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South Africa Blog#3
South Africa, Blog #3 We are now on our final day in Cape Town for this trip, after a wonderful three week vacation that has taken across almost the whole of the country, to each of its three capital cities and to some of the most spectacular scenery that we have ever seen. We started in Pretoria and the last time we wrote (a week ago) we had just arrived in Cape Town to spend a week in our nephew’s villa here—living in the most luxurious surroundings and once again enjoying every- thing that this wonderful city has to offer. We have been treated to meals cooked for us by the resident chef, chauffer-driven trips to fantastic wine estates and days out on our own in the city and surrounding area. On Monday we visited the Cape of Good Hope. The weather in Bantry Bay where we are staying was very misty and we couldn’t see the ocean only a few hundred feet below us but we were told that this could change as we rounded Table Mountain. Indeed, even before we reached the city, let alone the cape peninsula, there were breaks in the cloud and some blue sky. This just got better as we drove down the east coast of the peninsula and made our first stop in Simon’s Town. This town has a main street of beautiful buildings and is one of the first settlements of the Cape Colony. It is also the home of the South African Navy and there is a significant naval presence here. -
Your Guide to Myciti
Denne West MyCiTi ROUTES Valid from 29 November 2019 - 12 january 2020 Dassenberg Dr Klinker St Denne East Afrikaner St Frans Rd Lord Caledon Trunk routes Main Rd 234 Goedverwacht T01 Dunoon – Table View – Civic Centre – Waterfront Sand St Gousblom Ave T02 Atlantis – Table View – Civic Centre Enon St Enon St Enon Paradise Goedverwacht 246 Crown Main Rd T03 Atlantis – Melkbosstrand – Table View – Century City Palm Ln Paradise Ln Johannes Frans WEEKEND/PUBLIC HOLIDAY SERVICE PM Louw T04 Dunoon – Omuramba – Century City 7 DECEMBER 2019 – 5 JANUARY 2020 MAMRE Poeit Rd (EXCEPT CHRISTMAS DAY) 234 246 Silverstream A01 Airport – Civic Centre Silwerstroomstrand Silverstream Rd 247 PELLA N Silwerstroom Gate Mamre Rd Direct routes YOUR GUIDE TO MYCITI Pella North Dassenberg Dr 235 235 Pella Central * D01 Khayelitsha East – Civic Centre Pella Rd Pella South West Coast Rd * D02 Khayelitsha West – Civic Centre R307 Mauritius Atlantis Cemetery R27 Lisboa * D03 Mitchells Plain East – Civic Centre MyCiTi is Cape Town’s safe, reliable, convenient bus system. Tsitsikamma Brenton Knysna 233 Magnet 236 Kehrweider * D04 Kapteinsklip – Mitchells Plain Town Centre – Civic Centre 245 Insiswa Hermes Sparrebos Newlands D05 Dunoon – Parklands – Table View – Civic Centre – Waterfront SAXONSEAGoede Hoop Saxonsea Deerlodge Montezuma Buses operate up to 18 hours a day. You need a myconnect card, Clinic Montreal Dr Kolgha 245 246 D08 Dunoon – Montague Gardens – Century City Montreal Lagan SHERWOOD Grosvenor Clearwater Malvern Castlehill Valleyfield Fernande North Brutus -
The V&A Waterfront As Workplace and Leisure
THE V&A WATERFRONT AS WORKPLACE AND LEISURE SPACE FOR CAPETONIANS by ROZITTA ELIZABETH TERCIA DE VILLIERS Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University. Supervisor: Prof SLA Ferreira March 2016 Stellenbosch University https://scholar.sun.ac.za ii DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za iii SUMMARY According to a report compiled in 2012 by Projects for Public Spaces (PPS) on behalf of UN-Habitat, one third of the world's population resided in cities in the 1950s. This figure increased to 50% in the following half century and is predicted to be two thirds by 2050. The building of new skyscrapers and rapid urban development often causes urban communities' public spaces to disappear leading to more stressful living environments in crowded urban neighbourhoods. Such stressed communities often look for alternatives to fulfil their needs to interact in nature and in open spaces. One solution to this global challenge is the popular rise of urban waterfront developments that provide a link between water spaces and cities, creating multi-use destinations, which provide urban citizens with the public spaces they need to encourage public interaction and social cohesion. -
The Gesture and the Sign Press Release 19 March 2013
The Gesture and the Sign 3 April – 8 June 2013 ‘The Gesture and the Sign’ features recent works by a range of international artists that take their cue from pictorial aspects of lyrical abstraction. With an emphasis on the actual process of painting, lyrical or gestural abstraction can be characterised by techniques that are governed by the artist’s interaction with chance, intuition and circumstance. Triggered by diverse conditions and impulses, the paintings and works on paper in this exhibition share a common purpose in the primacy given to the gesture, the sign and material. Artists such as Mark Bradford, Julie Mehretu, Sterling Ruby and Daniel Senise apply abstraction as a means of observing, negotiating or deconstructing an increasingly mediated world. In Mark Bradford’s large-scale, multi-part work, he uses materials found in the vicinity of his Los Angeles studio (in this case, a merchant poster featuring the telephone number for a ‘Slip and Fall’ lawyer) as the basis for an epic, dense and visually complex composition. The spray painted, hallucinatory canvases of Sterling Ruby also draw influence from his local neighbourhood, here in the form of gang graffiti and the power struggles associated with tagging, defacement and dominion of territory. Julie Mehretu’s dynamic, layered compositions feature intuitive gesture, architectural information and visual signs that build into a maelstrom of time, place and art history, while the abstract compositions of Daniel Senise combine materials embedded and marked with an implied history, which are then overlaid with a pristine white monochrome as an erasure of the past. Accident, failure and alchemy all play a part in the paintings of Sergej Jensen, David Ostrowski and Jacob Kassay. -
ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master
ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master of Fine Arts in Imaging Art, Rochester Institue of Technology, Rochester 1985 Advanced Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town 1984 Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town SOLO EXHIBITIONS 2013 ‘Zwelethu Mthethwa: New Works’, Jack Shainman Gallery, New York 2012 ‘Zwelethu Mthethwa’, The Baltimore Museum of Art, Maryland ‘Zwelethu Mthethwa: Sugar Cane Series (2003 – 2007)’, curated Diego Cortez, John Hope Franklin Center, Duke University, Durham, NC ‘Zwelethu Mthethwa’, curated by Kirsten Hileman, Project space, Baltimore Museum of Art, Baltimore 2011 ‘New Works’, iArt Gallery (now Brundyn + Gonsalves), Cape Town 2010 ‘Inner Views’, Studio Museum in Harlem, New York ‘Zwelethu Mthethwa’, iArt Gallery, Cape Town ‘Is it our goal…? And Other Related Issues’, Circa on Jellicoe, Johannesburg ‘Brick Workers and Contemporary Gladiators’, Galeria Oliva Arauna, Madrid 2009 ‘New Works’, Jack Shainman Gallery, New York 2008 ‘Children of a Lesser God’, Everard Read, Johannesburg ‘Contemporary Gladiators’, Andréhn Schiptjenko, Stockholm 2007 ‘Private-Public Spaces’, Galerie Anne de Villepoix, Paris ‘Recent Works’, Galerie Oliva Arauna, Madrid ‘Maidens and Dance of Life’, Christine König, Vienna (in cooperation with Galerie Hengevoss-Dürkop) 2006 ‘Gold Miners’, Jack Shainman Gallery, New York ‘New Works’, Everard Read, Johannesburg ‘Maidens’, Galerie Hengevoss-Dürkop, Hamburg 2005 ‘Women in Private Spaces’, -
Greater the Lord's Prayer Son Of
Son Of God Greater Offering Son of God shaper of the stars For those of you who would like to continue contributing to Bring your tired and bring your shame You alone the dweller of my heart Bring your guilt and bring your pain the mission and ministry of CKPC during this time, Mighty King how beautiful You are checks can still be mailed to: Don't you know that's not your name How beautiful CKPC, PO Box 750, Silverdale, WA 98383 You will always be much more to me OR give online by following this giving link Son of God the Father's gift to us Every day I wrestle with the voices You alone were broken on the altar of love Treasurer’s Report for Fiscal Year (6/1/20 – 5/31/21) That keep telling me I'm not right Precious Lamb our freedom's in Your blood It's in Your blood As of August 16th, 2020 – But that's alright Unified Budget Receipts to date $78,315 Jesus oh Holy One Unified Budget Goal to date $96,514 'Cause I hear a voice and He calls me redeemed I sing to You forgiven Our monthly budget requirement was $37,290 When others say I'll never be enough Savior I'm overcome Donations for the month of July were $28,931 And greater is the One living inside of me With Your great love for me Steve Coffey, Treasurer. Than he who is living in the world In the world in the world Son of God strength beyond compare You alone the darkness cannot bear And greater is the One living inside of me Lord of love Your kindness draws me near Than he who is living in the world It draws me Lead On, O King Eternal # 747 Bring your doubts and bring your fears Son -
Art History: International Art Exhibitions
FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected. -
Vote 13: Department of Cultural Affairs and Sport ______
Vote 13 Department of Cultural Affairs and Sport 2011/12 2012/13 2013/14 To be appropriated MTEF allocations R 313 158 000 R 336 923 000 R 354 255 000 Responsible MEC Provincial Minister of Cultural Affairs, Sport and Recreation Administering Department Department of Cultural Affairs and Sport Accounting Officer Head of Department, Cultural Affairs and Sport 1. Overview Core functions and responsibilities To provide for and promote arts and culture, museums, heritage, multi-lingualism library and archive services and programmes, sport and recreation to accelerate growth in a sustainable manner for the benefit of all the people of the Western Cape. Through our services and programmes we strive as a Department to realise the objectives of the provincial strategic plan (in particular the objective to increase social cohesion). The challenge for the government is to build a cohesive Western Cape community by creating opportunities for all to unite and fully participate in the society at large. Cultural Affairs and Sport is a tool that can be used to assist with the building of this united and cohesive Western Cape community. Vision A socially cohesive, creative and active Western Cape. Mission We encourage excellence and inclusiveness in sport and culture through the effective, efficient and sustainable use of our resources, and through creative partnerships with others. In moving to excellence, we will create the conditions for access and mass participation, talent identification and skills development. Main services Sport and Recreation Development, Recreation and Promotion. Promotion and support of arts and culture, library and archive services. Promotion of museum and heritage resource management services. -
Concept for Contemporary
copertina con alette 2017.pdf 1 24/04/17 10:50 La forza competitiva del Made in Italy, in cui la componente design ha un ruolo centrale, parte dalla natura identitaria della sua produzione. Proprio per questa Alfredo Aceto forma di imprinting culturale che i luoghi trasferiscono sul prodotto, il vantaggio Alessandro Bava / åyr competitivo si genera in stretta relazione con le peculiarità della struttura sociale Sergio Breviario dei sistemi imprenditoriali locali. Da questa idea si è ipotizzato un legame Canemorto stringente per la promozione dell’arte contemporanea attraverso canali interna- Gianni Caravaggio zionali, qualitativamente rilevanti, già rodati dalla filiera produttiva per far sì che Ludovica Carbotta queste assonanze e affinità progettuali, nonché ideative, andassero a valorizzare Loris Cecchini l’operato delle nuove generazioni. Concepito infatti per documentare, valorizzare Giulio Delvé e sostenere gli artisti che vivono e lavorano principalmente in Italia, il Moroso Gabriele De Santis CONCEPT nasce con questo DNA, quale necessaria e pragmatica evoluzione del Elena El Asmar Premio Moroso, di cui diventa estensione e, si auspica, valido braccio operativo. Roberto Fassone Ettore Favini Il volume viene pubblicato quale complemento ed integrazione al progetto, illustrando i 36 artisti Graziano Folata selezionati per il Moroso CONCEPT 2017. La pubblicazione, curata da Andrea Bruciati, è inoltre un Francesco Fonassi focus sui 12 finalisti e si struttura secondo una pertinente indagine critica, condotta da: Anna Franceschini Alfredo Aceto, Canemorto, Roberto Fassone, Francesco Fonassi, Anna Franceschini, Invernomuto, Margherita Moscardini, Valerio Nicolai, Luigi Presicce, Stefano Serretta, Ilaria Vinci, Driant Zeneli. Anna Galtarossa Il catalogo è supportato da una ricca sezione iconografica che documenta approfonditamente Martino Genchi la poetica di ogni artista, e da un’esaustiva appendice di apparati, comprensiva del curriculum Oscar Giaconia dettagliato di ciascun autore e dalle schede tecniche relative ai progetti espressamente concepiti. -
She Creates Carved and Painted Wooden Figures That Reflect The
THE PROCESS FOLLOWED IN APPOINTING THE NOBEL SQUARE ARTISTS 26 July 2005 After the public launch of the Nobel Square Project in December 2003, a search was initiated for an appropriate artist or artists to execute the project in a way that would do justice to the legacies each of South Africa’s four Nobel Peace Prize Laureates have contributed to the country’s national conscience and international stature. Identifying the artists This search was launched in January 2004 by the Nobel Square Technical Committee*, comprising Western Cape art and technical experts, and acting as advisory body to the Nobel Square Project Committee**, comprising representatives of the four Laureates, Western Cape Government, V & A Waterfront and the province’s tourism and arts sectors. After weeks of thorough research and wide-ranging consultations the names of ten of South Africa’s top artists who were able to produce portrait-like or representational images of the Laureates, were identified by the Technical Committee and recommended to the Project Committee. They were Bonita Alice, Andries Botha, Peter Hall, Noria Mabasa, Isaac Makaleni, Johannes Maswanganyi, Anton Momberg, Claudette Schreuders, Johannes Segogela and Willem Strydom. The artists, from as far as the Limpopo Province, Eastern Cape and the Karoo, were invited to Cape Town for a two-day briefing and orientation session and Nobel Square site visit. They also had the option of visiting a Cape Town foundry. After the public announcement of their names in March 2004, the artists were invited to submit maquettes (small models) and/or drawings of their proposals for the project to the Technical Committee. -
CAPE TOWN SOUTH AFRICA an Inspiring Place to Meet
SUBMISSION TO HOST 19th General Assembly and 31st International Cartographic Conferennce 13 – 18 August 2023 CAPE TOWN SOUTH AFRICA an inspiring place to meet a division of Contents INTRODUCTION 5 ACCOMMODATION 73 - Invitation - Overview - Supporting Institutions & Associations - Estimated Costs HOST DESTINATION 17 SOCIAL EVENTS 79 - Cape Town, an Inspiring Place to Meet - Suggested Themes - 10 Reasons to Select Cape Town - Suggested Venues - Congresses - Fast Facts - Key Visitor Attractions TOURS 85 - Global Ranking - Day Tours - Culture & People - Pre & Post Tours in Southern Africa - South Africa CONFERENCE SUPPORT 97 TRAVEL INFORMATION 39 - Convention Bureau - Getting There - Services - Travel & Transport - Industry Associations - Visa Information - Wesgro CONVENTION VENUE 53 ANNEXURE 105 - Cape Town International Convention - Support Letters Centre (CTICC) 2 ICC 2023 3 HOST DESTINATION ONE OF THE WORLD’S MOST SUSTAINABLE CITIES 4 5 INTRODUCTION 1. Theme of ICC 2023 By 2023 the international cartography and geospatial information community will have made great progress in areas of new developments in their fields and will by that time be ready to showcase the results of the latest research and development. The related technology will be more advanced, in particular providing greater connectivity globally to local. At that time there will be new ways in which to represent geospatial information and how this geospatial information relates to and value-adds to other information. There will be new ways in which humans interact with and use cartography and geospatial information. In 2023 we will be ready to discuss and see in practice the new cartography and geospatial information science and management. The topic of ‘smart cartography’ will be ripe for discussion and debate. -
C&S Anrep 12.P65
Annual Report 2004 - 2005 DEPARTMENT OF CULTURAL AFFAIRS & SPORT Foreword 1.1 Submission of the Annual Report to the Executive Authority MEC Whitey Jacobs MEC of Cultural Affairs, Sport and Recreation In accordance with Section 40(1)(d) of the Public Finance Management Act, 1999, the Public Service Act, 1994, and the National Treasury Regulations (NTR), I hereby submit the Department of Cultural Affairs and Sport’s Annual Report on financial statements, performance indicators and departmental activities for the period 1 April 2004 to 31 March 2005, for the 2004/05 financial year. It is important to note that in terms of Section 65(1)(a) of the Public Finance Management Act, 1999, you are required to table the report in the Provincial Parliament by 31 August 2005. If you are unable to do so, you must, in terms of Section 65(a) of the Public Finance Management Act, 1999, provide a written explanation to the Provincial Legislature within six months of the end of the relevant financial year, that is by 30 September 2005. Adv Roderick Peter (Rod) Solomons Head of Department 31 July 2005 2 DEPARTMENT OF CULTURAL AFFAIRS & SPORT ANNUAL REPORT 2004/2005 Table of Contents PART 1: GENERAL INFORMATION 1.1 Submission of the Annual Report to the Executive Authority 2 1.2 Introduction by the Head of the Department ............... 5 1.3 Information on the Ministry .......................................... 8 1.4 Mission Statement ......................................................... 9 1.5 Legislative mandate ....................................................... 9 PART 2: PROGRAMME PERFORMANCE 12 2.1 Programme 1: Administration ....................................... 19 2.2 Programme 2: Cultural Affairs ....................................... 20 2.3 Programme 3: Library and Information Services ..........