Miroslav Tichý Kyjov, Moravia, Czech Republic
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Susanne M. Winterling
Susanne M. Winterling Born 1970, Rehau/Oberfranken, DE Meisterschülerin, 2005 Fine Art Academy, Hamburg and Braunschweig Akademie Isotrop MA, Philosophy and Art History, 1995 Lives and works in Berlin and Oslo Solo Exhibitions 2016 In Search for Radical Incomplete #3 Black Hole Hunters (two person show with A. Navratil), curated by Övul O. Durmuşoğlu, Kunstverein Lagenhagen, Lagenhagen, Germany 2015 Space Elevator: Streetbodies and Donkeydreams, The Cologne Room, Los Angeles, CA 2014 Drift, Parrotta Contemporary Art, Stuttgart, Germany Luminous Bodies, Hiromi Yoshii Roponggi, Tokyo Empathetic Vision, Dinos, and the Tamer of Horses, Ludlow 38, New York, US Complicity, Kunstverein, Amsterdam, The Netherlands Faces, Surfaces, and Interfaces—Communities and the Commons, Ludlow 38, New York, US 2013 Shelter (Lighthouse of Fragility), part of artSOUTH: collaborations, Keyhaven Nature Reserve, New Forest, Lymington, UK pocketpark, Lüttgenmeijer, Berlin Game Heart Matter, Jessica Silverman Gallery, San Francisco, CA 2012 Susanne M. Winterling, Kunstlerhaus Bregenz Vertigo, Parrotta Contemporary, Stuttgart, DE The Inscribable Surface, Kunstverein Salzburger, Salzburg, DE Nox and Shelter (with Nadira Husain), Tempo Rubato, Tel Aviv, IL 2011 The Inscribable Surface, Frieze Frame, Silverman Gallery, London, UK Complement for Company (Skyline and Skin), Fotogalleriet, Oslo, NO 2010 They Called Each Other Horses, Centre d’Edition Contemporaine, Geneva, CH Prototyp 2 (Neue Bude) (w/ Ruth May), Kunsthalle Lingen, Lingen, DE Kunstpreis der Stadt Nordhorn -
Sources for Genealogical Research at the Austrian War Archives in Vienna (Kriegsarchiv Wien)
SOURCES FOR GENEALOGICAL RESEARCH AT THE AUSTRIAN WAR ARCHIVES IN VIENNA (KRIEGSARCHIV WIEN) by Christoph Tepperberg Director of the Kriegsarchiv 1 Table of contents 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives 1.2. Conditions for doing genealogical research at the Kriegsarchiv 2. Sources for genealogical research at the Kriegsarchiv 2. 1. Documents of the military administration and commands 2. 2. Personnel records, and records pertaining to personnel 2.2.1. Sources for research on military personnel of all ranks 2.2.2. Sources for research on commissioned officers and military officials 3. Using the Archives 3.1. Regulations for using personnel records 3.2. Visiting the Archives 3.3. Written inquiries 3.4. Professional researchers 4. Relevant publications 5. Sources for genealogical research in other archives and institutions 5.1. Sources for genealogical research in other departments of the Austrian State Archives 5.2. Sources for genealogical research in other Austrian archives 5.3. Sources for genealogical research in archives outside of Austria 5.3.1. The provinces of the Austro-Hungarian Monarchy and its “successor states” 5.3.2. Sources for genealogical research in the “successor states” 5.4. Additional points of contact and practical hints for genealogical research 2 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives Today’s Austrian Republic is a small country, but from 1526 to 1918 Austria was a great power, we can say: the United States of Middle and Southeastern Europe. -
German Documentaries 2007” Is Information for the Respective Production Companies Or Designed As a Tool and Guide for Everyone Professionally Sales Agents
PRINT_GD07#.qxd 26.01.2007 11:14 Uhr Seite 1 Dearest readers and users of this catalogue, if we address you today not only as "readers,” but as you with the wide range of our country’s production land- "users,” this is quite intentional. As over the past ten years, scape. For this reason, each title also includes the contact the annual catalogue "german documentaries 2007” is information for the respective production companies or designed as a tool and guide for everyone professionally sales agents. In this way, we would like to not only assist involved with German documentary films. There’s plenty to you in obtaining viewing copies, but also recommend part- offer to television commissioning editors, film buyers, ners for future international co-productions. festival organizers, cultural managers, and journalists who Nearly all of the companies listed are members of the are interested in the thematic and formal variety of German "German Documentary Association” / AG DOK – the largest documentary filmmaking. professional association of independent film and television Of course, such a tool needs to be functional and easy to producers in Germany. With its initiative "german films,” use. That’s why we have tried to simplify your search for the AG DOK launched the independently produced docu- the films best suited to your needs. Our list of topics is divi- mentary in the international marketplace ten years ago. ded into fourteen catagories from "A” for "Arts” to "Y” for Today, the label is an integral part of the "german films” "Youth,” offering a wealth of topics extending far beyond sales platform, which is present not only at trade shows what is typically found at most international film markets. -
Architecture and Space Our Congress Centre in Pictures and Figures Culture Meets Congress and Finds Him Devastatingly Good Looking
Architecture and Space Our congress centre in pictures and figures Culture meets Congress and finds him devastatingly good looking Mrs Culture and Mr Congress appear from opposite sides of the plaza in front of Bregenz Festival House. She is very elegantly dressed, he has more of a sporty look. Both of them are presumably on their way to an event taking place in the centre. As they approach one another it is clear how glad they are to meet again. Culture: Hello! Well now, you look damn good. Congress: You’re not the first person to say so. Culture (a little taken aback): And you’re pretty self-confident with it. Congress: Did I just adopt the wrong tone? Culture : The right tone is more my domain. Congress: In the figurative sense, yes. But technically speaking it’s mine. Sound, lighting, stage set are my responsibilities, and I feel equal to them all. Culture : There seem to be developments in your life which I have never gone through. Congress: That’s right. I’m doing a lot of sport at the moment. Culture: Please don’t do too much. I’m not too keen on muscle-bound types. Congress: Don’t worry, I’m mainly building up my stamina. The body is my house, it’s got to be solid. Culture : The body is the house in which your soul and mind dwell. Congress: Yeah, them too. But without a strong body... Culture : The body matters a lot to me, too, but not in the sense of what’s external. -
Miroslav Tichý
Contact: Communications Department 212.857.0045 [email protected] media release Miroslav Tichý On view from January 29 through May 9, 2010 Media Preview January 28, 2010 11:30 am–1:00 pm RSVP: [email protected] 212.857.0045 Miroslav Tichý, Untitled, n.d. © Tichý Ocean Foundation, Zurich “…the mistake is a part of it, it is poetry…and for that you need a bad camera.” -Miroslav Tichý “ Sometimes Tichý’s photographs remind me of candles and shadows and silhouettes, ghost stories, keyholes, Jim Morrison lyrics, white bicycles, the short story by John Cheever entitled ‘The Swimmer’ (the bathing suits)...The best art for me is when I see something and say to myself, yea, I could spend an afternoon doing that. For me, the afternoon is in Tichý’s work.” -Richard Prince The first North American museum exhibition of the photography of the mysterious and reclusive Czech artist Miroslav Tichý will be on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) from January 29 through May 9, 2010. Now in his eighties, Tichý is a stubbornly eccentric artist, noted as much for his makeshift cardboard cameras as for his haunting and distorted images of women and landscapes, many of them taken surreptitiously. Born in Moravia in 1926, Tichý studied painting at the Academy of Fine Arts (SVU) in Prague in the years immediately following the Second World War. After Czechoslovakia’s adoption of communism in 1948, he left the Academy and turned his back on the official art world, withdrawing from mainstream society, in part as a political response to the social and cultural repressions of the regime. -
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS for ITS 27TH NEW YORK EDITION January 17 – January 20, 2019 the M
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS FOR ITS 27TH NEW YORK EDITION January 17 – January 20, 2019 The Metropolitan Pavilion, 125 West 18th Street, New York Minnie Evans, Untitled (Three faces in floral design) (detail),1967, Crayon, graphite and oil on canvas board, 22.75×27.75 in. Artwork (c) Estate off Minnie Evans. Courtesy of Cameron Art Museum, Wilmington, N.C. NEW YORK, NY, November 28, 2018 – The Outsider Art Fair, the only fair dedicated to Self-Taught Art, Art Brut and Outsider Art, is pleased to announce the exhibitor list for its 27th New York edition, taking place January 17-20, 2019 at The Metropolitan Pavilion. The fair will showcase 67 exhibitors, representing 37 cities from 7 countries, with 8 first-time galleries. This year, OAF will host two of its hallmark Curated Spaces. Good Kids: Underground Comics from China will feature zines and original drawings created by Chinese artists. Co-organized by Brett Littman (Director, Noguchi Museum, New York) and Yi Zhou (partner and curator of C5Art Gallery, Beijing), these works deal with subject matter that is scatological, sexual, puerile and anti-conformist, making the distribution and sales of these work in mainland China complicated to almost impossible. A second Curated Space will serve as homage to the late dealer Phyllis Kind. In her obituary for the New York Times, Roberta Smith made this observation: “As the first American dealer to show outsider art alongside that of contemporary artists, Ms. Kind was in many ways as important as Leo Castelli…” Curated by Raw Vision Magazine senior editor and art critic Edward M. -
Exhibition & Sponsorship Dossier
ACMFS 2 E 0 1 8 Y N M A UN M ICH - GER Vadsz Tromsø Bodø Luleå Steinkjer Umeå Trondheim Östersund Molde Härnösand SWEDEN NORWAY Hermansverk Lillehammer Hamar Gävle Bergen Falun Oslo Uppsala Drammen Västeràs Tønsberg Moss Karlstad Örebro Skien Stockholm Stavanger Nyköping Arendal Kristiansand Linköpingen Visby Göteborg Jönköpingen Aalborg Växjö Kalmar Halmstad Viborg Karlskrona DENMARK Vejle København (Copenhagen) Malmö Olsztyn Biafystok Szczecin Bydgoszcz Poznañ POLAND Warszawa (Warsaw) Kódz Zielona Góra Lublin Luts'k Wroclaw Kielce Rivne Opole Katowic Rzeszów L'viv Krakáw Ternopil Zilina SLOVAKIA Chernivtsi Banská Bystrica Trnava Nitra Bratislava Linz Sankt Pölten Wien Salzburg Eisenstadt AUSTRIA Bregenz Innsbruck Graz Klagenfurt SLOVENIA Ljuljana CROATIA Zagreb BOSNIA AND HERZEGOVINA Sarajevo Tirana ALBANIA exhibition&sponsorship 2 INDEX EACMFS Executive Officers - Main Contact Details 04 Welcome address 05 Congress venue 06 Former Congresses & Presidents 07 Main Topics 07 Congress Objectives 08 General Information 09 Exhibition Sponsorship 10 Sponsorship Opportunities 11 Additional Sponsorship Opportunities 12 Advertisement and Sponsor Items 15 Exhibition map 16 3 Vadsz Tromsø Bodø Luleå Steinkjer Umeå Trondheim Östersund Molde Härnösand SWEDEN NORWAY Hermansverk Lillehammer Hamar Gävle Bergen Falun Oslo Uppsala Drammen Västeràs Tønsberg Moss Karlstad Örebro Skien Stockholm Stavanger Nyköping Arendal Kristiansand Linköpingen Visby Göteborg Jönköpingen Aalborg Växjö Kalmar Halmstad Viborg Karlskrona DENMARK Vejle København (Copenhagen) -
Recco® Detectors Worldwide
RECCO® DETECTORS WORLDWIDE ANDORRA Krimml, Salzburg Aflenz, ÖBRD Steiermark Krippenstein/Obertraun, Aigen im Ennstal, ÖBRD Steiermark Arcalis Oberösterreich Alpbach, ÖBRD Tirol Arinsal Kössen, Tirol Althofen-Hemmaland, ÖBRD Grau Roig Lech, Tirol Kärnten Pas de la Casa Leogang, Salzburg Altausee, ÖBRD Steiermark Soldeu Loser-Sandling, Steiermark Altenmarkt, ÖBRD Salzburg Mayrhofen (Zillertal), Tirol Axams, ÖBRD Tirol HELICOPTER BASES & SAR Mellau, Vorarlberg Bad Hofgastein, ÖBRD Salzburg BOMBERS Murau/Kreischberg, Steiermark Bischofshofen, ÖBRD Salzburg Andorra La Vella Mölltaler Gletscher, Kärnten Bludenz, ÖBRD Vorarlberg Nassfeld-Hermagor, Kärnten Eisenerz, ÖBRD Steiermark ARGENTINA Nauders am Reschenpass, Tirol Flachau, ÖBRD Salzburg Bariloche Nordkette Innsbruck, Tirol Fragant, ÖBRD Kärnten La Hoya Obergurgl/Hochgurgl, Tirol Fulpmes/Schlick, ÖBRD Tirol Las Lenas Pitztaler Gletscher-Riffelsee, Tirol Fusch, ÖBRD Salzburg Penitentes Planneralm, Steiermark Galtür, ÖBRD Tirol Präbichl, Steiermark Gaschurn, ÖBRD Vorarlberg AUSTRALIA Rauris, Salzburg Gesäuse, Admont, ÖBRD Steiermark Riesneralm, Steiermark Golling, ÖBRD Salzburg Mount Hotham, Victoria Saalbach-Hinterglemm, Salzburg Gries/Sellrain, ÖBRD Tirol Scheffau-Wilder Kaiser, Tirol Gröbming, ÖBRD Steiermark Schiarena Präbichl, Steiermark Heiligenblut, ÖBRD Kärnten AUSTRIA Schladming, Steiermark Judenburg, ÖBRD Steiermark Aberg Maria Alm, Salzburg Schoppernau, Vorarlberg Kaltenbach Hochzillertal, ÖBRD Tirol Achenkirch Christlum, Tirol Schönberg-Lachtal, Steiermark Kaprun, ÖBRD Salzburg -
Breathtaking Spectacle on Bregenz's Floating Stage Requires Complex
| 26 worldwide | austria PC Control 02 | 2021 PC-based control runs the stage machinery for “Rigoletto” Breathtaking spectacle on Bregenz’s floating stage requires complex drive technology The Bregenz Festival (Bregenzer Festspiele) on Lake Constance proved once again with an enthralling stage spectacle that audi- ences still love great opera, even in the 21st century. During the five-week 2019 season, roughly 180,000 spectators came to see Giuseppe Verdi’s “Rigoletto.” And the upcoming season, which will have its premiere on July 22, 2021, is almost completely sold out as well. An oversized clown figure – a kind of alter ego of Rigoletto – functions as the stage. To handle its complex movements, the Bregenz Festival depends on control technology from Beckhoff. | PC Control 02 | 2021 worldwide | austria 27 The main With a diameter of 22 meters (72 feet) and a total area cabinet and of 338 square meters (3,638 square feet), the collar the panel for forms the central stage area. Mounted on a seesaw, controlling the the head can be moved across the entire stage. hydraulics are each equipped with a built-in 15-inch CP6602 Panel PC from Beckhoff. © Bregenzer Festspiele/Anja Köhler/andereart.de © Bregenzer Festspiele/Anja | 28 worldwide | austria PC Control 02 | 2021 The “Seebühne Bregenz” (Bregenz floating stage) is famous for its spectacu- and to subject each of them to a safety analysis with regard to their drive lar productions, but Philipp Stölzl’s staging exceeds all past performances in force, load and speed,” explains Wolfgang Urstadt, the technical director of terms of aesthetics as well as technical feasibility. -
Études Photographiques, 23 | 2009 the Invention of Miroslav Tichý 2
Études photographiques 23 | mai 2009 Politique des images / Illustration photographique The Invention of Miroslav Tichý Marc Lenot Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3430 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 1 May 2009 ISBN: 9782911961236 ISSN: 1270-9050 Electronic reference Marc Lenot, « The Invention of Miroslav Tichý », Études photographiques [Online], 23 | mai 2009, Online since 13 May 2014, connection on 22 April 2019. URL : http://journals.openedition.org/ etudesphotographiques/3430 This text was automatically generated on 22 April 2019. Propriété intellectuelle The Invention of Miroslav Tichý 1 The Invention of Miroslav Tichý Marc Lenot Translation : James Gussen 1 There are sometimes unknown artists who burst on the scene and take the art world by storm; it is more usual for artists to patiently construct their careers over many years, gradually maturing as they show their work at increasingly high-visibility exhibitions, receiving recognition from the system and the marketplace little by little. Those who appear suddenly, fully mature, may, in a matter of just a few months or years, be exhibiting at the most prestigious museums under the aegis of the most renowned exhibition organizers. Leading critics and specialized journalists write about them. Their works are acquired by collectors, their prices rise and museums rush to add them to their collections. And sometimes their work survives the test of time. 2 Often such discoveries are of outsider artists – ‘brut’ – marginal, self-taught, or solitary artists who have remained unknown because of their isolation or internment.1 But there have also been revelations of artists who do not come from the world of naïve or outsider art but who have nevertheless constructed their work at a distance from the art world. -
Austrian Domain Map September 2018
Austrian Domain Map September 2018 www.nic.at 1 Austrian Domain Map No blank spots in Austria Burgenland leads and lags .at is the chosen home for many Austrians online. In fact, While the most domains per 936,857 .at domains are registered to postal address- 1,000 inhabitants are reg- es in the country – 72.6 % of all .at domains out there*. istered in Vienna (148.8), But which towns, cities and districts lead the way when Salzburg (124.9) and Tirol it comes to domain names? To mark the 30th anniversa- (102.2), the province of ry of the .at domain, we went off in search of answers. Burgenland brings up the The good news right away: there is not a single district rear with 73.5. But a look in Austria without at least one .at registration. Even tiny at the provincial capitals places like Namlos, Tschanigraben, Gramais and Kaisers shows Eisenstadt in Burgen- – each with a population of below 70 – are home to own- land out in front, with one in six ers of .at domains. people in the city owning an .at domain – putting it ahead of Vienna and Salzburg. Domains per 1,000 inhabitants per province and capital 162 165 149 141 142 138 125 125 125 102 97 94 90 85 85 78 73 Vienna (province) Salzburg (capital) Salzburg Tyrol Innsbruck Austr. Lower Pölten St. Styria Graz Austr. Upper Linz Vorarlberg Bregenz Carinthia Klagenfurt Burgenld. Eisenstadt 1./3. 2. 2. 3. 4. 4. 8. 5. 5. 6. 6. 7. 9. 8. 7. 9. -
Concept TEE 2.0 Will Interlink the Individual Optimized Systems to Form a Range of European Services Designed to Reduce International Journey Times
International high-speed and overnight rail services to promote climate change mitigation Revised and enlarged Version – May 2021 Secretariat of the Federal Government Commissioner for Rail Transport www.bmvi.de | 27 November 2020 1 Contents 1. General introduction 2. Development of the Concept 3. Rolling Stock Considerations 4. Conclusion and next steps 5. Blueprint study – Detailed descriptions of the TEE 2.0 lines 2.0 www.bmvi.de | 12 May 2021 2 Contents 1. General introduction 2. Development of the Concept 3. Rolling Stock Considerations 4. Conclusion and next steps 5. Blueprint study – Detailed descriptions of the TEE 2.0 lines 2.0 www.bmvi.de | 12 May 2021 3 Societal change in travel behaviour – wider clientele Changes in travel choices due to effects such as • greater awareness of climate change (“flying shame”) • shorter journey times thanks to growing high-speed networks • direct links to and from smaller towns and cities located along the routes of the mainlines Opportunity for new message from railways – new TEE network High-speed trains over long distances (passing through 4, but at least 3 countries) The TransEuropExpress 2.0, or TEE 2.0 for short, is thus a symbol of cohesion and further European integration. Opportunity presented by the establishment of clock-face timetables TEE 2.0 and attractive overnight services can be integrated in the clock- face timetables and will not use any paths at the expense of freight trains. 2.0 www.bmvi.de | 12 May 2021 4 Clock-face timetabling such as the “Deutsch- Züge sind bereit zur Abfahrt (00) Abfahrt in den Umsteigebahnhöfen (05) landtakt” to form the basis of new TEE network Ankunft in den Umsteigebahnhöfen (55) Züge sind bereit zur Abfahrt (00) • “More frequent – faster – everywhere”: clock-face timetable will establish a new, transparent principle of infrastructure planning and capacity management.