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Fête Du Travail Et Des Cultures 2
#2 2019 | SUPPLÉMENT DE L'AKTUELL | FÊTE DU TRAVAIL ET DES CULTURESEntrée libre 1er MAI - Fête du travail et des cultures 2 Sortons pour le 1er mai! En 2019 se tient déjà la 14e édition de la fête du travail et des cultures de l’OGBL à Neimënster à Luxembourg-Ville. Cette fête, qui est organisée cette année une fois de plus en col- laboration avec le CCR Abbaye Neumünster, l’ASTI et l’ASTM, est devenue partie intégrante, non seulement du calendrier des événements syndicaux mais également de celui des évé- nements culturels de la capitale et du pays. Comme tous les ans, des milliers de femmes et d’hommes de toutes les couches de la population, d’origines différentes et de nationalités différentes, résidents et frontaliers vont participer à notre fête et assister à un programme culturel de qualité et varié qui s’adresse à tous les âges, jeunes et moins jeunes. Cette rencontre des cultures est aussi un témoignage en fa- veur de la mixité sociale et un gage du vivre ensemble dans la paix et la solidarité. Elle est donc également, de par son existence, en contradiction avec les forces en Europe, qui, au lieu de favoriser le vivre ensemble agitent le spectre de la différence, qui veulent l’armement au lieu de la paix et qui prônent l’égoïsme des nations au lieu de la solidarité. Ce n’est pas par hasard que ces mêmes forces s’opposent également aux droits syndicaux et, au-delà, aux droits démo- André Roeltgen Président de l'OGBL cratiques et aux libertés. -
ARNY SCHMIT (Luxembourg, 1959)
ARNY SCHMIT (Luxembourg, 1959) Arny Schmit is a storyteller, a conjurer, a traveler of time and space. From the myth of Leda to the images of an exhibitionist blogger, from the house of a serial killer to the dark landscapes of a Caspar David Friedrich, he makes us wander through a universe that tends towards the sublime. Manipulating the mimetic properties of painting while referring to the virtual era in which we live, the Luxembourgish artist likes to surprise by playing on the false pretenses. In his paintings he creates bridges between reality, fantasy and nightmare. The medieval, baroque or romantic references reveal his profound respect for the masters of the past. Extracted from a different time era, decorative motifs populate his compositions like so many childhood memories, from the floral wallpaper to the dusty Oriental carpet, through the models of embroidery. Through fragmentation, juxtaposition and collage, Arny Schmit multiplies the reading tracks and digs the strata of the image. The beauty of his women contrasts with their loneliness and sadness, the enticing colors are soiled with spurts, the shapes are torn to reveal the underlying, the reverse side of the coin, the unknown. 1 EXHIBITION – DECEMBER 1st, 2018 to FEBRUARY 28th, 2019 ARNY SCHMIT – WILD 13 windows with a view on the wilderness. Recent works by Luxembourgish painter Arny Schmit depict his vision of a daunting and nurturing nature and its relationship with the female body. A body that Schmit likes to fragment by imprisoning it into frames of analysis, each frame a clue into a mysterious narrative, a suggestion, an impression. -
Notice Philatélique D'un Timbre
http://www.wikitimbres.fr V2010.pdf Wercollier Luxembourg w ,...,..-----~------, '::::! ...- ....-- Œuvre originale créée spécialement pour le timbre-poste par Lucien Wercollier Mise en page de Michel Durand-Mégret w => a Imprimé en héliogravure ---' co Format horizontal 48 x 36,85 => CL -cr:w '--____ .....,.._ "--____ _ 30 timbres à la feuille LA POSTE WERCOLLIER Vente anticipée le 20 janvier 1996 6,70 1996 LUXEMBOURG à Strasbourg (Bas-Rhin) Vente générale le 22 janvier 1996 Né en 1908, à Luxembourg, le sculpteur sculpturales pour le pavillon luxembour et de dialoguer entre elles. Par ailleurs, la Lucien Wercollier a bénéficié d'une forma geois de l'Exposition universelle de perfection du bronze poli à l'extrême et les tion académique extrêmement poussée. Bruxelles en 1958. La même année, il expo effets colorés susceptibles de se dégager Il est tout d'abord élève à l'Académie des se à titre personnel et pour la première fois d'une masse de pierre choisie avec le plus beaux-arts de Bruxelles puis se rend à Paris ses œuvres abstraites à la galerie Saint grand soin, permettent au sculpteur d'ajou où il suit les cours de l'Ecole nationale des Augustin à Paris. Qu'il choisisse de s'expri ter à cet échange subtil qu'il sait instaurer beaux-arts. Ses premiers travaux sont d'ins mer par le bronze, qu 'il travaille le marbre entre sa vision et les formes qui en émer piration naturaliste et témoignent des ou l'albâtre, qu'il trace dans l'espace d'une gent, toute une gamme de vibrations sen influences successives d'Aristide Maillol et feuille blanche un ensemble de lignes mul sibles dues aux jeux de la lumière remar d'Henri Laurens. -
MEDIA GUIDE XII Ministerial Meeting EU-Rio Group 26-27 May 2005 Luxembourg-Kir Chberg
MEDIA GUIDE XII Ministerial Meeting 26-27 May 2005 EU-Rio Group Luxembourg-Kirchberg .eu2005.lu www Welcome Note I would like to wish you a warm welcome in Luxembourg for the 12th Ministerial Meeting between the European Union and the Rio Group which will further deepen the intense and fruitful contacts which the European Union and its Member States maintain with the Latin-American continent. The Rome Declaration of 20 December 1990 has institutio- nalised the relations between the European Union and the Rio Group and has given birth to a forum of dialogue between both our regions which, through their historical ties, share common values and a common cultural heritage. Here in Luxembourg, in April 1991, was held the first Ministerial Meeting assembling 12 countries of the Euro- pean Community and 11 countries of the Rio Group. We are given the occasion today to look back on the roots of our partnership. Our meeting will enable us to assess the results of the last fourteen years, during which both regions continuously enlarged and strengthened in order to be able to face the challenges confronting our societies nowadays. I am very pleased about all the joint efforts undertaken in the promotion of our common values, notably in democracy, human rights, good governance and social cohesion. •••1 Our meeting here in Luxembourg will give us the oppor- tunity to discuss the future of our relations even further in order to reinforce our ties of cooperation and friendship that bond us already. I have no doubt that our discussions will be fruitful and wish you a pleasant stay in my country! Jean Asselborn Deputy Prime Minister, Minister for Foreign Affairs and Immigration •••2 Content A Media Programme 5 Formal programme 5 Media arrangements 5 B Kiem Conference Centre 7 1. -
BCL Annual Report 2006 Chapter 4 the BCL AS an ORGANISATION
Chapter 4 THE BCL AS AN ORGANISATION 97 4.1 Structure of the BCL 97 4.1.1 The Council and the Audit Committee 97 4.1.2 The Board of Directors 97 4.1.3 Supervisory mechanisms 97 4.1.4 Financial reports, annual accounts and annual budget 98 4.1.5 Corporate governance 98 4.2 The BCL staff 99 4.2.1 Quantitative evolution 99 4.2.2 Human resources management 100 4.2.3 Staff training 100 4.2.4 The Pension Fund 100 4.3 Facilities 102 4.4 Accounting and the Budget 102 4.4.1 Accounting and Finance 102 4.4.2 Budget 103 4.5 The internal audit activities 104 4.6 Financial statements as at 31 December 2006 104 4.6.1 Key figures as at year-end (in euro unless otherwise indicated) 104 4.6.2 Report of the Independent Auditor 105 4.6.3 Balance sheet as at 31 December 2006 106 4.6.4 Off-balance sheet as at 31 December 2006 108 4.6.5 Profit and loss account for the year 2006 108 4.6.6 Notes to the financial statements as at 31 December 2006 109 Chapter 5 ANNEXES 123 5.1 List of BCL circulars published in 2006 123 5.2 BCL Publications 123 5.3 Statistics series of the BCL 124 5.4 List of abbreviations 126 5.5 Glossary 127 BCL Annual Report 2006 Artist: Lucien Wercollier Title: Fraternité Material: marble Format : height 136 cm BCL Collection 4. THE BCL AS AN ORGANISATION 4.1 STRUCTURE OF THE BCL At its meeting on 14 December 2006, the Council renewed the mandates of the non-executive members of the Audit 4.1.1 The Council and the Audit Committee Committee for 2006: Messrs Pit Hentgen, Mathias Hinterscheid and Jacques F. -
Studies in Global Social History
Fabricating Modern Societies <UN> Studies in Global Social History Series Editor Marcel van der Linden (International Institute of Social History, Amsterdam, The Netherlands) Editorial Board Sven Beckert (Harvard University, Cambridge, MA, usa) Dirk Hoerder (University of Arizona, Phoenix, AZ, usa) Chitra Joshi (Indraprastha College, Delhi University, India) Amarjit Kaur (University of New England, Armidale, Australia) Barbara Weinstein (New York University, New York, NY, usa) volume 37 The titles published in this series are listed at brill.com/sgsh <UN> Fabricating Modern Societies Education, Bodies, and Minds in the Age of Steel Edited by Karin Priem and Frederik Herman leiden | boston <UN> This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Cover illustration: Apprentices with a telescope at the seaside in Belgium. Undated. Digital positive from glass plate negative. © Institut Emile Metz. cna Collection (HISACS000048V01). The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov lc record available at http://lccn.loc.gov/2019023135 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1874-6705 isbn 978-90-04-34423-5 (hardback) isbn 978-90-04-41051-0 (e-book) Copyright 2019 by the Authors. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. -
Legacies of the Third Reich: Concentration Camps and Outgroup Intolerance”
Supplementary Information “Legacies of the Third Reich: Concentration Camps and Outgroup Intolerance” This supplementary information file includes the following: SI1 (p. 1-5): Description of camps – a list of the 10 German concentration camps • that we used in our analyses, including sources on the existence of each camp and its geo-location as well as comments regarding the exogeneity of each camp location. SI2 (p. 6-13): Additional analyses regarding pre-existing attitudes and the location of • camps in Germany. SI3 (p. 14-17): Question wording for outcome variables in the EVS and ALLBUS • analyses. SI4 (p. 18-24): Descriptive statistics and full results of the main analyses presented in • the manuscript. SI5 (p. 25-40): Additional analyses and robustness checks for the EVS and ALLBUS • datasets. SI6 (p. 40-51): Additional analyses for mechanism tests. • SI7 (p. 52-60): Alternative mechanisms. • SI8 (p. 61-79): Sensitivity analysis. • SI9 (p. 80-81): References used in the SI. • SI1: Description of camps Main source: Megargee, Geo↵rey P. 2009. The United States Holocaust Memorial Museum Ency- • clopedia of Camps and Ghettos, 1933-1945, Volume I. Bloomington and Indianapolis: Indiana University Press. List of camps: 1. Arbeitsdorf Exogeneity of location: Location near an existing factory. – “The Arbeitsdorf • (labor village) camp was one of the very first concentration camps created in affiliation with the German armaments industry. It was located on the premises of the Volkswagen corporation’s main factory in the Lower Saxon city of Wolfsburg, which, at that time, principally consisted of huts and barracks.” (Megargee 2009, 198) Source for geo-location: https://www.tracesofwar.com/sights/4694/Where- • is-Labor-Camp-Arbeitsdorf.htm Present-day use: The actual camp site no longer exists. -
Swiss Itinerary
Mon November 25 H to Basel 22h 00m - 2 stops - Next Day Arrival See FLIGHT doc for details EuroAirport Basel Mulhouse Freiburg - international airport 3.5 km northwest of the city of Basel, Switzerland, 20 km southeast of Mulhouse, France, and 46 km south-southwest of Freiburg im Breisgau, Germany. Code: EAP, MLH, BSL Near the triple point between France, Germany, and Switzerland. Basel IC trains takes you to Zurich in 60 minutes, & to Lucerne in 1hr 10min. BASEL AIRPORT BSL BVB bus line 50 (Basel Airport (Swiss sector) to Bahnhof SBB / Basel Bahnhof SBB) Take BVB bus line 50, from Basel Airport (Swiss sector) to Bahnhof SBB station or to Basel downtown (Basel Bahnhof SBB) within 23 minutes. Hours: From 4:53 am to 0:35 am, every 10 minutes. Board bus outside the airport terminal, Swiss sector (level 2). You can purchase tickets at BVB booths in the Airport Terminal. Adult single ticket fare is of $3.10. Free if we can get the Basel Card and or Swiss Pass before arriving in Switzerland. We will use our hotel reservation confirmation — free transportation from airport to hotel (transfer to tram @ Bahnhof SBB). From Bahnhof SBB station you can reach the town center on foot or by tram, or take a train to any other town. You can take a taxi from the airport to Basel as well. BASEL Bahnhof SBB BASEL SBB to Hotel IBIS budget Basel City By tram 11 Aesch BL. Dorf Platform G Ride 2 stops (4 min.) See photo above on right. Munchensteinerstrasse Walk 3 min. -
Art & Finance Report 2019
Art & Finance Report 2019 6th edition Se me Movió el Piso © Lina Sinisterra (2014) Collect on your Collection YOUR PARTNER IN ART FINANCING westendartbank.com RZ_WAB_Deloitte_print.indd 1 23.07.19 12:26 Power on your peace of mind D.KYC — Operational compliance delivered in managed services to the art and finance industry D.KYC (Deloitte Know Your Customer) is an integrated managed service that combines numerous KYC/AML/CTF* services, expertise, and workflow management. The service is supported by a multi-channel web-based platform and allows you to delegate the execution of predefined KYC/AML/CTF activities to Deloitte (Deloitte Solutions SàRL PSF, ISO27001 certified). www2.deloitte.com/lu/dkyc * KYC: Know Your Customer - AML/CTF: Anti-Money Laundering and Counter-Terrorism Financing Empower your art activities Deloitte’s services within the Art & Finance ecosystem Deloitte Art & Finance assists financial institutions, art businesses, collectors and cultural stakeholders with their art-related activities. The Deloitte Art & Finance team has a passion for art and brings expertise in consulting, tax, audit and business intelligence to the global art market. www.deloitte-artandfinance.com © 2019 Deloitte Tax & Consulting dlawmember of the Deloitte Legal network The Art of Law DLaw – a law firm for the Art and Finance Industry At DLaw, a dedicated team of lawyers supports art collectors, dealers, auctioneers, museums, private banks and art investment funds at each stage of their project. www.dlaw.lu © 2019 dlaw Art & Finance Report 2019 | Table of contents Table of contents Foreword 14 Introduction 16 Methodology and limitations 17 External contributions 18 Deloitte CIS 21 Key report findings 2019 27 Priorities 31 The big picture: Art & Finance is an emerging industry 36 The role of Art & Finance within the cultural and creative sectors 40 Section 1. -
Architecture and Art in Public Space
The foundation stone of the project was the construction of the Grand Duchess Charlotte Bridge in 1963, based on plans drawn up by the German architect Egon Jux (1927-2008). It is ARCHITECTURE also called “Red Bridge” because of its vermillion hue. The firmly modernist work of metallic art is today a classic of the AND ART IN genre. It straddles the Alzette valley to link the Plateau with the city centre. With the planned construction of a tramway right across Luxembourg’s capital city, the bridge was widened and PUBLIC SPACE equipped with a new parapet designed by the engineering bureau Laurent Ney & Partners. KIRCHBERG PLATEAU The early town-planning in Kirchberg was purely functional. The road infrastructure was an expressway with two intersections providing access to secondary roads serving the new buildings. The European Institutions were established at the approach to the bridge at the western end of the Plateau, with the buildings centred on their plots of land. Later, the “Foires Internationales ARCHITECTURE AND ART IN PUBLIC SPACE de Luxembourg” (now Luxexpo The Box) and a residential district IN KIRCHBERG PLATEAU were built at the eastern end of the Plateau, while an Olympic- size swimming pool was built at the Plateau’s centre. The historical evolution of the Kirchberg The beginning of the 1990s saw the head offices of several banks The Kirchberg Plateau was originally an agricultural area. The being set up in Kirchberg. These were mainly German banks at “Plateau” is formed by the deep encircling valleys which create first and they were built at the opposite end from the European this unique topography. -
Seeing the Light: at the Crossroads of Art and Science May Term in Luxembourg, 2011 Clark University and the College of the Holy Cross, Worcester, Massachusetts
Seeing the Light: At the Crossroads of Art and Science May Term in Luxembourg, 2011 Clark University and the College of the Holy Cross, Worcester, Massachusetts S. Leslie Blatt Professor Emeritus of Physics and Education, Clark University Background George Seurat’s “pointillist” paintings took the late 19th-century art scene by storm. Close up, his brush strokes and colors presented the viewer with a seemingly random and almost meaningless appearance. But from a comfortable viewing distance, his scenes, typically of familiar places and activities, created a glistening and exciting effect on all who beheld them. Where did the idea for such a bold break with then-current techniques come from? How did Seurat know what combinations of apparently unrelated patches of color would produce the exact effects he wanted, or, in fact, what made him think that the dots would blend, in the viewer’s eye and mind, at all? More than a small part of the credit must rest with M. E. Chevreul, whose scientific investigations on light and color, summarized in his chef d’oeuvre, “De la Loi du Contraste Simultané des Couleurs”1 stimulated Seurat and his colleague Paul Signac to carry out their own artistic experiments, as carefully conceived and executed in their domain as Chevreul’s were in his. In the late 15th century, Leonardo da Vinci, whose combination of talents in art and science has never been surpassed, was among the earliest developers of the geometric constructions needed to guide the painter in achieving a realistic, three-dimensional perspective effect on the two-dimensional canvas. -
Expositions Permanentes / Musées Terres Neuves (Montée Du Château
12 AGENDA woxx | 08 06 2018 | Nr 1479 EXPO EXPO Raymond Weiland extériorise sur toile et expose son « Théâtre intérieur » dans la Millegalerie de Beckerich, à partir de ce vendredi 8 juin. Arlon (B) Clervaux Nicole Christophe, Henrik Spohler : Françoise Pierson et The Third Day Lydia Wauters : photographies, Schlassgaart ExpositioNs pErmANENtEs / muséEs Terres neuves (montée du Château. Tél. 26 90 34 96), Musée national de la Résistance transitoire céramiques, espace Beau Site jusqu’au 29.3.2019, en permanence. (128, rue de l’Alzette. Tél. 54 84 72), Esch-sur-Alzette, (av. de Longwy, 321. ma. - di. 14h - 18h. Tél. 0032 478 52 43 58), jusqu’au 24.6, Musée national d’histoire naturelle lu. - ve. 9h - 18h30, sa. 9h30 - 17h Ina Schoenenburg : (25, rue Münster. Tél. 46 22 33-1), Luxembourg, me. - di. 10h - 18h, et les di. 10.6 et 24.6 de 15h - 18h De tous les noirs et blancs ma nocturne jusqu’à 20h. Fermé les 1.1, 1.5, 1.11, 25.12 et le lendemain (dévernissage). Arcades II (montée de l’Église. matin de la nuit des musées. Ouvert les 24 et 31.12 jusqu’à 16h30. Tél. 26 90 34 96), jusqu’au 18.9, Musée national d’histoire et d’art Bech-Kleinmacher en permanence. (Marché-aux-Poissons. Tél. 47 93 30-1), Luxembourg, ma., me., ve. - di. 10h - 18h, je. nocturne jusqu’à 20h. Fermé les 23.6, 15.8, 25.12 et 1.1. Gaby Braun: Ouvert le 24.12 jusqu’à 14h et le 31.12 jusqu’à 16h30.