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"The Unexceptional" series
Olympus OM-2Sp + Zuiko 28mm f3.5 + Legacy Pro 400 @ 1250 iso + D-76 1:1 @ 16 minutes
To paraphrase Bertolucci's 1964 film “Before the Revolution," “One can't live without Rossellini.”
Dropped by ACCESS and picked up the Nutmeg Mags Tee. 10 colors for 250L! Photo at Access.
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Spanish
La Plaza de Toros de Las Ventas es la mayor plaza de toros de España y con 23.798 espectadores la tercera con más aforo del mundo, tras las de México y Valencia (Venezuela). También es la segunda más grande en cuanto al diámetro de su ruedo tras la plaza de Ronda. Está situada en Madrid, en el barrio de La Guindalera en el distrito de Salamanca, y suele estar considerada por profesionales, aficionados y críticos como la más importante del mundo, seguida de La Maestranza de Sevilla.
English
The Plaza de Toros de Las Ventas is a famous bullring in Madrid (Spain).
Situated in the Guindalera quarter of the district of Salamanca, it was inaugurated on June 17, 1931. It has a seating capacity of 25,000 and is regarded as the home of bullfighting in Spain.
This bullring was designed by the architect José Espeliú in the Neo-Mudéjar (Moorish) style with ceramic incrustations. The seats are situated in ten "tendidos". The price of the seats depends upon how close they are to the arena and whether they are in the sun or the shade (the latter being more expensive). The bullfighting season starts in March and ends in October; bullfights are held every day during the San Isidro Fiesta, and every Sunday or holiday during the season. Bullfights start at 6 or 7pm and last for two to three hours.
"Las Ventas" is located in the east of Madrid.
Portuguese
Las Ventas é uma praça de touros na cidade de Madrid, na Espanha. É o maior recinto deste género em Espanha e o segundo a nível mundial, só ultrapassado pela Praça de touros México.
Foi inaugurada a 17 de Junho de 1931, com o nome de Praça de Las Ventas del Espíritu Santo', por ser o nome do local onde se encontrava. Apesar de já estar aberta, só em 1934 entrou em funcionamento. Foi projectada pelo arquitecto José Espeliú em estilo neo árabe (o mesmo estilo da Praça de Touros do Campo Pequeno, em Lisboa). A decoração ficou a cargo de Manuel Muñoz Monasterio. A praça tem capacidade para 25.000 espectadores, e a arena tem 60 metros de diâmetro.
A temporada tauromáquica começa em Março e prolonga-se até Outubro. Há corridas todos os domingos e durante todos os dias da Feira de São Isidro (de meados de Maio a meados de Junho). Começam normalmente entre as cinco ou sete horas da tarde e podem duram de duas a três horas.
Desde 1951 que é possível visitar o Museo Taurino, no interior do edifiíco; neste encontam-se colecções de objectos relacionados com a tauromaquia e com a história da praça.
Wikipedia
Without a doubt my spot of the year – I could hardly believe my eyes when I saw this thing!
Although I've always known these as the UAZ-452, it turns out that UAZ dropped the '452' designation in the second half of the '80s, and the 'regular' version of the Bukhanka (as it's affectionately called) received the designation 3741.
This example has been registered with the Doovla as an UAZ 37419-05, which is incorrect, as the 37419 was powered by a 2.8L UMZ-4218 lump, whilst this one's engine capacity has been recorded as 2,693cc indicating it's fitted with a ZMZ-409 power plant.
This discrepancy aside, I am absolutely amazed how the design has remained effectively unchanged since the UAZ-452 was launched way back in 1965!!!
Curiously, despite having been presented for an MOT on the 29th April 2022, the van wasn't registered with the DVLA until the 1st June. Its current owner acquired the vehicle just 5 months later, and repainted it from green to this light grey.
A mere 8,531 kilometres on the odo!
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Without provocation, my mind can wonder and again I remember how wonderful it was to put my hand out as I walked, and to touch the strength, the power and the love that was my dog, Ben.
I miss my Wolfhound so much - but in-between the painful yearnings of my heart there is Rosie.
Rosie is the exact opposite of Ben. She is the red-headed spitfire. She manufactures energy with every step she takes and the more she walks the more reved up she becomes. Huge gulps of infinite energy. Everything is new. Everything is delightful. Rosie sees everything.
She stops to watch the leaves blow down the street and like an athlete in training takes up the challenge trying to capture as many as she can. I watch as she kisses her first fly, her first beetle, her first spider. She stops to watch in fascination as the liberated children run and laugh in the school playground. What are you thinking little one, I wonder?
Rosie is the Walmart ambassador on our walks and feels the need to greet everyone and then looks on with sorrow as they say goodbye. The world belongs to Rosie and she is wasting no time embracing all it has to offer.
The Irish Terrier breed is not for the first time dog owner or for the weak hearted. DO NOT be suckered in by those gorgeous, dreamy eyes and the darling way she quizzically holds her head. She is stubborn (ALL the shoes in this house belong to her and her alone), tenacious (she actually prances as she walks), and if she were able to vocalize her opinion so that we could really understand what she is trying to say to us we would realize that she is ALWAYS right! She abhors discipline and three walks a day are simply not enough. It is exhausting and when my husband comes home from work I eagerly pass the responsibility of HIS red-head onto him for the duration of the day. When we first got her I broke down one particularly trying morning. I felt like I was in a Postpartum depression from this incorrigible puppy and my daughter offered to look after her. She told me I needed to take a few hours of “me” time.
The way I look at it, is, the breeder should be paying us to take these bounders off of their hands and then send monthly disbursements to us just for keeping our commitment!
…and when the moon takes over for the sun and another day has passed, it is time to put our Rosie to bed. Our lovely, precious puppy who has taught us to laugh again ends the day with yet another gift - sweet puppy kisses - one from her, and then another one - from Ben…
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Ronnie was taking the boys out to sane a friends fishing pond and as usual I used the event to capture moments in time. While out at the pond we had a TEXAS Storm Building out to the EAST of us and the cloud formation was truly magnificant. So I captured this. I couldn't find a good place without this tree in the way, but the end result I truly enjoy.
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Birches
By Robert Frost
When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay
As ice-storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust—
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
I should prefer to have some boy bend them
As he went out and in to fetch the cows—
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having lashed across it open.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.
Whilst generally recognised as a monolith with a significance back into prehistory, ancient surface marks on La Peña Gorda are not immediately obvious. It's almost as if the stone is so staggering and 'finished' that there is very little that man could add without appearing small. I found one sheltered panel that may have had the tanned grease-marks of fingers repeatedly touching over what may just be the remains of some very blurred rock art, and a ledge with a basin that looks to have been adapted by man. There are several areas of polished rock from frequent passage (which have no date) but other than that, the outcrop is pure and naturally spiritual. The one area of great interest is perhaps the long rise of steps up the steep site to the summit.
The steps do not follow parallel historical convention, and at times sprinkle over the surface without a constant rhythm or logic. We managed to climb up about half way, but in the heat of the sun a slip would certainly have put an end to our planned explorations, so we pulled back from following the steps to the top.
The steps are not obvious and need to be found and there are no associated modern ropes or rails. For people who are not free climbers, the word 'freaky' or the phrase 'out there' might be employed to describe the sensation of climbing.
The steps are of a style seen on a far smaller but equally vivid outcrop that still sits at the upper centre of an important local village/town to the south, and it seems obvious to at least propose that the act of making a step and looking after a step over time may have had significance. Here each oval step may have a story or an individual behind the attention and the symbolic of playing a part in helping a community to 'climb' in life.
The top of the monolith is certainly dangerous for casual activity and not adapted for human or agricultural project, so the act of climbing the rock may have had a ritual or ceremonial function. Rites of passage, solstice and offerings to the 'sun' all adapted to just such an indubitable landscape marker.
At risk of repetition, the reason to consider the steps as markers from individuals: from a category of prehistoric artefacts that may also include cups and rings, is because each step is of a style and the positioning of the steps are not systematic - at times scattering past ideas of simple function suggesting an element of episodic significance.
The steps can be contrasted with those at the la Roca de Los Moros (Ayera)
If these are prehistoric steps in origin then they must be some of the most vivid and well preserved, making their recognition and preservation a pleasure for all.
AJM 13.08.20
Without going into the whole story again, when I received my latest U-noa Light doll, I had problems. It's all here on the original picture.
www.flickr.com/photos/24020302@N05/38460995255/in/photoli...
Since then, I have been trying to find a way to glue things back together. I tried 10 different glues (most of which I bought just for this, so now I have an extensive glue collection) & while some of them glued the pieces together, as soon as I applied some pressure, they came apart. Luckily somebody pointed me to this video about using super glue & baking soda. As a last resort I tried it & it worked!
www.youtube.com/watch?v=KU2qph2vG9Y&feature=youtu.be
I've been pulling on the parts all morning & they haven't budged, so I'm going to put them back in the doll. I'm hopeful that I'll be able to use this method on other broken doll parts too, especially Momoko since I'm pretty sure they're made out of the same material & break all the time.
EDITED: Well, guess what? I pushed the leg into the doll...& it came apart. I'm so disappointed, I really thought it would work.
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Latin name: Accipiter nisus - Sparrowhawk
This is the last of a series of four which I am posting in turn. The previous posts are shown below in the first comment box to show the full series, and you can click on the individual images to get the full story.
She was at the far side of the property, sat on the side of the bird bath, intently watching for bird activity. Our garden is usually alive with birds at all times of the day, but on her arrival they had all gone into hiding. I caught sight of a small bird which must have decided to break cover and fly overhead, which she obviously also saw, as indicated by the posture I managed to capture in the previous post. She was obviously hungry and decided to take flight after it, and this was the second before she took off in pursuit. I went back to look through the kitchen window saw through the plants that it was on the ground at the far side of the bench in the first photograph, and it was clear that she had caught her prey. A few hours later, as she had left our garden, I went to investigate the area and from the feathers found I think that she had caught a sparrow - sad, but she has to survive!
Taken with my Canon EOS 7D Mark II and Canon Telephoto Zoom 100-400mm f/4.5-5.6L IS USM EF Lens and framed in Photoshop.
Better viewed in light box - click on the image or press 'L' on your keyboard.
©Lela Bouse-McCracken ::: Just like Henri Rousseau's The Sleeping Gypsy it seems like it's time for me to take a little rest....from flickr. Happy Shooting and Happy Flickering and I'll see you when the gypsy wakes up. ;-)
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And from the dark secluded valleys
I heard the ancient sighs of sadness
But every step I thought of you
Every footstep only you
And every star a grain of sand
The leavings of a dried up ocean
Tell me, how much longer? How much longer?
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© All rights reserved.
Andernos - Gironde - Aquitaine - France
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Rouge ou bleu, le rêve ? ...
"C'est comme s'il tatouait ces mots sur mon cœur, avec une encre d'un bleu profond."
"Like he was carving the words in a deep blue tattoo on my heart."
Haruki Murakami, Kafka on the Shore - Kafka sur le rivage
“Memories are what warm you up from the inside. But they're also what tear you apart.”
"Les souvenirs, c'est quelque chose qui vous réchauffe de l'intérieur. Et qui vous déchire violemment le cœur en même temps."
Haruki Murakami, Kafka on the Shore - Kafka sur le rivage
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Je viens juste de terminer la lecture de "Kafka sur le rivage" de Haruki Murakami. C'est une explosion de sensations, de sentiments, d'images douces ou crues ... La musique des mots, la beauté, la poésie ou le surréalisme des lieux et des situations, l'épaisseur et l'immatérialité des personnages... lire ce livre est une jubilation à l'état pur de la première à la dernière page. N'hésitez pas, vous adorerez !
I just come to end the reading of " Kafka on the shore " by Haruki Murakami. It's an explosion of sensations, feelings, soft or crude images... The music of the words, the beauty, the poetry or the surrealism of places and situations, the thickness and the immateriality of the characters... reading this book is a pure jubilation from the first to the last page. Don't hesitate : you will adore it.
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© Gary Prince - All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
alcuni pensano che un fuoco selettivo sia indice o sinonimo di ottimo scatto.la mia opinione è che questa è una panzanata, e che elementi come il sig hood vogliono spacciare a buon mercato ,quando in realtà se non gli viene attribuito un significato proprio ,rimane solo una peculiarità di alcune lenti molto luminose ed utilizzate a tutta apertura con soggetti ripresi di striscio , (normalmente sono obiettivi macro,che io attualmente non possiedo)
Toni Duarte Freelance Photographer
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Wikipedia:
Vilafamés (en valencià i oficialment, Vilafamés) és un municipi de la Comunitat Valenciana, Espanya. Situat a la província de Castelló, a la comarca de la Plana Alta.
Les primeres evidències d'ocupació de l'entorn de Vilafamés se centren en les troballes arqueològiques realitzades en l'anomenat "Homo erectus vilafamensis", on es van localitzar restes antropològiques Els seus orígens es remunten al Plistocè Mitjà, segons el descobriment de les restes de l'anomenat "homo erectus vilafamensis "a la Cova de Dalt del Tossal de la Font amb una antiguitat de 80.000 anys. Una continuïtat en l'ocupació del medi estaria reflectida en la Cova del Matutano, jaciment del Paleolític Superior. Les primeres manifestacions artístiques apareixen amb les pintures esquemàtiques de l'Edat del Bronze.
Pel que fa al nucli urbà, el mateix topònim AVilahameç, ABeniffamez, denota el seu origen en època musulmana. D'aquest període es conserven entre altres elements, la fonamentació del castell que corona el turó sobre el qual s'assenta el municipi i el traçat urbà de la zona contigua a aquest, d'estrets carrerons tortuosos. Queden així mateix vestigis de les antigues fortificacions constituïdes per llenços de muralla i restes de torres.
És amb la conquesta de la musulmana Beni-Hamez pel rei Jaume I d'Aragó quan Vilafamés pren identitat històrica pròpia. Aquest fet porta a que, el 30 de agost de 1241, Jaume I comissions a Guillem Ramon de Vielha per donar a poblar el castell a Diumenge Ballester, A. Cabrera i altres, carta de població que s'estableix a fur de Saragossa. Aquesta donació serà confirmada posteriorment pel propi monarca a Lleida el 21 de febrer de 1242.
Posteriorment s'incorpora al patrimoni dels Hospitalaris de Sant Joan a 1264, després d'una permuta real amb aquests per la vila d'Olocau del Rei, que seran els seus amos fins 1317, data en què la vila i el castell queden annexionats a la recentment creada Ordre de Montesa. En 1343, Pere IV el Cerimoniós, s'entesta a l'ordre el mer i mixt imperi, amb les corresponents jurisdiccions, drets i emoluments que pertanyien a la corona.
Joan I d'Aragó, en 1393, concedeix a Vilafamés el privilegi pel qual el Consell pot fer i ordenar tot tipus de establemientos i ordenacions que consideri convenients d'acord amb els furs generals del regne.
En les Corts celebrades a València durant l'any 1403, Martí I l'Humà disposa donar possessió al mestre de Montesa del mer i mixt imperi de la població, aquest fet provocarà la protesta irada del Consell en 1404.
Ja al segle XVI, en 1519, Carlos I d'Espanya promet no separar de la corona la jurisdicció civil i criminal, i el mer i mixt imperi de la vila. Quan en 1635 culminen les desavinences sorgides entre els Justícies, per una banda i l'ordre d'una altra, el "Consell" creu arribat el moment de demanar del Papa Innocenci XII autorització per comprar la jurisdicció alfonsina, adquisició que porta a terme el 16 d'abril pel preu de sis mil lliures. A partir d'aquesta data, Vilafamés queda incorporada plenament al patrimoni real, reservant-Montesa la percepció de certes primícies i el dret d'habitació sobre el castillo.Será al segle XIX, amb els enfrontaments civils que segueixen a la mort de Ferran VII, quan el nom de Vilafamés sonarà de nou dins de l'àmbit històric com plaça inexpugnable. Al març de 1837 pateix el primer intent d'assalt de les tropes carlines. El 29 octubre 1838 la guarnició de la plaça rebutja una segona intentona, que es repetirà de nou el 3 de gener del següent any, aquesta vegada amb Cabrera al capdavant de les tropes, que des de les muntanyes que dominen la vila comencen a assetjar a la població, trencant foc contra la ciutadella. En aquesta ocasió es va fer front al setge per part dels veïns a més de comptar amb l'ajuda d'una columna mòbil enviada per l'Ajuntament de Castelló i un destacament d'artilleria de marina, molt poc nombrós. Cinc dies van durar els continus enfrontaments, rebutjant la població tots els atacs de Cabrera, fins que el dia 7 l'arribada de tropes reals va obligar al general carlista a aixecar el lloc. Amb el més selecte de les seves tropes i recorrent a l'auxili de les de Forcadell, Cabrera intentarà el cop definitiu l'abril del mateix any, establint un campament davant la població. El dia 16 s'obre una bretxa en les muralles, encara que els atacants són rebutjats i resulten infructuosos tots els esforços de prendre la plaça que va resultar semi derruïda.
ESP:
Villafamés (en valenciano y oficialmente, Vilafamés) es un municipio de la Comunidad Valenciana, España. Situado en la provincia de Castellón, en la comarca de la Plana Alta.
Las primeras evidencias de ocupación del entorno de Villafamés se centran en los hallazgos arqueológicos realizados en el llamado “Homo erectus vilafamensis”, donde se localizaron restos antropológicos Sus orígenes se remontan al Pleistoceno Medio, según el descubrimiento de los restos del llamado "homo erectus vilafamensis" en la Cova de Dalt del Tossal de la Font con una antigüedad de 80.000 años. Una continuidad en la ocupación del medio estaría reflejada en la Cueva del Matutano, yacimiento del Paleolítico Superior. Las primeras manifestaciones artísticas aparecen con las pinturas esquemáticas de la Edad del Bronce.
Por lo que respecta al núcleo urbano, el mismo topónimo AVilahameç, ABeniffamez, denota su origen en época musulmana. De este periodo se conservan entre otros elementos, la cimentación del castillo que corona el cerro sobre el que se asienta el municipio y el trazado urbano de la zona contigua al mismo, de estrechas callejuelas tortuosas. Quedan asimismo vestigios de las antiguas fortificaciones constituidas por lienzos de muralla y restos de torres.
Es con la conquista de la musulmana Beni-Hamez por el rey Jaime I de Aragón cuando Villafamés toma identidad histórica propia. Este hecho lleva a que, en 30 de agosto de 1241, Jaime I comisione a Guillem Ramón de Viella para dar a poblar el castillo a Domingo Ballester, A. Cabrera y otros, carta de población que se establece a fuero de Zaragoza. Esta donación será confirmada posteriormente por el propio monarca en Lérida el 21 de febrero de 1242.
Posteriormente se incorpora al patrimonio de los Hospitalarios de San Juan en 1264, tras una permuta real con estos por la villa de Olocau del Rey, que serán sus dueños hasta 1317, fecha en que la villa y el castillo quedan anexionados a la recién creada Orden de Montesa. En 1343, Pedro IV el Ceremonioso, empeña a la orden el mero y mixto imperio, con las correspondientes jurisdicciones, derechos y emolumentos que pertenecían a la corona.
Juan I de Aragón, en 1393, concede a Villafamés el privilegio por el cual el Consejo puede hacer y ordenar todo tipo de establemientos y ordenaciones que considere convenientes con arreglo a los fueros generales del reino.
En las Cortes celebradas en Valencia durante el año 1403, Martín I el Humano dispone dar posesión al maestre de Montesa del mero y mixto imperio de la población, este hecho provocará la protesta airada del Consejo en 1404.
Ya en el siglo XVI, en 1519, Carlos I de España promete no separar de la corona la jurisdicción civil y criminal, y el mero y mixto imperio de la villa. Cuando en 1635 culminan las desavenencias surgidas entre los Justicias, de una parte y la orden de otra, el "Consejo" cree llegado el momento de solicitar del Papa Inocencio XII autorización para comprar la jurisdicción alfonsina, adquisición que lleva a cabo el 16 de abril por el precio de seis mil libras. A partir de esta fecha, Vilafamés queda incorporada plenamente al patrimonio real, reservándose Montesa la percepción de ciertas primicias y el derecho de habitación sobre el castillo.Será en el siglo XIX, con los enfrentamientos civiles que siguen a la muerte de Fernando VII, cuando el nombre de Villafamés sonará de nuevo dentro del ámbito histórico como plaza inexpugnable. En marzo de 1837 sufre el primer intento de asalto de las tropas carlistas. El 29 de octubre de 1838 la guarnición de la plaza rechaza una segunda intentona, que se repetirá de nuevo el 3 de enero del siguiente año, esta vez con Cabrera al frente de las tropas, que desde las montañas que dominan la villa comienzan a hostigar a la población, rompiendo fuego contra la ciudadela. En esta ocasión se hizo frente al asedio por parte de los vecinos además de contar con la ayuda de una columna móvil enviada por el Ayuntamiento de Castellón y un destacamento de artillería de marina, muy poco numeroso. Cinco días duraron los continuos enfrentamientos, rechazando la población todos los ataques de Cabrera, hasta que el día 7 la llegada de tropas reales obligó al general carlista a levantar el sitio. Con lo más selecto de sus tropas y recurriendo al auxilio de las de Forcadell, Cabrera intentará el golpe definitivo en abril del mismo año, estableciendo un campamento ante la población. El día 16 se abre una brecha en las murallas, aunque los atacantes son rechazados y resultan infructuosos todos los esfuerzos de tomar la plaza que resultó semi derruida.
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Baby, I'm dyin' to catch that lightin' I only find from your fingertips
I've been missin' and wishin' to feel your kiss
And your hands all on my skin
It won't be long 'til we are burnin' up them sheets
And doing all those things that you can't do without me....
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London | Architecture | Night Photography
The already popular sculpture by Anish Kapoor at the Royal Academy, London.
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Anish Kapoor (born 12 March 1954) is a sculptor, Born in Bombay (Mumbai), India. Kapoor has lived and worked in London since the early 1970s where he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He gained international acclaim with solo exhibits at venues such as the Tate Gallery and Hayward Gallery in London, Kunsthalle Basel, Haus der Kunst Munich, Deutsche Guggenheim in Berlin, Reina Sofia in Madrid, MAK Vienna, and the ICA Boston. He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize. Notable public sculptures include Cloud Gate, Millennium Park, Chicago, and Sky Mirror at the Rockefeller Center, New York.
Anish Kapoor is a Royal Academician and was made a Commander of the British Empire in 2003.
Kapoor's pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, producing awe through their size and simple beauty, evoking mystery through the works' dark cavities, tactility through their inviting surfaces, and fascination through their reflective facades. His early pieces rely on powder pigment to cover the works and the floor around them. Such use of pigment characterised his first high profile exhibit as part of the New Sculpture exhibition at the Hayward Gallery London in 1978. This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India. His later works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with, dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). His most recent works are mirror-like, reflecting or distorting the viewer and surroundings. The use of red wax is also part of his current repertoire, evocative of flesh, blood and transfiguration.
Kapoor has produced a number of large works, including Taratantara (1999), a 35 metre-tall piece installed in the Baltic Flour Mills in Gateshead, England before renovation began there and Marsyas (2002), a large work of steel and flesh-coloured PVC that reached end to end of the 3,400 square foot Turbine Hall of Tate Modern. A stone arch by Kapoor is permanently placed at the shore of a lake in Lødingen in northern Norway. In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London. In 2001, Sky Mirror, a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse. Since 2006, Cloud Gate, a 110-ton stainless steel sculpture with a mirror finish, has been permanently installed in Millennium Park in Chicago. Viewers are able to walk beneath the sculpture and look up into an omphalos or navel above them. In the autumn of 2006, a second Sky Mirror, was installed in Rockefeller Center, New York. Soon to be completed are a memorial to the British victims of 9/11 in New York,[8] and the design and construction of two subway stations in Naples.[9] Kapoor has also been commissioned to produce five pieces of public art by Tees Valley Regeneration (TVR)[10] collectively known as the "Tees Valley Giants"[11]
In 2007, he showed Svayambh (which can be roughly translated as 'self-generated'), a 1.5 metre carved block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus Der Kunst in Munich and in 2009 at the Royal Academy in London. Kapoor's recent work increasingly blurs the boundaries between architecture and art.
In 2008, the Institute of Contemporary Art in Boston exhibited Kapoor's first U.S. mid-career survey.[12] In the same year, Kapoor created the sculpture "Memory" in Berlin and New York for the Guggenheim Foundation.
In 2009 Anish Kapoor became the first Guest Artistic Director of Brighton Festival. As well as informing the content of the festival as a whole, Kapoor installed 4 significant sculptures for the duration of the festival; Sky Mirror at Brighton Pavilion gardens, C-Curve at The Chattri, Blood Relations (a collaboration with author Salman Rushdie) and 1000 Names, both at Fabrica. He also created 2 new works: a large site-specific work entitled ‘The Dismemberment of Jeanne d’Arc’ and a performance based installation entitled ‘Imagined Monochrome’. The public response was so overwhelming that police had to re-divert traffic around C Curve at the Chattri and exercise crowd control.
In 2010 a new Anish Kapoor sculpture called "Turning the World Upside Down, Jerusalem" was commissioned and installed at the Israel Museum in Jerusalem. The sculpture is described as a "16-foot tall polished-steel hourglass" and it "reflects and reverses the Jerusalem sky and the museum's landscape, a likely reference to the city's duality of celestial and earthly, holy and profane."[13]
Kapoor also designed the ArcelorMittal Orbit, a 115 metre spiral sculpture of the Olympic rings. Designed by Kapoor to commemorate the 2012 Olympic Games in London, the piece will be the largest example of public art in the UK when completed.[14]
When asked if engagement with people and places is the key to successful public art, Kapoor said,
“ I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.[15] ”
His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in Tilburg, Netherlands, and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
Kapoor's gallery representations include the Lisson Gallery, London and the Gladstone Gallery, New York.
Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor insists that this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include: (i) the recently announced Tees Valley (England) "Giants", the world's five largest sculptures in collaboration with Cecil Balmond of ARUP AGU, (ii) two subway stations in Naples in collaboration with Future Systems, (iii) an unrealised project for the Millennium Dome, London, (1995) in collaboration with Philip Gumuchdjian, (iv) a proposal for the Princess Diana Memorial Fountain and (v)"Building for a Void", created for Expo '92, Seville, in collaboration with David Connor. “Taratantara” (1999–2000) was installed at the Baltic Centre for Contemporary Art, Gateshead and later at Piazza Plebiscito, Naples. Kapoor has also completed the massive Dismemberment Stage 1, installed in New Zealand on the private "art park" known as "The Farm" and owned by New Zealand businessman and art patron Alan Gibbs.
Of his vision for the Cumana station in Monte Sant'Angelo, Naples, Italy currently under construction (as of June 2008), Kapoor has said:
“ It’s very vulva-like. The tradition of the Paris or Moscow metro is of palaces of light, underground. I wanted to do exactly the opposite – to acknowledge that we are going underground. So it’s dark, and what I’ve done is bring the tunnel up and roll it over as a form like a sock.[16] ”
[edit] Current and forthcoming exhibitions and projects
Kapoor was the first living British artist to take over the Royal Academy, London, from September 26 - December 11, 2009.[17]
“Shooting into the Corner”, MAK Vienna – 21 January-19 April 2009
"Blood Relations", Fabrica, Brighton 10 April - 24 May 2009
Brighton Festival, 2–23 May 2009
Royal Academy, London - 19 September-11 December 2009
“Memory”, Guggenheim, New York – 9 October 2009
Minini Gallery - Brescia, Italy 26 May 2010
"ArcelorMittal Orbit" - a Giant red tower designed by Kapoor is proposed for the London Olympics in 2012 [18][19]
Solo exhibition Guggenheim Bilbao February - October 2010
[edit] Awards
Kapoor represented Britain at the Venice Biennale, 1990, where he was awarded the Premio Duemila. The following year, he won the prestigious Turner Prize.
Solo exhibitions of his work have been held in the Tate, Royal Academy and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery in Ottawa, Musee des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux and at the Centro Cultural Banco do Brasil in Brazil. His work is collected worldwide, notably by the Museum of Modern Art in New York, the Tate Modern in London, Fondazione Prada in Milan, the Guggenheim in Bilbao, the De Pont Foundation in the Netherlands and the 21st Century Museum of Contemporary Art in Kanazawa, Japan.
en.wikipedia.org/wiki/Anish_Kapoor
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Anish Kapoor's towering new sculpture, Tall Tree and the Eye, has gone up in the courtyard of The Royal Academy of Arts ready for an official unveiling on Tuesday as a major exhibition of the artist's work opens in the London gallery.
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