Everyone's Blog Posts - Art and Architecture 2011-03-24T12:47:32Z http://artandarchitecture.co.uk/profiles/blog/feed?xn_auth=no An Introduction: Ornamental Architecture of India to Symbol tag:artandarchitecture.co.uk,2011-03-24:2998029:BlogPost:31494 2011-03-24T09:28:39.000Z eva http://artandarchitecture.co.uk/profile/eva <p><span style="font-family: trebuchet ms,geneva; color: #800000;">by</span></p> <p><strong><span style="font-family: trebuchet ms,geneva; color: #800000;">Larasati Handayani</span></strong></p> <p> </p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">Ornamental architecture has significant effect in changing the performance of a building.As the way their absence has been aimed, most of them completely beautify the buildings. Architecture of the great buildings, from the East…</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">by</span></p> <p><strong><span style="font-family: trebuchet ms,geneva; color: #800000;">Larasati Handayani</span></strong></p> <p> </p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">Ornamental architecture has significant effect in changing the performance of a building.As the way their absence has been aimed, most of them completely beautify the buildings. Architecture of the great buildings, from the East to the West, from ancient times until the early 20th century has demonstrated this aesthetics of ornamental architecture.</span> <span style="color: #800000;"><span style="font-family: trebuchet ms,geneva;">Indian architecture is an example of great buildings taking account of this interest. Together with the glory of the buildings, mostly important factor in every work of Indian architecture that is through making use of decoration, filling the surface both interior and exterior of the building.</span></span> <span style="color: #800000;">Tajmahal, Agra is</span> <span style="color: #800000;">the most famous great building located in india that is also the true example displaying the finest appearance of decorative art.</span> <span style="font-family: trebuchet ms,geneva; color: #800000;">In some case, alongside architectural work, they represent both the honor and the power of an empire. Further their contribution is acknowledged as the real representation of the advance of human civilization.</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/> Ornament literally mean decoration, in the same manner as Hamlin explained that the history of ornament is the record of the origin and progressive development of decorative design. (Hamlin, p 3) Further Hamlin defines decoration as the adornment of embellishment of an object by purposed modification of its form or color. ( Hamlin, p3).</span> <span style="font-family: trebuchet ms,geneva; color: #800000;">In relation to architectural scope, if we think about the forms which constitute ornaments, we can characteristic them and divide them into four distinct groups: symbolic ornament; structural ornaments ; gained by refinement; and merely decorative ornaments. (Hilberseimer, p 51)</span></p> <p> </p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">A symbol can be defined as things which in itself are nothing, it is necessary to recognize the idea behind everything. However a symbol doesn't always have to be a sign; it can be a color, a sound, or a word. Ornament can be a symbol due to another purpose is attached accompany with the decorative design as they has been created. In relation to ornamental architecture, for example decorative painting and decorative sculpture, in which decorative purpose is subordinate to the pictorial or sculptural representation of a fact, event or idea. (Hamlin, p3) According to Hamlins' view is that in which the decorative purpose wholly dominates the design. (Hamlin, p3) Otherwise...if there is no meaning behind it as a result of can be no understanding. ( Hilberseimer, p197)</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/></span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">Religious architecture in common is the real example of the buildings in representing the power of the believe and the empire at the same time.</span><span style="font-family: trebuchet ms,geneva; color: #800000;">The use of the term religion associated with architectural work, indicating that the term has significant aspects influencing architectural work, including the formal function of the building and the rule how the building should be built. In most case these aspects has established the unique characteristic of the building design.</span></p> <p> </p> <p><span style="color: #800000;"><a target="_self" href="http://api.ning.com:80/files/KBDqIqerNj6XPCZ5oNW7ABxadeKoTZsVDLyTFqPFVDzkUHLKbfYBqliJFqbSfrl1gG-rJ9CcdgwOGDfApkO4kGF6Bltsfr4J/tajmahal.jpg"><img class="align-left" src="http://api.ning.com:80/files/KBDqIqerNj6XPCZ5oNW7ABxadeKoTZsVDLyTFqPFVDzkUHLKbfYBqliJFqbSfrl1gG-rJ9CcdgwOGDfApkO4kGF6Bltsfr4J/tajmahal.jpg?width=482" height="458" width="458"/></a><span class="font-size-1"><em>Taj Mahal, Agra</em></span></span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/> As a matter of fact, India basically was credited as having "space" for spiritual pursuit. Hindu has been an ancient religion in which attracting most of the adherent's attention of the native Indian for the longest time. The unique culture occurred in the society of the native Indian during the emerge of Hinduism that is the religion and tradition has become unity as the way of life. Equally with what Gavin Flood stated that Hindu is religious tradition (Gavin Flood pp. 1-17). However Hinduism is a religion that had no single founder, no single spoken, no single prophet, its origin is mixed and complex. (Dehejia, p1). Hinduism itself introduced the unique aspects in the teaching of the faith concept and the worship practice. Hinduism emphasizes the oneness of God through the universality of the symbol and the allowance for many creed and different beliefs ( Mauray, p12). In the later progress, since Turkish emperor conquered Northerm India land in the 10th century, for the next eight centuries, the political and cultural of Northerm India was determined by Islamic rule (Volwahsen, p5). On the contrary, in comparison with the Hindu belief, the Islamic belief introduced the opposite concept in relation to the existence of God. In the Islamic view, God is one who is Allah, the one, the unique, the sovereign, the holy, the almighty, the all-knowing, the loving, the most merciful. all existence is subject to His will and His laws. he is the center of conscious Muslim worship and aspirations, the focus of their life. ( Siddiqui, Elizabeth, p1)</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/><br/></span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><a target="_self" href="http://api.ning.com:80/files/SVqK40JWnx*jp6CazhmK0EopQoG6DysUaYzS1K*mid8*POo7MGu0fUodhOqXcML-b4RO*wjR7dGSnYagq2XI2edd5dBzIzRa/KhajurahoTemple.jpg"><img class="align-left" src="http://api.ning.com:80/files/SVqK40JWnx*jp6CazhmK0EopQoG6DysUaYzS1K*mid8*POo7MGu0fUodhOqXcML-b4RO*wjR7dGSnYagq2XI2edd5dBzIzRa/KhajurahoTemple.jpg?width=443" height="327" width="460"/></a><span class="font-size-1"><em>Khajuraho temple</em></span><br/></span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">Hindu and Islamic Architecture in India</span> <span style="font-family: trebuchet ms,geneva; color: #800000;">is a significant example intend to</span> <span style="font-family: trebuchet ms,geneva; color: #800000;">represent both the honor and the power of an empire.</span> <span style="font-family: trebuchet ms,geneva; color: #800000;">The term Hindu Architecture particularly refers to Hindu temples. The term is however used not merely to identify the formal function of the building in which intended to accommodate the adherents in performing worship, moreover because of the term also including attaching symbolic idea accompany with the main purpose how the temples were built. On the contrary when the speaking come to define the term of Islamic Architecture, there are debate and argument coming up between Muslim and non-Muslim scholar, specifically to determine what is Islamic Architecture? According to Copplestone, Islamic Architecture can be defined as architecture style both religion and secular function in which standing in the foundation of Islamic, influencing the design and the construction of buildings and structures in Islamic culture. (Copplestone, p149)The specific function of the buildings in which the term is attributed that is the mosque, the tomb, the palace, etc.</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/> Either Hindu or Islamic architecture, even though both generally seem displaying the opposite features in applying of the decorative art, in fact each term have established the unique characteristic applicant of ornament in architecture. Common features called Islamic art that is the use of geometrical pattern, Arabic calligraphy, arabesque/ floral pattern and muqarnas. According to Prise (1 878 ) , he classified Islamic art into three types: floral, geometrical and calligraphy. another classification was suggested by Bourgoin ( 1873 ) involving stalactities / muqarnas, geometrical arabesque and other forms. ( Saoud, Rabah, p 6) Beside those five elements of Islamic art offered specific characteristic that distinguish them from the other. In addition that type of decorative art all unifies Islamic art among the large geographical area of Muslim world, with its various cultures and ethnic at once. However, Hindu art in its different sense presented the uniqueness in connection with the technical skill and conceptual appearance of decorative art. Most familiar feature was displayed in the form of figural sculpture.<br/></span></p> <p> </p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">With reference to the use of ornamental architecture in Hindu temple, particularly in the form of figural sculptures, as a matter of fact, their absence having close relationship with Hindu art, as the former for the absence of Hindu decorative art. The assumption is suggested by the author based on researcher discovery, they found various sculpture in the Indus valley remains at a date estimated at 2500BC, and especially that one famous sculpture was named Pashupati, an epithet of Shiva. ( J. Simoons, p363) meanwhile the absence of Islamic ornamental art first appeared through the building decorative performance of the Dome of the Rock was completed in 691 by Umayyad Caliph, Abd Al Malik located in Jerusalem. Decoration almost covered the whole surface both exterior and interior of the Building.</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/></span></p> <p style="text-align: left;"><span style="color: #800000;"><a target="_self" href="http://api.ning.com:80/files/m0sWsGrS3LMP9*D52GCw4S2piTzxWOLZN7EzEd4RDlKfSZc4gPpagnCT54XjCCGfmCmm3kT61xr8s2VmWVNO9UU3zI8-Qms9/DomeOfTheRock.jpg"><img class="align-right" src="http://api.ning.com:80/files/m0sWsGrS3LMP9*D52GCw4S2piTzxWOLZN7EzEd4RDlKfSZc4gPpagnCT54XjCCGfmCmm3kT61xr8s2VmWVNO9UU3zI8-Qms9/DomeOfTheRock.jpg?width=442" width="442"/></a><span class="font-size-1"><em>The Dome of the Rock in Jerusalem</em></span></span></p> <p style="text-align: left;"> </p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;">Why are those kind of ornament style called Islamic art? and why are those kind of figural sculpture called Hindu art? and how both the terms is supposed having the status of symbolic representation standing in its religion basis? Based on Burckhardt' view, for the normal basis of a sacred art is symbolism ( Burckhardt, Titus. p1 ), meanwhile Frithjof Schuon stated that the things whose symbolism belong to the realm of the spiritual and so to that of sacred ( Schuon, Frithjof .p1 ).</span></p> <p><span style="font-family: trebuchet ms,geneva; color: #800000;"><br/> For the Hindus, the relation between faith and art has became significant aspect in expressing design. Through Ananda Coosmaraswarny' point of view, a scholar and art historian, for the Hindus, Indian art is essentially religious. The conscious aim of Indian art is the intimation of divinity ( Coosmaraswarny. p17 ). It is thought that either standing alone or intend to decorative art, the figural sculptures in Indian art basically was the symbolic representation of their Gods. That argument has been proved by the fact that in reality Hinduism have a very rich iconography. Meanwhile Steven Miller have certain view that common for religious practice to involve the creation of image and symbol to represent supernatural beings and idea. The idea of which symbolic representation appeared in Hindu art is emphasize by Merlin Donald' theory about 'the cultural evolution' that since upper palaeolithic has involved learning more and more about the formulation and expression of symbolic values, the development of systems of symbolic representation in concrete, material forms.</span></p> Inter-Disciplinary / Collaboration Projects Residency tag:artandarchitecture.co.uk,2011-02-17:2998029:BlogPost:31260 2011-02-17T23:00:00.000Z A&A Webmaster http://artandarchitecture.co.uk/profile/InvisibleMan <p style="text-align: left;"><em><span style="font-size: 13px;"> </span></em></p> <div style="margin-left: 2em;"><p><b>Application Deadline:</b></p> <b>February 28, 2011</b><br/> <p><br/>I-Park is pleased to announce its first residency session specifically devoted to inter-disciplinary and collaborative projects. The lead project for this residency is Proto-Gonzo, curated by artist Marco Dessardo. Proto-Gonzo will be the first curated art project at I-Park.</p> <p>But, subject to available…</p> </div> <p style="text-align: left;"><em><span style="font-size: 13px;"> </span></em></p> <div style="margin-left: 2em;"><p><b>Application Deadline:</b></p> <b>February 28, 2011</b><br/> <p><br/>I-Park is pleased to announce its first residency session specifically devoted to inter-disciplinary and collaborative projects. The lead project for this residency is Proto-Gonzo, curated by artist Marco Dessardo. Proto-Gonzo will be the first curated art project at I-Park.</p> <p>But, subject to available space, I-Park will entertain additional, separate proposals for team projects that are inter-disciplinary in character and/or help expose the mechanism of the collaborative process.</p> <p>Artists/practitioners from the following fields are welcome to submit proposals:</p> <div style="margin-left: 2em;"><p>Visual Arts<br/>Music Composition/Sound Sculpture/Design<br/>Landscape/Garden Design<br/>Language Arts<br/>Moving Image<br/>Performance Art<br/>Photography</p> </div> <p>This session reflects I-Park’s growing interest in inter-disciplinary creative practices and could be a proto-type for future initiatives in this area.</p> <p>An expanded Open Studios event on July 30, 2011 will showcase the work product and process of the various collaborations.</p> <p>Click below for specifics.</p> <div style="margin-left: 2em;"><p><a href="http://artandarchitecture.co.uk/profiles/blog/ProtoGonzo.html"><u><font color="#0000FF">Proto-Gonzo</font> HYPERLINK "OtherIDCProjects.html"</u></a></p> <p><a href="http://artandarchitecture.co.uk/profiles/blog/OtherIDCProjects.html"><u><font color="#0000FF">Other Inter-Disciplinary/Collaboration Projects</font></u></a> <a href="http://artandarchitecture.co.uk/profiles/blog/2011IDC_FAQ.pdf"></a></p> </div> </div> <p>             <a href="http://artandarchitecture.co.uk/profiles/blog/2011IDC_FAQ.pdf"><u><font color="#0000FF">Session FAQ</font></u></a></p> My Top 3 tag:artandarchitecture.co.uk,2011-02-16:2998029:BlogPost:31060 2011-02-16T19:35:31.000Z Yosuke Nagumo http://artandarchitecture.co.uk/profile/YosukeNagumo I was interviewed and talked about 'Top 3 European Architecture I have looked'. The Eikoku News Digest 1288 (Japanese), 17 Feb 2011 is available on the website.<br/><a href="http://www.news-digest.co.uk">www.news-digest.co.uk</a> I was interviewed and talked about 'Top 3 European Architecture I have looked'. The Eikoku News Digest 1288 (Japanese), 17 Feb 2011 is available on the website.<br/><a href="http://www.news-digest.co.uk">www.news-digest.co.uk</a> Photography Contest “MUSIC THROUGH YOUR VEINS” of Blipoint tag:artandarchitecture.co.uk,2011-01-27:2998029:BlogPost:29882 2011-01-27T14:08:12.000Z BLIPOINT Photography http://artandarchitecture.co.uk/profile/BLIPOINTPhotography <a target="_self" href="http://api.ning.com/files/MDvFQqEDI0SyM59mDaxwrPQB9QKFHhl1ATww2X2K*bXQAlPpU8ogg3QOJ*eifZGIW4RLa4TW496mLZ54l8YB0i2QjlDsU2nbY0tvNxd9tWU_/Poster_en.jpg"><img class="align-full" width="581" src="http://api.ning.com/files/MDvFQqEDI0SyM59mDaxwrPQB9QKFHhl1ATww2X2K*bXQAlPpU8ogg3QOJ*eifZGIW4RLa4TW496mLZ54l8YB0i2QjlDsU2nbY0tvNxd9tWU_/Poster_en.jpg"/></a><br /> <p>Music is life.  It is a human necessity.  It has the extraordinary capacity to evoke and express our deepest emotions, and…</p> <a target="_self" href="http://api.ning.com/files/MDvFQqEDI0SyM59mDaxwrPQB9QKFHhl1ATww2X2K*bXQAlPpU8ogg3QOJ*eifZGIW4RLa4TW496mLZ54l8YB0i2QjlDsU2nbY0tvNxd9tWU_/Poster_en.jpg"><img class="align-full" width="581" src="http://api.ning.com/files/MDvFQqEDI0SyM59mDaxwrPQB9QKFHhl1ATww2X2K*bXQAlPpU8ogg3QOJ*eifZGIW4RLa4TW496mLZ54l8YB0i2QjlDsU2nbY0tvNxd9tWU_/Poster_en.jpg"/></a><br /> <p>Music is life.  It is a human necessity.  It has the extraordinary capacity to evoke and express our deepest emotions, and influence our mood. It can bring us to a state of ecstasy, in which we connect with our innermost self, and with everything that surrounds us, at a level that goes beyond the physical.</p> <p>Music is energy. Every part of our body vibrates to the beat of its melody, and it is then, when our spirit blooms. Music is freedom.</p> <p> </p> <p>The 25 winning images will be displayed at 10 Gales Contemporary Art Space in London from April 13th to 20th, 2011</p> <p> </p> <p>More info: <a href="http://www.blipoint.com/contests/" target="_blank">http://www.blipoint.com/contests/</a></p> <p> </p> <p>The Blipoint´s team wishes you luck!</p> <p> </p> <p>There will be a pre-selection of the first 100 images by way of the voting system.  Then, a qualified panel of judges will select the 25 images to be displayed. </p> Photography Contest “DAILY PHOTO” of Blipoint tag:artandarchitecture.co.uk,2010-12-13:2998029:BlogPost:28906 2010-12-13T17:10:26.000Z BLIPOINT Photography http://artandarchitecture.co.uk/profile/BLIPOINTPhotography <p><a href="http://api.ning.com/files/AAk2wd0RUItXUjYY-EYE9fNtyAfBfNpAVlMvIXaoyodqN8HnrMX*-5Fnd5IYYZvbq1ydYXqBmLEpA0DryVhbzIW9DD-*w0nI2izpoCW*LKo_/Portada_EN.jpg" target="_blank"><img class="align-full" src="http://api.ning.com/files/AAk2wd0RUItXUjYY-EYE9fNtyAfBfNpAVlMvIXaoyodqN8HnrMX*-5Fnd5IYYZvbq1ydYXqBmLEpA0DryVhbzIW9DD-*w0nI2izpoCW*LKo_/Portada_EN.jpg" alt="" width="200"/></a></p> <p>Our life is made up of moments that go by unnoticed, due to our daily routine.</p> <p>What would it be like…</p> <p><a href="http://api.ning.com/files/AAk2wd0RUItXUjYY-EYE9fNtyAfBfNpAVlMvIXaoyodqN8HnrMX*-5Fnd5IYYZvbq1ydYXqBmLEpA0DryVhbzIW9DD-*w0nI2izpoCW*LKo_/Portada_EN.jpg" target="_blank"><img class="align-full" src="http://api.ning.com/files/AAk2wd0RUItXUjYY-EYE9fNtyAfBfNpAVlMvIXaoyodqN8HnrMX*-5Fnd5IYYZvbq1ydYXqBmLEpA0DryVhbzIW9DD-*w0nI2izpoCW*LKo_/Portada_EN.jpg" alt="" width="200"/></a></p> <p>Our life is made up of moments that go by unnoticed, due to our daily routine.</p> <p>What would it be like to capture this routine with a camera? What would it be like to freeze these moments of our life that, for many, and even for us, don’t seem to be very important?</p> <p></p> <p>Everyday Photo invites you to give importance to the fragments of our everyday life, capturing those instants with astuteness and aesthetic richness.</p> <p>Get inspired and participate!</p> <p></p> <p>Participe in: <a href="http://www.blipoint.com/contests/" target="_blank">http://www.blipoint.com/contests/</a></p> <p></p> <p><strong>BASES:</strong></p> <p><strong><br/></strong></p> <p>Legitimization to take part:</p> <p></p> <p>• They can participate people major of 18 years old and people under 18 who are relying on express authorization of their parents or legal representatives, and once they are known and accepted by the participant the conditions of registration, protection of information, intellectual property, and all those other conditions that, with general character, should be additionally considered necessary for the participation of the users in Blipoint.</p> <p>• For technical reasons the participants of the contest will have to be registered in Blipoint.</p> <p></p> <p><strong>Prize:</strong></p> <p><strong><br/></strong></p> <p>• An image will be selected by a qualified panel of judges, from among the first 70 pre-selected that have received the best quality of votes.</p> <p>• The author of the winning image will receive a single prize of a FLASH ORION 400 set of lights; a kit that includes two 400w/s Orion Flashes, two Softboxes, two light stands, and a transportation bag.</p> <p>For more information, please visit the manufacturer’s webpage.</p> <p><a href="http://www.alb.co.kr/" target="_blank">http://www.alb.co.kr/</a></p> <p></p> Is architecture art? tag:artandarchitecture.co.uk,2010-11-10:2998029:BlogPost:28045 2010-11-10T21:30:00.000Z Catherine Swaniker http://artandarchitecture.co.uk/profile/CatherineSwaniker <p><strong><i><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">“Architecture is art. Architecture is the greatest pf the arts, and it encompasses thinking that the other arts don’t even deal with. Like the relationship of the work to the individual human being – the person who uses it; the person who experiences it; the person who sees it; and how that person perceives that space. You know, there’s an old adage that a sculptor can make a square wheel, and an architect has…</span></i></strong></p> <p><strong><i><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">“Architecture is art. Architecture is the greatest pf the arts, and it encompasses thinking that the other arts don’t even deal with. Like the relationship of the work to the individual human being – the person who uses it; the person who experiences it; the person who sees it; and how that person perceives that space. You know, there’s an old adage that a sculptor can make a square wheel, and an architect has to make a round one. You have a certain responsibility not just to your client, but to the public at large with what you do"</span></i></strong></p> <p><strong><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">Richard Meier, Architect.</span></strong></p> <br/> <p><strong><i><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">“No other art makes the claims of social responsibility that architecture does and no other art has the arrogance to think it will remake the world"</span></i></strong></p> <p><strong><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">Paul Goldberger, Architectural Critic. Building Up and Tearing Down.</span></strong></p> <br/> <p><strong><i><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">“Yes, architecture is art. It is the most contaminated art. Also, it is the most imposing. If you’re a bad writer, people won’t read your book. If you’re a bad architect, the city has to live with your work for a very long time"</span></i></strong></p> <p><strong><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">Renzo Piano, Architect.<br/></span></strong></p> <br/> <strong><span style="font-size: 10pt; font-family: Arial; font-weight: normal;">One might say, not all buildings are architecture. Some buildings are created due to economics, and although they might provide a glimpse into architectural know-how, most have nothing to do with architecture.</span></strong> The Effects of Globalization on the Built Environment: An Introductory Essay tag:artandarchitecture.co.uk,2010-11-10:2998029:BlogPost:28041 2010-11-10T16:00:00.000Z Catherine Swaniker http://artandarchitecture.co.uk/profile/CatherineSwaniker <p class="MsoNormal"></p> <div style="text-align: right;"><font size="2"><br/></font></div> <p style="text-align: left;" class="MsoBodyText"><font size="2">“There will never be an end for Paris and the memory of those who have lived differ the ones from the others. We always ended by going back to Paris, whoever we were, however it had changed or whatever the difficulties or the easiness to reach it could be. Paris was always worth and whatever gift you brought it, you would always receive in…</font></p> <p class="MsoNormal"></p> <div style="text-align: right;"><font size="2"><br/></font></div> <p style="text-align: left;" class="MsoBodyText"><font size="2">“There will never be an end for Paris and the memory of those who have lived differ the ones from the others. We always ended by going back to Paris, whoever we were, however it had changed or whatever the difficulties or the easiness to reach it could be. Paris was always worth and whatever gift you brought it, you would always receive in return…” <br/></font></p> <p style="text-align: left;" class="MsoBodyText"><font size="2">Ernest Hemingway, Moveable Feast, 1964.<br/></font> <br/></p> <font size="2"><br/></font><p class="MsoBodyText" style="text-align: justify;"><font size="2">It is possible to live in a modern metropolis and discover that what makes it livable is its inherent make-up of several urban villages, where a microcosm of small retail shops, mixed-use buildings with offices and apartments are gathered around a small square as seen in Paris. We can live in such a city in the age of globalization and at the same time enjoy the privileges of both the accessibility of an international metropolis and the conviviality of a provincial village.</font></p> <font size="2"><br/></font> <p class="MsoBodyText"><font size="2">The Paris model presents itself as a valuable system of development. This city is characterized by stretches of small villas or by barns of European-totalitarian origin inter-linked by highways to business centers or huge mega-stores, both of which may be surrounded by mega-parking. At the same time, within the same economic system, millions live and experience the pleasantness of the traditional city’s system of streets, square and blocks. Not only does this occur in Paris, but also London, Madrid, Rome, Lisbon and Munich.</font></p> <font size="2"><br/></font> <p class="MsoBodyText"><font size="2">These character-strewn European cities present the casual pedestrian or passer-by with a backdrop of historic buildings, neighborhoods and communities that have melded and been shaped over centuries by an assimilating blend of culture, site, climate and historical events. The rich histories of these cities provide us with appealing traditional architectural palettes that are easily identified as locally distinct.</font></p> <font size="2"><br/></font> <p class="MsoBodyText"><font size="2">Yet, depending on which side of the fence one sits, the integrity of such unique places is at risk at being diminished by the rise of standardized “global” cities. The fear of the mundane is not without precedence. In some areas, entire locations are constructed with buildings that could practically belong anywhere.</font></p> <font size="2"><br/></font> <p class="MsoBodyText" style="text-align: justify;"><font size="2">Clearly, the effects of globalization on the built environment are challenged by two opposing forces; those that seek to preserve architectural traditions to the fullest extent versus the advocates, who promote innovative ideas and new forms using new technologies and materials that respond to changing functional needs and sensibilities. It may be naïve to suggest that for the latter group, innovative architecture transcends local conventions, or that for the former indigenous architecture cannot be innovative. The building industry is shaped by several forces that by their very nature are set up to ensure that ‘traditional’ or ‘non-traditional’ buildings are subject to the same rules of zoning, local codes and restrictions as well as the concerns of neighborhood groups and political organizations.</font></p> <font size="2"><br/></font> <p class="MsoBodyText" style="text-align: justify;"><font size="2">Political groups and processes have always shaped the built environment. The history of architecture is rife with movements in embrace of or in opposition to cultural and aesthetic diversity. At the height of its reign, the empire forming strategies of Rome established the first known examples of global architectural hegemony as this ancient civilization spread their ideas across their territorial holdings. Because of the far-reaching extent of autocratic government, their institutions and culture resulted in a lasting influence on the development of architecture via European expansionism.</font></p> <font size="2"><br/></font> <p class="MsoBodyText"><font size="2">Leading 20C prophets such as Mies van der Rohe and Walter Gropius eschewed in the “International Style”, when several European and American architects rebelled against classicism and neoclassicism and demanded a new response to emerging technologies, industry, and social and political orders. The International Style was also synonymous with systemization and standardization, mass produced materials and prototypes within aesthetic compositions and for several decades after WW11, as with the influence of the Roman Empire, the design of civic buildings and multi-family housing was greatly influenced by these precepts.</font></p> <font size="2"><br/></font> <p class="MsoBodyText2"><font size="2">Today pressures to globalize architecture primarily rise from two sources: the culture of commerce and the culture of design. Evolving consumer expectations, politics, market-driven opportunities and business agendas drives the global culture of commerce, while architects and designers eager for innovation support the global culture of design. In addition, constant travel and flows of trade, goods, and information render it impossible to ignore the transfer of knowledge that becomes shared and accepted. At any given time, cultural diversity within architectural studios across the globe result in environments where knowledge and experiences are shared. Architectural periodicals, books, lectures, conventions etc, provide immediate access to new technologies and materials as well as the work of architects from across the globe. Glass (curtain wall systems), aluminum, stainless steel, copper, titanium and natural stone are readily available. The industry of curtain wall systems is at an all time high in the modern metropolis, with companies in Germany and China leading the course of innovation. In most cases, if materials or technology cannot be locally acquired, they are imported.</font></p> <font size="2"><br/></font> <p class="MsoBodyText"><font size="2">The tension between globalization and the opposition to it is likely to continue, and most likely, the admirable qualities of the cities mentioned at the beginning of this narrative will retain their unique qualities a hundred years. Of course, some buildings erode the sense of place, but architects of super modernity are highly gifted individuals with intellectual know-how and most follow the cardinal rules of architectural education: context, form follows function, program etc. Although their buildings eschew architectural prowess and personal style, they also relate to the physical and political constraints of the sites within which they ground themselves<em>.</em> <em><span style="font-style: normal;">It is the assimilation of surrounding elements that give such buildings the right to exist.</span></em></font></p> <font size="2"><br/></font> <p class="MsoBodyText2"><font size="2">The challenge lies in the wherewithal to create the physical conditions for the development of a world where cities express local realities and enrich the experience of the era through the plurality of visual and morphological experiences. It means offering a model where culture, economics and local traits are moving forces of an organic and intelligent growth, which is respectful of nature and its diversities. Salient regional qualities such as construction techniques, materials and cultural idioms need not vanish. They can be re-imagined and redefined. Local climate, geography, topology, sociology and psychology all have an important role to play. The question of choice and the arrangement of new systems within urban environments is the true challenge set by globalization to the contemporary environmental culture <br/></font></p> <br/>Bibliography<br/><ul> <li>"The fabulous world of Amelie: Urban Architecture and the Development Pattern for the European City" Gabriele Tagliaventi, Architecture in the age of globalization, A&amp;C Documents N.2, Alinea, Firenze 2003</li> <li>"The Politics of Place". Short courses in Urbanism and Architecture, The Prince's Foundation</li> <li>"Moveable Feast". Ernest Hemingway, 1964</li> <li>Ancient Rome. Wikepedia<br/></li> </ul> <font size="2"><br/></font><br/> <p class="MsoNormal"></p> The Gottlieb Foundation's grants to mature artists tag:artandarchitecture.co.uk,2010-10-16:2998029:BlogPost:27453 2010-10-16T05:00:00.000Z A&A Webmaster http://artandarchitecture.co.uk/profile/InvisibleMan <p><a href="http://gottliebfoundation.org/">The Adolph and Esther Gottlieb Foundation</a> wishes to encourage artists who have dedicated their lives to developing their art, regardless of their level of commercial success. This program was conceived in order to recognize and support the serious, fully-committed artist, and they hope these individuals will consider applying. Twelve grants are awarded each year. Applications are reviewed by a panel of five professionals in the arts who have no…</p> <p><a href="http://gottliebfoundation.org/">The Adolph and Esther Gottlieb Foundation</a> wishes to encourage artists who have dedicated their lives to developing their art, regardless of their level of commercial success. This program was conceived in order to recognize and support the serious, fully-committed artist, and they hope these individuals will consider applying. Twelve grants are awarded each year. Applications are reviewed by a panel of five professionals in the arts who have no affiliation with the Foundation. In this program, the following criteria must be met:</p> <h3>Maturity</h3> <p>Successful applicants will be able to demonstrate that they have been working in a mature phase of their art for <u>at least 20 years</u>. Maturity is based on the level of intellectual, technical, and creative development maintained over this time period. Artists must show that their primary involvement has been with their artistic goals, regardless of other personal or financial responsibilities. <u>Artists must work in the disciplines of painting, sculpture, or printmaking.</u></p> <h3>Financial Need</h3> <p>In addition to the maturity requirement, eligibility for an Individual Support grant is determined by the applicant’s current financial need. A financial disclosure page is included in the application which must be completed and signed.</p> <p>The Gottlieb Foundation does not provide funding for organizations, projects of any type, educational institutions, students, graphic artists, or those working in crafts. The disciplines of photography, film, video, or related forms are not eligible unless the work directly involves, or can be interpreted as, painting, sculpture (including land art, 3D work).</p> <p></p> <h2><font size="2"><u>Deadline: December 15th</u></font></h2> <p><a href="http://gottliebfoundation.org/grants/individual-grants/2/">How to apply</a></p> International Curatorial Residency Program tag:artandarchitecture.co.uk,2010-10-08:2998029:BlogPost:27123 2010-10-08T14:30:00.000Z A&A Webmaster http://artandarchitecture.co.uk/profile/InvisibleMan <p><font size="2"><span style="font-weight: bold;">The Context Gallery</span> has established a reputation as one of the most vital venues for the presentation, promotion and dissemination of contemporary art in the north of Ireland. In 2009, the Context Gallery moved back to its former site in a newly renovated space in the heart of Derry, restarting a rigorous exhibition program and challenging off-site projects.<br/><br/>This autumn, the Context Gallery is launching an annual …</font></p> <p><font size="2"><span style="font-weight: bold;">The Context Gallery</span> has established a reputation as one of the most vital venues for the presentation, promotion and dissemination of contemporary art in the north of Ireland. In 2009, the Context Gallery moved back to its former site in a newly renovated space in the heart of Derry, restarting a rigorous exhibition program and challenging off-site projects.<br/><br/>This autumn, the Context Gallery is launching an annual <span style="font-weight: bold;">International Curatorial Residency Program</span>. This ambitious and innovative project consists of a series of field trips over a six-month period and an exhibition to be developed during the following year. Therefore, it offers an opportunity for a talented, dynamic emerging curator to research contemporary art produced in Northern Ireland and the North West of Ireland, as well as to establish a network within the local contemporary art scene.<br/><br/>The Context Gallery is proud to announce that Miguel Amado, a curator and critic based in Lisbon and New York, is the first recipient of its International Curatorial Residency Program. The selection committee was highly impressed with the quality of his curatorial practice and writing and is very excited about the potential that his input could realise in the framework of the Context Gallery's mission.<br/><b><br/>Miguel Amado</b> is a graduate of the MA in Curating Contemporary Art at the Royal College of Art in London. He has worked with Portuguese institutions such as the Museu Coleccão Berardo, Fundacão PLMJ, Centro de Artes Visuais, Museu da Cidade and Fundacão Calouste Gulbenkian. He was also Curatorial Fellow at Rhizome at the New Museum and Curator-in-residence at the International Studio &amp; Curatorial Program in New York.<b><br/><br/><a href="http://www.contextgallery.co.uk/">The Context Gallery</a></b> is a non-profit institution that receives the generous support of the Arts Council of<br/> Northern Ireland, the National Lottery, the Derry City Council as well as grants from various foundations. The International Curatorial Residency Program is funded by the National Lottery through the Arts Council of Northern Ireland. The Context Gallery is also extremely grateful to the support of local companies such as Diamond Corrugated, the collegial support of local organisations such as Void, Verbal Arts Centre, Playhouse<br/> and the Nerve Centre, and to individuals through donations, ambassadorial support and volunteering.</font></p> <p><font size="2"><br/></font></p> <p><font size="2"><a href="mailto:info@contextgallery.co.uk">info@contextgallery.co.uk</a><br/>Theo Sims<br/>Phone: 01144(0)2871373538</font></p> <p><font size="2"><br/></font></p> <p><font size="2">Context Gallery<br/>5-7 Artillery Street<br/>Derry BT48 6RG<br/>N. Ireland</font></p> <p><font size="2"><br/></font></p> <p style="text-align: left;"><font size="2"><img src="http://www.contextgallery.co.uk/wp-content/uploads/2010/08/miguel-amado-c2a9-ryan-mcnamara1-150x150.jpg"/></font></p> <p><font size="2">Miguel Amado</font></p> <p><font size="2"><img alt=""/></font></p> <br/> <img alt=""/> BEWARE MIRIAN ! tag:artandarchitecture.co.uk,2010-08-25:2998029:BlogPost:24143 2010-08-25T09:50:04.000Z Dr Bob Jarvis http://artandarchitecture.co.uk/profile/DrBobJarvis <p><font size="2"><strong>ATTENTION ALL ART AND ARCHITECTURE MEMBERS!</strong></font></p> <p><font size="2"><strong>if you get one of these .....ignore it ......its a begging scam!!!!!</strong></font></p> <p></p> <p></p> <p><font size="2">Mirian added a comment to your profile on Art and Architecture:<br/><br/>miracle_cares@yahoo.co.uk<br/><br/><br/>Hello dear,<br/>Greetings to you,My name is Miracle , i view your profile today at artandarchitecture.co.uk and i love it. i decide to communicate…</font></p> <p><font size="2"><strong>ATTENTION ALL ART AND ARCHITECTURE MEMBERS!</strong></font></p> <p><font size="2"><strong>if you get one of these .....ignore it ......its a begging scam!!!!!</strong></font></p> <p></p> <p></p> <p><font size="2">Mirian added a comment to your profile on Art and Architecture:<br/><br/>miracle_cares@yahoo.co.uk<br/><br/><br/>Hello dear,<br/>Greetings to you,My name is Miracle , i view your profile today at artandarchitecture.co.uk and i love it. i decide to communicate with you and it will please...<br/><br/>To view the full comment, visit:<br/></font><a href="https://mail.lsbu.ac.uk/exchweb/bin/redir.asp?URL=http://artandarchitecture.co.uk/profiles/comment/list?attachedToType=User%26attachedTo=2xnnsol5jyufx%26commentId=2998029%253AComment%253A21703%26xgsi=1%26xg_source=msg_com_profile" target="_blank"><font size="2">http://artandarchitecture.co.uk/profiles/comment/list?attachedToType=User&amp;attachedTo=2xnnsol5jyufx&amp;commentId=2998029%3AComment%3A21703&amp;xgsi=1&amp;xg_source=msg_com_profile</font></a><br/><br/><font size="2">To reply to the comment, visit:<br/></font><a href="https://mail.lsbu.ac.uk/exchweb/bin/redir.asp?URL=http://artandarchitecture.co.uk/profile/mirian?xgsi=1%23com" target="_blank"><font size="2">http://artandarchitecture.co.uk/profile/mirian?xgsi=1#com</font></a><br/></p> Winner of the 2010 RIBA Goldfinger Scholarship announced tag:artandarchitecture.co.uk,2010-08-17:2998029:BlogPost:21504 2010-08-17T13:34:41.000Z Alexandra Nelia http://artandarchitecture.co.uk/profile/AlexandraNelia <div class="Section1"><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: 2pt; tab-stops: 2.0cm; mso-line-height-rule: exactly"></p> </div> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><b><span lang="EN-US" style="FONT-SIZE: 14pt; FONT-FAMILY: Arial; mso-ansi-language: EN-US" xml:lang="EN-US">Winner of the 2010 RIBA Goldfinger Scholarship announced</span></b>…</font></p> <div class="Section1"><p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt; LINE-HEIGHT: 2pt; tab-stops: 2.0cm; mso-line-height-rule: exactly"></p> </div> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><b><span lang="EN-US" style="FONT-SIZE: 14pt; FONT-FAMILY: Arial; mso-ansi-language: EN-US" xml:lang="EN-US">Winner of the 2010 RIBA Goldfinger Scholarship announced</span></b><span lang="EN-US" style="FONT-SIZE: 14pt; mso-ansi-language: EN-US" xml:lang="EN-US"></span></font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">Luca Csepely-Knorr, a landscape architecture graduate and PhD student at the Corvinus University of Budapest, has been awarded the 2010 Goldfinger Scholarship by the Royal Institute of British Architects (RIBA). The award will go towards her MPhil course at the Art &amp; Design Department, Manchester Metropolitan University during the academic year 2010/11.</span></font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">Luca receives £14,000 to support her research, and pay for her fees during the academic year. Her research will focus on the work of Béla Rerrich (1881-1932), Hungary’s first town planner and one of the founders of landscape architectural education in Hungary, and Thomas Mawson (1861-1933), an English town planner and the Windermere garden designer.</span> </font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">The RIBA Goldfinger Scholarship has been running since 2002, following a generous donation by Ernö Goldfinger’s family. It provides one grant annually to support a young Hungarian architect through a period of postgraduate study in the fields of architecture, art or associated disciplines or a period of work experience in an UK academic institution or architectural practice.</span></font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">The jury, which comprised of Michael Goldfinger, James Dunnett, Professor Kit Allsopp, and Ben Stone and Alex Bancroft representing the RIBA, were unanimous in their decision.</span> </font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">Upon receiving her award, Luca Csepely-Knorr said:</span></font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><font color="#000000"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US">‘I am very happy to be the winner of the 2010 RIBA Goldfinger Scholarship. I am honoured that the jury of this prestigious Scholarship appreciated my previous academic and design achievements and found my prospective research at Manchester Metropolitan University promising and worth supporting. I am especially grateful that as a landscape architect I am able to receive an architectural Scholarship, which I hope will help make my profession more well-known and appreciated in my home country. I am sure that the knowledge and skills that I will acquire during my studies in the UK will be of great value to my future academic career. I am very excited about the prospect of living and studying in the UK for a year and I am looking forward to the start of my course in September.’</span> </font></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt 18pt"></p> <p class="MsoNormal" style="MARGIN: 0cm 0cm 0pt"><span lang="EN-US" style="FONT-SIZE: 11.5pt; FONT-FAMILY: Garamond; mso-ansi-language: EN-US" xml:lang="EN-US"><font color="#000000">For information about the RIBA Goldfinger Scholarship contact the RIBA Education Department, on 020 7307 3678, or visit the</font> <a title="http://www.architecture.com/EducationAndCareers/PrizesScholarshipsandBursaries/RIBAGoldfingerScholarship/RIBAGoldfingerScholarship.aspx" href="http://www.architecture.com/EducationAndCareers/PrizesScholarshipsandBursaries/RIBAGoldfingerScholarship/RIBAGoldfingerScholarship.aspx"><font color="#800080">RIBA Goldfinger Scholarship</font></a> <font color="#000000">page on the RIBA website, <a href="http://www.architecture.com">www.architecture.com</a></font></span></p> BB4 SETS A CHALLENGE TO POST COMMUNIST ROMANIA tag:artandarchitecture.co.uk,2010-06-15:2998029:BlogPost:18921 2010-06-15T05:57:14.000Z Dr Bob Jarvis http://artandarchitecture.co.uk/profile/DrBobJarvis BB4 – 50,000 PENSIONERS IN THE STREETS.<br /> Bob Jarvis reports on Bucharest’s Biennale of Contemporary Art.<br /> I arrived at Bucharest’s retro-communist chaotic, airless airport, Baneasa, the same day there were more demonstrators on the streets of Romania’s capital than since 1989. And most of them were over 60, in protest against the cuts in state-pensions (the breadline for many of Romania’s elderly) of 15% and 25% in state salaries. Where the money that the IMF bailed the country out with has gone… BB4 – 50,000 PENSIONERS IN THE STREETS.<br /> Bob Jarvis reports on Bucharest’s Biennale of Contemporary Art.<br /> I arrived at Bucharest’s retro-communist chaotic, airless airport, Baneasa, the same day there were more demonstrators on the streets of Romania’s capital than since 1989. And most of them were over 60, in protest against the cuts in state-pensions (the breadline for many of Romania’s elderly) of 15% and 25% in state salaries. Where the money that the IMF bailed the country out with has gone is a mystery. Not to Romanians on the Crângaşi tram though- ‘Este putrezire’ they shrug. I left on a new Romanian Orthodox State Holiday – when you have to be careful if you hear voices.<br /> <br /> Between the two I trekked from luxury hotel to abandoned garages, from office block to down and out community centre. And slid five double floors up the backside of Palatul Parlamentarului (as Ceacescu’s real stone and marble, as I discovered close up, centre for all Romania’s administration has now become) to the empty, collection-less Museum of Contemporary Art : BB4 gets better box office.<br /> <br /> The story starts in the chrome-gold kitsch of the Intercontinental Hotel (Dallas capitalism in the Eastern bloc) where on gilded salon chairs – how wonderfully inappropriate – a motley mix of mainly English speaking (though mostly second or third language) artists and reporters gathered (“….I’m doing a project in Barcelona”/ “ I was in Turkey but its so cheap to get here”/ “Never knew there were so many artists in Bucharest”…..you can guess the rest) In an accidental preview of Nicoline van Harskamp’s (Holland) scripted performance piece playing around with ideas of expression and language in Romanian and the role of English as a lingua franca. Some lucky folk got an English transcript .<br /> <br /> We were in these high kitsch surroundings for the opening of BB4 - Handlung : the German word is delightfully ambiguous as guest curator Felix Vogel (a 23 year old art theorist – yes TWENTY THREE) points out – it can mean action, agency, possibility, production…..so no clue as to what we might get there then. Except the political edge of BB4 has kept it deliberately out of ‘art- spaces’ – hence my perambulations, and the biennale sees itself as a challenge to the city’s social, economic and political agenda. Radovan Ion and Eugen Radescu who run not only the Biennale but also the gallery space and publication Pavillion get no state or municipal funding and run with sponsorship (Unicredit Bank and Pilsner Urquel principally) and a page long list of volunteers.<br /> Venice this isn’t – and Radovan doesn’t want it to become such an art circus either – the agenda here is overtly to change the political climate to a more (dare I say it?) socialist one. But then some of the demonstrators held placards for Ceacescu and the Communist years are called the ‘epoca de aur’- the golden age.<br /> <br /> My tour started at the most hidden venue – lured by the name Paradis Garaj and that it was closest to the Intercontinental, I set off up Batistei Stada, past the Romanian Passport Office – no photographs - and the High Court, scattered between them empty sites, run down villas, sandwich shops and Bucharest’s chaos of wires and parking. Nr. 20 it turns out is hidden behind trails of ivy to the ground and some impromptu car repairs. In a tiny space (more domestic than car dealer) London’s Otolith Group were screening their enigmatic and haunting dreams of the present as seen from the past – women’s space flight, Chandigarh, and an unmade science fiction film woven out of home movie footage and<br /> news-reel clips. A suitably mysterious start, turning the secret garage courtyard into a gateway to an alternative dreamlike present.<br /> <br /> Along Boulevard G. Magheru, round Piata Romana and up Blvd. L. Catargui to the wilderness of Piata Victoriei ( you soon learn in Bucharest to keep to the safe crossing signs. And look both ways, twice) to BB4’s headquarters – the ground floor of a modern office block in sub-postmodern concrete, left unfinished and now lined with the ubiquitous art gallery white walls. Outside an old peasant lady sells wilting flowers. Inside the highlights are two extremes of conceptual art. To the left, Goldin+Senneby (Sweden) have taken Art and Language’s ‘Air Conditioning Show’ (1972) to extremes and politicised it with a commentary on the relation between air conditioning and the complex calculations of international financial speculation – but all you see is an empty white room, welcomingly cool with a quiet, factual commentary. To the right Sabrina Gschwandtner (USA) sits KNITTING. Her ‘Wartime Knitting Circle’ is a gentle recreation of the knitting groups set up to help ‘our boys’ in WWI and II in the context of the on-going conflicts in Iraq and Afghanistan. But she does not prescribe whose side the knitters are on. And you can talk to her while she knits.<br /> <br /> Down the side streets where glossy unfinished office and hotel centres mix with the villas of the old elite and academies to the Institute for Political Research where outside seminar rooms and lecture theatres of Bucharest University’s political nexus BB4 has installed a series of explorations of Romania’s past – which may be uncomfortable for the political guru’s thinking up its future.<br /> The neo- classical hall, dark marble columns around an double height atrium echoes to the haunting dinosaur booms of Kalle Brolin’s (Sweden) video ‘Gorgeousaurus- founding myth’ where children in one of Romania’s forgotten industrial areas make huge wind instruments and then play them in an abandoned coal-mine intercut with footage of political meetings. Upstairs a real welcome surprise – large, realistic paintings! Like much in Romania these days there is a tinge of irony and nostalgia in Ştefan Constantinescu’s (Romania) ‘ Infinite Blue’ series, but since he worked as mural painter in the Romanian Communist Army such perspectives are from life not theory and his ostensible artistic purpose to investigate the techniques of such painting. Alongside them his ‘Children’s Pop-up guide to the Golden Age’ – a beautifully crafted and manufactured history complete with moveable churches and dress up dolls – establishes that this is not just a momentary twinge of pain – this recent past still haunts the Romanian consciousness.<br /> <br /> <br /> Finally back to the Centre for Visual Introspection, a shop space in the central area alongside a ‘proper’ art gallery – frames and bright abstracts and prices, its title questioning what was going on here. Again it was the Romanian work that had the most strength – in this case Mona Vătămanu and Florin Tudor (Romania) whose mis-reading and recreation of the (1926 Russian) revolutionary banner ‚Long live and thrive Communism Capitalism’ brings into question many of the changes current all around the city. This becomes more apparent when after the curator’s question and answer session which itself broke down almost at once when one of the French artists, from the five star luxury of the Intercontinental tried to turn his demand for extra subisidy for his bar bill into an artistic manifesto. He should be so lucky; I made do with a two star ‚suite’ in a one star hotel. But walking back in the dusk talking to a Romanian art student it became clear that there is a huge gap between the art at BB4 and the way fine art is taught in Romania; most of the work in the Biennale is as if from a different planet : making its Directors brave astronauts, sending back messages from distant abstract, political and conceptual galaxies.<br /> <br /> By Saturday afternoon I needed the parks and spaces that ring the north of the city centre. The National Geological Museum - in high 19th Century Romanesque style (neo-brâcovnenesque to be precise and local) with dusty hand painted dinausaurs and severe oil paintings of past presidents - hardly seemed a likely venue it is here that BB4’s interventionsit style starts to pay off.<br /> School parties being dragged round the sediments and strata want to play with Lan Tuzon’s (Phillipnes) ‚Riot City’ models and the secret election day photographs from 1975 (Ion Grigorescu , Romania) when Ceaşescu’s power was reaffirmed must have brought back memories to many. But the most powerful piece was a long scroll of text – and the oldest work in BB4 – Bucharest and its Utopia’ by Marcel Iancu(Romania, d. 1984)from 1935– a 50 year agenda for modernism that can be seen in the full scale fragments of the Communist city – make of that what you will – while in a back room Asa Sonjasdotter (Sweden) is growing peasant potatoes outlawed by EU ‚nornalisation’ that reaches to even the smallest smallholdings of rural Romania. The ‚Workarounds’ Lise Skou and Nis Romer and Palestine Academy of Art sketch and document from the scarred streets of Palestine are alomost the norm.<br /> <br /> The contrast on Sunday between the clean and trimmed rebuilt cottages, mills and farms of the popular and busy Village Museum on the edge of Lake Herăstrău where stalls were selling populist ‚folk art’ and the folk dance groups quickly change back into their street clothes for the coach back to Bacau and my last BB4 venue across the city on the wrong side of the Palatul Parlamentarului in the urban wilderness of Rahova/Uranus could not be greater.<br /> <br /> Piles of rubbish, huge lake size puddles, a half -built dual carriageway , scrapped cars and ubiquitous dog packs were my approach to LaBomba. But it was here in the dark and humid night club/community workshop/music venue that in a mix of French and my bad Romanian I discovered that there had been a mix up on the programme where I found a spiritual home. ‘Art’ here is action – improvised bands, reclaiming open spaces, collecting memories and building identity - and even a haute-couture fashion workshop for a community literally on the edge of the galaxy, in the shadow of the incomplete Romanian Academy where you can hear the reinforcing rods being pulled away for scrap across the street from the Italian designer furniture store. On Monday I went back for a jam session with an American trumpet player and local percussion players and I took two reams of paper as a thank you : ‘You understood what we are about’ organizer Irina Giadiuta told me. No white walls or high concept conceptualism here.<br /> <br /> <br /> <br /> <br /> <br /> So is BB4 a success? Will it survive the hard times that Romania faces? Its two sponsors were committed and prepared to stand up and be counted and its two organisers Răzvan Ion and Eugen Rădescuhave started and run Pavillion from scratch. As a visitor from the other edge of Europe and not really part of the ‘art world’ (an urban designer) it appealed enough to get me on a cheap flight, but whether it’s art as comment and surprise interruptions to the shopping frontages, museums and academies will work locally is more difficult to judge as Bucharest stumbles like a somnambulist into post capitalism. Will it grow bloated and fat and complacent – a Venice of the east? – or will the sprightly spirit of Dada (Romania’s gift to world culture) keep it alive just as it does Răzvan’s and Eugen’s hairstyles. I hope so.<br /> <br /> (1,893 words)<br /> <br /> BB4 – Handlung runs until July 25th at various venues in Bucharest – and with a series of ‘parallel events’ in Stockholm (3 June to 24 September) for details go to <a href="http://www.bucharestbiennale.org">www.bucharestbiennale.org</a><br /> <br /> Bob Jarvis teaches urban design at LSBU and is setting up the Anglo-Romanian Urbanism Network anglo.romanian.urbanism.network@gmail.co Practicing Landscape tag:artandarchitecture.co.uk,2010-06-02:2998029:BlogPost:18165 2010-06-02T02:11:14.000Z Beatrice Jarvis http://artandarchitecture.co.uk/profile/BeatriceJarvis <p class="MsoNormal"></p> <p style="text-align: left;"><span style="font-family: 'Trebuchet MS';"><img src="http://api.ning.com/files/tEcrm6GdO-okEOtuxf6bwOQXHRqCQcuRzZt1JoKLomBf5lfJQOLGswkC-E3J-xlpc1lSamB3Fh9*LRszGu0ltSJ3AEr24cR4/IMG_2772.JPG?width=721" alt=""/></span></p> <p></p> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;"><br/></span></span></p> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';">…</span></p> <p class="MsoNormal"></p> <p style="text-align: left;"><span style="font-family: 'Trebuchet MS';"><img src="http://api.ning.com/files/tEcrm6GdO-okEOtuxf6bwOQXHRqCQcuRzZt1JoKLomBf5lfJQOLGswkC-E3J-xlpc1lSamB3Fh9*LRszGu0ltSJ3AEr24cR4/IMG_2772.JPG?width=721" alt=""/></span></p> <p></p> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;"><br/></span></span></p> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;">The body is used by the performer as tool to highlight and explore the landscape; curating the form and emotion of the land through the diversity of the body. I am currently developing a performance which explores notions and contexts the body become a mirror and a<br /> reflection of the landscape of the environment to espouse notions of the<br /> emotional and psychological impact of landscape of the body both internal and<br /> external. This performance seeks to cultivate the conditions for the audience<br /> to encounter</span></span> <span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;">a form of<br /> experience that defies classification or explanation of human behavioural form;<br /> an encounter with a new mode of perception that allows a lightness and new<br /> sensibility to the existence of the body in space and time.</span></span></p> <br /> <p class="MsoNormal"></p> <br /> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;">This performance strives to materialise a landscape through performance of between the body and landscape exploring how far the body can embody emotional sentiment through non<br /> linear counter intuitive dialogue; developing, through visualisation, a space<br /> that allows for any potential; with no boundary or limitation</span></span></p> <br /> <p class="MsoNormal"></p> <br /> <p class="MsoNormal"><i><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;">To consider active perception as a means to fully engage with the nature of space; with no expectation yet a moment of gratitude for the science of being. The role of the viewer to construct a frame<br /> work in which to construct a logic or non logic for an occurring action or non<br /> action.</span></span></i></p> <p class="MsoNormal"><i><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;"><br/></span></span></i></p> <p class="MsoNormal"><span style="font-family: 'Trebuchet MS';"><span class="Apple-style-span" style="font-size: medium;">For initial performance research Please see</span></span> <a href="http://beatricejarvis.wordpress.com/2010/06/02/practicing-space/"><span class="Apple-style-span" style="font-size: medium;">http://beatricejarvis.wordpress.com/2010/06/02/practicing-space/</span></a> <span class="Apple-style-span" style="font-size: medium;">for more information about this project</span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br/></span></p> <p class="MsoNormal"></p> <p style="text-align: left;"><span class="Apple-style-span" style="font-size: medium;"><img src="http://api.ning.com/files/N1xkBm60P--4pJo2E6lS2nm1d7sX9ydcI4pQxyGX-zvfZiuhdwNTvpDAPRUrjc20xsmreAp59USrLacYtA-PK0Bn1hQjv32S/IMG_2652.JPG?width=721" alt=""/></span></p> <p></p> BUCHAREST’S SLUM KIDS HIT THE CATWALK……………………..DOES MODA MAHALA BUCURESTILOR MEAN ANYTHING TO YOU ?… tag:artandarchitecture.co.uk,2010-06-01:2998029:BlogPost:18143 2010-06-01T19:21:11.000Z Dr Bob Jarvis http://artandarchitecture.co.uk/profile/DrBobJarvis <p style="TEXT-ALIGN: center"><img alt="" src="http://api.ning.com/files/T2X0pBUjXbUMt1OfiNLfa1DU5ulD8dON-K69yBlaoAqKO-4jHtdhWym7vU51vT7WaWPOTnjTfp-Ch4yU98ZDThTSigxf2nin/labombafinalversion.wps?width=300"/></p> BUCHAREST’S SLUM KIDS HIT THE CATWALK……………………..<br/>DOES MODA MAHALA BUCURESTILOR MEAN ANYTHING TO YOU ? <br/>It soon will … in the run down inner city streets of Bucharest there is a new beat – you dance to the bands (Mahala rai banda, Tarif de hanouks)- now they have their own high… <p style="TEXT-ALIGN: center"><img alt="" src="http://api.ning.com/files/T2X0pBUjXbUMt1OfiNLfa1DU5ulD8dON-K69yBlaoAqKO-4jHtdhWym7vU51vT7WaWPOTnjTfp-Ch4yU98ZDThTSigxf2nin/labombafinalversion.wps?width=300"/></p> BUCHAREST’S SLUM KIDS HIT THE CATWALK……………………..<br/>DOES MODA MAHALA BUCURESTILOR MEAN ANYTHING TO YOU ? <br/>It soon will … in the run down inner city streets of Bucharest there is a new beat – you dance to the bands (Mahala rai banda, Tarif de hanouks)- now they have their own high style designer studio.LaBOMBA studios – a project located between the gaps and ruins of old villas that Ceacescu was due to clear and Bucharest’s flower market, in streets filled with rubbish and pot-holes – have teamed up with Hungarian avant-garde fashion designer Rozalb de Mura to work with local teenagers to create a new collection made from recycled, re-cut, remade discards which they will model themselves.<br/><br/>Rozalb de Mura is an up-market fashion label created in Romania. Launched at the beginning of 2006, it has already drawn professionals and avant-garde fashionistas from Romania and abroad. Moreover, Rozalb de Mura label is developing as a multidisciplinary platform that commissions and supports unexpected collaborations between fashion designers, visual artists, musicians and writers, such as Tobias Stenberg, Olivia Plender, Constantin Luser, Liste Noire group, etc<br/>Information/interviews- Irina Gadiuta tel:+40721649746 , <br/>Website <a href="http://www.labombastudios.ro/en.html">http://www.labombastudios.ro/en.html</a><br/>UK contact – anglo-romanian-urbanism-network +447588206809 (Bob Jarvis)<br/><br/><br/><br/> RIBA Goldfinger Scholarship 2010 tag:artandarchitecture.co.uk,2010-05-17:2998029:BlogPost:17692 2010-05-17T09:42:47.000Z Alexandra Nelia http://artandarchitecture.co.uk/profile/AlexandraNelia <p class="MsoNormal"><b><font face="Cambria" size="4"><span style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; FONT-FAMILY: Cambria">The RIBA Goldfinger Scholarship 2010</span></font></b></p> <p class="MsoNormal"></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The Royal Institute of British Architects in the United Kingdom (RIBA) is calling for applications to the <b><span style="FONT-WEIGHT: bold">RIBA Goldfinger Scholarship</span></b>. In…</span></font></p> <p class="MsoNormal"><b><font face="Cambria" size="4"><span style="FONT-WEIGHT: bold; FONT-SIZE: 14pt; FONT-FAMILY: Cambria">The RIBA Goldfinger Scholarship 2010</span></font></b></p> <p class="MsoNormal"></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The Royal Institute of British Architects in the United Kingdom (RIBA) is calling for applications to the <b><span style="FONT-WEIGHT: bold">RIBA Goldfinger Scholarship</span></b>. In 2010 the Scholarship offers a grant of <b><span style="FONT-WEIGHT: bold">£14,000</span></b> to a Hungarian graduate to undertake postgraduate study or a period of professional experience in the UK. The Scholarship has been offered since 1999 and is enabled through a generous donation by the family of the late architect Ernö Goldfinger.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">Who can apply?</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The Scholarship is open to Hungarian nationals under the age of 35 who completed five years (or equivalent) degree level study in a recognised Hungarian institution.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">What can the Scholarship be used for?</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The Scholarship can be used to support a period of postgraduate study in the field of architecture, art and associated disciplines or a period of work experience in an architectural office. Both the postgraduate study and the work experience must last no longer than 12 months.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">How to apply for the Scholarship</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The deadline for submitting complete Scholarship application forms to the Royal Institute of British Architects (RIBA) is <b><span style="FONT-WEIGHT: bold">2 July 2010.</span></b> However, all applicants must hold an offer of admission to a UK University or an offer for a work experience placement already at the time of submitting their Scholarship application to the RIBA. Therefore, it is advised to search for course and/or work placement offers as soon as possible.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">How to find a University course</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">Scholarship applicants must hold an offer of admission from a UK University which offers courses validated by the RIBA. The attached Scholarship application from contains a comprehensive listing of such UK universities. The application form can also be downloaded from <a title="blocked::http://www.architecture.com/EducationAndCareers/PrizesScholarshipsandBursaries/RIBAGoldfingerScholarship/RIBAGoldfingerScholarship.aspx" href="http://www.architecture.com/EducationAndCareers/PrizesScholarshipsandBursaries/RIBAGoldfingerScholarship/RIBAGoldfingerScholarship.aspx"><font color="#800080">http://www.architecture.com/EducationAndCareers/PrizesScholarshipsandBursaries/RIBAGoldfingerScholarship/RIBAGoldfingerScholarship.aspx</font></a>. The easiest way to find postgraduate courses provided by the listed Universities is to go to the Universities’ respective web pages and locate the postgraduate course listings. Usually the Universities provide comprehensive information about the courses’ content, entry requirements, admission procedures and tuition fees on their websites. If further information about the courses is required, the Universities’ admissions teams can provide it.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">How to find an architectural practice</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">The RIBA is unable to assist Scholarship applicants in arranging work experience placements in the UK. However, the RIBA operates online directories of architectural practices which are available to the general public: <a title="blocked::http://www.architecture.com/UseAnArchitect/Directories.aspx" href="http://www.architecture.com/UseAnArchitect/Directories.aspx"><font color="#800080">http://www.architecture.com/UseAnArchitect/Directories.aspx</font></a>. Scholarship applicants might use these directories to find contact details to architectural practices based in the UK, which they would like to approach to enquire about professional placement opportunities. Applicants are not required to limit themselves to the RIBA directories and can use any other search tools they identify.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><i><u><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-STYLE: italic; FONT-FAMILY: Cambria">Further information</span></font></u></i></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">Any questions about the Scholarship application form, the application and selection process, RIBA course validation or architectural education in the UK can be directed to Alex Nelia at the Education Department of the RIBA at <a title="blocked::mailto:alex.nelia@inst.riba.org" href="mailto:alex.nelia@inst.riba.org">alex.nelia@inst.riba.org</a> or +44 (0)20 7307 3678.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">We are looking forward to receiving your applications.</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">Best</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"><font face="Cambria" size="3"><span style="FONT-SIZE: 12pt; FONT-FAMILY: Cambria">Alex Nelia</span></font></p> <p class="MsoNormal"></p> <p class="MsoNormal"></p> Cu Exhibition - Future Everything Festival Manchester 2010 tag:artandarchitecture.co.uk,2010-05-09:2998029:BlogPost:17679 2010-05-09T21:36:49.000Z Robin Tarbet http://artandarchitecture.co.uk/profile/Robin <div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(76, 76, 76); font-family: Arial, sans-serif; font-size: 12px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">I am showing a site specific live work with</span></span> …</span></div> </div> <div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(76, 76, 76); font-family: Arial, sans-serif; font-size: 12px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">I am showing a site specific live work with</span></span> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://www.futureeverything.org/festival2010/cu" style="color: rgb(76, 76, 76); text-decoration: none;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">Cu</span></a> <span class="Apple-style-span" style="color: rgb(68, 68, 68);">-</span></b></span> <b><a href="http://www.contentsmayvary.org/Cu.html" style="color: rgb(76, 76, 76); text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">CONTENTS MAY VARY</span></span></a></b> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">in a group exhibition in Manchester as part of</span></span> <b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.futureeverything.org/" style="color: rgb(76, 76, 76); text-decoration: none;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">FUTURE EVERYTHING FESTIVAL</span></a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">.</span></span> <span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">The exhibition venue is The Palace Hotel Basement Bar, Oxford Road, Manchester.</span></span></span></b></span></div> </div> <div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);"><br/></span></span></div> </div> <div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><div style="text-align: justify;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: rgb(68, 68, 68);">Preview: Thursday 13th May, 6-9pm, Show open: 13th - 21st May 2010, 10am-6pm daily.</span></span></span></b></div> <div style="text-align: justify;"><font class="Apple-style-span" color="#444444" face="Arial, Helvetica, sans-serif"><br/></font></div> <div style="text-align: justify;"><font class="Apple-style-span" color="#444444" face="Arial, Helvetica, sans-serif"><span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: small; line-height: 20px;">"Award-winning global festival of Art, Music &amp; Ideas. After 15 years, Futuresonic is now FutureEverything, taking place 12-15 May. Expect world premieres of astonishing artworks, an explosive citywide music programme, visionary thinkers from around the world, and awards for outstanding innovations."</span></font></div> </div> Kombinat tag:artandarchitecture.co.uk,2010-04-26:2998029:BlogPost:17508 2010-04-26T16:47:17.000Z Dr Bob Jarvis http://artandarchitecture.co.uk/profile/DrBobJarvis PIRANESI ON ACID<br /> Serban Bonciotat Kombinat – Industrial Ruins of the Golden Age<br /> Exhibition – Romanian Cultural Institute, 1 Belgrave Square, London SW1X – 8PH , until 21st May<br /> Book - Serban Bonciotat, with texts by Bruno Andresoiu, Augustin Ioan, Anca Nicoletta Otoiu, Liviu Cheleca and Gabriel Simon; Igloo Publishing Bucharest 2007, ISBN 978-973-88398-0-9( <a href="http://www.igloo.ro">www.igloo.ro</a> )<br /> <br /> In our mental maps of the ‘new’ Europe (‘new’ like we found it in the back of a cupboard… PIRANESI ON ACID<br /> Serban Bonciotat Kombinat – Industrial Ruins of the Golden Age<br /> Exhibition – Romanian Cultural Institute, 1 Belgrave Square, London SW1X – 8PH , until 21st May<br /> Book - Serban Bonciotat, with texts by Bruno Andresoiu, Augustin Ioan, Anca Nicoletta Otoiu, Liviu Cheleca and Gabriel Simon; Igloo Publishing Bucharest 2007, ISBN 978-973-88398-0-9( <a href="http://www.igloo.ro">www.igloo.ro</a> )<br /> <br /> In our mental maps of the ‘new’ Europe (‘new’ like we found it in the back of a cupboard with some old maps) Romania is rather a ‘Black Hole’ – a mystery for urbanists. A few urban images sneak out – painted wooden churches, ‘Dracula’ castles ( a fiction that keeps the tourist Euro flowing inwards), Ceaucescu’s demolitions and the excesses of the ‘People’s Palace’, the depressing blocuri communisti , a few restoration projects in Transylvania…..and that’s about it.<br /> Kombinat shows in luscious and seductive saturated hues across full page spreads and fold outs a Romania the industrial ruins of what Romanians call with a stinging cocktail of irony, nostalgia and bitter memory (think Hertha Muller) – and sometimes humour too as in Tales from…..the ‘Golden Age’, the ‘epocii de aur’<br /> The exhibition at the Romanian Cultural Institute (until 21st May) shows a Romania that is not well known in Romania even – the hectares of ruined industrial plants and factory assemblies (the combinat of the title) that were built to modernize and industrialise as part of a central and relentless plan by the Communist regime that was established after WW2. They produced steel, concrete, chemicals, fibres ( I even had a Next suit that was made in Romania) that few could afford there. Some of the very ones that are shown here in decay are shown in architectural black and white in full smokestack production – in the dark night – in celebrations of Romanian architecture of the 1960’s.<br /> Abandoned as uneconomic, useless without the fixed market and rigged prices that kept them running in crazy locations, they gradually crumble away – invaded by weeds and saplings, spilling who knows what, the home of wild dog packs and scrap seekers. Just like Rome in the 1700’s in fact, just in full colour rather than engraved line, Piranesi on acid.<br /> But how do we read these seductive, ambiguous images ? Are they an aesthetic paradise of mysterious forms and curious colours, carefully composed and empty of almost all human life and hard to scale, with their lakes of red slurry that could be seas on a distant planet, brickwork that could be the tombs of emperors? Are they nostalgic wonderment – what giants could have built these massive and wondrous things, in such obscure places, and what on earth for? Or are they relentless, f32 sharp, objective record of the damage done and left by unwarranted industry on the Romanian rural landscape, which until then was a land of peasant farms in the name of ‘progress’?<br /> The exhibition photographs give no clues – even the wood panelled gallery in the Romanian Embassy gives it a dada-esque air (but then Dada is one of Romanian’s gifts to the world). But the texts that accompany the Igloo book (a bargain too at about 20 euro) suggest a social purpose, almost a call to action, in the great tradition of the English writers of the 1930’s.<br /> But Kombinat dodges the issue a little as polemic – where are these sites (there is no map), how big are they (there are no plans) ; is this a full survey, are there others; what is the state of the structures, the land, the water; what is the cost of reclamation; and what uses are feasible (beyond a Tarkovsky theme park)? To have the answers is too much to expect for a 20 year old free market planning system in an impoverished economy. I recalled Thomas Sharp’s English Panorama of the 1930’s and the conditions on Tyneside when I first saw them in the 1960’s. It’s taken Dunston forty years and a Garden Festival to get to Red or Dead designed housing. I fear Hunedora and Copşa Mică and Călăraşi and the rest may take a little longer.<br /> But see this exhibition, buy the book. And weep for Romania.<br /> <br /> BOB JARVIS<br /> APRIL 2010. My Studio Blog tag:artandarchitecture.co.uk,2010-04-25:2998029:BlogPost:17463 2010-04-25T23:00:00.000Z Robin Tarbet http://artandarchitecture.co.uk/profile/Robin <a href="http://robintarbet.blogspot.com/">http://robintarbet.blogspot.com</a><div><br/></div> <div><span class="Apple-style-span" style="color: rgb(76, 76, 76); font-family: Arial, sans-serif; font-size: 12px; line-height: 19px;">Robin Tarbet is an artist living and working in London. This blog is an ongoing collection of his work and the things that inform it.</span></div> <a href="http://robintarbet.blogspot.com/">http://robintarbet.blogspot.com</a><div><br/></div> <div><span class="Apple-style-span" style="color: rgb(76, 76, 76); font-family: Arial, sans-serif; font-size: 12px; line-height: 19px;">Robin Tarbet is an artist living and working in London. This blog is an ongoing collection of his work and the things that inform it.</span></div> A blog for urban musings.. tag:artandarchitecture.co.uk,2010-04-19:2998029:BlogPost:17390 2010-04-19T23:36:01.000Z Beatrice Jarvis http://artandarchitecture.co.uk/profile/BeatriceJarvis <span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;"><a href="http://beatricejarvis.wordpress.com/">http://beatricejarvis.wordpress.com/</a></span><div><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;"><br/></span></div> <div><p style="text-align: left;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;">…</span></p> </div> <span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;"><a href="http://beatricejarvis.wordpress.com/">http://beatricejarvis.wordpress.com/</a></span><div><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;"><br/></span></div> <div><p style="text-align: left;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: arial; font-size: small;"><img src="http://api.ning.com/files/shiwgbd3OSLpvV*0CyCk9x660c6mOdg46nOLAQnPc57DRrc3nlKBSZAS1nsg0PW5cpylQcfuCxigxAOaGq2WYVt993Or-oC0/_17_0183.jpg?width=721" alt=""/></span></p> </div> London Festival of Architecture 2010: Ready for the Olympics? tag:artandarchitecture.co.uk,2010-04-11:2998029:BlogPost:16858 2010-04-11T14:30:00.000Z A&A Chairman http://artandarchitecture.co.uk/profile/Alan The 2008 festival drew crowds of over 250,000 people, to over 800 events staged across London’s boroughs in a four-week period.<br/><br/>London’s architectural community is being asked to come up with ideas for next year’s London Festival of Architecture, running between June 19 and July 4 under the theme <span style="font-style: italic;">The Welcoming City</span> in anticipation of the 2012 Olympics. Founding director of the festival Peter Murray, said: “We are incredibly excited about this… The 2008 festival drew crowds of over 250,000 people, to over 800 events staged across London’s boroughs in a four-week period.<br/><br/>London’s architectural community is being asked to come up with ideas for next year’s London Festival of Architecture, running between June 19 and July 4 under the theme <span style="font-style: italic;">The Welcoming City</span> in anticipation of the 2012 Olympics. Founding director of the festival Peter Murray, said: “We are incredibly excited about this next London Festival of Architecture. London is unique, and we want to help celebrate this with as many events that involve the communities of London as possible.”<br/><br/>By creating a personal and organisational profile on <a href="http://www.lfa2010.org">www.lfa2010.org</a> you can register events, follow others’ events and receive the latest news. Mobile Space 2010 proposals submission extended until the 1st of April 2010 tag:artandarchitecture.co.uk,2010-04-11:2998029:BlogPost:16856 2010-04-11T14:30:00.000Z A&A Chairman http://artandarchitecture.co.uk/profile/Alan Art at the Centre is commissioning a £26K &lt;a href="http://www2.swale.gov.uk/aatc/Mobile%20Space.htm"&gt;&lt;b&gt;Mobile Art Space&lt;/b&gt;&lt;/a&gt; that will travel to key regeneration sites in Queenborough &amp;amp; Rushenden, in the South East of England. The new project will investigate opportunities for artists’ workspaces/studios to develop the creative community on the Isle of Sheppey, and will deliver an exciting programme of public art and related events. Art at the Centre is commissioning a £26K &lt;a href="http://www2.swale.gov.uk/aatc/Mobile%20Space.htm"&gt;&lt;b&gt;Mobile Art Space&lt;/b&gt;&lt;/a&gt; that will travel to key regeneration sites in Queenborough &amp;amp; Rushenden, in the South East of England. The new project will investigate opportunities for artists’ workspaces/studios to develop the creative community on the Isle of Sheppey, and will deliver an exciting programme of public art and related events. Neil Gall at David Nolan gallery, New York painted architecture tag:artandarchitecture.co.uk,2010-03-25:2998029:BlogPost:16493 2010-03-25T12:04:30.000Z cmc http://artandarchitecture.co.uk/profile/cmc Until 1st of May In New York, at David Nolan gallery, the scottish artist Neil Gall that is living and working in London is being exhibited.<br/>The exhibition is called "The great constructor" and it is about some oil and graffito works of strange and evocative architectures. I found it interesting about how the artist talk about construction through a planar representation. I also think that the kind of constructions he represent are unexpected and very powerful.<br/><br/>… Until 1st of May In New York, at David Nolan gallery, the scottish artist Neil Gall that is living and working in London is being exhibited.<br/>The exhibition is called "The great constructor" and it is about some oil and graffito works of strange and evocative architectures. I found it interesting about how the artist talk about construction through a planar representation. I also think that the kind of constructions he represent are unexpected and very powerful.<br/><br/><p style="text-align: left;"><img style="width: 436px; height: 512px;" src="http://api.ning.com/files/gbKWvQBjGO2YvU5KhDF6CQMLJsYAAIlPF8a7AZA9hQN*fd9wb64jaHoqKg-rMdG7p55nZh2MlKrL3BLxsLbXhFT9JC1*eK-p/6e893926.jpg" alt=""/></p> <p style="text-align: left;"><br/></p> <p style="text-align: left;"><img style="width: 437px; height: 451px;" src="http://api.ning.com/files/-sx7xLpExqZVSA7eUkgRDWllsyLHtYiHm4RhQSGWuvbUDd*eZ44lw0M3oqsIFZqmiKWsNYitFgIzDtaqYOJ8TBKfmp9-gytH/112589fe.jpg" alt=""/></p> <p style="text-align: left;"><br/></p> <p style="text-align: left;"><img style="width: 437px; height: 486px;" src="http://api.ning.com/files/buM*A9YIepmVyeE42KxId7OToiGFVk83vp7YkJQPq8l49zpzVjhEqrDYx*r*AibpkAYx5vqysF6BG4llYkwEFg8exK4Cw0ei/31221da2.jpg" alt=""/></p> <p style="text-align: left;"><br/></p> <p style="text-align: left;">All images are from the David Nolla gallery <a href="http://www.davidnolangallery.com">web page</a>.</p> <p style="text-align: left;"><br/></p> <br/> The French best-guarded secret tag:artandarchitecture.co.uk,2010-02-15:2998029:BlogPost:15892 2010-02-15T19:00:00.000Z Thierry BIDET http://artandarchitecture.co.uk/profile/ThierryBIDET <p style="text-align: left;"><img src="http://www.yale.edu/terc/democracy/may1text/images/Chauvet%20panorama.jpg"/></p> <p style="margin-bottom: 0cm;"><font size="2">Photograph via Yale.edu</font></p> <br/><p style="margin-bottom: 0cm;"><font size="2">Discovered in 1994, this cave is one of the best protected archeological site in the world. The rare visitors allowed must follow a strict protocol and wear shoes and suits which haven't been in contact with the outside, in order to limit…</font></p> <p style="text-align: left;"><img src="http://www.yale.edu/terc/democracy/may1text/images/Chauvet%20panorama.jpg"/></p> <p style="margin-bottom: 0cm;"><font size="2">Photograph via Yale.edu</font></p> <br/><p style="margin-bottom: 0cm;"><font size="2">Discovered in 1994, this cave is one of the best protected archeological site in the world. The rare visitors allowed must follow a strict protocol and wear shoes and suits which haven't been in contact with the outside, in order to limit bacterial exchanges.</font></p> <p style="margin-bottom: 0cm;"><br/></p> <font class="espace-txt" size="2">The paintings were made at the very ancient date of approximately 31,000 years ago.</font> <font><font class="espace-txt" size="2">The study of the Chauvet-Pont-d'Arc cave is only in its beginning stages.</font></font> <font class="espace-txt" size="2">The techniques utilized to represent the animals foreshadow animation cinema, with</font> <font class="espace-txt" size="2">dynamic and forceful compositions.</font><p style="margin-bottom: 0cm;"><br/></p> <p style="margin-bottom: 0cm;"><a href="http://www.culture.gouv.fr/culture/arcnat/chauvet/en/index.html"><font size="2">Virtual visit of the cave of Chauvet</font></a></p> <p style="margin-bottom: 0cm;"><br/></p> <p style="margin-bottom: 0cm;"><br/></p> <p style="text-align: left;"><img src="http://www.culture.gouv.fr/culture/arcnat/chauvet/img/brunel03a.jpg"/></p> Photograph via <a href="http://www.culture.gouv.fr">www.culture.gouv.fr</a> <span style="font-style: italic;">- Alcove of yellow horses</span><p style="text-align: left;"><img src="http://www.culture.gouv.fr/culture/arcnat/chauvet/img/brunel05.jpg"/></p> <br style="font-style: italic;"/><br/> . Merging Journeys tag:artandarchitecture.co.uk,2010-01-08:2998029:BlogPost:15504 2010-01-08T13:00:00.000Z Anne Beatrice Baker http://artandarchitecture.co.uk/profile/AnneBeatriceBaker I am curious about Art &amp; Architecture, as a website/organization, and as a collaborative model for the developing professional world. For those members of A&amp;A, I would love to hear about your journeys in both fields, and how you find yourselves to integrate the two in your work.<br/><br/> I am curious about Art &amp; Architecture, as a website/organization, and as a collaborative model for the developing professional world. For those members of A&amp;A, I would love to hear about your journeys in both fields, and how you find yourselves to integrate the two in your work.<br/><br/> How to choose the right logo design for your business tag:artandarchitecture.co.uk,2009-12-30:2998029:BlogPost:15361 2009-12-30T10:59:16.000Z albert http://artandarchitecture.co.uk/profile/albert How to choose the right logo design for your business<br /> <br /> Every company has its own "persona", which is too complex to understand. Every successful logo simplifies by making that complex actuality into a single and uncomplicated statement that can be easily controlled and modified as the time passes.<br /> <br /> It is that simple! From the name of your company to your existing competitors, your <a href="http://www.logo-genie.com" target="_blank">logo design</a> can be the only means to your company's success… How to choose the right logo design for your business<br /> <br /> Every company has its own "persona", which is too complex to understand. Every successful logo simplifies by making that complex actuality into a single and uncomplicated statement that can be easily controlled and modified as the time passes.<br /> <br /> It is that simple! From the name of your company to your existing competitors, your <a href="http://www.logo-genie.com" target="_blank">logo design</a> can be the only means to your company's success or failure. There can be a difference between company names and the products being offering, but these differences are subtle. What is the main factor for your company's success? It is the power and appeal of your logo design that makes your company stand out.<br /> <br /> To choose a Logo Design for your business, you must complete the following steps:<br /> <br /> Exact name you would like to use in your logo design along with any other acceptable abbreviations/words.<br /> Company's mission statement, slogan, or motto to be included in the design.<br /> Demographic or projected audience that your business will be targeting.<br /> Check out your competitors and what makes you different from them. Doing so will help right designers conceptualize your logo design by in terms of quality, value, and reliability you would like to express.<br /> What feel or style would you like to convey with your logo. In terms of color you like, color your dislike, logos you have seen that you like and dislike, etc.<br /> <br /> If your logo design isn't fulfilling these requirements, then you might need to update it accordingly or seek professional advice from right <a href="http://www.logo-genie.com" target="_blank">graphic design</a> firm offering <a href="http://www.logo-genie.com" target="_blank">logo design services</a>.<br /> <br /> If you need more information about how to choose the right Logo Design for your business, feel free to contact us any time. Toll free: 1- 888- 999- 1874 the right & best logo design for your business tag:artandarchitecture.co.uk,2009-12-24:2998029:BlogPost:15216 2009-12-24T17:56:56.000Z albert http://artandarchitecture.co.uk/profile/albert In order to get a high quality business logo design you first need to find the creative <a href="http://www.mylogoz.com" target="_blank">logo design</a> company. However choosing a logo design company that can deliver a professional logo for your business is very tricky so one should be extremely cautious. After carefully choosing a design company next step is to put your requirement and also brief the designers about your product or service for which you require a logo and ask them to show a… In order to get a high quality business logo design you first need to find the creative <a href="http://www.mylogoz.com" target="_blank">logo design</a> company. However choosing a logo design company that can deliver a professional logo for your business is very tricky so one should be extremely cautious. After carefully choosing a design company next step is to put your requirement and also brief the designers about your product or service for which you require a logo and ask them to show a few concepts for your idea. <br /> <br /> The professional logo design services are valuable for every small business company. Imagine how helpless your company would be without these tools: computer, knowledge, assistant, or telephone. If you are unable to work without these tools, your company’s success might be in danger. And same as it’s also true, that any company functioning is not completed without its logo design.<br /> <br /> Do you want a business with a unprofessional company? Neither would your clients. We offer cheap logo design services at affordable prices. A professional logo design can give a five-person service firm an air of professionalism that is equal to that of a thousand-person company and when you are competing in a global market, a logo design and <a href="http://www.mylogoz.com" target="_blank">cheap logo design</a> is essential. With a professional logo design, you can build a brand and go beyond simple advertising. You can use viral marketing with related products that promote your brand as a lifestyle so that is why professional logo design is very useful for business companies. You can even go for <a href="http://www.mylogoz.com" target="_blank">online logo design</a> if you don’t want to invest for now but later you can edit your logo any time. The 7 Giants of the Urals - Virtual Tour tag:artandarchitecture.co.uk,2009-11-20:2998029:BlogPost:14326 2009-11-20T22:00:00.000Z Thierry BIDET http://artandarchitecture.co.uk/profile/ThierryBIDET <font color="brown" size="4"><b>Мань-Пупу-Нёр</b></font><br /> <br /> <p style="text-align:left"><img src="http://4.media.tumblr.com/tumblr_ksk444dHFc1qzfoxxo1_400.jpg"/></p> <font size="1">via <a href="http://ontheborderland.tumblr.com/post/232276414/seven-rock-formations-called-man-pupu-nyor-little" target="_blank">OnTheBorderland.tumblr.com</a></font><br /> <br /> Seven rock formations called Man-Pupu-Nyor (meaning “little mountain of the gods” in Mansi language) stand in the Komi Republic, a part of the Ural… <font color="brown" size="4"><b>Мань-Пупу-Нёр</b></font><br /> <br /> <p style="text-align:left"><img src="http://4.media.tumblr.com/tumblr_ksk444dHFc1qzfoxxo1_400.jpg"/></p> <font size="1">via <a href="http://ontheborderland.tumblr.com/post/232276414/seven-rock-formations-called-man-pupu-nyor-little" target="_blank">OnTheBorderland.tumblr.com</a></font><br /> <br /> Seven rock formations called Man-Pupu-Nyor (meaning “little mountain of the gods” in Mansi language) stand in the Komi Republic, a part of the Ural Mountain area of Russia. They range from 30 to 42 meters tall. The pillars formed when erosion washed away the mountain that once surrounded them over a period of 200 million years.<br /> <br /> Ancestrally, access to this place had been reserved to shamans of the mansi people. According to the legend, a shaman had cast a spell on six evil giants who were trying to cross the mountain range, converting them to stone, but with the bad fortune of also falling victim to the spell, in this way explaining the distribution of the pillars (six grouped together and one apart) !<br /> <br /> Mansi are an endangered indigenous population in Khantia-Mansia, representing only 1% of the total population in this region where the majority of the oil produced in Russia comes from, and also exploited for its natural gas.<br /> <br /> <br /> <font color="brown">Virtual Tour &gt;</font><br /> <br /> <object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,28,0" id="_360_krpano_id_966009" name="_360_krpano_name_966009" width="425" height="315"><param name="movie" value="http://www.360cities.net/javascripts/krpano/krpano.swf"></param><param name="quality" value="autohigh"></param><param name="allowScriptAccess" value="never"></param><param name="flashvars" value="pano=http://www.360cities.net/krpano/external_embed/trusov-manpupunyor1.xml&amp;epd=http://www.360cities.net/data/embed/plugin_data/trusov-manpupunyor1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.360cities.net/javascripts/krpano/krpano.swf" pluginspage="http://www.macromedia.com/go/getflashplayer" width="425" height="315" allowscriptaccess="never" quality="autohigh" flashvars="pano=http://www.360cities.net/krpano/external_embed/trusov-manpupunyor1.xml&amp;epd=http://www.360cities.net/data/embed/plugin_data/trusov-manpupunyor1"></embed></object> <br/><a title="panorama photos of Manpupunyor Plateau. Sunrise. on 360cities.net" href="http://www.360cities.net/image/trusov-manpupunyor1">Manpupunyor Plateau. Sunrise.</a> in <a href="http://www.360cities.net/area/russia" title="panoramic images from Russia">Russia</a> Dimitris Papaioannou - In the Stage Tower tag:artandarchitecture.co.uk,2009-10-30:2998029:BlogPost:14035 2009-10-30T18:00:00.000Z Thierry BIDET http://artandarchitecture.co.uk/profile/ThierryBIDET .<br /> From 14 October to 6 December 2009 in Athens<br /> <br /> 5 years ago Dimitris Papaioannou’s creative direction of the Athens 2004 Opening Ceremony was hailed a “triumph” by The Times of London. <b>His latest work, Dyo (2006), enjoyed an unprecedented run in the Greek capital, with over 100,000 tickets sold !</b><br /> This new production, <i>Nowhere</i> explores the physical space of the stage itself : a spatial mechanism in a state of constant change. The theatre has just been transformed, including a new… .<br /> From 14 October to 6 December 2009 in Athens<br /> <br /> 5 years ago Dimitris Papaioannou’s creative direction of the Athens 2004 Opening Ceremony was hailed a “triumph” by The Times of London. <b>His latest work, Dyo (2006), enjoyed an unprecedented run in the Greek capital, with over 100,000 tickets sold !</b><br /> This new production, <i>Nowhere</i> explores the physical space of the stage itself : a spatial mechanism in a state of constant change. The theatre has just been transformed, including a new cutting-edge stage tower, from that comes the idea to use the stage tower "bare".<br /> <br /> Tickets cost only £10. The 30 minutes show is presented twice a night. There are 26 performers.<br /> <br /> <a href="http://www.n-t.gr/">http://www.n-t.gr/</a><br /> <br /> <a href="http://www.dimitrispapaioannou.com/">http://www.dimitrispapaioannou.com/</a><br /> <br /> _______________________________________<br /> <br /> Born in Athens, Greece in 1964, Dimitris Papaioannou first attracted attention at the age of 19 as a painter and gay-comics illustrator. While still a student at the School of Fine Arts he exploded the boundaries between theatre, dance and the visual arts, working not only as a choreographer and a dancer, but also in the areas of costume, lighting, make-up and set design.<br /> <br /> He co-founded Edafos Dance Theatre in 1986. Edafos radically reshaped the Greek performing arts landscape over its 16 years and 17 works. The New York Times praised one of the pieces for its “striking intensity” and “extraordinary passion.”<br /> <br /> ________________________________________<br /> <br /> <font size="5">Δημήτρης Παπαϊωάννου</font><br /> <br /> <br /> <b>Mε την σύλληψη και σκηνοθεσία της Τελετής Έναρξης των Ολυμπιακών Αγώνων της Αθήνας το 2004 («θρίαμβος» σύμφωνα με το περιοδικό Time και τους Times του Λονδίνου), ο Δημήτρης Παπαϊωάννου ανέτρεψε τα δεδομένα στα θεάματα μεγάλης κλίμακας, θέτοντας κατά γενική ομολογία τον πήχη ψηλά.<br /> <br /> Γεννημένος στην Αθήνα το 1964, ο Δημήτρης Παπαϊωάννου έγινε αρχικά γνωστός στα 19 του χρόνια με τα comics και την ζωγραφική του. Φοιτητής ακόμη στην Ανωτάτη Σχολή Καλών Τεχνών, τάραξε τα νερά του σύγχρονου ελληνικού χορού εξερευνώντας τα όρια ανάμεσα στο θέατρο, τον χορό και τα εικαστικά ως χορογράφος και χορευτής, αλλά και σχεδιάζοντας σκηνικά, κοστούμια, φωτισμούς και μακιγιάζ.<br /> Tο 2005, ο Πρόεδρος της Ελληνικής Δημοκρατίας απένημε στον Δημήτρη Παπαϊωάννου τον Χρυσό Σταυρό του Τάγματος της Τιμής τιμώντας τον για εξαιρετικό καλλιτεχνικό επίτευγμα.</b><br /> <br /> <object width="640" height="505"><param name="movie" value="http://www.youtube-nocookie.com/v/mz-k8LwBFMM&amp;hl=en&amp;fs=1&amp;rel=0&amp;color1=0x3a3a3a&amp;color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="never"></param><embed src="http://www.youtube-nocookie.com/v/mz-k8LwBFMM&amp;hl=en&amp;fs=1&amp;rel=0&amp;color1=0x3a3a3a&amp;color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="never" width="640" height="505"></embed></object> <br /> <br /> <br /> An extract from Dimitris Papaioannou's penultimate production, <i>Dyo</i> meaning "2" in Greek :<br /> <br /> <object width="320" height="265"><param name="movie" value="http://www.youtube-nocookie.com/v/r4_eUSm0S54&amp;hl=en&amp;fs=1&amp;rel=0&amp;color1=0x3a3a3a&amp;color2=0x999999"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="never"></param><embed src="http://www.youtube-nocookie.com/v/r4_eUSm0S54&amp;hl=en&amp;fs=1&amp;rel=0&amp;color1=0x3a3a3a&amp;color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="never" width="320" height="265"></embed></object> <br /> . Civic Aesthetics Unleashed - Discussion at Siobhan Davies Studios - London Southwark tag:artandarchitecture.co.uk,2009-10-26:2998029:BlogPost:13766 2009-10-26T01:30:00.000Z Thierry BIDET http://artandarchitecture.co.uk/profile/ThierryBIDET Flore Nové-Josserand has piloted a discussion titled <i>"Civic Aesthetics Unleashed"</i> between choreographer Susanne Thomas, art consultant Vivien Lovell, and visual artist Lothar Götz, about their experience of introducing art into public spaces.<br /> <br /> I had to book by telephone, and I was agreeably surprised, it felt as if the receptionist was "part of the family". It was my first visit at <a href="http://www.siobhandavies.com/" target="_blank">Siobhan Davies Studios</a>. The building grown out… Flore Nové-Josserand has piloted a discussion titled <i>"Civic Aesthetics Unleashed"</i> between choreographer Susanne Thomas, art consultant Vivien Lovell, and visual artist Lothar Götz, about their experience of introducing art into public spaces.<br /> <br /> I had to book by telephone, and I was agreeably surprised, it felt as if the receptionist was "part of the family". It was my first visit at <a href="http://www.siobhandavies.com/" target="_blank">Siobhan Davies Studios</a>. The building grown out of a collaboration between choreographer Siobhan Davies and architect <a href="http://www.swarch.co.uk/">Sarah Wigglesworth</a> that has lasted ten years, with extensive consultations with Southwark planning department, English Heritage, local residents, the school and its governors. The dance studio on the roof is both a serene, reassuring and stimulating space, well isolated from urban noise and allowing to focus on work, but at the same time the all building including the dance studio feels well connected to London, its culture and lifestyle. Read more about the building refurbishment and the construction details <a href="http://www.swarch.co.uk/PROJECTS/type2/Project1/sddc2.pdf" target="_blank">here</a>.<br /> <br /> We had to take our shoes off outside the dance studio, and a person sat on my right started stretching. It was organised as a discussion from the beginning to the end. It was quite interactive, but it would have been cool to show some videos and photographs of the art works they were taking as examples, at the same time.<br /> <br /> Vivien Lovell, founder of <a href="http://www.modusoperandi-art.com" target="_blank">Modus Operandi</a> and a member of the Royal Academy Forum for Architecture and Art, was a particularly articulated speaker to answer questions. I first thought she was the choreographer because of her way to stand, but no, I was wrong. She explained their best critics come from the architectural profession, as public art can be very difficult to apprehend for art critics, it is often more complex and there are more parameters and risk taking than in a controlled environment such as a theatre or an art gallery.<br /> "There are two categories of artists, the ones who embrace all those parameters and the context, and the ones who don't".<br /> There are a lot of risk assessments to do. She is also amused by what is acceptable behaviour or not in the public space. As her work is financed by clients she has no time for education, but explained she was actually doing a great deal for education.<br /> <br /> <p style="text-align:center"><a href="http://www.youtube.com/watch?v=vqQk0PXKreY" target="_blank"><img src="http://api.ning.com/files/TK1GnTXy-MGt5Gz6QgsMKfOLoGKi9fvB2Q7DPTIavurUGTAQNZaQWX7oz6KweJCYFvVcSol3YDMIamSD7VBfyfmKrMOJYPzg/Trainstation7.JPG"/></a></p> <br /> Choreographer Susanne Thomas, from <a href="http://www.sevensistersgroup.com/news/" target="_blank">Seven Sisters Group</a>, gave me the impression to be a strong, well earthed and positive woman. I do believe she is brilliant to communicate with communities and councils, and sort out difficult issues to make things happen. She said curators can rarely equal her to do this job, because she is the one who believes the most in the project. One of her best achievement was <i>Trainstation</i>, <a href="http://www.youtube.com/watch?v=vqQk0PXKreY" target="_blank">a show in Waterloo station</a>. The public had not been informed before.<br /> "I didn't want to come with a placard - This is contemporary dance" . For people it wasn't clear what was going on in the station as they became part of the piece. She mentioned the excitement of the proximity with the performers.<br /> With her work, "You see immediately what works and what doesn't".<br /> About education, "There is no need to educate the audience but a need to educate commissioners".<br /> At some point, she became didactic in her discourse, and explained there are now different categories of public art: site responsive work, site generating work, experiential theatre such as <a href="http://www.punchdrunk.org.uk/main2.htm">Punchdrunk</a>, and different types of spaces: generic spaces such as train stations, specific-identity spaces. Concerning works developed with the community, there are different types of project: WITH or IN the community. It may be hard to liaise with communities, as there are not always representants within those communities. She started to work with I-pod as well, (co-relation between pre-recorded and real time).<br /> <br /> Painter Lothar Götz said his work has not always been well represented in the press, and sometimes completely ignored. His colorful murals are designed depending on the activity in the space (how crowded it is), the distance and the angle from where you see them, the rythms in the constructive systems, and he likes to highlight irregularities that might otherwise go unnoticed. He also made a hut in the middle of a market for old people. The shop keepers were unhappy because they think old people spend less money, but old people were delighted with the project.<br /> <br /> As a public artist, you may be ignored by the art critics, but you get a response from people who are not from the Art world.<br /> <br /> <br /> Thierry Bidet - Art &amp; Architecture - 25/10/09<br /> <br /> <br /> <br /> <object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/ohQ1XI_hriM&amp;hl=en&amp;fs=1&amp;"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="never"></param><embed src="http://www.youtube.com/v/ohQ1XI_hriM&amp;hl=en&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="never" width="425" height="344"></embed></object> <br /> . Bruno Weber's Skulpturenpark tag:artandarchitecture.co.uk,2009-10-19:2998029:BlogPost:13664 2009-10-19T14:30:00.000Z Thierry BIDET http://artandarchitecture.co.uk/profile/ThierryBIDET <p style="text-align: left;"><img src="http://api.ning.com/files/loXKZpkeJ83mNE*ZUMw5MrKFF*Um3avyM1EVdOvXzPQIKuTvpySHTB6FeoWdgtp7sIWPT5gmjia2kJKLxBkz*YGu9eDBXdNJ/BrunoWeberE.JPG" alt=""/></p> (<a href="http://www.pbase.com/ghoerdt/image/80341859/large" target="_blank">Close shot from an interior panoramic photograph</a> from a <a href="http://www.pbase.com/ghoerdt/brunoweber" target="_blank">series</a> by Günter Borgemeister. )<br /> <br /> Bruno Weber (born April 10, 1931 in Dietikon, Switzerland) is a… <p style="text-align: left;"><img src="http://api.ning.com/files/loXKZpkeJ83mNE*ZUMw5MrKFF*Um3avyM1EVdOvXzPQIKuTvpySHTB6FeoWdgtp7sIWPT5gmjia2kJKLxBkz*YGu9eDBXdNJ/BrunoWeberE.JPG" alt=""/></p> (<a href="http://www.pbase.com/ghoerdt/image/80341859/large" target="_blank">Close shot from an interior panoramic photograph</a> from a <a href="http://www.pbase.com/ghoerdt/brunoweber" target="_blank">series</a> by Günter Borgemeister. )<br /> <br /> Bruno Weber (born April 10, 1931 in Dietikon, Switzerland) is a Swiss artist and architect of fantastic realism.<br /> <br /> His sculpture park known as <a href="http://www.bruno-weber-skulpturenpark.ch/3_bruno_weber_skulpturenpark/01_bruno_weber_skulpturenpark.htm" target="_blank">"Der Bruno Weber Skulpturenpark"</a> , occupies 20.000 m2 and was started in 1962. Despite initial controversy with planning, it has been accepted by the local authorities and the park is now visited by thousend of people. His house includes a 25 m high tower. A water garden is at the heart of the park.<br /> <br /> He has also collaborated with architects <a href="http://en.wikipedia.org/wiki/Justus_Dahinden" target="_blank">Justus Dahinden</a> and <a href="http://artandarchitecture.co.uk/photo/vetsch-architektur" target="_blank">Peter Vetsch</a>, also featered in the Art &amp; Architecture website, for the columns of the <i>Dolder house</i>.<br /> <br /> .