View allAll Photos Tagged yokoono
Just going to dump in the rest from that night, so I can get excited about taking new photos. Lake Elliðavatn, Heiðmörk.
From the website:
Add Color (Refugee Boat) (1960/2019) is an interactive installation conceived of by visual artist Yoko Ono. Upon opening, the work will be comprised simply of a boat placed within an empty space. The public will then be invited to paint their thoughts, ideas and hopes on the walls, floor and boat. As the installation progresses, messages will be written in support, contrast and literal obfuscation of one another, moving the space from visual calm to a layered visual chaos – a beautiful sea of color from afar, a more restless reality upon closer inspection. Freely imbued in this way with a multiplicity of thoughts, each time Add Color (Refugee Boat) is shown it both shares in the memory of past iterations, while taking on a life and a meaning of its own - acutely reflecting the time, place and people that come together to create it.
Yoko Ono AI, #2 (collecting), 2023.
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#yokoonoai #aiimagery #aiart #digitalart #newmediaart #instructionbasedart #conceptualart #contemporaryart #texttoimage #fluxus #fluxusart #promptasart #promptisart #jacktoolin
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Concept:
I assert that the intentions expressed in the ‘prompt’ is the artwork in AI image making.
A prompt can be understood as an instruction.
Yoko Ono’s book “Grapefruit” is composed of instructions, prompting us to have a variety of experiences, mentally, or possibly physically, if one is so inclined.
Accordingly, this project is titled “Yoko Ono AI.”
Ono’s ‘prompts’ have been used to generate the AI imagery. The prompts have been integrated into the images so that their relevance is inescapable: they are like veils over the images, both obscuring them and imbuing them with intentions, Ono’s intentions.
Yoko Ono paroda "Laisvės pažinimo sodas"
Kauno paveikslų galerija / Kaunas Picture Gallery
Kaunas – 2022
BessaR4a, Summicron-M 2/35 IV
FUJICHROME PROVIA 100F
ciurlionis.lt/activity/exhibitions/yoko-ono-the-learning-...
Just going to dump in the rest from that night, so I can get excited about taking new photos. Lake Elliðavatn, Heiðmörk.
Postcard with a black and white photo of John Lennon and Yoko Ono. Sent to a Postcrossing member in the United States.
(for English scroll down)
Eröffnung: 10. September 2010, 18:00 - 21:00 Uhr, Heidestrasse 46, 10557 Berlin (10. September - 13. November 2010)
Haunch of Venison präsentiert Yoko Ono mit der grundlegend neuen Installation ‚Das Gift‘ vom 10. September bis zum 13. November 2010 in Berlin.
Yoko Ono gilt als Pionierin der Konzeptkunst. ‚Das Gift‘ besteht aus Filmen, Tonaufnahmen, Skulpturen und partizipativen Elementen und wurde eigens für die Ausstellung bei ‚Haunch of Venison‘ konzipiert.
Ono begann in den 1950er Jahren sich mit Konzeptkunst und partizipativer Kunst auseinander zu setzen. Ihre konzeptuelle Arbeit Grapefruit, eine Ideensammlung für Performances in Buchform, die 1964 entstand, liegt der Ausstellung in Berlin zugrunde. Ono behandelt die Themen Gewalt, Heilung, Veränderung oder Liebe mit sehr unterschiedlichen Mitteln und hinterfragt die Dichotomie von Persönlichem und Globalem.
Die Arbeit ‚A Hole‘, eine zugleich fragile, aber auch brutal anmutende Skulptur, welche einen Schwerpunkt in der Ausstellung bildet, besteht aus einer Glasfront, in deren Mitte ein sternförmiges Einschussloch prangt. Ins Glas eingraviert ist eine Aufforderung: „Gehen Sie auf die andere Seite der Glasscheibe und blicken Sie durch das Loch.“ Onos Anweisung fordert auf, beide Perspektiven, die des Aggressors sowie die des Opfers, einzunehmen, und somit zwei entgegengesetzte Standpunkte zu beziehen.
Yoko Ono sagt zu ihrer Ausstellung: „Ich will auf die Gewalt hinweisen, die überall in der Welt passiert. Ich bitte die Menschen, die in die Ausstellung kommen, ein Zeugnis einer persönlichen Gewalterfahrung mitzubringen, beispielsweise ein Foto oder einen Text, die an der Wand angebracht werden sollen. Im Obergeschoss der Galerie wird es hingegen einen Raum geben, in dem man einfach lächeln soll.“ Das Lächeln der Besucher wird auf Video aufgenommen und im Ausstellungsraum projiziert.
Yoko Ono wurde 1933 in Tokio geboren. Sie wuchs in Japan und New York auf und besuchte das Sarah Lawrence College. Ono gilt als eine der bedeutendsten Vertreterinnen der Fluxus-Bewegung der 1960er Jahre. In ihrer Arbeit konzentriert sie sich hauptsächlich auf Performance und Konzeptkunst, wie auch experimentellen Film und Musik. Zu ihren wichtigsten Arbeiten werden die Konzeptarbeit Cut Piece und ihr Buch Grapefruit gezählt (beide 1964). - Ono lebt und arbeitet in New York.
Haunch Of Venison
Seit ihrer Gründung im Jahre 2002 in London präsentiert die Galerie Haunch of Venison in London, Berlin und New York ein breites und von Kritikern viel beachtetes Ausstellungsprogramm mit einigen herausragenden Vertretern zeitgenössischer Kunst. Die Berliner Dependance wurde im September 2007 eröffnet.
____________________________________________________
THE POISON - Yoko Ono Exhibition, Berlin 2010
Opening: September 10, 2010, 6:00 p.m. - 9:00 p.m., Heidestrasse 46, 10557 Berlin (September 10 - November 13, 2010)
Haunch of Venison presents Yoko Ono with the fundamentally new installation 'The Gift' from September 10th to November 13th, 2010 in Berlin.
Yoko Ono is considered a pioneer of conceptual art. 'The Gift' consists of films, sound recordings, sculptures and participatory elements and was conceived specifically for the exhibition at 'Haunch of Venison'.
Ono began to engage with conceptual art and participatory art in the 1950s. The exhibition in Berlin is based on her conceptual work Grapefruit, a collection of ideas for performances in book form, which was created in 1964. Ono deals with the themes of violence, healing, change and love using very different means and questions the dichotomy of the personal and the global.
The work 'A Hole', a fragile yet brutal-seeming sculpture that forms a focal point of the exhibition, consists of a glass front with a star-shaped bullet hole in the middle. Engraved into the glass is an instruction: “Go to the other side of the glass pane and look through the hole.” Ono's instruction calls for you to take on both perspectives, that of the aggressor and that of the victim, and thus take two opposite points of view.
Yoko Ono says of her exhibition: “I want to point out the violence that is happening all over the world. I ask people who come to the exhibition to bring with them a testimony of a personal experience of violence, for example a photo or a text, to be hung on the wall. On the upper floor of the gallery, however, there will be a room where you can simply smile.” The visitors' smiles will be recorded on video and projected in the exhibition room.
Yoko Ono was born in Tokyo in 1933. She grew up in Japan and New York and attended Sarah Lawrence College. Ono is considered one of the most important representatives of the Fluxus movement of the 1960s. Her work focuses primarily on performance and conceptual art, as well as experimental film and music. Her most important works include the conceptual work Cut Piece and her book Grapefruit (both 1964). - Ono lives and works in New York.
Haunch Of Venison
Since its founding in London in 2002, the Haunch of Venison gallery has presented a broad and critically acclaimed exhibition program with some outstanding representatives of contemporary art in London, Berlin and New York. The Berlin branch was opened in September 2007.
------------------------------------------------------------------------------------------------
Zur Ausstellung DAS GIFT / About the exhibition THE POISON
"Mein neuestes Installationskunstwerk, DAS GIFT, bittet um Ihre Teilnahme, um die Welt von Gewalt zu heilen." - YOKO ONO
"My latest installation artwork, THE POISON, asks for your participation to heal the world of violence." - YOKO ONO
***** Erste Etage / First Floor *****
HELME (STÜCKE VOM HIMMEL) / HELMETS (PIECES OF SKY)
Alte deutsche Helme aus den letzten Kriegen sind hier und bilden einen eigenen seltsamen Wald mit STÜCKE VOM HIMMEL in jedem von ihnen. - Nimm ein Stück Himmel mit nach Hause.
Old German helmets from the last wars are here, creating a strange forest of their own, with PIECES OF SKY in each one of them. - Take home a piece of sky.
SCHATTEN / SHADOWS
Drei Realitätsebenen werden gleichzeitig gezeigt, indem sie sich gegenseitig überlagern und zu einer Realität werden. Die erste Ebene ist das, was in der Welt geschieht. Die zweite Schicht sind die Menschen, die Schatten sind. Die dritte Schicht bist DU, der steht, geht und die beiden Schichten beobachtet und Teil dieser Realität wird.
Three layers of reality are being shown simultaneously, by overlapping each other and becoming one reality. The first layer is what is happening in the world. The second layer is people who are shadows. The third layer is YOU, standing, walking and observing the two layers and becoming part of this reality.
HEIL / HEAL
Eine große Leinwand mit Rissen und Schnitten auf der Leinwand. Sie sind eingeladen, sich am Flicken der Risse und Schnitte zu beteiligen. Denken Sie daran, dass Sie sich selbst und die Welt flicken, während Sie sie flicken.
A large canvas with rips and cuts in the canvas. You are invited to take part in the mending the rips and cuts. Think that you are mending yourself and the world, as you mend.
EIN LOCH / A HOLE
Es ist ein Werk, bei dem man zweimal die Position wechseln muss, um es zu betrachten. Einmal von vorne, um sich selbst als Schütze zu sehen. Einmal von hinten, um sich selbst als denjenigen zu sehen, auf den geschossen wird.
It is a work which asks you to change your position twice to observe it. Once from the front to see yourself as the shooter. Once from the back to see yourself as the one being shot.
MANTEL / COATS
Ganz am Ende des Raumes hängen sieben Mäntel in einer Reihe, die alle den Personen gehören, die sie trugen, als sie aus nächster Nähe erschossen wurden. Gehen Sie durch die sieben Mäntel, um Ihren Schatten mit dem der anderen zu vermischen.
Seven coats hang at the very end of the room in a row, all belonging to people who were wearing the coats when they were shot point blank from close range. Walk through the seven coats to mix your shadows with theirs.
DER SCHREI / SCREAM
Ein Schrei durchschneidet den riesigen Raum, der mit Gewalt aus allen Ecken der Welt gefüllt ist. Es ist die Stimme der Seevögel namens Kittiwakes aus Gateshead in England. Die Geräusche der Kittiwakes sollen der Klang der "Seelen der verlorenen Kinder" sein. Dann hört man die Krähen und Zikaden aus Tokio zusammen schreien.
A scream cuts through the huge room filled with violence from all corners of the world. It’s a voice of the sea birds called Kittiwakes from Gateshead in England. The sounds of Kittiwakes are said to be the sound of the “The Souls of Lost Children.” Then you hear the crows and cicadas from Tokyo screaming together.
TAUSENDFÜSSLER / CENTIPEDES
Als Sie aufschauen, um den SCHREI zu hören, bemerken Sie riesige Tausendfüßler, die an der Wand krabbeln, und die Tatsache, dass die Größe aller Ereignisse im Raum im Verhältnis zu den Tausendfüßlern verschwindend gering ist. - Da wird Ihnen klar, dass der Raum, den Sie für die Weltkarte hielten, nur ein dunkles KELLERGESCHOSS DES TAUSENDFÜSSLERS war.
As you look up to listen to the SCREAM, you notice huge centipedes crawling on the wall, and the fact that the sizes of all happenings in the room are infintessimal in proportion to the centipedes. - You realize then that the room which you thought of as the Map of the World was only a darkish BASEMENT OF CENTIPEDES.
PASSAGEN FÜR LICHT / THE PASSAGE FOR LIGHT
Ganz am Ende des ersten Stocks gibt es einen kleinen Raum mit dem Titel PASSAGEN FÜR LICHT, der aus drei Veranstaltungen besteht.
There is a small room at the very end of the first floor called THE PASSAGE FOR LIGHT consisting of three events.
Das erste Werk trägt den Titel: / The first work is titled:
ERINNERTE GEWALT / MEMORY OF VIOLENCE
Neun Leinwände mit Stadtplänen von Berlin sind an der Wand zu sehen. Es sind Leinwände mit Stadtplänen von Berlin aus verschiedenen Epochen, der erste stammt aus dem Jahr 1890. - Sie werden gebeten, Ihre persönlichen Erinnerungen an Gewalt mitzubringen, wenn Sie DAS GIFT betreten.
Sie können sich an GEDENKEN DER GEWALT beteiligen, indem Sie ein Foto, einen Brief und/oder etwas Geschriebenes mitbringen und es an die Leinwände in der Zeit und an dem Ort in den Karten anheften, wo es Ihrer Meinung nach hingehört - vielleicht an einem Ort, an dem Sie einst gelebt haben, an dem Ihre Familie einst lebte oder an dem Sie eine besondere Erinnerung haben, die Sie mit uns teilen möchten. Da immer mehr Erinnerungen an Gewalt zu den Leinwänden hinzugefügt werden, ist es möglich, dass Ihre Erinnerung von den Erinnerungen anderer überdeckt wird.
Nine canvasses of maps of Berlin are on the wall. They are canvases of street maps of Berlin from different periods, the first one being from 1890. - You are asked to bring your personal memories of violence when you enter DAS GIFT.
You can participate in MEMORY OF VIOLENCE by bringing a photograph, a letter, and/or something you have written, and pinning them onto the canvases in the period and the place in the maps you feel they belong – perhaps in a location where you once lived, or where your family once lived, or where you have a particular memory you wish to share with us. As more and more memories of violence are added to the canvases, it’s possible that your memory may be covered by memories of others.
Das zweite Werk von DIE PASSAGE FÜR LICHT ist
The second work in THE PASSAGE FOR LIGHT is
SAMEN / SEEDS
Auf dem Boden dieses Raumes DIE PASSAGE FÜR LICHT liegen Mullkugeln mit Grapefruitkernen darin. - Sie sind eingeladen, immer mehr Gaze um diese Kerne zu wickeln, bis die Kugeln so groß werden, dass sie nicht mehr aus dem Raum herauskommen.
Balls made of gauze with grapefruit seeds in them are on the floor of this room THE PASSAGE FOR LIGHT. - You are invited to continue to wrap more gauze around these seeds until the balls become so large that they cannot get out of the room.
Das dritte Werk von THE PASSAGE FOR LIGHT ist
The third work in THE PASSAGE FOR LIGHT is
ZERSCHLAGENES KRISTALL / SHATTERED GLASS
Fegen Sie den Raum mit einem Besen.
Sweep the room with a broom.
***** Zweite Etage / Second Floor *****
Der letzte Raum der Ausstellung, der sich direkt über dem GEDÄCHTNIS DER GEWALT befindet, ist…
The last room in the show, which is a room right above the MEMORY OF VIOLENCE, is…
BERLINER LÄCHELN / BERLIN SMILE
Setzen Sie sich auf den dafür vorgesehenen Stuhl vor die Kamera und schenken Sie der Welt Ihr Lächeln aus Berlin. Ihr Lächeln wird sich zu anderen Lächeln aus anderen Städten und Ländern gesellen, indem es ins Internet gestellt und in meinem Archiv aufbewahrt wird, damit es bei jeder Gelegenheit gezeigt werden kann. Es ist eine Petition für den Frieden.
Sit on the designated chair in front of the camera, and give your smile to the world from Berlin. Your smile will join other smiles from other cities and countries, by being sent out on the internet, and being also preserved in my archive to be shown whenever there is a chance. It is a petition for peace.
Forty years ago today John Lennon was assassinated in New York City. At the time I was working monthly for Audio Magazine and doing illustrations for their record reviews. I had just gotten a new job from them, to do an illustration for John Lennon and Yoko Ono’s new record “Double Fantasy.” I hadn’t started the drawing the night he was killed. The news came on the TV and Brenda and I were in shock. I couldn’t sleep. For many years I had listened to the NYC rock radio station WNEW-FM, but had moved on to the jazz station RVR-FM. I knew I had to do a drawing, so I went back to WNEW and they were playing only The Beatles and Lennon music. I stayed up all night working. This was the drawing I came up with. The next morning I dragged myself, half asleep, still in shock, to the subway and to the Audio Magazine offices. I had bought the NYTimes to read on the train, or basically just stare at the headline, trying to not cry. Obviously they didn’t use this drawing for the review. They used the actual cover of the album. I remember this like it was yesterday.
(for English scroll down)
Eröffnung: 10. September 2010, 18:00 - 21:00 Uhr, Heidestrasse 46, 10557 Berlin (10. September - 13. November 2010)
Haunch of Venison präsentiert Yoko Ono mit der grundlegend neuen Installation ‚Das Gift‘ vom 10. September bis zum 13. November 2010 in Berlin.
Yoko Ono gilt als Pionierin der Konzeptkunst. ‚Das Gift‘ besteht aus Filmen, Tonaufnahmen, Skulpturen und partizipativen Elementen und wurde eigens für die Ausstellung bei ‚Haunch of Venison‘ konzipiert.
Ono begann in den 1950er Jahren sich mit Konzeptkunst und partizipativer Kunst auseinander zu setzen. Ihre konzeptuelle Arbeit Grapefruit, eine Ideensammlung für Performances in Buchform, die 1964 entstand, liegt der Ausstellung in Berlin zugrunde. Ono behandelt die Themen Gewalt, Heilung, Veränderung oder Liebe mit sehr unterschiedlichen Mitteln und hinterfragt die Dichotomie von Persönlichem und Globalem.
Die Arbeit ‚A Hole‘, eine zugleich fragile, aber auch brutal anmutende Skulptur, welche einen Schwerpunkt in der Ausstellung bildet, besteht aus einer Glasfront, in deren Mitte ein sternförmiges Einschussloch prangt. Ins Glas eingraviert ist eine Aufforderung: „Gehen Sie auf die andere Seite der Glasscheibe und blicken Sie durch das Loch.“ Onos Anweisung fordert auf, beide Perspektiven, die des Aggressors sowie die des Opfers, einzunehmen, und somit zwei entgegengesetzte Standpunkte zu beziehen.
Yoko Ono sagt zu ihrer Ausstellung: „Ich will auf die Gewalt hinweisen, die überall in der Welt passiert. Ich bitte die Menschen, die in die Ausstellung kommen, ein Zeugnis einer persönlichen Gewalterfahrung mitzubringen, beispielsweise ein Foto oder einen Text, die an der Wand angebracht werden sollen. Im Obergeschoss der Galerie wird es hingegen einen Raum geben, in dem man einfach lächeln soll.“ Das Lächeln der Besucher wird auf Video aufgenommen und im Ausstellungsraum projiziert.
Yoko Ono wurde 1933 in Tokio geboren. Sie wuchs in Japan und New York auf und besuchte das Sarah Lawrence College. Ono gilt als eine der bedeutendsten Vertreterinnen der Fluxus-Bewegung der 1960er Jahre. In ihrer Arbeit konzentriert sie sich hauptsächlich auf Performance und Konzeptkunst, wie auch experimentellen Film und Musik. Zu ihren wichtigsten Arbeiten werden die Konzeptarbeit Cut Piece und ihr Buch Grapefruit gezählt (beide 1964). - Ono lebt und arbeitet in New York.
Haunch Of Venison
Seit ihrer Gründung im Jahre 2002 in London präsentiert die Galerie Haunch of Venison in London, Berlin und New York ein breites und von Kritikern viel beachtetes Ausstellungsprogramm mit einigen herausragenden Vertretern zeitgenössischer Kunst. Die Berliner Dependance wurde im September 2007 eröffnet.
____________________________________________________
THE POISON - Yoko Ono Exhibition, Berlin 2010
Opening: September 10, 2010, 6:00 p.m. - 9:00 p.m., Heidestrasse 46, 10557 Berlin (September 10 - November 13, 2010)
Haunch of Venison presents Yoko Ono with the fundamentally new installation 'The Gift' from September 10th to November 13th, 2010 in Berlin.
Yoko Ono is considered a pioneer of conceptual art. 'The Gift' consists of films, sound recordings, sculptures and participatory elements and was conceived specifically for the exhibition at 'Haunch of Venison'.
Ono began to engage with conceptual art and participatory art in the 1950s. The exhibition in Berlin is based on her conceptual work Grapefruit, a collection of ideas for performances in book form, which was created in 1964. Ono deals with the themes of violence, healing, change and love using very different means and questions the dichotomy of the personal and the global.
The work 'A Hole', a fragile yet brutal-seeming sculpture that forms a focal point of the exhibition, consists of a glass front with a star-shaped bullet hole in the middle. Engraved into the glass is an instruction: “Go to the other side of the glass pane and look through the hole.” Ono's instruction calls for you to take on both perspectives, that of the aggressor and that of the victim, and thus take two opposite points of view.
Yoko Ono says of her exhibition: “I want to point out the violence that is happening all over the world. I ask people who come to the exhibition to bring with them a testimony of a personal experience of violence, for example a photo or a text, to be hung on the wall. On the upper floor of the gallery, however, there will be a room where you can simply smile.” The visitors' smiles will be recorded on video and projected in the exhibition room.
Yoko Ono was born in Tokyo in 1933. She grew up in Japan and New York and attended Sarah Lawrence College. Ono is considered one of the most important representatives of the Fluxus movement of the 1960s. Her work focuses primarily on performance and conceptual art, as well as experimental film and music. Her most important works include the conceptual work Cut Piece and her book Grapefruit (both 1964). - Ono lives and works in New York.
Haunch Of Venison
Since its founding in London in 2002, the Haunch of Venison gallery has presented a broad and critically acclaimed exhibition program with some outstanding representatives of contemporary art in London, Berlin and New York. The Berlin branch was opened in September 2007.
------------------------------------------------------------------------------------------------
Zur Ausstellung DAS GIFT / About the exhibition THE POISON
"Mein neuestes Installationskunstwerk, DAS GIFT, bittet um Ihre Teilnahme, um die Welt von Gewalt zu heilen." - YOKO ONO
"My latest installation artwork, THE POISON, asks for your participation to heal the world of violence." - YOKO ONO
***** Erste Etage / First Floor *****
HELME (STÜCKE VOM HIMMEL) / HELMETS (PIECES OF SKY)
Alte deutsche Helme aus den letzten Kriegen sind hier und bilden einen eigenen seltsamen Wald mit STÜCKE VOM HIMMEL in jedem von ihnen. - Nimm ein Stück Himmel mit nach Hause.
Old German helmets from the last wars are here, creating a strange forest of their own, with PIECES OF SKY in each one of them. - Take home a piece of sky.
SCHATTEN / SHADOWS
Drei Realitätsebenen werden gleichzeitig gezeigt, indem sie sich gegenseitig überlagern und zu einer Realität werden. Die erste Ebene ist das, was in der Welt geschieht. Die zweite Schicht sind die Menschen, die Schatten sind. Die dritte Schicht bist DU, der steht, geht und die beiden Schichten beobachtet und Teil dieser Realität wird.
Three layers of reality are being shown simultaneously, by overlapping each other and becoming one reality. The first layer is what is happening in the world. The second layer is people who are shadows. The third layer is YOU, standing, walking and observing the two layers and becoming part of this reality.
HEIL / HEAL
Eine große Leinwand mit Rissen und Schnitten auf der Leinwand. Sie sind eingeladen, sich am Flicken der Risse und Schnitte zu beteiligen. Denken Sie daran, dass Sie sich selbst und die Welt flicken, während Sie sie flicken.
A large canvas with rips and cuts in the canvas. You are invited to take part in the mending the rips and cuts. Think that you are mending yourself and the world, as you mend.
EIN LOCH / A HOLE
Es ist ein Werk, bei dem man zweimal die Position wechseln muss, um es zu betrachten. Einmal von vorne, um sich selbst als Schütze zu sehen. Einmal von hinten, um sich selbst als denjenigen zu sehen, auf den geschossen wird.
It is a work which asks you to change your position twice to observe it. Once from the front to see yourself as the shooter. Once from the back to see yourself as the one being shot.
MANTEL / COATS
Ganz am Ende des Raumes hängen sieben Mäntel in einer Reihe, die alle den Personen gehören, die sie trugen, als sie aus nächster Nähe erschossen wurden. Gehen Sie durch die sieben Mäntel, um Ihren Schatten mit dem der anderen zu vermischen.
Seven coats hang at the very end of the room in a row, all belonging to people who were wearing the coats when they were shot point blank from close range. Walk through the seven coats to mix your shadows with theirs.
DER SCHREI / SCREAM
Ein Schrei durchschneidet den riesigen Raum, der mit Gewalt aus allen Ecken der Welt gefüllt ist. Es ist die Stimme der Seevögel namens Kittiwakes aus Gateshead in England. Die Geräusche der Kittiwakes sollen der Klang der "Seelen der verlorenen Kinder" sein. Dann hört man die Krähen und Zikaden aus Tokio zusammen schreien.
A scream cuts through the huge room filled with violence from all corners of the world. It’s a voice of the sea birds called Kittiwakes from Gateshead in England. The sounds of Kittiwakes are said to be the sound of the “The Souls of Lost Children.” Then you hear the crows and cicadas from Tokyo screaming together.
TAUSENDFÜSSLER / CENTIPEDES
Als Sie aufschauen, um den SCHREI zu hören, bemerken Sie riesige Tausendfüßler, die an der Wand krabbeln, und die Tatsache, dass die Größe aller Ereignisse im Raum im Verhältnis zu den Tausendfüßlern verschwindend gering ist. - Da wird Ihnen klar, dass der Raum, den Sie für die Weltkarte hielten, nur ein dunkles KELLERGESCHOSS DES TAUSENDFÜSSLERS war.
As you look up to listen to the SCREAM, you notice huge centipedes crawling on the wall, and the fact that the sizes of all happenings in the room are infintessimal in proportion to the centipedes. - You realize then that the room which you thought of as the Map of the World was only a darkish BASEMENT OF CENTIPEDES.
PASSAGEN FÜR LICHT / THE PASSAGE FOR LIGHT
Ganz am Ende des ersten Stocks gibt es einen kleinen Raum mit dem Titel PASSAGEN FÜR LICHT, der aus drei Veranstaltungen besteht.
There is a small room at the very end of the first floor called THE PASSAGE FOR LIGHT consisting of three events.
Das erste Werk trägt den Titel: / The first work is titled:
ERINNERTE GEWALT / MEMORY OF VIOLENCE
Neun Leinwände mit Stadtplänen von Berlin sind an der Wand zu sehen. Es sind Leinwände mit Stadtplänen von Berlin aus verschiedenen Epochen, der erste stammt aus dem Jahr 1890. - Sie werden gebeten, Ihre persönlichen Erinnerungen an Gewalt mitzubringen, wenn Sie DAS GIFT betreten.
Sie können sich an GEDENKEN DER GEWALT beteiligen, indem Sie ein Foto, einen Brief und/oder etwas Geschriebenes mitbringen und es an die Leinwände in der Zeit und an dem Ort in den Karten anheften, wo es Ihrer Meinung nach hingehört - vielleicht an einem Ort, an dem Sie einst gelebt haben, an dem Ihre Familie einst lebte oder an dem Sie eine besondere Erinnerung haben, die Sie mit uns teilen möchten. Da immer mehr Erinnerungen an Gewalt zu den Leinwänden hinzugefügt werden, ist es möglich, dass Ihre Erinnerung von den Erinnerungen anderer überdeckt wird.
Nine canvasses of maps of Berlin are on the wall. They are canvases of street maps of Berlin from different periods, the first one being from 1890. - You are asked to bring your personal memories of violence when you enter DAS GIFT.
You can participate in MEMORY OF VIOLENCE by bringing a photograph, a letter, and/or something you have written, and pinning them onto the canvases in the period and the place in the maps you feel they belong – perhaps in a location where you once lived, or where your family once lived, or where you have a particular memory you wish to share with us. As more and more memories of violence are added to the canvases, it’s possible that your memory may be covered by memories of others.
Das zweite Werk von DIE PASSAGE FÜR LICHT ist
The second work in THE PASSAGE FOR LIGHT is
SAMEN / SEEDS
Auf dem Boden dieses Raumes DIE PASSAGE FÜR LICHT liegen Mullkugeln mit Grapefruitkernen darin. - Sie sind eingeladen, immer mehr Gaze um diese Kerne zu wickeln, bis die Kugeln so groß werden, dass sie nicht mehr aus dem Raum herauskommen.
Balls made of gauze with grapefruit seeds in them are on the floor of this room THE PASSAGE FOR LIGHT. - You are invited to continue to wrap more gauze around these seeds until the balls become so large that they cannot get out of the room.
Das dritte Werk von THE PASSAGE FOR LIGHT ist
The third work in THE PASSAGE FOR LIGHT is
ZERSCHLAGENES KRISTALL / SHATTERED GLASS
Fegen Sie den Raum mit einem Besen.
Sweep the room with a broom.
***** Zweite Etage / Second Floor *****
Der letzte Raum der Ausstellung, der sich direkt über dem GEDÄCHTNIS DER GEWALT befindet, ist…
The last room in the show, which is a room right above the MEMORY OF VIOLENCE, is…
BERLINER LÄCHELN / BERLIN SMILE
Setzen Sie sich auf den dafür vorgesehenen Stuhl vor die Kamera und schenken Sie der Welt Ihr Lächeln aus Berlin. Ihr Lächeln wird sich zu anderen Lächeln aus anderen Städten und Ländern gesellen, indem es ins Internet gestellt und in meinem Archiv aufbewahrt wird, damit es bei jeder Gelegenheit gezeigt werden kann. Es ist eine Petition für den Frieden.
Sit on the designated chair in front of the camera, and give your smile to the world from Berlin. Your smile will join other smiles from other cities and countries, by being sent out on the internet, and being also preserved in my archive to be shown whenever there is a chance. It is a petition for peace.
「生きる喜び」 "joy of living" "joie de vivre" by Yoko Ono
@Meitstsu Higashi-Okazaki Station, Okazaki, Aichi pref. （愛知県岡崎市名鉄東岡崎駅前）
Strawberry Fields is a 2.5-acre (1.0 ha) landscaped area in Central Park in New York City, designed by landscape architect Bruce Kelly, in memory of former Beatles member John Lennon. It is named after the Beatles song "Strawberry Fields Forever", written by Lennon. Strawberry Fields was dedicated on what would have been Lennon's 45th birthday, October 9, 1985, by Yoko Ono and Mayor Ed Koch.
Central Park is a city park in the center of Manhattan. It was established in 1859 as a landscaped park and completed in 1873. It was originally built primarily as a promenade for wealthy residents.
Central Park stretches 4.07 km (2.51 mi) from 59th to 110th Street and is 860 m (2,800 ft) wide between Fifth and Eighth Avenues. It is also called the green lung of New York. At 341 hectares (3.41 km²), it covers approximately 6% of Manhattan's land area and is one of the largest parks in the world. Approximately 25 million people visit this downtown park each year.
John Lennon was killed on December 8, 1980, aged 40, and the world lost one of its brightest lights. Calgary is fortunate to have an exhibit here of the work of Yoko Ono, his widow, as well as material that she and John did together.
digital collage by iuri kothe, using the famous Annie Leibovitz John Lennon & Yoko Ono photo for Rolling Stone Magazine. My friend Joana Coccarelli made some text selections for this, check it out at the Flickr - lennon & yoko.
The facade of the Metropolitan Museum of Art with a new work of art by Yoko Ono, DREAM TOGETHER (2020), featuring two 24-by-26-foot banners, one of which reads “DREAM,” while the other reads “TOGETHER.” It was created as a response to the ongoing COVID-19 pandemic, and installed in preparation for the museum’s scheduled reopening on August 29th.
The Onochrome Set
Artwork Card :
A Hole To See
The Sky Through
Yoko Ono
1964
Included in the Yoko Ono 'Yes Box'
CD :
New Order
Blue Monday
Factory
FAC73
Design . Peter Saville
iTunes :
Mercury Rev
Holes
V2 Records
1998
A GMA Fluxus ...
Matthew Street, Liverpool city centre.
Leica M3, 50mm lens, Kodak Double X film, lab processed (Nik & Trick), Epson V850 scanner / SilverFast 8, Lightroom.
"Imagine all the people living life in peace.
You may say that I'm a dreamer, but I'm not the only one....."
(John Lennon)
Yoko Ono Invites You to Join Global Oneness Day
Celebrate Global Oneness Day, 24 October 2010
Oneness Day Petition - here is The Text
wonderful video :-) THE WAVE OF LOVE
....wenn wir heute in Meditation gehen, mit der Ausrichtung auf das innere Gefühl von
Stille und Oneness......
verbinden wir uns mit den Menschen auf der ganzen Erde, die an diesem Tag das Gleiche tun.....
ein kraftvolles Energiefeld :)
Picture taken in Reykjavik, Iceland, November 2007.
On October 9th 2007, Yoko Ono unveiled the IMAGINE PEACE TOWER on Videy Island, Reykjavik, Iceland.
Dedicated to the memory of her late husband John Lennon on what would have been his 67th birthday, the IMAGINE PEACE TOWER will shine as a beacon for World Peace.
Read more here: www.flickr.com/groups/imaginepeace/
John Lennon and Yoko Ono pose on the steps of the Apple building in London, holding one of the posters that they distributed to the world's major cities as part of a peace campaign protesting against the Vietnam War. 'War Is Over!, If You Want It'.
Grapefruit: A Book of Instructions and Drawings by Yoko Ono
Yoko Ono, Simon & Schuster, 1970
INFOS : en.wikipedia.org/wiki/Grapefruit_(book)
PDF : monoskop.org/log/?p=6923
THE LIGHTER
Karuizawa is an old summer resort in Japan very much like the Hamptons except it’s in the mountains. There is a coffee house in a pine forest near Karuizawa. John & I fell in love with the place, and found ourselves going there almost every day with Sean. To get there, you had to go cycling for about 30 minutes from the town of Karuizawa. But we loved going there. There was a big hammock in the backyard, and John, Sean and I used to spend the afternoon lying in it, giggling, singing, and watching the sky.
After John’s passing, five years from the time we were last there together, I visited the coffee shop again. It was as if time had stood still. There was the same stillness in the shop with only a few people sitting around. The scent of pine and aroma of good coffee was in the air. I had a cup of coffee and left. The owner came running after me and handed me a lighter. “Your husband left this the last time he was here,” he said. I looked at him and the lighter. “I’d like to return this to you.” I lit the lighter. The flame shot up, like it was alive. Then I remembered the day that John had left the lighter at the coffee house.
The three of us went there to spend the afternoon as usual. Right in the middle of our bike ride home, John remembered that he had left the lighter at the coffee house. I was going fast on my bike. He was shouting something to me from behind. “What?” I shouted. “I left me lighter at the coffee house!” John shouted back. “The one I bought yesterday!” I knew he liked that one. I slowed down and turned my head around. “Shall we go back to get it?” I asked. “Yeah, let’s,” he said. Then he changed his mind “Oh, never mind. I’ll get it tomorrow when we’re there,” he said. But tomorrow never came. The rainy season started the next day. It rained cats and dogs for several days without stopping.
Karuizawa was not fun when that started. John just sat in the hotel room and made collages. Then we packed and left for Tokyo, then home to N.Y.
We got busy with other things and, as fate would have it, we never went back there again. I was left with the lighter.
“Life is what happens to you while you’re busy making other plans.” JL
Y.O.
2000
Originality, it is said, usually means coming from somewhere else. "Somewhere else" can be many places: another time, another culture, the other gender, despair, madness-- anywhere, except familiar here and everyday now. John Lennon has told of his first magical meeting with Yoko Ono, when he wandered into her one-woman show at the Indica Gallery in London on November 9, 1966, a pivotal date in the ferment remembered as the Nineteen Sixties, and was intrigued, as well as mystified, by what he saw. Invited by Ono to pay five shillings to hammer a nail into a piece of plain wood shown as artwork, Lennon made a counter-offer: "Well, I'll give you an imaginary five shillings and hammer an imaginary nail in." "That's when we really met," Lennon later recalled. "That's when we locked eyes and she got it and I got it, and, as they say in all the interviews we do, the rest is history."
All lovers know the moment when complicity leaps like an electric spark, but in their case, founded on what? Outwardly, the two had nothing in common. Lennon had come from the "genteel poverty" of a dysfunctional working-class family, via art school and sweaty teen-age dance hangouts in Liverpool, England, and Hamburg, Germany, to world fame and an honorable fortune as a rock-and-roll musician, composer, and role model for the first generation of Western youth to remember nothing of World War Two. Ono, seven years his senior, remembered all too well the apocalyptic end of Japan's Pacific War, the hunger and despair that had followed the defeat and enemy occupation which she had seen at first hand. But her own roots were in wealth and privilege: her mother Isoko came from the Yasuda banking family, and her father, Eisuke Ono, himself a banker by profession, descended from a long line of samurai warrior-scholars. Yoko had known little personal experience of deprivation, and had been educated among Japan's business and intellectual elite. Just the same, like had recognized like, at that mythic London meeting.
Why? The explanation lies half-buried under the decades of Japan's new prosperity. By 1966 Lennon, was emerging as one of the gurus of the disillusioned, questing mood called "The Sixties" in the West. Yoko Ono had been there, spiritually, long before. Something very like the mood of the Sixties first took shape in Tokyo in the late 1940's; Japan's confused, hungry years were the "somewhere else" Yoko Ono came from. Even then, and there, it was the amalgam, rather than any of its elements, that was really new. Radical pacifism and politicized feminism had both erupted in spiritually defeated Europe after the First World War, where they had found artistic voices in the instant arts of gesture and performance, made somewhat more durable by photographs, and in the perversely intellectual anti-intellectualism of Dada.
Bereft of social and political protest, however, Dada became just another style, and it was as an avant-garde style that Dada in the 1920's reached Japan, which had suffered next to nothing, and gained much, by the First World War. By the late 1940's, however, after the Second World War, Japan was in a state of despair even deeper and longer-lasting than Europe had known after the first war and by the mid-fifties Japanese art had found a similar expression, this time not as an imported style but with its own emotional authenticity. Japanese ingredients, notably the cerebral anti-intellectualism of Zen Buddhism, flavored a mixture which was original, distinctive, and more than the sum of its parts. Yoko Ono was the prophetess who, with the help of John Lennon, brought the amalgam to a West at long last ready to reconsider its own values. By different paths, Lennon and Western youth had arrived at a need, Ono at its fulfillment. More justifiably than most lovers, John and Yoko knew, in an instant of enlightenment at the Indica Gallery, that they were of one mind.
Ono's Upbringing
Ono's route to the rendezvous was the more devious of the two. She was born in Tokyo on February 18, 1932, the year Japan set up a puppet state in Manchuria, a long step towards the catastrophe of 1945. Two weeks earlier, her father had been transferred to San Francisco with the Yokohama Specie Bank, the financial arm of Japan's expanding empire. His wife and daughter soon followed, and Yoko from infancy heard both English and Japanese, the foundation of her subsequent bilingualism. In the spring of 1937 as Japan began full-scale war in China Yoko, her mother and younger brother Keisuke, born in December 1936, returned to Tokyo, where Yoko was enrolled in the kindergarten of the Peers' School, a Tokyo institution then open only to relatives of the Imperial family or of members of the House of Peers (her maternal grandfather, the banker Zenjiro Yasuda, had been ennobled in 1915). In 1940 Yoko's mother, fearing that all Japanese might be interned if Japan and the United States went to war and that she might not see him for many years, bravely rejoined her husband, by this time stationed in New York, taking her two children. The family sailed from San Francisco for the last time in the spring of 1941. At the time of Pearl Harbor Yoko's father was working in the Hanoi branch of his bank while Yoko was enrolled in a Christian primary school in Tokyo, run by one of the Mitsui family for Japanese children returned from abroad.
Takasumi Mitsui's school gave Yoko a safe and liberal refuge for most of the war. She continued studying in English and was listed as a primary school student well after her twelfth birthday, when most boys and girls her age became liable for war work, often risky. She was still living in Tokyo and being privately tutored in The Bible, Buddhism and the piano when a quarter of the city was burnt out in the great fire raid of March 9, 1945-- an inferno she survived in the Ono family bunker in the affluent
Azabu residential district, far from the incinerated downtown. Only then did her mother move her three children to a small farming village near the still fashionable Karuizawa mountain resort. The choice of refuge proved fortunate, as Yoko and her brother and sister, in the desperate days of the defeat and the collapse of the Japanese economy, were able to help their mother barter family treasures for food. One notable deal yielded sixty kilograms of life-sustaining rice for a German-made sewing machine. At the end of the war the family returned to Tokyo, where Yoko rejoined the re-opened Peers' School in April, 1946.
Founded in Tokyo in 1877, the Peers' School, like its rough equivalents Eton in England and Groton in the United States, has been more noted for social than for academic status. Its campus near the Imperial Palace survived the fire raids more or less intact, and its first post-war intake was like the pre-war ones. When the peerage was abolished in 1947 the school became theoretically open to anyone, including foreign exchange students (a classmate of the present Crown Prince Naruhito was the son of a plumber from Melbourne, Australia) but, like Tokyo itself, the Peers' School has since recovered much of its high-society glitter.
The view from the school windows, however, has changed beyond recognition. When Yoko and her classmates looked outside the school's high walls in the spring of 1946 they saw a city all but returned, as General Curtis E. LeMay Jr., U. S. Army Air Corps, had promised, to the Stone Age. Whole districts were sterile wastelands of twisted iron and blackened stones. People lived in holes clawed in the ground, roofed with stray sheets of metal. On every corner of what had once been shopping streets, famished men and women tried to sell trinkets, clothes, anything for food. Every train from the countryside brought farmers loaded with rice and vegetables for the black market. In makeshift bars in dank cellars, workers formed lines to gulp industrial alcohol. To sharpen the misery, smartly-turned-out, well-fed American soldiers tootled around the ruins in jeeps, driving on the side of the road they were accustomed to, the right-- the rare Japanese vehicle simply got out of the way. In a terminal degradation of Japanese martial values, American servicewomen smiled for souvenir snaps in rickshaws pulled by Japanese men still wearing the tattered remnants of military uniforms, eyes turned down in exhaustion, hunger and shame. Few would have recognized in this desolate scene the seedbed of a great and original flowering of art and cinema-- unless they had seen Berlin in 1919, or Moscow before Stalin.
Japan under occupation was a paradox; democracy imposed by a conqueror under the iron rule of General Douglas MacArthur, "the Macarto," more autocratic than any shogun had been for centuries. The occupation supposedly freed the Japanese press, but two weeks after it began, occupation censorship was imposed, and mention of what had happened in Hiroshima and Nagasaki, for instance, was blue-pencilled. The predictable result was to turn the atomic bombs into monstrous symbols of evil, beyond all rational discourse, in which shape they haunt Japanese and the rest of us to this day. Some accused Japanese war criminals were arrested and leisurely trials began; but Emperor Hirohito, who (as all but a handful of the Japanese elite believed) had directed Japan's war in person was free to visit the conqueror-- and the resulting photograph, of a stiffly correct Emperor and a showily casual general, was as ambiguous as the occasion. The trials were intended to show the Japanese their war crimes-- but the Soviet judge was from the nation that still held a half-million Japanese as war prisoners, many never to see homes and families again.
Most Tokyo residents, like those of any war-devastated city, were engrossed in the search for food and shelter. Even from an island of privilege like the Peers' School, the world outside no longer made sense. That America's war had been wholly just ("the justest war in history," U.S. propaganda claimed) and therefore Japan's totally unjust was by no means so clear to these puzzled young people as it was to the victors. Yes, there had been crimes and cruelties, on both sides, and who could strike the balance? And how could these crimes have been averted? The best answer seemed to be that war itself was to blame. Pacifism has been, for Japanese, the most enduring legacy of those years: "make love not war," the slogan of the Western sixties, well expresses the mood of Tokyo in 1946, as of starving Berlin in 1918. Right up to the present, PEACE (a brand of cigarette) and LOVE (with an arrow-pierced heart) are English words almost every Japanese knows.
Postwar Pacifism
More than a half-century on, any Japanese politician who suggests that Japan might one day go to war again is sure of an angry reaction. We have proof, from the Peers' School itself, that pacifism impacted with particular force on Yoko Ono's generation. Prince Akihito, now Emperor of Japan, returned there, as she did, in April 1946 from the same mountain refuge, the Karuizawa area, and saw the same fire-ravaged cityscape from its windows. The Crown Prince was tutored in English and world history by an American, Elizabeth Gray Vining, selected by Emperor Hirohito with full knowledge that her Quaker faith enjoins strict pacifism. Thirty-four years later, when Akihito acceded to the throne he swore to uphold the constitution, the first Japanese emperor ever to do so-- and to Japanese this can only mean Article Nine, renouncing war. One of the new Emperor Akihito's first official duties was to plant a tree in Nagasaki, whose mayor, Hitoshi Motoshima had not long before been shot and seriously injured by a right-wing fanatic after urging Japanese to reflect on their role in World War II, for which, said the mayor, Emperor Hirohito "shared responsibility." Meeting the mayor-- it could not have been by chance-- Hirohito's eldest son wished him a speedy recovery. Within the restraints of his office, Yoko's schoolmate could not have made his abiding pacifist views plainer.
Feminist agitation was more prominent in Japan's early post-war years than it has ever been since. Women were given the vote by the largely American-written 1946 constitution, and pressure from the new female members of parliament finally led in 1958 to the abolition of the licensed brothels, into which poor girls had been sold into debt slavery. The law making adultery a crime for wives but not for husbands was repealed in 1947. A few professions, notably teaching, introduced equal pay. However, the feminism that reverberated in the Japan of the post-war years was less ideological than situational, the feminism of hard times. War, especially in Japan, has been a hyper-masculine pursuit, with the homoeroticism found in all military societies.
The utter defeat of 1945 temporarily, perhaps permanently, discredited the warrior ethos. Strong, resourceful women like Yoko Ono's mother, who had kept homes and families afloat through eight years of war saw Japan's surrender as simply another man-made crisis to be somehow survived. Thousands of Japanese women, "pan pan girls," prostituted themselves to American soldiers, often for food for their families. Others hired out as the victors' maids, cooks and nannies. In close to a millennium, only one part of the English-speaking world has known such total defeat. Novelist Margaret Mitchell, in Scarlett O'Hara, imagined a strong woman's response to the shipwreck of Southern male pretensions very like the reaction of many Japanese women in 1945. In Woman is the Nigger of the World by Yoko Ono and John Lennon, we can hear, behind the offensive racial slur, the anger of a privileged girl at what her humbler sisters had once had to do, just for survival.
One of the first arts to revive in Japan was cinema, by which a mass audience could be reached for the price of a seat in a drafty hall. The great director Akira Kurosawa had a script in shape for his enigmatic Rashomon as early as 1947, although he took until 1950 to find finance and finish it. Its theme, the impossibility of arriving at reliable truth about any event by way of the self-serving distortions of witnesses and participants, was a plain parable of Japan's situation. The first voice to speak from within defeated Japan and be heard outside, Rashomon began the process, still incomplete, of explaining the pariah nation to a suspicious world. Kurosawa had added an important aside to the bleak vision of Ryunosuke Akutagawa, who wrote the two stories on which it is partly based and suicided, at thirty-five, in 1927. Kurosawa's addition has the woodcutter, one of the witnesses whose version of the rape of a samurai's wife and the murder of her husband by a bandit cannot be trusted, adopt a baby abandoned by the ruined city gate which gives the film its name. Life, says the film, goes on, the human spirit rebounds, there is always hope. A quarter-century later, John Lennon was to climb a ladder at the Indica Gallery and through a magnifying glass read the one word Yoko One had written on the gallery's ceiling, YES. "At least" Lennon later recalled, "her message was positive."
Kurosawa apart (Rashomon won the gold cup at the 1950 Venice film festival and became an international hit) all that the outside world heard from Japan in the immediate post-war years came through the propaganda megaphone operated by the U.S. occupation. MacArthur's headquarters censored not only what the Japanese media reported in Japan, but what the corps of foreign correspondents stationed in Tokyo could send to their readers. The publication of John Hersey's searing Hiroshima (1946), the century's most influential piece of journalism, was only possible because Hersey wrote it in the offices of the New Yorker, far from the occupation's censors.
The year 1945 in fact marked the sharpest discontinuity between generations in all Japanese history, but few outside Japan could distinguish this reality from the claims of MacArthur's personal publicity machine-- and, as with all such breaks with the past, much continued unchanged, and a reverse current soon set in, guided by the same occupation authority. What many Japanese still remember as the years of post-war democracy all too soon ended. The role in the world assigned to Japan was changing. In 1949 the Soviets broke the U.S. nuclear monopoly, the Chinese Communist Party won its civil war, and the Korean War broke out in June, 1950. Already the occupation had begun its "reverse course." No longer an enemy to be punished and reformed, Japan became a potential ally to be courted for the threatened new world war with communism. Korean war spending, the opening of the huge U.S. market to Japanese products, the revival of Japan's wartime production system with its close ties between banks, bureaucrats and favored industrialists-- the celebrated "Japan Inc."-- got Japan back on the dual road to economic recovery and social counter-revolution.
Good times, however, are not necessarily propitious for the arts. By 1951, when Yoko Ono graduated from the Peers' School, the creative ferment of the postwar years was subsiding, as everyday Japan settled down to take advantage of the "reverse course" and its material payoffs. Feminism stalled, Japan's new pacifism was entangled in the alliance with the nuclear-armed U.S. Early in 1952 Yoko was accepted by the philosophy faculty of her school's associated Peers' University as its first female student of that most cerebral of disciplines, but after two semesters she dropped out. Approaching her twentieth birthday, her most impressionable years behind her, Ono rejoined her family in Scarsdale, New York, where her father was once again a banker. She enrolled in nearby Sarah Lawrence College, then strong in the visual arts (painter Bradley Walker Tomlin had taught abstract expressionism there). This led her to American avant-garde circles, where she experimented with painting, music, film and the various performance arts. By 1962 she was back in Tokyo, exhibiting with some success as a member of the Japanese artistic avant-garde, some of whom called themselves Neo-Dadaists, part of the Dada stylistic revival taking place world-wide.
The original Dada (from French baby-talk "dada," a rocking-horse, a word intended to be meaningless) had arisen first in sidelined, neutral Zurich during the First World War. By 1918 it had spread to Berlin, then to Paris and later to New York. Taking a hint from Marcel Duchamp, who had exhibited a bicycle wheel mounted on a stool as an artwork in 1913, the Dadaists hoped, by exhibiting themeless objects, to condemn the futility of war and to shock the bourgeoisie out of the materialism and complacency the artists believed had exacerbated its horrors. Dada attracted some attention in the European cities plunged into something like the despair of Tokyo in 1945, but by 1924 that war was receding, the bourgeoisie were again complacent, and the Dada movement, bereft of social concern, had retreated into style.
As Japan's America-oriented prosperity grew into the early 1960's, the Japanese neo-Dada movement became similarly fragmented and dispirited. Resistance to the Japan-U.S. Security Treaty (ANPO), mostly from students, attracted some of its practitioners; as did opposition to the 1964 Olympics, seen by most Japanese as a milestone in Japan's revival; anti-materialism inspired such notable art as Genpei Akasegawa's Great Japan Zero-Yen Note, mocking the preoccupation of most of his compatriots. But the creative despair of the late 1940's was long gone. Via two failed marriages and a parting from her only daughter, Kyoko, claimed by her American ex-husband Anthony Cox, Yoko again left Japan eventually to find her way to a small London gallery specializing in the avant-garde, then beginning to find the wider audience it always does in times of social upheaval. It took the aristocratic Ono some time to discover what the untutored, instinctual Lennon really had to offer her-- the wide world, as an audience for her art.
Lennon's Trajectory
How had John Lennon reached his side of the mysteriously fated rendezvous at the Indica Gallery in 1966? Born in 1940, his adolescence, the 'fifties, was a time of self-satisfaction in the English-speaking world, of growing affluence, of endless war movies presenting the victors as supermen (but not yet as superwomen-- just as war had deflated the male values of Japanese, it inflated those of the Western winners, whose women were ejected from the jobs they had held while the men were away fighting, and theoretically went back to being full-time housewives and mothers).
Prosperity not known since the 1920's did little for adult women, but a great deal economically for adolescents, now called "teenagers," who commanded real wages and competitively bigger parental allowances in economies finally freed of unemployment. Teenage purchasing power made a new market for records, and the performers correspondingly rich-- none richer than the Fab Four from England, the Beatles.
The Beatles owed their huge success to a creative tension between John Lennon and Paul McCartney, who wrote most of their songs-- Paul the syrupy and tuneful, John the tart realist. Advised by their astute manager, Brian Epstein, to present a wholesome image unthreatening to British parents, the Beatles were made Members of the Order of the British Empire (a medal usually given to civil servants like postmasters) in 1965, and they duly acquired wholesome girl friends and/or wives to suit. With a blonde English wife, Cynthia, and an infant son, Julian, Lennon later described feeling "trapped" in "a happily married state of boredom." Money had never been his main motivation-- rather, as wordsmith and intellectual of the partnership, he sought self-expression, meaning expressing the feelings of his contemporaries, the normal rebellion of any generation against the one before it, delayed for Lennon and those who thought like him by the huge (and not unjustified) self-satisfaction of their elders who had won the war, the peace and in their own minds, the game of life itself.
Aimless, shapeless discontent among young people who felt themselves overshadowed and marginalized by the war generation had already inspired James Dean's Rebel Without a Cause (1955), Alan Ginsberg's Howl (1956), John Osborne's Look Back in Anger (1956), and Jack Kerouac's On the Road (1957). These one-offs by unknown outsiders, meaningless to mainstream adults, could be ignored-- whereas the Beatles were the Western establishment's own lovable young rascals, with teenage followers in just about every English-speaking home. All that remained to complete the radicalization of youth in the later 'sixties was a new war, a spectacular crisis calling for immediate public action.
I happened to be in Vietnam, covering the first big search-and-destroy operations by American regular troops, in the very same month that Yoko met John. War was again a front-page, news-dominating story. After an on-again, off-again courtship, Lennon left his wife and their posh stockbroker-belt country mansion and set up house with Yoko in a London flat. In 1968 they released Unfinished Music #1: Two Virgins, a collage of electronic sound recorded on their first night together, with a self-shot nude photograph of the couple on the cover. They married in March 1969, promising to stage many "happenings." The wedding was the first, followed by "Bed Peace" in an Amsterdam hotel, then the huge billboard in Times Square, New York: "WAR IS OVER-- if you want it." The two Lennons had become the emblematic leaders of a universal cultural revolution. Long matured, the preoccupations of Yoko Ono's vivid Tokyo adolescence had meshed with John Lennon's energies, and given his showy, empty life a sense of purpose, and her art a world audience. Like the o's in Yoko Ono, another train of political and artistic wheels had at last come full circle.
MURRAY SAYLE, an Australian writer long resident in Japan, contributed this account of the intellectual origins of Yoko Ono, in slightly different form, to the catalogue of the multimedia retrospective "YES YOKO ONO," which opened at the Japan Society Gallery, New York, on October 16, 2000. The exhibition, curated by Alexandra Munroe, director of the gallery, in consultation with Jon Hendricks, curator of the Yoko Ono archive, is scheduled to tour the Walker Art Center, Minneapolis; the Museum of Contemporary Art, Houston; the List Center for Visual Arts, Cambridge, Massachusetts; the San Francisco Museum of Modern Art; the Art Gallery of Ontario, Toronto; the Museum of Contemporary Art, North Miami; and may travel to Asia.
These little ones appeared as I was taking some photos nearby, the image reminded me of the Beatles famous Abbey Road album cover , no mother was evident as they waddled across from one pond to the other about 200 yards away, recognising a photo opportunity I snapped a few and followed them.
The mother with one other baby sat waiting as they reached the other pond, no chance for a photo as the area was plagued by ducks and geese , these little ones joined their mother and swiftly moved into the pool and swam off.
Baby gosling wandering around the pond at Haddo House country park, there was about ten of them on the day I visited, this little one came right up to me while the others huddled around their mother .
The word "goose" is a direct descendent of Proto-Indo-European root, *ghans-. In Germanic languages, the root gave Old English gōs with the plural gēs and gandres (becoming Modern English goose, geese, gander, and gosling, respectively), Frisian goes, gies and guoske, New High German Gans, Gänse, and Ganter, and Old Norse gās.
This term also gave Lithuanian žąsìs, Irish gé (goose, from Old Irish géiss), Latin anser, Greek χήν/khēn, Dutch gans, Albanian gatë (heron), Sanskrit hamsa and hamsi, Finnish hanhi, Avestan zāō, Polish gęś, Ukrainian гуска and гусак, Russian гусыня and гусь, Czech husa, and Persian ghāz.
The term goose applies to the female in particular, while gander applies to the male in particular. Young birds before fledging are called goslings. The collective noun for a group of geese on the ground is a gaggle; when in flight, they are called a skein, a team, or a wedge; when flying close together, they are called a plump.
Chinese geese, the domesticated form of the swan goose
The three living genera of true geese are: Anser, grey geese, including the greylag goose, and domestic geese; Chen, white geese (often included in Anser); and Branta, black geese, such as the Canada goose.
Two genera of "geese" are only tentatively placed in the Anserinae; they may belong to the shelducks or form a subfamily on their own: Cereopsis, the Cape Barren goose, and Cnemiornis, the prehistoric New Zealand goose. Either these or, more probably, the goose-like Coscoroba swan is the closest living relative of the true geese.
Fossils of true geese are hard to assign to genus; all that can be said is that their fossil record, particularly in North America, is dense and comprehensively documents many different species of true geese that have been around since about 10 million years ago in the Miocene. The aptly named Anser atavus (meaning "progenitor goose") from some 12 million years ago had even more plesiomorphies in common with swans. In addition, some goose-like birds are known from subfossil remains found on the Hawaiian Islands.
Geese are monogamous, living in permanent pairs throughout the year; however, unlike most other permanently monogamous animals, they are territorial only during the short nesting season. Paired geese are more dominant and feed more, two factors that result in more young.
Other birds called "geese"
Cape Barren goose
Some mainly Southern Hemisphere birds are called "geese", most of which belong to the shelduck subfamily Tadorninae. These are:
Orinoco goose, Neochen jubata
Egyptian goose, Alopochen aegyptiacus
The South American sheldgeese, genus Chloephaga
The prehistoric Malagasy sheldgoose, Centrornis majori
The spur-winged goose, Plectropterus gambensis, is most closely related to the shelducks, but distinct enough to warrant its own subfamily, the Plectropterinae.
The blue-winged goose, Cyanochen cyanopterus, and the Cape Barren goose, Cereopsis novaehollandiae, have disputed affinities. They belong to separate ancient lineages that may ally either to the Tadorninae, Anserinae, or closer to the dabbling ducks (Anatinae).
The three species of small waterfowl in the genus Nettapus are named "pygmy geese". They seem to represent another ancient lineage, with possible affinities to the Cape Barren goose or the spur-winged goose.
A genus of prehistorically extinct seaducks, Chendytes, is sometimes called "diving-geese" due to their large size.[5]
The unusual magpie goose is in a family of its own, the Anseranatidae.
The northern gannet, a seabird, is also known as the "Solan goose", although it is a bird unrelated to the true geese, or any other Anseriformes for that matter.
Well-known sayings about geese include:
To "have a gander" is to examine something in detail.
"What's sauce for the goose is sauce for the gander" means that what is appropriate treatment for one person is equally appropriate for someone else.
Saying that someone's "goose is cooked" means that they have suffered, or are about to suffer, a terrible setback or misfortune.
"Killing the goose that lays the golden eggs," derived from an old fable, is a saying referring to any greed-motivated, unprofitable action that destroys or otherwise renders a favorable situation useless.
"A wild goose chase" is a useless, futile waste of time and effort.
There is a legendary old woman called Mother Goose who wrote nursery rhymes for children.