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The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
4 May 2019. A panel of experts how an effective implementation of ADB’s Safeguard Policy Statement (SPS) helps promote sustainability of project outcomes by protecting the environment and people from projects' potential adverse impacts where possible, and helping borrowers to strengthen their safeguard systems and develop the capacity to manage environmental and social risks.
The event was held during the 52nd Annual Meeting of the ADB Board of Governors.
Learn more about the event.
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
To my Darkness and my Light,
I unfold myself; you, in turn, call to me with your warm and aching mouth— its tongue, a delicate command I will not long withstand.
Your lips spill sighs; I drink until your thirst is sated.
Trembling hands steady me beneath you. You guide me toward your deepest acceptance. I find a center in you; you grasp me and gasp.
(You shudder— hands bracing the afternoon light dying against such white walls. I see with the eye of god your ineffable Beauty. I fall and place this feeble kiss to caress the spine of your neck as I pass.)
With you I experience annihilations most will never know.
After I am restless; you know that what I want is what I will never manage alone— you coax from my every ending its next beginning.
We must map these new and nameless oblivions together.
2008
Silver gelatin print
ARTIST’S STATEMENT
The process of transforming paint and other materials into images continues to compel and challenge me. Over the years, that process has led me from ceramics, photography, drawing and painting, and most recently to pursue experimental processes on paper. Painting fills me with a sense of serenity and integrity, and has proven a most reliable vehicle for translating inner vision to outer reality.
My abstract paintings explore the wonders of nature and beauty in our world. Personal symbols that have emerged through this process include; the Turtle (wisdom/grace), the Dragonfly (metamorphosis/change) and the Tree (steadfastness/beauty).
I use a variety of different paints/media (oil pastel, ink, acrylic, latex, gouache, and wood) and yet I am always drawn back to water colors for their unpredictable nature and their transparency.
I paint from the inside out. Focusing on the sensation and context of my experience. I work deliberately, employing both traditional and innovative techniques, while letting the uncertain nature of painting free my hand. My paintings are finished when they are able to convey a moment or sensation, as well as what I am feeling.
I am avaiable to do commisions and private art lessons also.
GALLERY SHOWINGS/ART SHOWS
2002 Mixed Media Exhibit Thornes Market Place (Northampton, MA)
2003 Water Color Exhibit Café Amanouz (Northampton, MA)
2005 Mixed Media Exhibit Cummington Community Center (Cummington, MA)
2009 Water Color Exhibit Sati Wellness Center (Aspinwall Center) Lenox, MA
2009 Mixed Media Exhibit Berkshires Green Grocer Lee, MA
2009 Pittsfield Art Show (Juried Exhibition) Pittsfield, MA
2009 Think Pink Exhibit (Breast Cancer Benefit show) Pittsfield, MA
2009 JWS Art Supplies Watercolor/Mixed Media Exhibit Great Barrington, MA
PUBLISHED ARTICLES/COVERS
1) The Yoga Of Art (Interview), The Artful Mind, April 2009
2) Finding Peaceful Art: The Advocate, April 2009
3) Featured Artist of Month (Title: Into The Mystery): Preview Magazine, May 2009
4) The Art of Slowing Down: Berkshires Best Buys, Business and Beyond, November,2009
5) Cover Art (Winter Bloom): Wisdom Magazine-New England Edition
6) Cover Art (The Winds Of Change): Our Berkshire Green, June-August 2010
7) The Yoga of Art(part 2), Berkshires Best Buys, Business and Beyond, March 2011
8) The Business of Art, The Artful Mind, March 2011
COURSEWORK
1993 University Of Wisconsin-Eau ClaireIntroduction to Art Studio
1999 Camp Nebagamon, Wisconsin: Ted Semling Private Art Instruction
2001 Crow Hill Gallery, Vermont: Jeanne Carbonetti Private Art Instruction
2006 NX Level Training Network: Business Planning for Artists. Denise Mason
2009-2011 Kripalu Center for Yoga and Health Stockbridge, MA Painting the Light Within. (Watercolor Training) Jeanne Carbonetti (Vermont)
2010 is183 Art School Stockbridge, MA Breathing in Color (Watercolor Training) Senta Reis
2011 is183 Art School Stockbridge, MA Painting Studio. Yura Adams
2010-PresentMassachusetts Small Business Development Center, Pittsfield, MA
Art Business Coaching/Training. Keith Girouard
VOLUNTEER WORK: 2010/2011 is183 Art School Stockbridge, MA
BS Degree in Biology
Masters Degree in Education
Peace Corps Service 1994-96 (Samoa)
Liscensed Massage Therapist
Outdoor Fitness Intstructor
If you are interested to learn more about this artwork feel free to contact me at scottharringt10@hotmail.com
You can also follow me on the following sites:
LinkedIn: www.linkedin.com/pub/scott-harrington/11/189/a39
Facebook (personal page): www.facebook.com/scott.harrington1
Facebook (fine art group): www.facebook.com/group.php?gid=252127618069&v=wall
YouTube: www.youtube.com/user/scottharrington111
My studio/gallery is in Lenox, MA. Tours are avaiable by request.
I have prints (framed/unframed) at discounted prices to fit your budget also.
(Photo taken in Plazo De Mayo in Buenos Aires, Argentina Spring 2008)
Repetition and Ritual
The sculptures for the show were created this summer and were inspired by the idea of repetition and fungi forms in nature. These pieces center on the creative act as personal obsession. This work is the beginning of an exploration of the idea of repetition and ritual experienced through the process of making. A prescribed order of assembling, manipulating, and presenting the materials borders on ceremony. Ritual is also found in these works and in this process.
These obsessions are expressed with the laborious act of felt making, the oldest known textile form dating back 8,500 years and also fungi, one of the oldest life forms, dating back one billion years ago.
In making this work, repetition is used to single-mindedly pursue, refine, and purify an idea. Repetition and obsession is an effort of holding a visual image or idea in the mind for extended periods. The profound techniques in art of repetition lead us from the repetitions of habit and daily life.
Repetition can be transcendence. Repetition is the capturing and stopping of time.
These forms are based on clusters of fungi I found in the forest this summer. These clusters would sometimes be comprised of hundreds of small round forms. The pattern work is an abstraction from mushroom spore prints that I made from the caps of foraged fungi. When placed under a glass over night the mushrooms release spores and make beautiful intricate forms.
My fascination with fungi stems from the idea of life cycles that has been ever present in my work. Fungi relies on mostly decayed organic matter to live, thus continuing the idea of the cycle of birth, life, and death. The physical becomes spiritualized. I construct forms to represent the sacred in universal archetypes of immortality and regeneration. It represents a desire for wholeness. Through ritual process I hope to manifest the magical to the physical.
Photo by Matthew Robison
With less than 24 hours' notice, almost 200 people turned out in Perry Square on Tuesday, May 20 to celebrate Judge John E Jones III striking down Pennsylvania's so-called Defense of Marriage Act. Marriage equality is now the rule of the land in Pennsylvania, and Governor Corbett has said that Pennsylvania will NOT appeal the federal ruling. Speakers included Mike Mahler of Erie Gay News and NW PA Pride Alliance; Atty. Richard Ruth, legal director for ACLU NW PA; Kathy and Christina Czarnecki-Smith, who married in New York state; Rich McCarty, senior pastor at Community United Church and president of Greater Erie Alliance for Equality and who also read a supportive statement from State Sen. Sean Wiley; Rev. Steve Aschmann of the Unitarian Universalist Congregation of Erie; David Moore, founder and president of Marriage Equality for Pennsylvania; Doris Cipolla, who had lost her partner Char to cancer 9 years and 1 month before and who was glad that other PA couples will not have to have similar experiences; Susan Woodland, President of NW PA NOW, and Joshua Szczesny, secretary and co-founder of Marriage Equality for PA. Also in attendance were Erie County Executive Kathy Dahlkemper, proud mother of a gay son and also Erie County Councilmember Jay Breneman. Erie Sisters Transgender Support Group also turned out in support. Kathy Dahlkemper announced that a same sex couple had already applied for a marriage license that day. The couple was Michael Tkach, board member of Greater Erie Alliance for Equality and Bill Lechner, who have been together for 29 years. Also in the crowd were attorneys Jason Owen and Alison Scarpitti. Alison is legal counsel for Greater Erie Alliance for Equality and also served as attorney for Wendy and TJ Titus, who drove to Montgomery County to obtain a marriage license when that county was allowing same sex couples to get licenses earlier this year.
There was media coverage by both local TV news crews and also Erie Times News. Special thanks to ACLU and Equality PA for providing materials and helping with preparations.
Special thanks go out to NW PA Pride Alliance board members who helped with running the event, Season Crannell, Alex Sphon, Daniel Thomas and Kelly Kidd. Thanks to our photographers, NW PA Pride Alliance board member Matthew Robison and Erie Gay News co-editor Deb Spilko. Special thanks to Christopher Strayer for bringing rainbow sherbet, an especially appropriate treat.
PP-22 - Policy Statements
H.E. Mr Karma D. Wangdi
Hon'ble Minister
Ministry of Information and Communications
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
comprei na W3 no ponto 7, por R$ 66,00! tem vários modelos lindos!!
Pra quem é de salvador não tem erro! embaixo da academia sport fitness, numa loja chamada dabliu3 (eu sei que o nome é cafona mas a dona é super estilosa e so trás coisas lindas!) uahauhuahuahuaa
Mitzi Dean, Parliamentary Secretary for Gender Equity, has released a statement in honour of the Transgender Day of Remembrance on November 20, 2020.
Read her statement here: news.gov.bc.ca/23303
Policy Statements - ITU PP-18
H.E. Mr Afamasaga Lepuiai Rico Tupai, Minister
Ministry of Communications & Information Technology, Samoa
©ITU/R.Maniego
One the absolute highlights of my visit, St Edmund's church in Southwold is one of -the most impressive parish churches in the country. Arriving late in the afternoon I was delighted to find the church still open and lose myself in its beautiful interior.
The building dates from the latter half of the 15th century and makes an assertive statement, all grandeur and civic pride on a grand scale. Great Perpendicular traceried windows punctuate the walls of the entire edifice and make it gloriously light inside (mostly plain glazed as no original glass survives and wartime bombing removed what the Victorians put in).
Within the eye is drawn to the hammerbeam roof, adorned with angels (though all are partially or wholly Victorian replacements for the originals that were mutilated by iconoclasts). The chancel beyond (structurally continuous) adds to the effect further with its ceiling painted in a heavenly shade of blue. A canopy of honour is created between the two halves with painted figures of angels, overpainted by restorers but stylistically clearly close to the original work underneath.
This ceilure of course added emphasis to the rood, long since vanished alas but the screen that supported it remains and is the most remarkable feature of the church, extending its entire width (though the screens in the aisles could be identified as separate additions). All the lower panels retain their sequence of late medieval painted figures including an unusual sequence of angels, but sadly all have been defaced by iconoclasts, most likely during the reign of Edward VI when the biggest militant purge of church artwork occurred. The quality and richness of detail however is still apparent.
The choir retains some fine medieval carved woodwork including choir stalls (the misericords are disappointingly plain designs, but the armrests feature more lively details). Ornate screens enclose this space on either side.
This vast church requires time to soak up its atmosphere and bask in its beauties, it is one of the loveliest buildings one could hope to visit and will reward any visitor to this pictureque seaside town, being generally kept open and welcoming within reasonable hours.
PP-22 - Policy Statements
H.E. Mr Jacob Korok Maiju
Deputy Minister, Ministry of ICT and Postal Services
Ministry of ICT and Postal Services
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
The trend these days is for women to carry classic, designer handbags that make a statement and are useful and practical at the same time.
This is a unique and original bowtie statement necklace.
I made it from needle felted wool, Czech beads, knitted ribbon and pink Swarovski cristal stone.
The bow has a feminine pink and purple colors and kawaii "Hello Kitty" style. by Nufar Livny Laskov
File name: 10_03_002541b
Binder label: Shoes
Title: See my new pair, turn wedgeheel shoes with the standard tip made by Thomas M. Harris & Co., Philadelphia. [back]
Created/Published: N. Y. : Donaldson Brothers
Copyright date: 1884
Physical description: 1 print : chromolithograph ; 8 x 14 cm.
Genre: Advertising cards
Subject: Girls; Shoes
Notes: Title from item. Retailer: S. H. Powers, New York
Statement of responsibility: Thomas M. Harris & Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Brenda Bailey, Parliamentary Secretary for Technology and Innovation, Anne Kang, Minister of Advanced Education and Skills Training, Grace Lore, Parliamentary Secretary for Gender Equity, and Jennifer Whiteside, Minister of Education, have issued the following statement in support of B.C. Women and Girls in STEAM Week (Nov. 1-7):
Learn more: news.gov.bc.ca/25665
The September statement for my firm's profit-sharing plan came yesterday, and it wasn't as bad as I expected. Of course, this doesn't include the big October stock market plunge, so we'll see. My wife's 401k statement was considerable worse, as I have a less risky mix of investments than she does, apparently. It's all play money, anyway.
Blogged:
www.playtimelasvegas.com/34557120/when_gambling_is_over_t...
Miguel Palmero, seated right, Executive Officer, Royal Caribbean International, signs a Employer Support of the Guard and Reserve (ESGR) Statement of Support during an ESGR ceremony at the Joint Military and Family Assistance Center in Bordentown, N.J., May 17, 2019. Also pictured are, seated left, Don Tretola, State Chair, New Jersey Employer Support of the Guard and Reserve; back row, left to right, Brig. Gen. Jemal J. Beale, The Adjutant General of New Jersey; Col. John M. Cosgrove, Commander, 108th Wing, New Jersey Air National Guard; Col. Thomas O. Pemberton, Commander, 514th Air Mobility Wing, Air Force Reserve Command; Bruce Townsend, chief, Employer Outreach, ESGR, and Maj. Gen. Mark W. Palzer, Commanding General, 99th Readiness Division, Army Reserve. ESGR develops and promotes a supportive work environments for Guard and Reserve service members through outreach, recognition, and educational opportunities that increase awareness of applicable laws, as well as resolves employer conflicts between service members and their employers. (New Jersey National Guard photo by Mark C. Olsen)
Below is a statement supplied to Snapperjack Media London by ( British Egyptians )
*********************************************************************************************
Today 22nd of February 2015
We handed a Petition to 10 Downing Street and we Held a Demontration at Marble Arch and infront of Quatar Embassy .
We distribute a flyer with the petition and the photo of the Slaughter of our brothers in Lybia
“We Will Conquer Rome”
“ A Message Signed with Blood to the Nations of the Cross.”
Another Wake-up Call by the Terrorist Jihadists
The grotesque video which was released by the terrorist group Islamic State (ISIS) of the slaughter of 21 Egyptian workers in Libya, who had been kidnaped in the costal town of Sirte and subsequently beheaded on the15th of February 2015.
There is a sense of “ déjà vu ” for us here in the UK. In 2007 there was a plot to behead a British Muslim Soldier and in 2013 the shock of the beheading of Lee Rigby in the streets of Woolwich in broad daylight was evident for all to see. In addition, the recent plot to behead a British soldier by a teenager has featured in the press. The terrorist attacks of 7/7 and others are potent reminders of this evil.
On 8th of February 2015, Muslim Action Forum’s protesters in Whitehall held Al-Qaeda flags at the door steps of Downing Street .
Mr.Cameron, all British Egyptians appreciate your noble gesture for expressing your personal and official condolences for the murder of the Egyptian guest workers during your phone call to Bishop Angelos of the Coptic Church , as they were Coptic Christians. You rightly stated that these actions are unacceptable by the principles we live by in this country.
Although they were Christians, there is no difference between them and all of the other Egyptians killed by the Muslim Brotherhood ranging from the Police, Army Soldiers and Civilians : Christian and Muslim as we consider them all equal Egyptian martyrs.
During the rampage of terror by the Brotherhood and it’s terrorist offspring which include Al-Queda, Hamas, Boco Haram and ISIS where the killing and rape of innocents, destruction of property and livelihoods, places of worship; mosques and 80 churches in Egypt and yet their Headquarters reside here in London .
Although these people call themselves Muslims, they have nothing to do with any religion, they are ,maniacs. A lot of people all over the world are now fear these terrorists who are everywhere and have been supported directly and indirectly by many countries.
There is an urgent call for the World to wake up and unite .
We are not fighting a physical invasion but a rapidly spreading jihadist ideology among all ages. They are brain washed and blind folded and every one of them is ready to die as a suicide bomber by a press of a button. They are everywhere in the world spreading like cancer.
What we have seen till now is only the tip of the iceberg. We are pleading that the UK join all the forces of the world to jointly fight terrorism with Egypt, otherwise it will be a disaster for all of us.
Signed : British Egyptians.
U.S. Secretary of State John Kerry alongside Serbian Prime Minister Aleksandar Vucic delivers a statement to the press at the Prime Minister's residence in Belgrade, Serbia, on December 2, 2015. [State Department photo/ Public Domain]
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Policy Statements - ITU PP-18
Mr Ricardas Degutis, Vice Minister, Ministry of Transport and Communications, Lithuania
©ITU/P.Barrera
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The Mission Statement. Words to live by for the year.
For more info on this, please visit www.thehikeguy.com/2011/01/04/500-moleskine-miles/
KOREA-UKRAINE Joint Statement
July 15, 2023
The Mariinskyi Palace, Kyiv, Ukraine
Office of the President
Official Photographer : Kim Yong Wii
All photographs in the official Flickr account of the Republic of Korea are available only for publication by news organizations and/or for public purposes with proper attribution to the correct source (photographer and organizations mentioned above).
Any distortion to the original meaning of a photograph for provision to a third party through posting and resale, partial reproduction, falsification or use of the photograph with other images is strictly prohibited without the express written permission of the government of the Republic of Korea.
Thank you.
----------------------------------------------------
대한민국-우크라이나 공동언론발표
2023-07-15
우크라이나 대통령궁
대한민국 대통령실
김용위
플리커 채널 'Republic of Korea'에 게재되는 대한민국정부 사진은 올바른 저작권 이름 (촬영자 / 상기 명기된 기관)으로 표기한 이후 보도 혹은 공익목적으로 사용하실 수 있습니다.
의미를 왜곡하는 맥락에서 사진을 게시하고 재판매, 부분 복제, 변조 또는 다른 이미지에 통합하는 것과 같은 사진의 모든 수정, 자료를 제3자에게 제공하는 것은 대한민국정부(운영자/저작권자)의 명시적인 허가 없이 금지됩니다.
#SafePassage - Rettungswesten-Installation von Ai Weiwei am Konzerthaus Berlin zur Filmgala Cinema for Peace, 15.2.2016.
Der chinesische Künstler Ai Weiwei (58) hat mit Rettungswesten, die Flüchtlinge auf der griechischen Insel Lesbos zurückgelassen haben, das Konzerthaus am Gedandaremnmarkt dekoriert. Mit der Aktion will der Gastprofessor an der UdK an die Schutzsuchenden erinnern, die sich über das Mittelmeer ins sichere Europa retten wollen.
Das Kunstwerk am Konzerthaus Gendarmenmarkt ist eine Aktion für die Filmgala Cinema for Peace im Rahmen der Berlinale (Internationale Filmfestspiele Berlin). Ai weiwei ist dieses Jahr Ehrenpräsident der "Cinema for Peace-Jury.
© Bernd Sauer-Diete
A new free crochet pattern offered by Stitch Diva Studios in our very own glistening Studio Silk.
Make a statement with some inexpensive flat decorative marbles, basic crochet skills and some pretty yarn.
This project is fast enough for you to make a few of these very trendy statement necklace pieces - explore using more or fewer marbles or varying the configuration of the stones for your very own creation!
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the extraordinary Summit of NATO Heads of State and Government
The impressive pavilion at Feethams, home to Darlington Cricket Club. The oldest bits of the structure date from 1906. The flat-roofed extension was added in 1992. Captured before a five-wicket defeat by Richmondshire in the Premier Division of the North Yorkshire & South Durham Premier League.
Lacking four regulars (owing to holidays, a stag do and football), Richmondshire cleared a tricky hurdle to extend their lead and plunge Darlington deeper into relegation trouble. The visitors, with four games of the season remaining, have a 19-point lead over title rivals Marton, who could manage only a losing draw at Barnard Castle. With Great Ayton winning at Middlesbrough in a crunch relegation battle, Darlington slip a place, to 10th, 10 points above the drop zone, occupied by Seaton Carew and Middlesbrough.
The departure, to a soft catch, of professional Tom Hewison (63) sparked a costly Darlington collapse. The last five home wickets produced just 17 runs. Callum Lethbridge's 27 was the only other decent score. Sam Wood (3-25), Chris Layfield (2-6) and Steven Reeves (2-29) shared the bulk of the wickets. Reeves, Richmondshire's Australian professional, played a key role as the visitors chased down a modest target. Darlington, boosted by early breakthroughs from pacer Shaun Charlton (2-53), appeared in with a chance when Richmondshire were reduced to 53-3, opener Robert Carr hitting 26. But Reeves, a big fella, steadied the ship with an unbeaten 44. Darren Van Der Vyver (20) and Wood (19) did what was necessary at the other end.
Match statistics
Darlington versus Richmondshire
North Yorkshire & South Durham Premier League, Premier Division (50 over match, 1pm start)
Admission: free. Programme: £1 (eight pages). Attendance: 108. Richmondshire won the toss and elected to field. Darlington 146 off 49.5 overs (Tom Hewison 63, Callum Lethbridge 27, Sam Wood 3-25, Chris Layfield 2-6, Steven Reeves 2-29) 5pts lost by five wickets to Richmondshire 147-5 off 46.4 overs (Steven Reeves 44 not out, Robert Carr 26, Darren Van Der Vyver 20, Shaun Charlton 2-53) 20pts. Umpires: Barbir Noor and Frank Smith.
Location:
GSK World Headquarters
16th and Vine Streets, Philadelphia, PA
Zenos’ statement about his vision of the sculpture
I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.
Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation – be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a macquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.
The macquette is the original mass of clay where a concept is born and from which it grows and develops. This was important later when I enlarged the sculpture from several inches long to 20 feet long, and I retained in the larger work a sense that all the conceptual material, its forms, focus and development sprang from this rough idea. The work metamorphosized, in the way that we do.
Although there are four figures represented, the work is really one figure moving from left to right. The composition develops from left to right beginning with a kind of mummy/death like captive figure locked into its background. In the second frame, the figure, reminiscent of Michaelangelo’s Rebellious Slave, begins to stir and struggle to escape. The figure in the third frame has torn himself from the wall that held him captive and is stepping out, reaching for freedom. In the fourth frame, the figure is entirely free, victorious, arms outstretched, completely away from the wall and from the grave space he left behind. He evokes an escape from his own mortality.
In working on the large scale sculpture, I was satisfied that those who drove by getting a quick look at it would see the big picture: that it was about escape. I was also concerned that those who worked in the building and who passed the sculpture frequently would have something more to see. There was a lot of empty space between the figures on the wall, which I saw as an opportunity to develop further ideas.
It was important to me that the sculpture have more than one theme going on at once. One of the other major ideas incorporated in the work is that the very process of creating the sculpture is clearly revealed in the work itself. The maquette is cast into the sculpture in the lower left hand corner. In the lower right corner is the cast of the sculptor’s hand holding the sculpture tool with two rolls of clay also cast in bronze. Throughout the background of the Wall, I have rolled out the clay and pressed it with my fingers so that my fingerprints are all over the sculpture. I have not hidden how I have made the piece. In fact, the whole idea of the macquette is enlarged so that all the figures in the background look like a giant macquette. And at the same time, as the figures move from left to right, I have shown how figures are developed when you are sculpting from the rough to the more finished product.
Elements of the sculpture trade beside the tools that are cast into the sculpture are calipers both for their use in measuring and their reference to Protagoras’ words “Man is the measure of all things.”
Also cast into the sculpture is an anatomical man, traditionally used as a reference by sculptors. Many of the heads and figures on the wall, some in the round and some in relief, are shown partially sculpted, revealing the process of creation.
Something else I have done with the sculpture is that I have created a one man show of my work. I have always admired Rodin’s Gates of Hell. I similarly thought I would incorporate many sculptures into the wall where it was suitable.
Like T.S. Eliot and other artists, I have put many personal elements in my work. My friend Philip, a sculptor who died of AIDS, created a work that I included in Freedom because he often expressed his wish to have it in a public space. He did not live long enough to accomplish this himself. My cat, who lived with me for 20 years, my mother, father, and my self portrait are in the work. It is obvious which face is mine because there is a ballooned phrase coming from my mouth with the word “freedom”, written backwards, making it clear that the face was sculpted in a mirror. I see the whole Wall sculpture as a kind of illusion akin to Alice’s Through the Looking Glass.
The sculpture contains an original Duane Hanson -- a bronze cast of my own hands that Duane cast for me as a gift.
Much of what I did with this sculpture has to do with taking traditional forms and combining them in non-traditional ways, forming a postmodern sensibility. For example, I dropped a wax cast of my father’s bust from two or three feet in height so that it broke into large pieces. I cast those into the wall in a fractured manner over another face, an old work I found in a vat of clay purchased from a sculptor who had long ago died.
I have hidden many things in the background for people who see the sculpture more than once to discover, such as a cast of coins – a nickel and two pennies, another nickel and two pennies, and two quarters and a penny. These represent not only the relationship between money and art, but the numerals 7-7-51, my birth date.
It is important to me that the public interact with the sculpture, not just intellectually and emotionally but physically. I have created a space in which I have written “stand here” so that people can place themselves inside the sculpture and become part of the composition.
In the end, this sculpture is a statement about the artist’s attempt to free himself from the constraints of mortality through a long lasting creative form.