star:

General Grand Chapter logo:

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

History:

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroines:

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

Officers

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room:

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

Headquarters:

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

Charities:

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable members

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

See also:

Achoth

Omega Epsilon Sigma

References:

^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.

^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death

^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.

^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.

^ "OES Charities". Retrieved 2016-04-15.

^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.

^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]

^ Clara Barton, U.S. Nurse Masonic First Day Cover

^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1

^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC

^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.

^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.

^ Big Muddy online publications

^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.

Official website:

Eastern Star Organizations at DMOZ

Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois, USA.

A new world-class research and technology facility to support the growth of a new industry centre in Wales is to be opened in June by Mrs Edwina Hart, MBE CStJ AM, Minister for Economy, Science and Transport. The facility, based in Baglan, South Wales has been made possible by the SUPER project (SPECIFIC Up-scaling Pilot Engineering Resource) which has received almost £2 million funding through the Welsh Government’s Academic Expertise For Business programme (A4B).

specific.eu.com/

www.swansea.ac.uk/research/

Site specific art camp, organized by 'Sandwich Dhaka'

05 to 12 March 2020

Remakri,Bandarban

One of my personal rallying cries at the protest was to challenge people for greater specificity in their chants and signs. This one is a good example of a sign I thought to be too vague to be constructive.

Site-specific architectures of the trabecular portion of a human, lumbar vertebral body (left) and iliac crest (right).

Originally Published in:

Bucklen B., Wettergreen M., Liebschner M.: "Mechanical Aspects of Tissue Engineering". In Seminars in Plastic Surgery/Publisher Thieme on the topic of "Tissue Repair, Regeneration and Engineering in Plastic Surgery". Editors: Dr. C. Randall Harrell/Dr. Saleh M. Shenaq/Dr. Eser Yuksel. Volume 19, Number 3, 261-270,2005.

As the name implies, the sculpture is in the form of an actual corridor. It measures eight feet tall, forty feet in length, and with a width of ten feet. The facing walls of the corridor are each formed by ten carved blocks of laminated sugar pine planks for an overall measurement each of 8' x 24½" x 16".

Within the concept “One man=all men,” VATICAN CORRIDOR, A Non-Specific Autobiography was conceived as an actual and metaphorical record of the journey through the life of the artist and, by extension, a projection of the possibilities we all share and may attain. Within both of the facing walls are ten carved life-size figures symbolically conjoined by arches to form a “corridor of the self.”

Prior to acquiring the materials necessary for the actualizing of the sculpture in wood, Robert Cremean spent two months creating a detailed preparatory study of the entire work, a process he had followed on only two prior occasions, one for DONOR WITH CRUCIFIXION and the other, although more suggestive than detailed, for HOMAGE TO PAUL APOSTLE. All of the pages of the original manuscript were published by Manuscript Press and may be found on its open website therein. From the first three pages of searching to the final pages of resolution, the artist’s graphic description of the three dimensional work provides us with the opportunity to read the artist’s philosophical concepts for that specific work of art and to understand how these concepts are interpreted symbolically through the human figure. Since this is an actual and a metaphorical autobiography, the Preparatory Study literarily addresses both.

It is very rare that a writer permits us to study his original unrevised and unedited manuscript and even more rare to have an opportunity to study the preparatory drawings and writings for a three dimensional work by a sculptor. With Vatican Corridor, A Non-Specific Autobiography we are permitted to experience, from the first three pages of searching to the final pages of resolution, the artist’s graphic description of a three dimensional work. This manuscript provides us with the opportunity to read the artist’s philosophical concepts for that specific work of art and to understand how these concepts are interpreted symbolically through the human figure. Because the basic philosophy—one man equals all men—is inherent in the work, the artist’s non-specific autobiography contains and is an extension of our own. And because each of the ten arches in the Preparatory Study and in the completed sculpture spans a period of three years in the artist’s life, the tenth arch was a projection five years into the future at last updated twenty two years later in the writing in 1995 and with the publication by Manuscript Press in 1996 of The Tenth Arch, the sculptural tenth arch realized in the form of a book.

The first figure of the Outer Wall is nearly fully revealed in the round. But by the Tenth Arch, it has been transposed into a negative, much like a waste-mold, only the egg shape of the final transposition still in place. Block by block and transposition after transposition, the three-dimensional figure is displaced by a concavity as the wall that contained it grows thicker and thicker. The reverse is true in each of the corresponding figures and blocks of the Inner Wall. Each part of the human figure is symbolic of a particular sense and/or concept and with its transference the figure of the Inner Wall becomes more complete.

But why is the piece called VATICAN CORRIDOR? When the artist first walked through the almost endless corridors of the Vatican Museum, he was struck by the glory and spaciousness of the place, by the number of sculptures there, by the fact that they were neutered by a fig leaf and that only a few of the works met his definition of being a “transparency.”As a result of this experience, he chose to name the sculpture VATICAN CORRIDOR, A Non-Specific Autobiography. On the fourth page of the manuscript, based upon this experience, is provided a statement as to the philosophical intent of the sculpture:

"The enclosure of one metaphor by another—one culture by another—one time segment by another. 'Paganism' is preserved through forfeit of genitalia—neutered by a fig leaf. Miles of historical artifacts enclosed within an historical artifact. And yet there are a few presences that are not dead—not neutered. A few glimpses—Man existing without metaphor. A few Transparencies. Are these not worth the endless walk?"

1973-1974

Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography

Number 122 of 200, signed and numbered

17¾" x 15½"

Collection:

Crocker Art Museum

Sacramento, California

Specific gemstones and metals are prescribed by Vedic Astrologers to appease the planets and their energies in one's chart. 'Jyoti' is Sanskṛt for light, so Joytish is the study of light, specifically the heavenly bodies.

This Specific Tomb is where Jam Murid Bin Haji's grave lies.

Chaukandi Tombs are located in Karachi on the National Highway towards Gharo.

They were built between 15th and 19th centuries, containing graves of Jokio, Balauchis and Barpats(cross between Balauchis and Rajputs) .

Roger Raveel (1921 - 2013, Machelen-aan-de-Leie) is a Flemish post-expressionist painter, graphic artist, ceramicist and maker of objects. His work is difficult to classify under a specific art movement. Raveel himself thought that his first mentor was actually the Italian painter, sculptor and architect Giotto. In the early 1950s he became acquainted with painters of the Cobra group, such as Karel Appel and Corneille. In the second half of the 1950s he evolved towards a more abstract painting that has its roots in experiencing the organic, the vegetative, the animate. However, he wants to take very different paths with his painting. In 1962 he spends three months in Italy, after which he wants to establish a direct dialogue between art and reality, his 'New Vision'. Raveel's style is characterized by the mixture of abstract and figurative painting. Sometimes mirrors or objects are part of his paintings or they are themselves three-dimensional objects. A typical characteristic of Raveels' work are white squares: they represent voids or absence. Motifs in bright, vital colors were sometimes outlined with dark outlines.

Title of the work: Cart to carry the sky.

This work can be admired in the Roger Raveel Museum in Machelen-aan-de-Leie (Zulte, Belgium): www.rogerraveelmuseum.be/en

Roger Raveel (1921 - 2013, Machelen-aan-de-Leie ) is een Vlaams postexpressionistisch kunstschilder, graficus, keramist en maker van objecten. Zijn werk is moeilijk onder een specifieke kunststroming onder te brengen. Zelf vond Raveel dat zijn eerste mentor eigenlijk de Italiaanse schilder, beeldhouwer en architect Giotto was.In het begin van de jaren 1950 leerde hij schilders van de Cobragroep kennen, zoals Karel Appel en Corneille kennen. In de tweede helft van de jaren 1950 evolueerde hij naar een meer abstracte schilderkunst die haar wortels heeft in het beleven van het organische, het vegetatieve, het animale. Hij wil echter heel andere wegen op met zijn schilderkunst. In 1962 verblijft hij drie maanden in Italië, waarna hij een directe dialoog tot stand wil brengen tussen kunst en werkelijkheid, zijn 'Nieuwe Visie'. Raveel’s stijl wordt gekenmerkt door de mengeling van abstract en figuratief schilderen. Soms maken spiegels of objecten deel uit van zijn schilderijen of zijn het zelf driedimensionale objecten. Een typisch kenmerk van Raveels’ werk zijn witte vierkanten: die stellen leegtes voor of afwezigheid. Motieven in felle, vitale kleuren werden soms met donkere contouren afgelijnd.

Dit werk is te bewonderen in het Roger Raveelmuseum in Machelen-aan-de-Leie ( Zulte, België ): www.rogerraveelmuseum.be/

Roger Raveel (1921 - 2013, Machelen-aan-de-Leie) est un peintre post-expressionniste flamand, graphiste, céramiste et créateur d'objets. Son travail est difficile à classer dans un mouvement artistique spécifique. Raveel lui-même croyait que son premier mentor était en fait le peintre, sculpteur et architecte italien Giotto. Au début des années 1950, il rencontra des peintres du groupe Cobra, tels que Karel Appel et Corneille. Dans la seconde moitié des années 1950, il évolue vers une peinture plus abstraite qui trouve ses racines dans l'expérience de l'organique, du végétatif, de l'animé. Cependant, il souhaite emprunter des chemins très différents avec sa peinture. En 1962, il passe trois mois en Italie, après quoi il veut établir un dialogue direct entre l'art et la réalité, sa «Nouvelle Vision». Le style de Raveel se caractérise par le mélange de peinture abstraite et figurative. Parfois, des miroirs ou des objets font partie de ses peintures ou sont eux-mêmes des objets en trois dimensions. Les carrés blancs sont une caractéristique typique du travail de Raveel: ils représentent des vides ou des absences. Des motifs aux couleurs vives et vitales étaient parfois soulignés de contours sombres.

Titre de l'œuvre: Charette à aporter le ciel.

Cette œuvre peut être admirée au Musée Roger Raveel à Machelen-aan-de-Leie (Zulte, Belgique): www.rogerraveelmuseum.be/fr/

Large site specific mural (charcoal) made by Juul van den Heuvel. (from 11 Sept till 1 Nov)

Nope, this isn't Beverly Hills. It is good ole Saratoga, California at the Argonaut Shopping Center.

I would agree, this is the only way to get your Mocha Coconut Java Caffe Caramel Frappuccino topped with whipped cream.

This goes to prove, the definition of luxury is constantly change and highly dynamic when you are tailoring specific high end and luxury concierge services.

Luxury Tip: Find a place you can go to relax. Even if it is only for five minutes. Stop there after work to decompress before you go home. Places like Starbucks or The Los Gatos Roasting Company will allow you to possibly meet new people or just people watch.

@Adluh Flour Factory in Columbia, SC.

Thanks to Columbia College dancers and faculty.

relief print

series of 8

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Agriculture students meet Feb. 18, 2016, in a study lounge. Northwest introduced the living and academic learning communities during the fall of 2015, providing students studying specific majors to live together on residence hall floors. (Photo by Todd Weddle | Northwest Missouri State University)

[Caption: Maulana Asghar Imam Mehndi Salafi, General Secretary, Jamiat e Ahle Hadith //

Anis Ansari, V.C. Khwaja Moinudddin Chishti Urdu Arabic Farsi University., Lucknow //

Farid Shaikh, Aman Committee, Mumbai //

Navaid Hamid, General Secretary, MOEMIN & Peoples’ Integration Council //

Nusrat Ali, General Secretary, Jamaat i Islami Hind //

Dr. Zafrul Islam Khan, President, All India Muslim Majlis e Mushawarat]

Muslim delegation meet Sonia Gandhi over Muslim-specific issues

twocircles.net/2014mar12/muslim_delegation_meet_sonia_gan...