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Programme Book COLOPHON
tolkien society UNQUENDOR lustrum day saturday 19 june 2021 celebrating unquendor's 40th anniversary theme: númenor 1 programme book COLOPHON This programme book is offered to you by the Lustrum committee 2021. Bram Lagendijk and Jan Groen editors Bram Lagendijk design and lay out For the benefit of the many international participants, this programme book is in English. However, of the activities, only the lectures are all in English. The other activities will be in Dutch, occasionally interspersed with English. tolkien society unquendor E-mail: [email protected] Internet: www.unquendor.nl Instagram: www.instagram.com/unquendor Facebook: www.facebook.com/groups/unquendor Twitter: www.twitter.com/unquendor Youtube: www.youtube.com/user/tolkiengenootschap Discord: www.discord.gg/u3wwqHt9RE June 2021 CONTENTS Getting started ... 4 A short history of Unquendor 5 Things you need to know 6 Númenor: The very short story 7 Programme and timetable 8 y Lectures 9 Denis Bridoux Tall ships and tall kings Númenor: From Literary Conception y to Geographical Representation 9 Renée Vink Three times three, The Uncharted Consequences of y the Downfall of Númenor 9 What brought they from Hedwig SlembrouckThe Lord of the Rings Has the history of the Fall of Númenor y been told in ?? 9 the foundered land José Maria Miranda y Law in Númenor 9 Paul Corfield Godfrey, Simon Crosby Buttle Over the flowing sea? WorkshopsThe Second Age: A Beginning and an End 910 y Seven stars and seven stones Nathalie Kuijpers y Drabbles 10 QuizJonne Steen Redeker 10 And one white tree. Caroline en Irene van Houten y Jan Groen Gandalf – The Two Towers y Poem in many languages 10 Languages of Númenor 10 Peter Crijns, Harm Schelhaas, Dirk Trappers y Dirk Flikweert IntroducingLive cooking: the presentersNúmenórean fish pie 1011 Festive toast and … 14 Participants 15 Númenórean fish pie 16 Númenóreaanse vispastei 17 GETTING STARTED… p deze Lustrumdag vieren we het 40-jarig Obestaan van Unquendor! Natuurlijk, we had- den een groot Lustrumfeest voor ogen, ons achtste. -
Baltic Triennial 13 – Give up the Ghost
BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms. -
International Projects Since 2015
International projects since 2015 A Fund for Contemporary Art Gelatin Museum Boijmans Van Marko Lulić Anna-Sophie Berger Beuningen, Rotterdam, 2018 Skulpturenmuseum Cell Project Space, London, Glaskasten Marl, 2019 2019 Christian Eisenberger Kunsthalle Gießen, 2020 Lois Weinberger documenta 14, Kassel, 2017 Katrin Hornek ar/ge kunst, Bolzano, 2021 Oliver Laric Mathias Poledna Ines Doujak 9th Liverpool Biennial, 2016 10th Liverpool Biennial, 2018 11th Liverpool Biennial, 2021 Lazar Lyutakov Simian, Copenhagen, 2021 Sophie Thun Kim? Contemporary Art Centre Riga, 2021 Katrin Hornek Sarah Ortmeyer 2nd Riga Biennial, 2020 2nd Riga Biennial, 2020 Philipp Timischl Anna-Sophie Berger Fondation Fiminco, S.M.A.K., Ghent, 2018 Paris, 2021 Julia Haller Christoph Meier Midway Contemporary Art, Casino Luxembourg, Minneapolis, 2018 2018 John Gerrard Susanna Fritscher 13th Gwangju Biennale, 2021 Centre Pompidou-Metz, 2020 Renate Lorenz & Pauline Boudry 3rd Timișoara Art Encounters Biennial, 2019 Leander Schönweger Ursula Mayer 15th Istanbul Biennial, 2017 16th Istanbul Biennial, 2019 Susanna Fritscher Ashley Hans Scheirl & Thomas Feuerstein Ulrike Müller 14th Biennale de Lyon, 2017 Jakob Lena Knebl 15th Biennale de Lyon, 2019 Queens Museum, 15th Biennale de Lyon, New York, 2020–2021 2019 Angelika Loderer Heimo Zobernig Kay Walkowiak New Museum Triennial, Austrian Pavilion, 1st Lahore Biennale, 2018 New York, 2021 56th Biennale di Venezia, 2015 Ulrike Müller 78th Whitney Biennial, New York, 2017 Søren Engsted Friedl Kubelka Main exhibition, vom Gröller -
Fiona Tan Coming Home
Fiona Tan Sherman Art Foundation Contemporary Coming Home Fiona Tan Coming Home Sherman Contemporary Art Foundation Contents in association with the National Art School 12 Preface Anita Taylor Fiona Tan 14 Introduction Gene Sherman Coming Home 19 Colour Plates A Lapse of Memory 47 Disorient 74 Essay Infinite Crossroads Juliana Engberg 82 Production Credits 84 Artist Biography 88 Artist Bibliography 92 Contributors 94 Acknowledgements 13 It is with enormous pleasure that the National The extension of the project to include the Preface Art School (NAS) joins with Sherman NAS Gallery is a direct outcome of discussions Contemporary Art Foundation (SCAF) to involving the Deans/Directors of the three present ‘Fiona Tan: Coming Home’. The major art schools in Sydney in May 2009, held proposal to extend the project – commissioned at the invitation of Dr Gene Sherman, in which Anita Taylor by SCAF – across our two venues represents a Gene and her team at SCAF proposed an Director significant new partnership for NAS. I believe ongoing dialogue to explore opportunities to National Art School the opportunity afforded by this collaboration engage more extensively with the art students establishes an exciting new direction for both of Sydney. Most importantly, SCAF and NAS our organisations. share a commitment to supporting outstanding The two Sydney venues are each hosting a exhibitions that underscore the value of art and separate body of work: Disorient, 2009, first culture in our society. shown to great acclaim in the Dutch Pavilion at The hard work, commitment and dedication the 53rd Venice Biennale, is screening at SCAF in of a number of individuals are required to Paddington, and A Lapse of Memory, 2007, is deliver an exhibition of this scope. -
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
Before the Washington Utilities and Transportation Commission
BEFORE THE WASHINGTON UTILITIES AND TRANSPORTATION COMMISSION In the Matter of Puget Sound Energy DOCKET UE-171087 2018-2019 Biennial Conservation Plan ____________________________________ In the Matter of Avista Corporation 2018- DOCKET UE-171091 2019 Biennial Conservation Plan ____________________________________ In the Matter of Pacific Power and Light Company 2018-2019 Biennial DOCKET UE-171092 Conservation Plan COMMISSION STAFF COMMENTS REGARDING ELECTRIC UTILITY CONSERVATION PLANS UNDER THE ENERGY INDEPENDENCE ACT, RCW 19.285 and WAC 480-109 (2018-2019 BIENNIAL CONSERVATION PLANS) December 1, 2017 Dockets UE-171087, UE-171091, UE-171092 Staff Comments on 2018-2019 Biennial Conservation Plans Page i Contents Introduction ..................................................................................................................................... 3 Target Setting and Implementation Plans ....................................................................................... 4 NEEA........................................................................................................................................... 4 Decoupling Calculation .............................................................................................................. 6 Rebate Incentive Level ................................................................................................................ 7 Hard to Reach Markets ............................................................................................................... 7 Additional -
Reynier Leyva Novo
GALLERIA CONTINUA Via del Castello 11, San Gimignano (SI), Italia tel. +390577943134 fax +390577940484 [email protected] www.galleriacontinua.com REYNIER LEYVA NOVO El peso de la muerte Opening: Saturday 13 February 2016, via del Castello 11 and via Arco dei Becci 1, 6pm–12 midnight Until 1 May 2016, Monday–Saturday, 10am–1pm / 2–7pm Galleria Continua is pleased to present the first solo exhibition by Reynier Leyva Novo in Italy. One of the latest generation of Cuban artists, Novo has already had occasion to show his work in important international events and venues such as the Havana Biennial, the Venice Biennale, MARTE Museo de Arte de El Salvador and the Liverpool Biennial. El peso de la muerte is a project specially conceived for Galleria Continua and brings together a series of new works in which investigation and procedure are key elements. Deeply poetic but also alive with questions, Novo’s work is situated in the context of the daily battles to get to the bottom of individual and collective identity. In his artistic practice he moves forward turning his back on the future, penetrating into the most hidden folds of history to offer us a fresh dialogue and a different point of observation. His works are often the result of joint efforts involving historians, cartographers, alchemists, botanists, musicians, designers, translators and military strategists, all engaged in the eternal struggle to gain freedom – individual and collective – , in the attempt to set into motion ideological mechanisms blocked by the rust and sediment that have accumulated over years of immobility and lethargy. -
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and Works in Long Island City, Queens, NY
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and works in Long Island City, Queens, NY EDUCATION Arturo Michelena School of Fine Arts, Venezuela SELECTED SOLO EXHBITIONS 2016 To Have Done with the Judgment of God, Koenig & Clinton, New York 2014 Shadow Play, curated by Mirjam Varanidis, Kunsthaus Zürich, Switzerland Games are forbidden in the labyrinth, Walter and McBean Galleries, San Francisco Art Institute, CA Games are forbidden in the labyrinth, REDCAT Gallery, co-produced with Kadist Art Foundation, Los Angeles, CA 2013 Praise of Folly, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium The Conquest of Mexico, Figge von Rosen Galerie, Cologne, Germany 2012 Ungesehen und unerhört II: Javier Téllez, Museum Sammlung Prinzhorn, Heidelberg, Germany Rotations, Galerie Peter Kilchmann, Zürich, Switzerland 2011 Letter on the Blind for the Use of Those Who See, Arthouse at the Jones Center, Austin, TX O Rinoceronte de Dürer, Fruits, Flowers, and Clouds, Museum for Applied Arts, Vienna, Austria Letter on the Blind for the Use of Those Who See, Museum of Contemporary Art Cleveland, OH O Rinoceronte de Dürer, Galerie Arratia Beer, Berlin, Germany 2010 Vasco Araújo/Javier Téllez - Larger than Life, curated by Isabel Carlos, Museo de Arte Contemporánea, Vigo, Spain Vasco Araujo/Javier Téllez - Larger than Life, Museu Calouste Gulbenkian, Lisbon, Portugal 2009 41⁄2, curated by Hilke Wagner, Kunstverein Braunschweig, Germany Mind The Gap, curated by Sabine Schaschl, Kunsthaus Baselland, Switzerland Javier Téllez: International Artist -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Second Biennial Report of the European Union Under the UN Framework Convention on Climate Change
© iStockphoto/ liewy Second Biennial Report of the European Union under the UN Framework Convention on Climate Change Climate Action The Second Biennial Report of the European Union represents a compilation of the following documents: COM(2015)642 - REPORT FROM THE COMMISSION - Second Biennial Report of the European Union under the UN Framework Convention on Climate Change (required under Article 18(1) of Regulation (EU) No 525/2013 of the European Parliament and of the Council of 21 May 2013 on a mechanism for monitoring and reporting greenhouse gas emissions and for repor- ting other information at national and Union level relevant to climate change and repealing Decision No 280/2004/EC and Decision 2/CP.17 of the Conference of Parties of the UNFCCC) Accompanying Staff Working Document: SWD(2015)282 - COMMISSION STAFF WORKING DOCUMENT - Accompanying the document Report from the Commission Second Biennial Report of the European Union Under the UN Framework Convention on Climate Change (required under Article 18(1) of Regulation (EU) No 525/2013 of the European Parliament and of the Council of 21 May 2013 on a mechanism for monitoring and reporting greenhouse gas emissions and for reporting other information at national and Union level relevant to climate change and repealing Decision No 280/2004/EC and Decision 2/CP.17 of the Conference of Parties of the UNFCCC) Table of Contents SECOND BIENNIAL REPORT OF THE EUROPEAN UNION UNDER THE UN FRAMEWORK CONVENTION ON CLIMATE CHANGE ..................................... I 1. GREENHOUSE GAS EMISSION INVENTORIES .................................................. 1 1.1. Summary information on GHG emission trends ............................................... 1 1.2. -
Shifting Perspectives in the Venice Biennale's Hungarian Exhibition
17 Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 1948 KINGA BÓDI 268 Kinga Bódi Kinga Bódi, PhD, is curator at the Museum of Fine Arts, Budapest. As a doctoral fellow at the Swiss Institute for Art Research (SIK–ISEA) she investigated the cultural representation of Hungary at the Venice Biennale from its beginnings until 1948. In her present essay, Bódi jointly discusses the frst contemporary avant-garde Hungarian show in Venice in 1928 and the Biennale edition of 1948, which she interprets as a counterpoint of sorts to the one twenty years earlier, defned by conservative ideological principles and neo-Classicism. Her study examines the historical, social, cultural, political, artistic, professional, and personal background of these two specifc years of Hungarian participation in Venice. At the same time, her essay contributes to current international dialogues on the changing role of international exhibitions, curatorial activities, and (museum) collections. (BH) Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 19481 From 1895 to 1948, it was self-evident that Hungary would take part in the Venice Biennale. During this period, the country too kept in step, more or less, with the artistic and conceptual changes that governed the Biennale, virtually the sole major international exhibition opportunity for Hungarian artists then and now. Tis is perhaps why, for the 124 years since the frst participation, the question of the Hungarian Pavilion has remained at the centre of domestic art-scene debates. Comparing nations has always been a facet of the Venice Biennale. -
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen, Jakob Fenger, Rasmus Nielsen. The Danish artist group SUPERFLEX has been working since 1993 on a series of projects to do with economic forces, democratic production conditions and self-organisation. With a diverse and complex practice that engages art, design, commerce and economic structures of dependency, the Copenhagenbased artists collective Superflex challenges the role of artists in contemporary society and explore the nature of globalization through ongoing collaborative projects. Bjørnstjerne Reuter Christiansen born 1969 Jakob Fenger born 1968 Rasmus Nielsen born 1969 Work and live in Copenhagen, Denmark & Sweden Education The Royal Academy of Fine Art in Copenhagen Solo exhibitions (selected) 2014 The Corrupt Show and The Speculative Machine, The Jumex Foundation, Mexico City, MX Superflex, Kunsthal Charlottenborg, Copenhagen 2013 Mærsk – The Opera, Horsens Art Museum, Horsens, DK 2012 7th Liverpool Biennial, Liverpool, GB Kuh, Thyssen-Bornemisza Art Contemporary, Vienna, AT Reprototypes, Triangulations and Road Tests – w. Simon Starling, Thyssen-Bornemisza Art Contemporary, Vienna, AT Prouvé in Africa / Bent, Pressed, Compressed, Welded, and then Copied, Musée d’Art Moderne, St-Etienne, FR Bankrupt Banks, Peter Blum, New York, US Modern Times Forever, 1301PE Gallery, Los Angeles, US Flooded McDonald’s, The Cube, Taipei, Taiwan 2011 COPY LIGHT – MODERN TIMES FOREVER, Galerie Jeusse Entreprise, Paris, FR Flooded McDonalds, Museum der Westkünste, Alkersum/Föhr, D Foreigners,