View allAll Photos Tagged specific
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.
Book design for Brandon LaBelle's "Site Specific Sound" published by Errant Bodies Press, 2004. Design by R. Yau.
Photos:
Rachel Adams Photography www.racheladamsphotography.com
Images from Plastic by 30 Bird Productions. This site-specific performance takes place Thu 22 to Sat 24 October in the amazing confines of Manchester's Victoria Baths.
Shows: 7pm and 8:30pm (Thu & Fri). 5pm and 7pm (Sat).
Tickets: £10/6
Booking: 0161 274 0600 / www.contact-theatre.org
You’re a man and you want to become a woman? Sex change, botox, pickle and jam, 30 Bird Productions invites you to experience a world of dark humour, music, dance and striking images taking place in the atmospheric confines of Manchester's Victoria Baths.
Plastic explores one man's quest to become a woman in a dynamic and stylish piece that combines video, theatre, music and dance in an intimate and surreal show.
'Took my breath away'
'Visually stunning'
'Incredibly atmospheric'
'Brilliant dance and movement'
'Have never seen Victoria Baths used so well - the space was tranformed'
Audience quotes from the preview on Wed 21 October
‘A succession of stylised vignettes whose relationship remains teasing and enigmatic’ The Guardian (four stars)
'All senses are arrested by this surreal, stylish, site specific piece’ 3 Weeks (four stars)
‘Superb dance and movement’ The Scotsman
‘Like an underworld imagined by Cocteau’ The List
Suitable for ages 12+.
It is a favorable thing to determine and nourish your specific niche in the art of woodworking. Keep reviewing for more information regarding it and to set yourself up for great deals of pleasure.
Gel spots are the new huge thing for discoloring furniture pieces. Gel spots will attach a lot better on the wood since they don't run like the liquid spots do. Gel spots likewise have an even more regular color on pieces considering that it is thicker.
You must have a working expertise regarding the most typical woods and their lots of attributes. Each kind of wood has its own attributes. Different woods will likewise splinter in a different way. You will see a large array of different grain types. All these elements will be taken into consideration when dealing with your wood task.
Make sure you have a great blade before sawing anything. A blade that has ended up being boring will make it really hard to use your saw properly.
Ear security is crucial when you want to explore woodworking. The equipments made use of for woodworking develop great deals of noise. You can lose your hearing if you aren't cautious. Usage a pair of excellent quality earphones or ear plugs you can discard. Make certain you make use of some type of security when running equipment.
You can minimize carefully made use of or new tools in this manner. This will save you a heap of money.
Consuming some beer and woodworking might appear like a great deal of fun. However it is never do that while making use of saws. Never deal with a task. This is likewise true for prescription drugs.
Soft woods must be stayed clear of for tabletops since it scratches conveniently. Bear in mind that different selections of wood have different colors when finished.
Be secure when dealing with a table saw. This assists stop the board from your board when you are reducing. This will likewise keep the board is cost-free to reduce.
Enjoy your lawn as you put your finest woodworking capacities. You can make tasks like an eye-catching doghouse or bird feeder in addition to a great deck to enjoy the birds from. The birds you bring in must keep the bugs away from your lawn. If you deal with wood skillfully, try showing your work to clients by satisfying them on your deck.
Don't apply excess stress when you're sanding. Making use of excessive stress while sanding might create your surface area of the wood to end up being unequal or assessed. Simply carefully sand lightly in a circular motion.
Make your own recyclable sanding block that you can make use of time and time once again. Sanding blocks make sanding and are friendly to your hands. You can make use of a piece of scrap wood rather. Cut a piece of wood and apply sandpaper with spray adhesive.
Always inspect your measurements are right by double inspecting them. You might even think about making the effort to determine as lots of as three times before you reduce if the materials you are making use of pricy materials. Determining improperly is most likely the most expensive errors take place.
Avoid obtaining your extension cords all tangled up while woodworking by utilizing simply one extension wire. Unplug your tools as you have to use it. This will keep you from tripping.
Plan your wood on paper before starting. Listing to examine your spending plan and blueprint enables you to manage the process. It is better to prepare your wood you'll require at the lumber lawn as you go along. Things will be much easier if you prepare ahead of time.
It isn't needed for woodworking creations to be best. They are personal creations and this provides them character. You obtain better with technique, and the tips aforementioned will go a long method to assist you as you progress in your industry of woodworking.
You must have a working expertise regarding the most typical woods and their lots of attributes. All these elements will be taken into account when working on your wood task.
If you work with wood skillfully, try showing your work to clients by satisfying them on your deck.
Making use of as well much stress while sanding might create your surface area of the wood to end up being unequal or assessed. You can make use of a piece of scrap wood rather. www.youtube.com/watch?v=lC9-nh9KN9k
The Ammonia, Total Alkaloids, Specific Tobacco Nitrosamines, Sugars, Nitrates, Nitrites and Water Measurements.
I'm starting to purchase some relatively expensive gemstones. I wanted to know how I could be sure of what I was purchasing when there are some misleading trade names and vendors that may not ask as many questions of their supplier as they should.
Calculating the specific gravity of your new sparklies is a good method and can be done fairly inexpensively.
blog.autochthonous-evolved.com/2013/04/making-sure-your-g...
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
SPECIFIC is led by Swansea University in partnership with industrial partners Tata Steel, BASF and NSG Pilkington and research partners Imperial College London, Cardiff University, Bath University, Bangor University and Sheffield University; it is funded by EPSRC, Technology Strategy Board and the Welsh Government.
SPECIFIC's aim is to transform world-class research and innovative technology into a new, £1billion industry.
(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/
Asmodeus Demon, Asmodeus Figure, Asmodeus Jewelry, Asmodeus Miniature, Asmodeus Necklace, Asmodeus Ring, Asmodeus Sigil, Asmodeus Statue, Ring Of Asmodeus
This specific silver pendant will attract money for you. It is specifically designed by our master Sortiarius. Each design is different and unique. The diameter of the pendant is 2.8cm and it is made of sterling silver After the creation of the Pendant Seal our covenant masters will activate the seal. This is done at a very specific hour and […]
When ordering spells or seals, our spellcasters or seal creators will contact you in 24 hours to get the details for your order. Some state the requirements in the description or the note you get after ordering.The spellcaster will stay in touch with you and keep you updated on the progress and expected results before, during and after the job.
All seals are different as they are made only for 1 person. The delivery is is digital form. JPEG or PNG at 300 dpi so you get a high quality impresion.
The delivery time and price of the seal depends on the person and the type of seal. Some seals can only be made 2 or 3 times a week, month or even year. The has a big impact on the price. Seals for crops or affairs of the heart are more difficult to make than seals for protection against negative energies.All seals must be personalised. Only personalised keys and seals produce the desired effects. Don’t use them as the effect they produce in you might be nothing, or the seals can harm your health. You are warned !!!
SAVE NOW13%
Quick View
Special ProductsSatanic Jewelry – Ring of Lucifer – Ring of Satan, the Prince of Darkness – The Morning Star
SAVE NOW13%
Quick View
Special ProductsSatanic Jewelry – Ring of Astaroth, the Crowned Princess for fertility, love, and war
SAVE NOW13%
Quick View
Special ProductsSatanic Jewelry – Ring of Asmodeus, King of the Daemon and Ruler of the Realm of Pleasure
SAVE NOW13%
Quick View
Special ProductsPowerful Silver Ring of Belial for jobs, promotion, self-sufficiency, and personal accomplishment
SAVE NOW10%
Quick View
Angel SealsSilver Pendant Haamiah to improve physical health and wisdom
SAVE NOW11%
Quick View
Daemon AmuletsSuccesfull in Business and Career with the Silver Pendant of Asmodeus, Nune, Eligos and Belial
SAVE NOW11%
Quick View
Daemon AmuletsSpecial Silver Amulet of Healing
SAVE NOW11%
Quick View
Daemon AmuletsSilver amulet for Lust and Relationships with demons Beleth,Sallos,Dantalion and Sytry
SAVE NOW15%
Quick View
Angel SealsSilver Pendant Seal of the Archangels and Olympian Spirits
SAVE NOW11%
Quick View
Special ProductsGoddess kali Pendant
SAVE NOW11%
Quick View
Special ProductsPowerful Shiva Pendant for Wealth and Fortune with Om Namah Shivaya Mantra
SAVE NOW11%
Quick View
Special ProductsSilver Pendant to attract Money
@media screen and (min-width: 1201px)
.emrvb5c437ede2eaac
display: block;
@media screen and (min-width: 993px) and (max-width: 1200px)
.emrvb5c437ede2eaac
display: block;
@media screen and (min-width: 769px) and (max-width: 992px)
.emrvb5c437ede2eaac
display: block;
@media screen and (min-width: 768px) and (max-width: 768px)
.emrvb5c437ede2eaac
display: block;
@media screen and (max-width: 767px)
.emrvb5c437ede2eaac
display: block;
World of Amulets
worldofamulets.com/product/satanic-jewelry-ring-of-asmode...
Patient Specific Computer Modeling and the Predictive Paradigm in Medicine
By Thomas J. R. Hughes, Ph.D, ICES Professor of Aerospace Engineering and Engineering Mechanics Computational and Applied Mathematics Chair III
Tuesday, Dec. 3, 2013
DESCRIPTION
Physical Description
Order to Report for Induction
Specific History
The Order to Report for Induction for Benjamin Layton of Georgia.
General History
The United States government established a draft board during World War II. The purpose was to establish which men were or were not qualified for military duty. Males were required to register and complete a physical and a written exam as part of their screening. After testing was completed, men were placed into various “categories.” Category one was the best-qualified while Category four indicated a male disqualified for one of many reasons, such as too many children, flat feet, or poor education. The draft board issued notices to report for classification, medical exams, and induction.
OBJECT NAME
document
DATE OF MAILING
1941
ASSOCIATED DATES
1941-08-29
RECIPIENT
Layton, Benjamin T.
SENDER
Local Board Number 12
PHYSICAL DESCRIPTION
paper (overall material)
ink (overall material)
MEASUREMENTS
average spatial: 26.9 cm x 21.8 cm; 10 9/16 in x 8 9/16 in
PLACE MADE
United States: District of Columbia, Washington
REFERENCED
United States: District of Columbia, Washington
ASSOCIATED PLACE
United States: Illinois, Chicago
ID NUMBER
1993.3172.04
CATALOG NUMBER
1993.3172.04
NONACCESSION NUMBER
1993.3172
SUBJECT
Military
ThinkFinity
EVENT
World War II
The Great Depression and World War II
SEE MORE ITEMS IN
Armed Forces History: Armed Forces History, Military
ThinkFinity
EXHIBITION
The Price of Freedom: Americans at War
DATA SOURCE
National Museum of American History, Kenneth E. Behring Center
americanhistory.si.edu/collections/search/object/nmah_117...
Sport Specific Performance interviews some of the greatest athletes and celebrities about golf, life, and philanthropy. Catch the hilarious interviews with Jerry Rice, Drew Brees, Bruce Jenner, Alice Cooper, Donovan McNabb, Nick Lachey, Matt Leinart, and more at:
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
Michael Peleg shooting Full side Volley with Tennis Balls, hitting Specific targets helped by Seinor Forza player Emily.
Frame 4
This is the third of seven tiers of massive Mazama Falls near Mt. Baker, WA. The entire waterfall is around 500' tall. This specific drop is about 50'.
Marketplace sessions offer an opportunity for a small panel of experts to provide input on specific
projects or technologies. Individuals or small teams will briefly present their information, followed
by feedback from the panel and brief questions from the audience. Expert panelists:
• Gerónimo Sánchez Bendala, Outsider In
• Asier Gallastegui
• Eunice Gnay Namirembe, Country Manager Uganda, Text to Change
• Carmen Calvo, Consejeria of Economy, Innovation, Science and Employment
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.
Specific Farm Uses for Wood Vinegar:
The Appropriate Technology Association of Thailand recommends the following wood vinegar/water solution rates for various farm uses:
• Repel nematodes – Tomatoes, 1:500 (apply to the base of plants); strawberries, 1:200 (apply to the base of plants); and black pepper vines, 1:1500 (apply in place of water).
• Repel insect pests – Cabbage and Chinese cabbage, 1:1500 (apply in place of water); corn 1:300 (spray onto leaves).
• Control of fungal diseases – Tomato and cucumber, 1:200 (spray onto leaves).
• Control of root rot – Tomato and cucumber, 1:200 (apply to the base of plants).
• Reduce incidence of chili pepper flowers aborting – 1:300 (spray onto leaves).
• Improve flavor of sweet fruits and stimulate development of crops. Mix solution rates of 1:500 to 1:1000. Wood vinegar prevents excessive nitrogen levels, improves plant metabolism and contributes to higher fruit sugar levels.
• Stimulate compost production. A solution rate of 1:100 will help increase the biological activity of various beneficial microbes and can decrease composting times.
• Combat bad odor. A wood vinegar solution of 1:50 will diminish the production of odor-causing ammonia in animal pens.
• Supplement for livestock feed. Mixed with livestock feed at rates of between 1:200 and 1:300, wood vinegar can adjust bacterial levels in the animal digestive tract which improve the absorption of nutrients from feed.
• Enrich garden soil. Use a strong solution of 1:30 to apply to the garden soil surface at a rate of 6 liters of solution per 1m² to enrich the soil prior to planting crops. To control soil-based plant pathogens, use an even stronger rate of application.
www.pyroligneousacid.com.au/.../Wood-vinegar-a-by...
www.academia.edu/.../Impacts_of_Pyroligneous_Acid...
gardenprofessors.com/smoke-em-if-youve-got-em/
paleomagazine.com/is-liquid-smoke-paleo
Specific Design Assessment
-Soft and hard landscaping provide active and passive recreational areas
-Trees, bushes, and a water feature introduce natural design elements
Relevant Land Use Code Sections
20.25A.160.E.2.c - Include elements that engage the natural environment where the sight, sound, and feel of nature can be directly experienced
20.25A.160.E.2.l - Use design elements, such as surface materials, furnishings, landscaping and pedestrian-scale lighting that are high quality, functional, and environmentally sustainable
Marv Castillo pictures are copyrighted. For specific purposes contact Geek Broadside or the VRAM Network.
Category: Oxide mineral – Hematite group
Chemical formula: Aluminium oxide, Al2O3
Strunz classification: 04.CB.05
Dana classification: 4.3.1.1
Crystal symmetry: Trigonal (32/m)
Unit cell: a = 4.75 Å, c = 12.982 Å; Z=6
Crystal system: Trigonal (Hexagonal Scalenohedral) Symbol (32/m) Space group: R3c
Mohs scale hardness; 9 (defining mineral)
Specific gravity: 3.95–4.10
Optical properties: Uniaxial (–)
Refractive index: nω = 1.767–1.772 nε = 1.759–1.763
Pleochroism: None
Melting point: 2044 °C
Pod Plosion; a site-specific community arts event hosted at Castlefields allotment, Shrewsbury, Shropshire by artist Jacky Champ.
The Pod; was a 3metre diametre sphere which was filled with enough helium filled balloons (around 1,000) to raise it into the air before the grand balloon release and race. It was an event for children to introduce them to the allotment and seed growth and seed dispersal. Each of the balloons contained a seed of choice selected by the children. A wish was made by each of the children as they inserted their balloon (and seed) into the giant pod.
The event was a huge success thanks to the Allotment Committee for coming onboard and providing refreshments and homemade cakes.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
Striding Place is site-specific research project; motivated by an ongoing word-of-mouth narrative surrounding a stretch of river in West Yorkshire. Research shows that the site was initially associated with mythologies of the Underworld and Mother Earth Dieties; derived from Roman, Greek and Celtic cultures. One can follow the progression of attitudes towards the site from spiritual & respectful, to fearful & accusatory.
Over the course of 12 months, my experience of the site has been enhanced by these narratives. Regularly travel-ling the 278 miles to reach the place I have come to feel as my own. Walking, sitting, and waiting with the river to see what it gives back in return.
jessannahcooling@gmail.com
♥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)
Chiharu Shiota, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Specific Design Assessment
-Site building and design promotes the use and accessibility of this open space, particularly with the galleria’s connection to two sidewalks and a Seattle Streetcar stop. There are visible connections through the space
-Wayfinding signs clearly point out connections to transit and local businesses
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
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
//////
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
///
Foto / Photo: Filipe Berndt
Construção e Produção / Construction and Production: Marton Estúdio
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
//////
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
///
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
Crew members work to cut specific pieces - in a specific order - from the old Innerbelt Bridge truss.
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).
Unassigned = no specific project or grouping of fabrics in mind. Some fabrics have moved back into unassigned after I've decided not to do the project they had been pulled out for. And vice versa.
via John Currin (JC - Ex RNZN) - Google+ Public Posts ift.tt/1QuhLA2
Sailors and those with specific expertise will be borrowed from the US, Canada, New Zealand and Australia, amid shortages in Britain.
Read more: ift.tt/1LldUSs
Follow us:@MailOnline on Twitter | DailyMail on Facebook
Navy forced to hire foreign troops due to 'perilous' manpower shortage
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.