Return of Private Foundation ONE FERRY BUILDING 255 415-677

Total Page:16

File Type:pdf, Size:1020Kb

Return of Private Foundation ONE FERRY BUILDING 255 415-677 Return of Private Foundation OMB No 1545-0052 Form 990 ' P F or Section 4947(a)(1) Trust Treated as Private Foundation Do not enter Social Security numbers on this form as it may be made public. Department of the Treasury ► 2013 Information about Form 990-PF and its separate instructions is at wWW /rS gov/form990pf Internal Revenue Servi ce ► en to P u blic I nspection For calendar year 2013 or tax year beginning and ending Name of foundation A Employer identification number TT4 RARRRn ( T4 P PRO RTTF.CTA FnTTNnATTON 94-3241225 Number and street (or P O box number if mail is not delivered to street address ) Room /suite B Telephone number ONE FERRY BUILDING 255 415-677-5922 City or town , state or province, country, and ZIP or foreign postal code C If exemption application is pending , check here SAN FRANCISCO , CA 94111 G Check all that apply 0 Initial return 0 Initial return of a former public charity D 1 Foreign organizations , check here 0 Final return L Amended return 2 Foreign organizations meeting the 85% test D Address chan g e D Name chan ge check here and attach computation H Check type of organization ® Section 501 ( c)(3) exempt private foundation E If private foundation status was terminated 0 Section 4947 (a )( 1 ) nonexem pt charitable trust = Other taxable p rivate foundation under section 507 (b)(1)(A), check here I Fair market value of all assets at end of year J Accounting method 0 Cash ® Accrual F If the foundation is in a 60-month termination (from Part II, col (c), line 16) = Other ( specify ) under section 507(b )(1)(B), check here Part 1, column (d) must be on cash basis) ► $ 7 8 3 3 513 . ( Part I Analysis of Revenue and Expenses ( a) Revenue and (b) Net investment ( c) Adjusted net (d) Disbursements (The total of amounts in columns (b), (c), and ( d) may not for charitable purposes necessarily equal the amounts in column (a)) exp enses p er books income income (cash basis only) 1 Contributions, gifts, grants, etc , received 2 , 500 , 000 . N/A 2 Check ► a it the foundation is not required to attach Sch B Interest on savings and temporary 3 cash investments 133 , 359 . 133 , 359. S TATEMENT 1 4 Dividends and interest from securities 117 , 805 . 117 805 . S TATEMENT 2 5a Gross rents b Net rental income or (loss) 6a Net gain or ( loss) from sale of assets not on line 10 373 , 685. Gross sales price for all =`C b assets on line Ba 4, 146,987. ' f r^ 7 Capital gain net income ( from Part IV , line 2) 373 , 685. 8 Net short -term capital gain 9 Income modifications Gross sales less returns 10a and allowances b Less Cost of goods sold c Gross profit or (loss) 11 Other income 12 Total Add lines 1 throu g h 11 3 , 12 4 , 849 . 624 , 849. 13 Compensation of officers , d i rectors , trustees , etc 36 , 000 . 0. 36 , 000. 14 Other employee salaries and wages 15 Pension plans , employee benefits 16a Legal fees STMT 3 70. 0. 70. v cb qrm SMT 4 2 , 600. 1 , 300. 1 , 300. W II^c Othe a Ls MT 5 22 , 450. 22 , 450. 0. 1 1 terest 1E 1Qcna^ xeNQ\) &)T,MT 6 50 , 998. 1 , 144. 0. 19 DeI preclatlon and dentetlon, 152. 0. E 20 Occupa qI cq 11 _ ll " ( I ^ I^ a 21Travel;-^Dn}Ccen^ Irrtgs M 22 Printing and publications 0 23 Other expenses STMT 7 1 315. 702. 613. M 24 Total operating and administrative C, expenses Add lines 13 through 23 113 , 5 85. 25 , 596. 37, 983. 0 25 Contributions, gifts, grants paid 3 582 , 004. 3 , 582 , 004. 26 Total expenses and disbursements Add lines 24 and 25 3 695 589. 25 , 596. 3 , 619 , 987. 27 Subtract line 26 from line 12: a Excess of revenue over expenses and disbursements - 570 , 740. b Net investment income (if negative, enter -0-) 599 , 253 c Ad j usted net income (it negative, enter -0-) N / A 10-o-'t3 LHA For Paperwork Reduction Act Notice , see instructions Form 990-PF (2013) 2 12351029 718997 2014068 2013.04030 THE BARBRO OSHER PRO SUECIA 2014068 Fnrm99n-PF(2n131 THE RARRRO OSHFR PRn RtJECTA FOUNDATION 94-3241225 Pane2 inthedescription Beginning of year End of year Part ll Balance Sheets A^chedschedules andamounts column should be for end-of-year amounts only (a) Book Value (b) Book Value (c) Fair Market Value 1 Cash - non-interest-bearing 2 Savings and temporary cash investments 350 , 925. 1 , 051 , 201. 1 , 051 , 201. 3 Accounts receivable ► Less' allowance for doubtful accounts ► 4 Pledges receivable ► Less allowance for doubtful accounts ► 5 Grants receivable 6 Receivables due from officers, directors, trustees, and other disqualified persons 7 Other notes and loans receivable ► Less: allowance for doubtful accounts ► Inventories for YN 8 sale or use y 9 Prepaid expenses and deferred charges 13 , 964. 1 , 515. 1 , 515. a 10a Investments - U.S. and state government obligations b Investments - corporate stock STMT 8 6 , 407 , 000. 6 , 422 , 126. 6 , 422 , 126. c Investments - corporate bonds 11 investments - land buildings , and equipment basis ► Less accumulated depreciation ► 12 Investments - mortgage loans 13 Investments - other STMT 9 386 , 855. 358 , 633. 358 , 633. 14 Land, buildings, and equipment. basis ► 1 , 065. Less accumulated depreciation STMT 1010- 1 , 027. 190. 38. 38. 15 Other assets (describe ► 16 Total assets (to be completed by all filers - see the instructions Also see paQ e 1 Item 1 ) 7 , 158 , 934. 7 , 833 , 513. 7 , 833 , 513. 17 Accounts payable and accrued expenses 2 848. 37 , 697. 18 Grants payable 1 , 530 , 000. 2 , 210 , 000. o 19 Deferred revenue 20 Loans from officers , directors trustees , and other disqualified persons 21 Mortgages and other notes payable J 22 Other liabilities (describe ► 23 Total liabilities add lines 17 throu g h 22 1 , 532 , 848. 2 2 4 7 6 9 7. Foundations that follow SFAS 117, check here ► 0 and complete lines 24 through 26 and lines 30 and 31 24 Unrestricted v 25 Temporarily restricted to 26 Permanently restricted Foundations that do not follow SFAS 117, check here ► LLit and complete lines 27 through 31 27 Capital stock, trust principal, or current funds 0 . 0. 28 Paid-in or capital surplus, or land, bldg., and equipment fund 0 . 0. a 29 Retained earnings, accumulated income, endowment, or other funds 5 , 626 , 086 . 5 , 585 , 816. Z 30 Total net assets or fund balances 5 , 626 , 086 . 5 , 585 , 81 63 31 Total liabilities and net assets/fund balances 7 15 8 9 3 4 . 7 833 . 51 . Part III Analysis of Changes in Net Assets or Fund Balances 1 Total net assets or fund balances at beginning of year - Part II, column (a), line 30 (must agree with end-of-year figure reported on prior year's return) 1 5 , 626 086 2 Enter amount from Part I, line 27a 2 -570 740 . not 3 Other increases included in line 2 (itemize) ► UNREALIZED GAIN/ LOSS 3 604 , 150. 4 Add lines 1, 2, and 3 4 5 659 496 . 5 Decreases not included in line 2 (itemize) ► PRIOR PERIOD ADJUSTMENT 5 73 680. 6 Total net assets or fund balances at end of year (line 4 minus line 5) - Part II. column W. line 30 6 5 585 . 816 . Form 990-PF (2013) 323511 10-10-13 3 12351029 718997 2014068 2013.04030 THE BARBRO OSHER PRO SUECIA 20140681 Form 990-PF (2013) THE BARBRO OSHER PRO SUECIA FOUNDATION 94-3241225 Page 3 Part IV j Capita l Gai ns and Losses for Tax on Investment Income (b How acquired (a) List and describe the kind(s) of property sold (e.g., real estate, (c(mDate acquired (d) Date sold D - Purchase yr.) (mo., 2-story brick warehouse; or common stock, 200 shs. MLC Co ) D Donation No., day, day, yr la SEE OSTERWEIS CAPITAL MANAGEMENT STATEMENT P b SEE ATTACHED CONIFER STATEMENT ACCT 118021 P c SEE ATTACHED CONIFER STATEMENT ACCT 108023 P d SEE OSTERWEIS CAPITAL MANAGEMENT STATEMENT P e (e) Gross sales price (f) Depreciation allowed (g) Cost or other basis (h) Gain or (loss) (or allowable) plus expense of sale (e) plus (f) minus (g) a 700 741. 683 831. 16 , 910. b 1 , 158 , 489. 921 841. 236 648. c 1 , 145 , 056. 1 , 081 , 046. 64 , 010. d 1 , 142 , 701. 1 1 , 086 , 584. 56 , 117. e Complete only for assets showing gain in column (h) and owned by the foundation on 12/31/69 (I) Gains (Col (h) gain minus col less -0-) or 0) Adjusted basis (k) Excess of col. (i) (k (i) F M V. as of 12/31/69 as of 12/31/69 over col (I), if any ,but (from col a 16 , 910. b 236 648. C 64 , 010. d 56 , 117. e If gain, also enter in Part I, line 7 2 Capital gain net income or (net capital loss) If (loss), enter -0- in Part I, line 7 2 373 , 685. 3 Net short-term capital gain or (loss) as defined in sections 1222(5) and (6): If gain, also enter in Part I, line 8, column (c). If ( loss ), enter -0- in Part I line 8 3 N / A I Part V Qualification Under Section 4940(e) for Reduced Tax on Net Investment Income (For optional use by domestic private foundations subject to the section 4940( a) tax on net investment income.) If section 4940(d)(2) applies, leave this part blank.
Recommended publications
  • Stockholm Inhaltsverzeichnis
    **Bitte beachten Sie, dass es für viele Zusatzleistungen Kinderpreise gibt. Geben Sie daher bei Buchung immer das Kinderalter mit an.** Stockholm Inhaltsverzeichnis Stockholm Pass ..................................................................................................................... 2 Hop-on Hop-off Tour Stockholm ............................................................................................ 5 Schifffahrt durch die Stockholmer Schären ............................................................................ 7 ABBA The Museum ohne Audioguide ................................................................................... 8 Über den Dächern Stockholms .............................................................................................. 9 Rundgang durch die Altstadt ................................................................................................10 Altstadt, Djurgården & Vasa Museum ...................................................................................11 I Stockholm Pass Der Stockholm Pass ist eine Vorteilskarte zum Sightseeing, mit dem Besucher alles erleben können, was Stockholm zu bieten hat, und dabei Zeit und Geld sparen. Highlights: Verschwenden Sie keine Zeit mit einem Pass, in dem vieles inbegriffen ist Sparen Sie Geld, da alle Eintritte für die aufgeführten Attraktionen inbegriffen sind Profitieren Sie von diesem einfach zu verwendenden Pass und kostenlosem Stadtführer Genießen Sie kostenlose Fahrten mit Hop-On/Hop-Off-Bussen und Booten Mit dem Stockholm
    [Show full text]
  • Museums in Stockholm
    Museums in Stockholm PHOTO: OLA ERICSON FOR THE LATEST UPDATES ON STOCKHOLM, VISIT THE OFFICIAL WEBSITE VISITSTOCKHOLM.COM Museums in Stockholm BERGIANSKA TRÄDGÅRDEN BERGIUS BOTANIC GARDEN Discover Stockholm´s museums with their world-class collections, pioneering exhibitions and extraordinary historical objects. Botanical garden beautifully situated at Lake Brunnsviken. A paradise for plant enthusiasts with thousands of trees, shrubs and herbs from around the world. Exotic, heat-loving plants thrive in the Victoria House and Edvard Anderson Conservatory. AQUARIA VATTENMUSEUM Café, shop and restaurant. AQUARIA WATER MUSEUM Opening hours: The Park daily. Edvard Anderson Conservatory: Oct-Mar Mon- Fri 11am- 4pm, Sat- Sun Falkenbergsgatan 2. Djurgården 11am-5pm Apr-Sep daily 11am- 5pm. www.aquaria.se The Victoria House: May-Sep Mon- Fri 11am- 4pm, Sat-Sun 11am-5pm. ARKITEKTURMUSEUM Metro station: Universitetet, Bus:40 MUSEUM OF ARCHITECTURE Bergianska trädgården All you need to know about Swedish architecture and construction from +46 (0) 8 545 91 700 the 19th century until today. Exhibitions featuring drawings, models, design www.bergianska.se and examples of sustainable urban development. Take a tour and participate in creative activities for children on Sundays. Library, BIOLOGISKA MUSEET collections, book store and café. BIOLOGICAL MUSEUM Opening hours: Tues 10am- 8pm, Wed-Sun Lejonslätten, Djurgården 10am-6pm. www.biologiskamuseet.com Metro station: Kungsträdgården Bus: 2, 55, 62, 65, 76 Skeppsholmen BONNIERS KONSTHALL +46 (0) 8 587 270 00 BONNIERS CONTEMPORARY ART www.arkitekturmuseet.se Torsgatan 19. Norrmalm ARMÉMUSEUM www.bonnierskonsthall.se ARMY MUSEUM CARL ELDHS ATELJÉMUSEUM Riddargatan 13. Östermalm CARL ELDH’S STUDIO MUSEUM www.armemuseum.se Lögebodavägen 10.
    [Show full text]
  • Tyra Kleen and the Paradoxes of Esoteric Art
    PER FAXNELD ‘Mirages and visions in the air’ Tyra Kleen and the paradoxes of esoteric art DOI: https://doi.org/10.30664/ar.98199 Attribution 4.0 International (CC BY 4.0) round the year 1900, European discourse with some of the central notions of this on art was becoming increasingly ‘eso­ discourse. Atericized’. The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist Esoteric art and esotericized art criticism and the esotericist as overlapping figures. There During the second half of the nine- was also at the time a conflict regarding medium­ teenth century, the reciprocal relationship istic art, a phenomenon initially made popular between esotericism and visual art intensi- through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. fied. While major artists had certainly been In what follows, I will discuss how the Swedish inspired by esoteric currents and motifs female esotericist and artist Tyra Kleen (1874– connected with them earlier (e.g. depic- 1951) attempted to situate herself in connection tions of alchemists by Bruegel the Elder to the concept of the artist as a magus, and the tensions between the positive view of medium­ and Younger, Rembrandt’s 1652 Faust ism in Spiritualism and the more negative or cau­ engraving, William Blake’s many visionary tious approach to it in Theosophy, as well as in works), this seemed to become increasingly relation to the attendant gender issues. prominent during the aforementioned period, especially among Symbolists.1 A The material used is primarily Kleen’s more or less fresh theme was the idea of book Form (1908), a sort of artistic mani- (true) art itself as inherently esoteric, and festo that she produced, partially, it would (true) artists thus possessing conscious or seem, in response to ideas about esoteric unconscious esoteric insights.2 Notions of art and women artists prominent at the time.
    [Show full text]
  • Behind the Scenes of the City: the Hidden, the Forbidden, the Forgotten November 18–19, 2020 Stockholm City Museum
    Behind the Scenes of the City: The Hidden, the Forbidden, the Forgotten November 18–19, 2020 Stockholm City Museum Wednesday November 18 11.00–13.00 Conference registration and lunch Stockholm City Museum, auditorium, 2nd floor. Light lunch and coffee will be served during registration. 13.00–13.10 Welcome and introduction Fredrik Linder, Director, Stockholm City Museum, Rebecka Lennartsson, Associate Professor, Stockholm City museum, and Karin Carlsson, PhD, Department of History, Stockholm University. 13.10–13.50 Keynote speaker: Beatriz Colomina Howard Crosby Butler Professor of the History of Architecture, School of architecture, Princeton university, USA. 14.00–15.00 Parallel sessions I. Thresholds, Borders and Spaces in Between Chair: Heiko Droste, Professor, Head of Institute of Urban History, Stockholm University. How to Make Differences: Entrances and the Role of the Doorman in Residential Buildings During the Turn of the 20th Century Karin Carlsson, PhD, Department of History, Stockholm university. Dad on Display: Commercial Construction of Gender and the Modern Man in the 1930s Shop Windows Orsi Husz, Senior Lecturer, Associate Professor and Researcher at Department of History, Uppsala University and Klara Arnberg, Associate Professor and Researcher at the Department of Economic History and International Relations, Stockholm University. II. Spaces and Places in Transformation Chair: Thomas Wimark, Senior Lecturer and Associate Professor, Department of Social and Economic Geography, Uppsala University. Hidden Projections: Cinematic Resistance From the Urban Interiors of Australia Martin Abbott and Jennifer Minner, Associate Professor, City and Regional Planning, Cornell University, USA. Impact of the Botkyrka Project on Gender Equality and Youth Participation: A Capability Approach Perspective on #UrbanGirlsMovement Vittorio Esposito, Master student, Department of Civil and Architectural Engineering, Royal Institute of Technology, Stockholm.
    [Show full text]
  • Without a Trace? 17 the Sámi in the Swedish History Museum
    Nordisk Museologi 2015 • 2, s. 17–32 Without a trace? 17 The Sámi in the Swedish History Museum Marte Spangen Abstract: Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority. Keywords: Sámi pasts, exhibitions, Vikings, past group identities, ethnicity, stereotypes, Sweden, politics of the past, colonialism. This article discusses the dissemination of offering sites in northern Sweden2 where such Sámi culture and history in the Swedish objects have been found. In addition, early History Museum (SHM) in Stockholm. The twentieth century excavations revealed large background for the study1 was work on an amounts of animal bones and reindeer antlers article about the Sámi offering site, Unna Saiva, (Hallström 1915, 1932, Manker 1957:167– from which some of the archaeological finds 168, Salmi et al. 2015). The general dating of are displayed in the museum. Unna Saiva, in Sámi metal offering sites has been app.
    [Show full text]
  • Australian National Maritime Museum Annual Report 2013–14 Australian National Maritime Museum Annual Report 2013–14 2013–14 Chairman’S Message
    AUSTRALIAN NATIONAL MARITIME MUSEUM ANNUAL REPORT 2013–14 AUSTRALIAN NATIONAL MARITIME MUSEUM ANNUAL REPORT 2013–14 2013–14 CHAIRMAN’S MESSAGE Australian National Maritime Museum It’s my pleasure, once again, to present the Australian National Annual Report 2013–14 © Commonwealth of Australia 2014 Maritime Museum’s Annual Report for the period 1 July 2013 to 30 June 2014. This Annual Report addresses the second year of the ISSN 1034-5019 museum’s strategic plan for the period 2012–2015, a key planning This work is copyright. Apart from any use permitted under document that was developed and tabled in accordance with the the Copyright Act 1968, no part may be reproduced by any process without prior permission from the Australian Australian National Maritime Museum Act 1990. National Maritime Museum. AUSTRALIAN NATIONAL MARITIME MUSEUM This was another year of change and progress for the museum, for both its staff The Australian National Maritime Museum (ANMM) and its site. Various factors and events – the important centenary of the beginning at Darling Harbour, Sydney, opens 9.30 am–5 pm every day (9.30 am–6 pm in January). Closed 25 December. of World War 1, the upcoming anniversary of Gallipoli, and the exhibitions, projects and events the museum has programmed in commemoration; major staffing ENTRY AT 30 JUNE 2014 Big Ticket: admission to galleries and exhibitions + vessels changes; the extensive redevelopment of the Darling Harbour area; and the more + Kids on Deck long-term plans for the redevelopment of the museum – have all ensured that it Adult $27, child $16, concession/pensioners $16 Members/child under 4 free, family $70 has been a busy and challenging year.
    [Show full text]
  • Complete Exhibition List
    ESTHER SHALEV-GERZ EXHIBITIONS Shows & works in public space (selection) 2021 WEFRAC 2021, Road Trip: Quand les projets rhabillent le FRAC », group exhibition in the public space, FRAC Bretagne, France, 17-18 April 2020 Reflecting Pool, winter group exhibition, Wasserman Projects, Detroit, USA, January 31st – February 22nd Takes part in Prefiguration Mission, Report to the French Prime Minister, future construction of the Museum-Memorial for Societies Facing Terrorism, France, March THE CROWN LETTER, group exhibition, http://crownproject.art/esther-shalev-gerz/ , “AUCIEL”, weekly from April 21st Selection of works from Ritrovare Volterra, 1998 & Dead Wood, 2016, solo exhibition, POLPIS Capital, LLC, New York, USA from July Nicht Museum, group exhibition, Neumarkt, Dresden, Germany, July 25th 2019 Sortir, group exhibition, cité scolaire Beaumont, Works from the FRAC Bretagne collection, Redon, France, January 11th – February 6th Esther Shalev-Gerz: Selections from the Gold Room, one-woman exhibition, Wasserman Projects, Detroit, USA, January 25th – March 23rd love in the time of social media, group exhibition, Kunstraum Walcheturm, Zurich, Switzerland, March 16th – April 6th Persona Grata?, group exhibition, Mac Val, Vitry-sur-Seine, March 30th – January 5th 2020 2018 Between Listening and Telling, projection during the 11th Ceremony to the Memory of the Victims of the Holocaust, UNESCO, Paris, France, January 25th Esther Shalev-Gerz, one-woman exhibition, Koffler Gallery, Toronto, Canada, April 5th – June 3rd ON I OFF Muestra de Video,
    [Show full text]
  • Stockholm, Sweden Destination Guide
    Stockholm, Sweden Destination Guide Overview of Stockholm Key Facts Language: Swedish is the main language, with Lapp being spoken by the Sami population in the north. Most Swedes speak and understand English, while many are proficient in other European languages like German, French, and Spanish. Passport/Visa: Currency: Electricity: Electric current is 230 volts, 50Hz. Standard European two-pin plugs are used. Travel guide by wordtravels.com © Globe Media Ltd. By its very nature much of the information in this travel guide is subject to change at short notice and travellers are urged to verify information on which they're relying with the relevant authorities. Travmarket cannot accept any responsibility for any loss or inconvenience to any person as a result of information contained above. Event details can change. Please check with the organizers that an event is happening before making travel arrangements. We cannot accept any responsibility for any loss or inconvenience to any person as a result of information contained above. Page 1/11 Stockholm, Sweden Destination Guide Travel to Stockholm Climate for Stockholm Health Notes when travelling to Sweden Safety Notes when travelling to Sweden Customs in Sweden Duty Free in Sweden Doing Business in Sweden Communication in Sweden Tipping in Sweden Passport/Visa Note Entry Requirements Entry requirements for Americans: Entry requirements for Canadians: Entry requirements for UK nationals: Entry requirements for Australians: Entry requirements for Irish nationals: Entry requirements for New Zealanders: Entry requirements for South Africans: Page 2/11 Stockholm, Sweden Destination Guide Getting around in Stockholm, Sweden Page 3/11 Stockholm, Sweden Destination Guide Attractions in Stockholm, Sweden Kids Attractions Royal Djurgarden Address: A 10-minute walk from the city centre across the Djurgarden bridge.
    [Show full text]
  • Theatre in Sweden 2019.Pdf
    STOCKHOLM UNIVERSITY DEPARTMENT OF CULTURE AND AESTHETICS THEATRE, DANCE, AND PERFORMANCE STUDIES Prof. Tiina Rosenberg [email protected] THEATRE IN SWEDEN HISTORICAL AND CONTEMPORARY PERSPECTIVES SEPTEMBER/OCTOBER 2019 (TVERA1, 15 ECTS) PROGRAM & TIMETABLE PART I WEEK 36 1.Lecture: Introduction to Theatre in Sweden: Historical and Contemporary Perspectives, Friday, September 6, 10:00-13:00, Department of Culture and Aesthetics, Room 300: Library (Tiina Rosenberg) Reading: News from Swedish Theatre. Focus: Young Audiences. News from Swedish Theatre. Focus: Gender Equality. News from Swedish Theatre. Focus: New Plays. News from Swedish Theatre. Focus: Regional Theatres. All these booklets are available as at www.teaterunionen.se (Swedish ITI). Diana Taylor. (2016). “Framing [Performance]” and “Performance Histories.” In Performance. Durham & London: Duke University Press, 1–42, 43–72. 2. Study visit: Drottningholm Court Theatre, Friday, September 6, 14:30–15:30. Meeting point: We go together from class, but if you want to travel independently, the subway station is Brommaplan and from there you take a bus to Drottningholm. A tour lecture will be given in the court theatre. The Drottningholm Court Theatre (Drottningholms slottsteater) is a theatre located at Drottningholm Royal Palace in Stockholm. It is one of the few 18th century theatres in Europe that is still used as a theatre with its original stage machinery. Reading: Frederick J. Marker & Lise-Lone Marker, “The Gustavian Age.” In A History of Scandinavian Theatre, Cambridge: Cambridge University Press, 76–95 (PDF available at Athena). 1 Willmar Sauter. 2014. “The Rediscovery of the Drottningholm Court Theatre” and “A Guided Tour of the Theatre.” In Willmar Sauter & David Wiles (eds.).
    [Show full text]
  • The Pink Book
    THE PINK BOOK IMPACT REPORT 2014 Conference 2 Pink Book | 3 Table of Contents 05 Thank you to our partners 06 Anatomy of a conference 08 Economic impact 10 Who attended 12 Audience profile 14 What they said 15 What they think 16 Key learnings 24 Inspiring keynotes 28 Trends 34 Media coverage 36 IDCA awards 38 CTM team 40 Partners 42 My conclusions Opposite Mark Goggin and Corinne Estrada at the Art Gallery of New South Wales for CTM14. © Agenda CTM14 - Cedric Tourasse 4 Pink Book | 5 Thank you to our partners For the 14th edition of Communicating the Museum, our destination was Australia. After Paris, New York, Venice, Stockholm, Madrid and many other prestigious cities, we were delighted to host CTM14 in Sydney and Melbourne in November 2014. The impact of our Australian conference has been far-reaching – both economically and in fostering successful long-term collaborations between the world’s cultural institutions. This is testament to the passionate commitment of the Agenda team. But it would not have been possible without the tremendous support we have received from a number of key government and cultural partners. I would like to say a massive thank you to everyone who has contributed to making CTM14 such a success. In particular, I would like to thank Mark Goggin, Director of Sydney Living Museums. It was Mark’s idea for us to come to Australia and he helped to build Agenda’s partnership with Sydney and Melbourne. I’m extremely grateful to Mark and to our 22 cultural partners for their trust and involvement to this world-class event.
    [Show full text]
  • A Viking Period Sword from Skäckerfjällen with a Decorated Antler Grip Holm, Olof Fornvännen 2015(110):4 S
    A Viking Period sword from Skäckerfjällen with a decorated antler grip Holm, Olof http://kulturarvsdata.se/raa/fornvannen/html/2015_289 Fornvännen 2015(110):4 s. 289-290 Ingår i samla.raa.se Korta meddelanden 286-290_Layout 1 2015-11-25 16:42 Sida 289 Korta meddelanden 289 A Viking Period Sword from Skäckerfjällen with a Decorated Antler Grip Swords with decorated grips made of antler seem discovered another one: a previously unidentified to have been rare in Viking Period Scandinavia. decorated antler grip belonging to a probably some- In his comprehensive and very valuable 2014 what earlier type M sword (SHM 33463). This monograph Viking Swords, Fedir Androshchuk lists sword is from a cremation grave, and so only small only one sword found in present-day Sweden with fragments of the grip survive. They are neverthe- a preserved antler grip (cat. no Jä 12). This is a less enough to reconstruct parts of one plate of type V sword from an inhumation grave excavated the grip (figs 1–2). In Androshchuk’s study (2014, in the early 20th century at Rösta in Ås parish, cat. no Jä 6), these fragments are misidentified as Jämtland (SHM 12426: male grave IV; Kjell- “fragments of comb (and comb case?)”, while mark 1905, fig. 21). The grip (meðalkafli in Old they are described as “comb case or fitting?” (kam - Norse sources) seems usually to have been made fodral eller beslag?) in the museum catalogue. of wood, which may have been wrapped with The grip has originally consisted of two plates, leather, linen or woolen ribbons (Androshchuk fastened together around the tang of the sword 2014, p.
    [Show full text]
  • 'I'm a Devilish Fellow Who Can Do Many Tricks'
    FACTS ABOUT SWEDEN | AUGUST STRINDBERG sweden.se P P H H O O T T O: O: S N T ORDI RIND S B K ER A MU GS MU S EE S T EE T August Strindberg: self-portrait from Gersau, Switzerland, 1886. Jealousy Night, painted by Strindberg in Berlin, Germany, 1893. AUGUST STRINDBERG: ‘I’M A DEVILISH FELLOW WHO CAN DO MANY TRICKS’ A hundred years after his death, August Strindberg (1849–1912) continues to fascinate. He was a trailblazer and innovator in his time and still manages to provoke audiences in theaters around the world. There is always an aspect of Strindberg’s everyday language, and today his texts led. His literary development largely fol- character – from the raging sociopoliti- feel remarkably modern. lowed the twists and turns of his private cal polemicist to the psychologically life, including the crises arising from his introspective writer – that fits the prevail- Man of many talents marriage break-ups and political contro- ing spirit and intellectual climate of the People are amazed by Strindberg’s ver- versies. times. His thoughts on morality, class, satility. He tackled most genres. Aside power structures and familial politics from being an innovator in drama and Upbringing and studies are still relevant today. The unflagging prose, he was a poet, a painter, a pho- Johan August Strindberg was born on struggle for free thinking and free speech tographer, even a sinologist. 22 January 1849. He would later claim that he waged throughout his life is more Strindberg’s stormy private life also that his childhood was one of poverty important than ever in a time when cen- explains his enduring appeal, especially and neglect but the family was not poor.
    [Show full text]