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A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland. -
Read Travel Planning Guide
GRAND CIRCLE TRAVEL PLANNING GUIDE Impressions of Italy: The Amalfi Coast & Tuscany 2021 Learn how to personalize your experience on this vacation Grand Circle Travel ® Worldwide Discovery at an Extraordinary Value 1 Grand Circle Travel ® 347 Congress Street, Boston, MA 02210 Dear Traveler, At last, the world is opening up again for curious travel lovers like you and me. Soon, you’ll once again be discovering the places you’ve dreamed of. In the meantime, the enclosed Grand Circle Travel Planning Guide should help you keep those dreams vividly alive. Before you start dreaming, please let me reassure you that your health and safety is our number one priority. As such, we’re requiring that all Grand Circle travelers, Program Directors, and coach drivers must be fully vaccinated against COVID-19 at least 14 days prior to departure. Our new, updated health and safety protocols are described inside. The journey you’ve expressed interest in, Impressions of Italy: The Amalfi Coast & Tuscany vacation, will be an excellent way to resume your discoveries. It takes you into the true heart of Italy, thanks to our groups of 42 travelers (with an average of 30). Plus, our Italian Program Director will reveal their country’s secret treasures as only an insider can. You can also rely on the seasoned team at our regional office in Rome, who are ready to help 24/7 in case any unexpected circumstances arise. Throughout your explorations, you’ll meet local people and gain an intimate understanding of the regional culture. Journey into the Sorrentine countryside to visit a local dairy farm, which has been owned and managed by the same family and handful of master cheesemakers for generations. -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
ABGABE Letztfassung IV
DIPLOMARBEIT Titel der Diplomarbeit „Kunst basteln. Die Wurstserie von Fischli und Weiss im Kontext der Zürcher Szene 1979/80“ Verfasserin Simone Mathys-Parnreiter angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Prof. Friedrich Teja Bach Thanks to the Walker Art Center, Minneapolis, for kindly providing me with photographic images of the Wurstserie . Dank an Bice Curiger für Ihre Zeit und ihr grosszügiges Zurverfügungstellen von Dokumentationsmaterial ihrer Ausstellung „Saus und Braus. Stadtkunst“ und Dank an Dora Imhof von der Universität Zürich für die Möglichkeit an Künstlerinterviews im Rahmen des Oral History Projektes teilzunehmen. 2 INHALTSVERZEICHNIS 1) EINLEITUNG .......................................................................................................................5 2) WURSTSERIE (1979) ..........................................................................................................8 2.1 Bricolage und Dilettantismus .......................................................................................28 2.2 Verortung im Gesamtwerk ...........................................................................................40 3) KONTEXT: ZÜRCHER SZENE 1979/1980 ....................................................................47 3.1 Punk und seine Bedeutung für Fischli/Weiss ..............................................................48 3.1.1 Das Projekt Migro (um 1980) -
'Kurt Schwitters in England', Baltic, No 4, Gateshea
1 KURT SCHWITTERS IN ENGLAND, Sarah Wilson, Courtauld Institute of Art, ‘Kurt Schwitters in England', Baltic, no 4, Gateshead, np, 1999 (unfootnoted version); ‘Kurt Schwitters en Inglaterra el "Anglismo" o la dialéctica del exilio’, Kurt Schwitters, IVAM Centre Julio González, Valencia, pp. 318-335, 1995 ‘Kurt Schwitters en Angleterre’, Kurt Schwitters, retrospective, Centre Georges Pompidou, Paris, pp. 296-309 `ANGLISM': THE DIALECTICS OF EXILE' Three orthodoxies have dictated previous accounts of the life of Kurt Schwitters in England: that England was simply `exile', a cultural desert, that he was lonely, unappreciated, that his late figurative work is too embarrassing to be displayed in any authoritative retrospective. Scholars ask `What if?' What if Schwitters had got a passport to United States and had joined other artists in exile? He would have continued making Merz with American material. He would have had no `need' to paint figuratively.1 Would he have fitted his past into an even more `modernist' mould like his friend Naum Gabo, to please the New Yorkers?2 Surely not. `Emigration is the best school of dialectics' declared Bertold Brecht.3 Schwitters' last period must be investigated not in terms of `exile' but the dialectics of exile: as a future which cuts off a past which lives on through it all the more intensely in memory, repetition, recreation. `Exile' moreover is a purely negative term, foreclosing all the inspirational possibilities of a new `genius loci', a spirit of place: England. The Germany Schwitters knew was disfigured, disintegrating, self-destructing. His longing was for place which was no more. His Merzbau was destroyed by Allied bombing in 1943; Helma died in 1944: `Hanover a heap of ruins, Berlin destroyed, and you're not allowed to say how you feel.'4 The English period was a both a death and a birth, a question of identity through time, of new and old languages. -
Biblioteca Di Studi Di Filologia Moderna – 37 –
BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA – 37 – DIPARTIMENTO DI LINGUE, LETTERATURE E STUDI INTERCULTURALI Università degli Studi di Firenze Coordinamento editoriale Fabrizia Baldissera, Fiorenzo Fantaccini, Ilaria Moschini Donatella Pallotti, Ernestina Pellegrini, Beatrice Töttössy BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA Collana Open Access del Dipartimento di Lingue, Letterature e Studi Interculturali Direttore Beatrice Töttössy Comitato scientifico internazionale Enza Biagini (Professore Emerito), Nicholas Brownlees, Martha Canfield, Richard Allen Cave (Emeritus Professor, Royal Holloway, University of London), Piero Ceccucci, Massimo Ciaravolo (Università Ca’ Foscari Venezia), John Denton, Anna Dolfi, Mario Domenichelli (Professore Emerito), Maria Teresa Fancelli (Professore Emerito), Massimo Fanfani, Fiorenzo Fantaccini (Università degli Studi di Firenze), Paul Geyer (Rheinische Friedrich-Wilhelms-Universität Bonn), Ingrid Hennemann, Sergej Akimovich Kibal’nik (Institute of Russian Literature [the Pushkin House], Russian Academy of Sciences; Saint-Petersburg State University), Ferenc Kiefer (Research Institute for Linguistics of the Hungarian Academy of Sciences; Academia Europaea), Michela Landi, Murathan Mungan (scrittore), Stefania Pavan, Peter Por (CNRS Parigi), Gaetano Prampolini, Paola Pugliatti, Miguel Rojas Mix (Centro Extremeño de Estudios y Cooperación Iberoamericanos), Giampaolo Salvi (Eötvös Loránd University, Budapest), Ayşe Saraçgil, Rita Svandrlik, Angela Tarantino (Università degli Studi di Roma ‘La Sapienza’), Maria -
Your Guidebook
Explorer Guidebook Altar of the Fatherland Panoramic View Reservations are not required but you can book in advance by emailing [email protected] Show your reservation confirmation at the office to redeem your ticket and staff will take you to the entrance. For more information, please visit the official website. Hours of Operation Every day: 10.30 AM, 1.30 PM, 2.30 PM, 3.30 PM Closings & Holidays 1st January and 25th December Getting There Address Touristation Office Piazza d’Ara Coeli, 16 Rome, RM 00186 IT Closest Bus Stop Ara Coeli/Piazza Venezia bus stop: lines 62, 30, 63, 40, 64, H, 81, 628, 87, 70, 492. Ancient Via Appia Antica by Bike Getting In: Show your pass on arrival before renting the bike. Hours of Operation Open everyday from 9.30am to 1 hour before sunset. Last admission: 1 hour before closing time. Closings & Holidays Closed 25th December and 1st January. Getting There Address 58-60 Via Appia Antica Rome, RM 00179 IT Big Bus Rome Hop-On Hop-Off 1-Day Classic Tour Getting in: show up at any Big Bus stop and show your pass to a member of staff. Hours of Operation Buses run Friday, Saturday, Sunday, and Monday. Visit the Big Bus Rome website for first and last bus times and stops. Closings & Holidays N/A Getting There Address Via Nazionale 208 Rome, RM 00184 IT Borghese Gallery and City Guide App Getting in: present your pre-booked ticket to a Touristation staff member who will welcome you at the entrance of Villa Borghese. -
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Centre m Georges Pompidou Kurt Schwitters •}}:{•}}}}}}}:•}:SS•}:•:•;•}:ç ;.Y:}}}}}:{{{{.}}}}}}:S:+Fi' :•}%{: f.}};+.}. •vr:+r:4};;..,v,..'•,v,{•:^^ :: :{{¢}vv}:iGYry,.;}}titi;:.+,^.,.rfi:,{ :::•.:•ç%{}:•::~i :• :•iii\ j::{;}>:ti•}{:$ ;:;: ;}}:;:;:; ti '. .{' ,:•.'::::i•::t :; :i?•':.: : :, :? ;:,i::}''•i+• :i; :Y}<::: {:i}}>;.;{.:},,:•;:} ::5f?~,'~,s• .v .•,:++\•f/•~,vv.n . :{ v : vv}}}}}}:5.::.54;•}} ;:4:{•i}:4:h;•i::4:::;:{•}:• ; ::•}}}:•}i:•}}:rr .S•}} .nw,,.ïv;}:.;tr,{++}YAl}WŸ:.•?.~C•4Jn•.w+. :vv..vn:..~/•:{:4::}:•}:• :::iii}}}:•:i:•i:•:::~:•}: ::i$::.4•i:• (1887-1948) 24 nov. 1994 -2o fév. 1995 Rétrospective Grande Galerie 5e étage L'exposition bénéf de du concours du Ministère des Affaires étrangères d'Allemagne, du soutien de la SERCACEB et de la Fondation de la Caisse d'Epargne de Basse Saxe SOMMAIRE PRESENTATION GENERALE PAGE 3 L'EXPOSITION PAGE 4 LES MANIFESTATIONS AUTOUR DE L'EXPOSITION PAGE 10 LES PUBLICATIONS PAGE 15 LA COMMUNICATION DE L'EXPOSITION PAGE 18 RENSEIGNEMENTS_ PRATIQUES PAGE 19 PRESENTATION GENERALE UNE EXPOSITION Enfin à Paris ! Du 24 novembre 1994 au 20 février 1995, Kurt Schwitters (1887-1948) est présent au Centre Georges Pompidou à travers une importante rétrospective, la première jamais consacrée à cet artiste en France . La dernière rétrospective avait eu lieu il y a près de 10 ans, en 1985, au Museum of modem art (New York), à la Tate Gallery (Londres) et au Sprengel Museum (Hanovre). Conçue par Serge Lemoine, conservateur en chef du Musée de Grenoble et professeur à la Sorbonne, cette exposition permet de découvrir un créateur que l'on s'accorde aujourd'hui à considèrer comme l'un des maîtres du XXème siècle, à l'égal de Duchamp, Matisse ou Picasso. -
Handout Directions ≥ 30 Sales Meeting
SALES MEETING 2021 DIRECTIONS ≥ 30 ROME, ITALY, 07-10 September ume Tevere FL3 ROMA Viterbo Viterbo FL1 Orte Viterbo Sacrofano Montebello Fara Sabina - Montelibretti La Giustiniana Piana Bella di Montelibretti Bracciano Prima Porta La Celsa Monterotondo - Mentana Vigna di Valle Labaro Settebagni Anguillara Centro Rai ARE Fidene NUL O A Cesano RD CO Saxa Rubra AC E R G ND Nuovo RA Olgiata RA ND G Grottarossa E Salario RA CC La Storta - Formello OR Due Ponti DO Due Ponti A N METRO ROME U La Giustiniana LA ume Tevere R Tor di Quinto E Ipogeo degli Ottavi Monte Antenne Mancini 2 Ottavia Jonio 2 Campi Sportivi Conca San Filippo Neri Conca d’Oro Acqua Acetosa d’Oro Monte Mario Libia 2 Gemelli Euclide Nomentana Balduina S.Agnese Rebibbia Appiano 19 3 Annibaliano Proba Petronia Ottaviano Valle Giulia 3.19 Ponte Mammolo VALLE TIBURTINA Monti S.Pietro 19 Tiburtini Battistini Cornelia AURELIA Musei Vaticani FLAMINIO Santa Maria del Soccorso Piazza del Popolo BOLOGNA Quintiliani Pietralata Baldo Cipro Lepanto 2 degli 19 Spagna Castro Policlinico Ubaldi Risorgimento Pretorio 3.19 RepubblicaRepubblica Palmiro La Rustica Teatrro OperaOpera Prenestina Togliatti Città Salone Lunghezza Aurelia Barberini Fontana Trevi TERMINI ume Tevere Tor Sapienza La Rustica Ponte FL5 SAN PIETRO 3.19 Serenissima FL2 5 14 UIR di Nona Civitavecchia Laziali Tivoli Grosseto Cavour Avezzano 8 S.Bibiana Vittorio Venezia 8 Emanuele Porta Maggiore Due Leoni/Fontana Candida Monte Compatri/Pantano Colosseo 3 5.14 Ponte Casilino 5.14.19 14 Manzoni 14 Vle P.Togliatti Museo della Liberazione3 -
Themerson and Schwitters 191
READING ART ADAM DZIADEK THEMERSON AND SCHWITTERS 191 Adam Dziadek Themerson and Schwitters DOI:io.i83i 8/td.2o i5.en.2.i2 Adam Dziadek is a professor a t the University of Silesiam and the author o f Rytm i podmiot w liryce Jarosława Iwaszkiewicza i Aleksandra Wata Milton, Themerson and Schwitters (1999), Obrazy i wiersze. Z zagadnień To begin with, a quotation: interferencji sztuk w polskiej poezji This neglect then of rime so little is to be taken for współczesnej (2004), a defect, though it may seem so perhaps to vulgar Na marginesach readers, that it rather is to be esteemed an example lektury. Szkice teoretyczne (2006), set, the first in English, of ancient liberty recovered Projekt krytyki to heroic poem from the troublesome and modern somatycznej (2014). bondage of riming.1 He has published Wybór wierszy This passage comes from John Miltons Paradise Lost, Aleksandra Wata (2008) as a part of the but what could such a quotation have to do with Stefan Biblioteka Narodowa Themerson and Kurt Schwitters? What could Milton, series. With Jan Schwitters and Themerson possibly have in common? Zieliński, he recently “Common sense” would suggest that this is a funda- co-edited the mentally wrong juxtaposition. But this strange juxta- heretofore unedited Notatniki Aleksandra position is only partly guided by chance, while “com Wata (2015). He mon sense” itself, as rightly noted by Roland Barthes in has translated the Mythologies, is a thoroughly bourgeois term, and there- works of R. Barthes, fore, I would suggest, unworthy of being stooped to or J. Derrida, J.-L. -
(12) Patent Application Publication (10) Pub. No.: US 2011/0301835 A1 Bongiorno (43) Pub
US 2011 03 01835A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2011/0301835 A1 Bongiorno (43) Pub. Date: Dec. 8, 2011 (54) PORTABLE VACATION/TRAVEL PLANNER, (52) U.S. Cl. ....... 701/201: 705/5: 707/705; 707/E17.044 AND FAMILY TOUR GUIDE DEVICE (57) ABSTRACT (76) Inventor: James Bongiorno, Huntington, NY A portable device for planning a vacation/business travel (US) itinerary, which begins with customizable itinerary templates that utilize a stored database of destination information, including a country's regions/cities, tourist sites, and other (21) Appl. No.: 12/910,790 sites of interest located therein, and a corresponding photo graphic library. One Such template returns itineraries based (22) Filed: Oct. 23, 2010 upon: duration, arrival/departure cities, total number of cities to be visited, and intensity of touring. The Software assists users during travel by providing cueing of itinerary segments, Rel ated U.S. Application Data along with directions, and on-demand pre-recorded audio (60) Provisional application No. 61/397,104, filed on Jun. tours to enhance site tour experiences. En route detours from 7, 2010. planned sites are Supported for spontaneous additions/Substi tutions. Country-specific information includes city/regional maps, public transportation information, key word/phrase Publication Classification language translation capability, and yellow/white page phone listings. Password protected device-to-device linking permits (51) Int. C. family members to track each other by GPS location of the G06O 10/00 (2006.01) other's device. Internet capability permits inclusion, within G06F 7/30 (2006.01) itineraries, of reservation-specific information for air-travel, GOIC 2L/00 (2006.01) hotels, and events. -
Logistical Information for the 11Th Framily Meeting & Workshop
Logistical information for the 11th FRAMily Meeting & Workshop Rome (Italy), 24th -26th May 2017 1. Conference venue address The conference venue is close to Rome Termini central station, even closer to Cavour metro station (line B), and two steps away from Colosseum, in an area called Rione Monti. The meeting address is: Via della Madonna dei Monti, 40 – 00184 Rome 2. How to get to the conference venue from Fiumicino airport 2.1 By taxi It takes approximately 45 minutes (in average) to get from Fiumicino airport to “Via della Madonna dei Monti, 40”. Taxi service is available at Terminal 1 and Terminal 3 and authorized Taxi vehicles are white with a “TAXI” sign on the roof. The symbol of the Municipality of reference is fixed to the front doors and the licence number is on the doors, on the back and inside the vehicle. You can expect a fixed fare of 48€ for the taxi ride. page 1 of 5 2.2 By public transport (train + metro) The fastest way to travel by public transport between Fiumicino airport and the conference venue is to use the Leonardo Express train and Metro B (subway – line blue) for 1 stop. The trip is divided into two phases and it takes approximately 50 minutes. A) From Fiumicino airport to Termini station Leonardo express is a non-stop service exclusively for airport passengers to/from Rome Termini railway station leaving every 15 minutes 8 (departures every 30’ from Fiumicino Airport before 07.08 and after 21.08 and between 10.08/10.38 and 14.08/14.38) with a journey time of 32 minutes.