DOCSLIB.ORG

Juno Steel and the Case of the Murderous Mask (Part Two V2)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Juno Steel and the Case of the Murderous Mask (Part Two V2) 1 JUNO STEEL AND THE CASE OF THE MURDEROUS MASK (PART TWO V2) SOUND: DOOR OPENS. BELL RINGS. MUSIC: STARTS. CONCIERGE: Ah, good evening Traveler! Welcome to The Penumbra. May I take your coat? You’ve picked an excellent place to spend the night, dear Traveler. The Penumbra is the grandest hotel this side of nowhere. Countless rooms and countless halls. Just look ahead of you. See the doors go on and on… even we aren’t sure how many there are, or what lies behind them all. Will you be staying long? Many of our guests do. You’re in good company, Traveler. The Penumbra draws guests from everywhere and everywhen. And all of them have stories to tell. Stories that will excite you, delight you, and maybe even terrify you. Don’t believe me? Well, see for yourself. SOUND: KEYS JANGLING. A death threat from an ancient king, a death mask that tears its wearers to shreds, and a very strange special agent have made this case one of Detective Juno Steel’s most unpredictable yet.But then that’s what happens when you enter Casa Kanagawa: plot twists and cliffhangers abound, and the cameras are always rolling. Those cameras are keeping a close eye on Detective Steel and Agent Glass now. They say everyone gets 15 minutes of fame, but when you get them on one of Cecil Kanagawa’s game shows, those 15 minutes might just be the last of your life. SOUND: KNOCKING ON A DOOR. A CROWD ‘BOOING.’ What luck! Sounds like he’s in. Come, Traveler. Come with me into room J12. SOUND: DOOR CREAKING OPEN. Juno Steel and the Case of the Murderous Mask. MUSIC: ENDS. 2 Scene: 1 CECIL: That’s it… thaaaaaat’s it! Hold still just a moment longer, Junebug; you should never underestimate the value of the makeup department. JUNO: (COUGHING) The hell is this? Powdered cyanide? CECIL: Only mostly. When did you get so delicate, Juno? (LAUGHING) You next, Agent. Breathe deeply, please. We’ll be adding your pulse in post. JUNO (NARRATOR): A galaxy of bulbs hot as tiny suns surrounded us. In the distance: half-a-dozen Camera Men, their lenses flashing, their hulking, mutated chests heaving as they clung to a forest of torture racks and adamantium maidens and laser guillotines. From the look of it, though, the most dangerous thing in the room was the one I was tied to: the Throne of Spinning Blades, which was set to Spinning Blade us into a thousand tiny pieces. Just your typical wholesome family entertainment in Hyperion City. REX: (COUGHING) My, that is a potent blend, isn’t it? CECIL: It’s the very best on the market. And I should know, Agent: I invented it. JUNO: This isn’t gonna work out well for you, Cecil-- SOUND: WHIRRING MOTOR NOISE. The hell is that? CECIL: Lip stain, Junebug. Pucker up. 3 JUNO: Hey, back off, you— umf! JUNO (NARRATOR): The man smearing technicolor neurotoxins on my face was Cecil Kanagawa, the creative mind behind primetime stream blockbusters like “Classic Gangland Hits, Demonstrated” and “These Are Your Nightmares” and “Coliseum 2: We Gave the Lion a Gun And You Won’t Believe What Happens Next.” Cecil was the natural conclusion when you gave a mad scientist a spotlight and a near-unlimited budget. Actually, that’s not quite fair. Cecil wasn’t mad. He was worse than that: he was a genius. CECIL: Be sure to look to the cameras, friends, or we might have to do a second take. Recording a pilot live is a fool’s game. You never know what might go wrong. REX: Ah, I see! Then you’re filming ahead of time just in case one of us is hurt during this game? CECIL: (CACKLING) No, no, no. I’m filming it just in case one of you isn’t hurt. There. All done, Junebug. Here, take a look at yourself. JUNO: Damn it, Cecil, I said you’re not gonna get away with— nope, you know what, you’re right, that color looks pretty good on me. CECIL: Of course it does. I’ve never been wrong before. (LAUGHING) JUNO: Anyway, Cecil, you’re not exactly helping your case by locking us up like this! This whole stupid setup is halfway to a confession and you know it! CECIL: 4 Oh? A confession of what, Junebug? JUNO: You know what I mean! You were grounded here last night, you were the only one here last night that could open the case to his stupid Mask, and we both know you have it against me enough to smear my name in blood all over the wall. You had the motive, the means, and the ten tons of pure, uncut crazy to kill-- CECIL: My, you do go on, don’t you? I have no idea what you mean, Junebug. You’re much more cooperative, Agent. I might have to keep you around after all. REX: I try my best, Mr. Kanagawa. CECIL: Well, boys, it’s just about time to start the show. Good luck. And remember: we re making people smile out there. It ’ does your heart good to think of that, doesn’t it? JUNO: Damn it, Cecil! I saved your life, and this is how you thank me? CECIL: You did. And you even gave me a reason to get this special arm of mine. And now I’m thanking you for all the good you’ve done for me the only way I know how: I’m making you a star, baby. (FADING LAUGHTER) SOUND: FOOTSTEPS. DOOR CLOSING. JUNO: Well. We’re probably dead. REX: Speak for yourself, Detective. Cecil said he wanted to keep me around. JUNO: 5 He didn’t mean alive. REX: … Well. That changes things a bit. JUNO (NARRATOR): The guy I was tied to was Rex Glass, Special Agent with Dark Matters. He’d been assigned to help me with the Croesus Kanagawa murder case for two reasons: first, because of some stupid story about a curse on the Mask that killed Croesus; and second, because whoever killed Croesus had promised to come for me next. So far Glass’s mission had been a smashing success. We were tied back-to-back in two torture chairs after finding out that Cecil was probably the murderer, which meant that, A, he’d disproved the curse, and B, I wasn’t going to be the second victim because the blades on Glass’s chair looked sharper than mine. Definitely third, though. CECIL (OVER INTERCOM): Places, Camera Men! Filming begins in one minute! REX: Juno, would you mind shifting slightly? I would rather the cameras didn’t catch my face. JUNO: I’m not exactly thrilled about it either, Rex. Clients aren’t going to be thrilled about a Private Eye made Public. REX: How do you think Dark Matters would feel about a Secret Agent who can’t stay a Secret? JUNO: Look, if you want to keep your face hidden that badly, we ve just got to stop Cecil from uploading the footage. ’ Take down the Camera Men– REX: Or, better yet, take care of that transmitter in his bionic arm. JUNO: 6 Now you’re talkin’. Only question is how the hell we’re going to do that. REX: Do you have a blaster on you? JUNO: No, but I got one off me. It’s over by the door; the straps on the chair cut my holster before the Camera Men dragged us over. REX: Well, then, we’ll just have to get creative, won’t we? MUSIC: STARTS. What in the world? JUNO: Get out the popcorn, Rex. The show’s about to start. CECIL (ANNOUNCER): Welcome back, viewers! This is From the Jaws of Death, and I am your host, Cecil Kanagawa! But of course, who doesn’t know me? (LAUGHING) SOUND: A LAUGH TRACK, DISTORTED AND DISTANT. Now, let’s meet our contestants, shall we? SOUND: RECORDING OF CROWD CHEERING. In chair number one: Rex Glass! He’s a Special Agent with Dark Matters, viewers… but our talented team of researchers could find nothing else on him! Not a thing! Can this man who appeared without a trace vanish without one, too? JUNO: Impressive, Glass. No record at all? REX: Of course not. Dark Matters scrubs them for you. JUNO: Hmm. 7 CECIL (ANNOUNCER): And in chair number two: Juno Steel, Private Eye. Detective Steel has lost just about everything a person can lose: his career, his friends, and even his own brother! Doesn’t it just tear your heart out? SOUND: RECORDING OF AUDIENCE GASPING. REX: What? Juno…? JUNO: Don’t say anything. CECIL (ANNOUNCER): There’s only one question we have about Detective Steel tonight, viewers: will he fight through the tears and live -eight year for his little baby brother… or does this thirty tragedy end tonight? Let’s find out! Now, here are the rules: Detective Steel and Agent Glass are chained, back-to-back, in the Throne of Spinning Blades. This classic piece dates back to the Fascist Renaissance of the twenty-fifth century, friends, and the Detective and the Agent better watch out: those blades are made of genuine venom-brass, and boy, are they sharp! SOUND: RECORDING OF CROWD CHEERING AGAIN. Our contestants will have five minutes to escape before the Spinning Blades drop onto them… but there is a twist. JUNO: Of course there is. REX: Shh! Shh! I want to know the twist! CECIL (ANNOUNCER): The chain that binds them together is also affixed to a gear in the Throne s bladeworks.
Load more

Recommended publications
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • MOUND CITY GROUP National Monument • Ohio the by About 500 B.C
    MOUND CITY GROUP National Monument • Ohio THE By about 500 B.C. the A "VI OTIT The Hopewell are best prehistoric Indians we now t s TT-^.T-vTy^i known for their high HOPEWELL call Hopewell had O 1 lA-IN D1IN Kj artistic achievements and developed a distinctive /o fMr c ce f PEOPLE culture in the Middle PREHISTORIC ; 7 " ° West. For perhaps 1,000 years these people flourished; erecting earth mounds their cultural zenith being here in the Scioto Valley of I IN DILVIN overdead the remainsFro of theirih ra southern Ohio. But by about A.D. 500 the Hopewell CULTURE , - :k :f -l culture had faded. Hundreds of years later European ordinary wealth or burial settlers found only deserted burial mounds and offerings found in the mounds, archeologists have learned ceremonial earthworks to hint at this vanished culture. a great deal about these prehistoric people. They were excellent artists and craftsmen and worked with a great variety of material foreign to Ohio. Copper from the Lake Superior region was used for earspools, headdresses, breastplates, ornaments, EFFIGY PIPE OF STONE ceremonial objects, and tools. Stone tobacco pipes were Since Mound City was WITH INLAID SHELL beautifully carved to represent the bird and animal MOUND CITY primarily a ceremonial life around them. From obsidian they made COPPER BREASTPLATE — 1800 center for the dead, delicately chipped ceremonial blades. Fresh-water much of the information pearls from local streams, quartz and mica from the YEARS obtained from it Blue Ridge Mountains, ocean shells from the 6 M und CH G produced a great many spectacular objects, most concerns the burial EXPLORATION^ ° \ T interesting of which were a large number of stone AGO Gulf of Mexico, grizzly bear teeth from the West—all es customs of the people.
    [Show full text]
  • The Cestus of Aglaia and the Queen of the Air with Other Papers and Lectures on Art and Literature 1860–1870
    LIBRARY EDITION VOLUME XIX THE CESTUS OF AGLAIA AND THE QUEEN OF THE AIR WITH OTHER PAPERS AND LECTURES ON ART AND LITERATURE 1860–1870 THE COMPLETE W O R K S O F JOHN RUSKIN Two thousand and sixty-two copies of this edition—of which two thousand are for sale in England and America—have been printed at the Ballantyne Press, Edinburgh, and the type has been distributed. LIBRARY EDITION THE WORKS OF JOHN RUSKIN E D I T E D B Y E. T. COOK AND ALEXANDER WEDDERBURN LONDON GEORGE ALLEN, 156, CHARING CROSS ROAD NEW YORK: LONGMANS, GREEN, AND CO 1 9 0 5 All rights reserved LIBRARY EDITION V O L U M E X I X THE CESTUS O F A G L A I A AND THE QUEEN OF THE AIR WITH OTHER PAPERS AND LECTURES ON ART AND LITERATURE 1860–1870 THE CESTUS OF AGLAIA AND THE QUEEN OF THE AIR WITH OTHER PAPERS AND LECTURES ON A R T A N D LITERATURE 1860– 1870 BY JOHN RUSKIN LONDON GEORGE ALLEN, 156, CHAR ING CROSS ROAD NEW YORK: LONGMANS, GREEN, AND CO. 1 9 0 5 CONTENTS OF VOLUME XIX PAGE L I S T O F I LLUSTRATIONS xv I NTRODUCTION TO THIS V OLUME x i x P A R T I. ―SI R J O S H U A A N D H OLBEIN ‖ ( 1 8 6 0 ) : — BIBLIOGRAPHICAL NOTE 2 TEXT 3 P A R T II. ―TH E S T U D Y O F A RCHITEC T U R E I N S CHOOLS ‖ ( 1 8 6 5 ) : — BIBLOGRAPHICAL NOTE 18 TEXT 19 REPORT OF THE DISCUS SION AFTER THE ADDRE SS 39 P A R T III.
    [Show full text]
  • The Death-Mask and Other Ghosts
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library f>R 4699.E842D2 The death-mask and other ghosts. 3 1924 013 456 953 Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013456953 THE DEATH-MASK THE DEATH-MASK AND OTHER GHOSTS BY Mrs. H. D. EVERETT. LONDON , ii^ PHILIP ALLAN ^ CO., QUALITY COURT, CHANCE^iY , LAWe!, W.C. 1920. PRINTED BY WHITBHHAD BROS., WOLVERHAMPTON. r-:''- ... CONTENTS. PACB The Death- Mask - ] Parson Clench 18 The Wind of Dunowe .17 Nevill Nugent's Legacy • 67 The Crimson Blind 92 Fingers of a Hand 115 The Next Heir - - - 128 Anne's Little Ghost - 188 Over the Wires - - 208 A Water-Witch - 223 The Lonely Road 253 A Girl in White 261 A Perplexing Case - 279 Beyond the Pale 298 THE DEATH MASK. ' ' Yes, that is a portrait of my wife. It is considered to be a good likeness. But of course she was older-looking towards the last." ' Enderby and I were on our way to the smoking-room after dinner, and the picture hung on the staircase. We had been chums at school a quarter of a century ago, and later on at college; but I had spent the last decade out of England. I returned to find my friend a widower of four years' standing. And a good job too, I thought to myself when I heard of it, for I had no great liking for the late Gloriana.
    [Show full text]
  • THE DEATH-MASKS of DEAN SWIFT by T
    THE DEATH-MASKS OF DEAN SWIFT bY T. G. WILSON THE practice of making death-masks is of considerable antiquity, dating at least from the fifteenth century. Originally it had two purposes. One was to form the head of an effigy used in the funeral ceremonies of kings, queens, princes and other distinguished persons. A life-sized wooden effigy was made which was clothed and carried on the coffin in the funeral procession, the head and hands being covered with life-like wax modelling. This was used as a substitute for the body at funeral ceremonies which might take place long after the latter had been buried. Many of these effigies are still to be seen in West- minster Abbey. Two copies of the death-mask of Oliver Cromwell are extant, one in wax and one in plaster of paris. He died on 3 September I658, and his remains were quietly buried three weeks later. Nevertheless a wax effigy in full panoply ofstate was exhibited for several months afterwards in Somerset House while the state funeral did not take place until 22 October.John Evelyn tells us: He was carried from Somerset House in a velvet bed ofstate, drawn by six horses, housed in the same; the pall held by his new Lords; Oliver lying in effigy, in royal robes, and crowned with a crown, sceptre, and globe, like a king. The pendants and guidons were carried by the officers of the army; the Imperial banners, achievements, &c. by the heralds in their coats; a rich caparisoned horse, embroidered all over with gold; a knight of honour, armed cap-a-pii.
    [Show full text]
  • Face and Mask
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. For us the most entertaining surface in the world Is that of the human face. Georg Christoph Lichtenberg, Sudelbücher, F. 88 introDUction: Defining tHe sUbject 1 A history of the face? It is an audacious undertaking to tackle a subject that defies all categories and leads to the quintessential image with which all humans live. For what, actually, is “the face”? While it is the face that each of us has, it is also just one face among many. But it does not truly become a face until it interacts with other faces, seeing or being seen by them. This is evident in the expression “face to face,” which designates the immediate, perhaps inescapable, interaction of a reciprocal glance in a moment of truth between two human beings. But a face comes to life in the most literal sense only through gaze and voice, and so it is with the play of human facial expressions. To exaggerate a facial expression is to “make a face” in order to convey a feeling or address someone without using words. To put it differ- ently, it is to portray oneself using one’s own face while observing conventions that help us understand each other. Language provides many ready examples of figures of speech that derive from facial animation. The metaphors we all automatically use about facial expressions are particularly revealing. “To save face” or “to lose face” are typical of these.
    [Show full text]
  • Death's Rebirth
    DEATH'S REBIRTH THE ORIGINS OF NECROMANCY BY ADAM GRAHAM DEATH'S REBIRTH THE ORIGINS OF NECROMANCY A fan made supplement for 2nd Edition Warhammer Fantasy Roleplay Written By Adam Graham Edited By Dawn Lewis Additional Material By Jude Hornborg and Jerzy Smialek Proofread By Jude Hornborg and Steven Lewis Page Background Image By Nuchylee - FreeDigitalPhotos.net This document is completely unofficial and in no way endorsed by Games Workshop Limited. WARHAMMER FANTASY ROLEPLAY, THE WARHAMMER FANTASY ROLEPLAY LOGO, WFRP, CHAOS, THE CHAOS DEVICE, THE CHAOS LOGO, CITADEL, CITADEL DEVICE, DARKBLADE, 'EAVY METAL, FORGE WORLD, GAMES WORKSHOP, GAMES WORKSHOP LOGO, GOLDEN DEMON, GREAT UNCLEAN ONE, GW, THE HAMMER OF SIGMAR LOGO, HORNED RAT LOGO, KEEPER OF SECRETS, KHEMRI, KHORNE, THE KHORNE LOGO, LORD OF CHANGE, NURGLE, THE NURGLE LOGO, SKAVEN, THE SKAVEN SYMBOL DEVICE, SLAANESH, THE SLAANESH LOGO, TOMB KINGS, TZEENTCH, THE TZEENTCH LOGO, WARHAMMER, WARHAMMER WORLD LOGO, WHITE DWARF, THE WHITE DWARF LOGO, AND ALL ASSOCIATED MARKS, NAMES, RACES, RACE INSIGNIA, CHARACTERS, VEHICLES, LOCATIONS, UNITS, ARTEFACTS, ILLUSTRATIONS AND IMAGES FROM THE WARHAMMER WORLD ARE EITHER ®, TM AND/OR © COPYRIGHT GAMES WORKSHOP LTD 2000-2011, VARIABLY REGISTERED IN THE UK AND OTHER COUNTRIES AROUND THE WORLD. USED WITHOUT PERMISSION. NO CHALLENGE TO THEIR STATUS INTENDED. ALL RIGHTS RESERVED TO THEIR RESPECTIVE OWNERS. Spirits blow Across the plain Khemri's dead Knows no more pain Cold and black Rising to the sky Forged with the souls Of the slaves that died Blue lightning Crawls across its peak The Usurper comes Our hearts turn weak He threw down our gods Before our eyes Calls to the grave And all the dead rise Death will come Without a sound Pray the walls fall on us So our body's not found Sung by the children during the Usurper's siege of Mahrak.
    [Show full text]
  • Sarah Miriam Peale's Mary Leypold Griffith and the Staging Of
    Sarah Miriam Peale’s Mary Leypold Griffith and the Staging of Republican Motherhood Sarah Leary In 1841, Sarah Miriam Peale painted a portrait of a longings.1 Unfortunately, Peale’s death mask of Mary Griffith young Mary Leypold Griffith (Figure 1). Mary sits on the floor. doesn’t survive, but it would have looked somewhat like the Her left leg is gracefully crossed over the right. Her vibrant, life mask taken a few months prior to Lincoln’s assassination red dress stands out against the nondescript background. She (Figure 2). Such masks developed from the tradition of death holds a white ribbon that she cuts to form a jagged pattern, masks and offer insight into what Peale’s mask of Mary may and yet looks up from this activity to the viewers. But her have looked like. The Griffith family also lent Peale a minia- mature expression and poise seem incommensurate with her ture of Mary (also lost) to aid in her representation of their age. Without the benefit of the object label, a viewer would daughter. These aids were supposed to help Peale represent assume that Mary is four or five – old enough to wield scissors Mary as she appeared and lived in the days before she died, and to understand the educational materials that surround but Peale took several liberties with Mary’s appearance her. But in point of fact, Mary Griffith died of Scarlet Fever at that aged her beyond her years and introduced books and the age of two and a half in 1841 – the same year in which symbols that allude to the future role Mary never fulfilled.
    [Show full text]
  • Six Faces of Death
    SIX FACES OF DEATH A dark fantasy adventure for characters of 11th to 13th level An alien being, dark omens, and vanishing ships send the adventurers to a mysterious island newly appeared in the Sea of Swords. But can the characters uncover the mysteries of the Changing Island in time to save Faerûn from a terror from another plane? Design and Cartography by Jason Bradley Thompson Editing and Development by Scott Fitzgerald Gray Beyond the Material Plane lie dimensions where gods Preparation and Planning and devils dwell, and where pure ideals are embodied Six Faces of Death is a dark fantasy adventure featuring in physical form. One such place is Mechanus, the plane countless fiends, mind control, strange physical of ultimate law, where the geometric modrons maintain transformations, and dead bodies by the thousands. absolute order. Another is Acheron, home to endless Before running the scenario, you’ll want to make sure that battlefields of law and evil, where reborn warriors fight your players are aware that the adventure features plenty eternal conflicts of metal and blood. of dark imagery and horror themes. Even then, you might No stars or suns appear in the skies of Acheron—only want to downplay some of the more graphic descriptions floating metal cubes hurtling through the void. One of contained herein, according to your own sensibilities as a DM and the ages and sensitivities of your players. these was Cube 1717, designed by a mad derro architect The adventure is also a dangerous one—and might named Avnas, and ruled by a powerful devil named prove a challenge even for powerful 11th-to-13th-level Earl Andromalius—a servant of the god of tyranny, characters! On the bright side, though, the scenario Lord Bane.
    [Show full text]
  • Alina Szapocznikow, 1962 – 1972
    Press Release To Exalt the Ephemeral: Alina Szapocznikow, 1962 – 1972 29 October – 21 December 2019 Opening reception: Tuesday 29 October, 6 – 8 pm Hauser & Wirth New York, 69th Street New York, NY… In a brief but explosively inventive career, Alina Szapocznikow (1926 – 1973) radically re- conceptualized sculpture as a vehicle for exploring, liberating, and declaring bodily experience, from the ecstatic, to the harrowing, to the uncanny. Beginning 29 October 2019, Hauser & Wirth will present ‘To Exalt the Ephemeral: Alina Szapocznikow, 1962 – 1972,’ a selection of sculptural works that together survey the expressive force of the Polish artist’s material innovations in the last decade of her life. This is the gallery’s first solo exhibition devoted to Szapocznikow since undertaking representation of her estate in May 2018. The details of Szapocznikow’s biography have been well documented. Born in Poland to a Jewish family in 1926, she survived the horrors of concentration camps as a teenager. In the postwar years, moving from Prague to Paris, she ultimately abandoned the Socialist Realism endorsed by the Polish government, as well as the prevailing winds of modernist abstraction, to embrace Surrealist tendencies and the Pop-influenced New Realism of the Paris avant-garde, championed by Pierre Restany. Working furiously as she cycled through phases of artistic growth, Szapocznikow engaged themes related to the body with full intensity. She succumbed to cancer in 1973, at the age of 46. In the last decade of her life, Szapocznikow’s pioneering engagement with new materials acquired particular focus and force, yielding works that dramatically challenged the traditional language of sculpture and presaged approaches central to art today.
    [Show full text]
  • (Rev. 10-90) Historic Name Nettles. Isaac. Gravestones
    NPS Form 10-900 OMB No. 1024-0018 (Rev. 10-90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES NAT. Rii;:r REGISTRATION FORM 1. Name of Property historic name Nettles. Isaac. Gravestones other names/site number N/A 2. Location street & number E side Mt. Nebo Rd. (Co. 867). 0.5 mi S of Co. 19 not for publication N/A city or town Carlton________________________________ vicinity X state Alabama code AL county Clarke code 025 zip code 36545 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this X nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets __ does not meet the National Register Criteria. I recommend that this property be considered significant _ nationally _ statewide X locally. (__ See continuation sheet for additional iments.) Him Signature of certifying official Date Alabama Historical Commission (State Historic Preservation Office) State or Federal agency and bureau In my opinion, the property __ meets _ does not meet the National Register criteria. (__ See continuation sheet for additional comments.) Signature of commenting or other official Date State or Federal agency and bureau 4. National Park Service Certification I hereby certify that this property is: ignatutB of the Keepe Date of Action [j entered in the National Register 971 [ ] See continuation sheet.
    [Show full text]
  • A Survey of Contemporary Death Art
    MORTALITY A SURVEY OF CONTEMPORARY DEATH ART MORTALITY A SURVEY OF CONTEMPORARY DEATH ART Curated by Donald Kuspit Assisted by Robert Curcio 2 Death Mon Amour Donald Kuspit, Curator The skull is a symbol of death, not any old Thus, the ambivalence about the skull, the was once part of has decayed, disappeared death, but the death “within oneself,” the hatred of death that makes it at home in hell, into oblivion, leaving it stranded in abstraction, death that is not only “the farthest extreme of the love of death that lifts it to heaven, like a strangely unnatural however natural, numi- destructiveness that we can conceive of,” but sort of mysterious man in the radiant moon— nous however down to earth—oddly sublime my very own death, the death that owns me for death is radiant with strange life in the por- even as it symbolizes our alienation from our the way I own my skull, the one and only gen- traits of it in the exhibition, especially in those self, for that is what the fear of death is. uine memento mori.1 But, strangely enough, of Lynn Stern. all skulls look more or less the same, seem Abstraction is peculiarly obscene, for it is hid- impersonally identical—can I find my own The skull, however much it is a symbol of den behind the scenic representation it sup- skull in a pile of skulls, say in the catacombs death, and however much it is nameless—any ports. It is the aesthetic underpinning, often of my unconscious? Freud said we can’t imag- skull could be anybody else’s skull—is in an unconsciously experienced, of the consciously ine our own death—it’s too great a narcissis- aesthetic class of its own, a sort of aesthetic known pictured scene, inseparable from and tic insult, a wound to self-esteem, impossible thing in itself, for it epitomizes the aesthetic immanent in it, the subliminal truth in the fic- to heal—and, anyway, there’s no time in the issue: reconciling opposites while conveying tional fact.
    [Show full text]