REBECCA HORN Bibliography Selected
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr
Nov 5 Sat 2 :30 PM WILLIAM WEGMAN Nov 26 Sat 2 :30 PM "SHORT STORY VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr . Wegman appeared on the Tonite Show last summer . Now he works at home in his Dave Olive lives in North Liberty, Iowa, own color studio . He will be premiering where he teaches elementary school . videotapes produced at his color studio and at WGBH Boston . JOE DEA "Short Stories" Nov 12 Sat 2 :30 PM KIT FITZGERALD Nov 13 Sun 8 :00 PM JOHN SANBORN Mr . Dea is a cartoonist who works in video . N r "EXCHANGE IN THREE PARTS" He lives in Hartford, Connecticut . recently completed at TV Laboratory at WNET 8 Channel 13 and currently showing in the tenth Dec 3 Sat 2 :30 PM JUAN DOWNEY 2W Bienale du Paris . Dec 4 Sun 8 :00 PM "MORE THAN TWO" QQ An experience in audio video stereo perception cc ~ Kit ON Z Fitzgerald and John Sanborn have been artist and an account of a video expedition to a OY in residence at ZBS Media and the TV Lab of WNET primitive tribe in South America : The Yanomany . cc cc Y Channel 13 and are currently involved in the o 0.0 Cn >- s International TV Workshop . Their work will be ]sec 10 Sat 2 :30 PM MARILYN GOLDSTEIN 9 W3(L W V O broadcast this season over Public TV . "Voice of the Handicapped" 0 W "Video Beats Westway" a 0 HZ a a OW Nov 19 Sat 2 :30 PM STEINA a W= W Nov 20 Sun 8 :00 PM "Snowed-in Tape and Other Work - 1977" Dec 11 Sun 8 :00 PM LYNDA BENGLIS / STANTON KAYE a 0 "How's Tricks?" Z c 0>NH . -
Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula
Droch Fhola: Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula Author: Joseph A Mendes Persistent link: http://hdl.handle.net/2345/399 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. 1 Introduction: Dracula. Drac-ula . It is hard to ignore the menace in the name, the morbid delight one gets in pronouncing a name that is riddled with such meaning. At some level, human society is fascinated with the notion of a vampire: a revenant that ret urns from beyond the grave to extract the blood of the living in order to extend its unholy life. It plays on our basic fears as humans, the fear of the dead, the fear of dying, the fear of the unknown, and a fascination with this substance consisting of p lasma, platelets, and cells that runs through our veins. Bram Stoker took all of these fears to new heights when he wrote Dracula , one of the most enduring horror stories to ever be composed. The novel has generated enormous criticism that has chiefly been divided into the camps of Irishness, colonialism/imperialism, and sexuality. Whether it was intentional or not, Stoker’s novel is a breeding ground for almost every sexual fetish, deviance, and perversion that is known to mankind. Characters in the novel engage in mutilation, blood-drinking, perverted fellation, sexual acts in front of their spouse, female domination, male domination, group rape, homosexuality, male penetration, and sadomasochism. -
Smartilience Presentation
SMARTilience integrated monitoring model for the climate-resilient smart city 1 WHAT YOU WILL GET Insight into the topic of climate and resilience Contribute a tool that promotes climate-friendly work in cities (SMARTilience) Informations about transforming research Possibility to become a member of our Peer to Peer Insight into some projects in the area of civil protection 2 CLIMATE ADAPTATION Source: https://www.morgenstadt.de/de/projekte/aktuelle-projekte/innovationsprogramm_klimaneutrale_staedte.html 3 GOVERNANCE AND RESILIENCE “wide” definition of the governance term (see Mayntz 2004; Benz et al 2007 and Zürn 2008) "While the concept of control explicitly targets the control actions of political actors, the governance perspective deals with the institutional structure and its effects on the actions of the addresses (Trute et al 2008: 177)" (Stoy 2015: 34). Preparedness: dealing with possible climate impacts Recovery: probability to recover again 4 CORONA EFFECTS Comparison NO2 in Europe, source: https://www.dlr.de/content/de/artikel/news/2020/02/20200505_corona-effekt- auf-luftqualitaet-eindeutig.html 5 WHAT IS THE SMARTILIENCE PROJECT ABOUT? Promotion by o Federal Ministry of Education and Research (BMBF) o Funding measure "Flagship Initiative Zukunftsstadt“ Promoter o DLR German Aerospace Center e. V. Duration o 1-year definition phase (2017-2018) o 3-year research and development phase (2019-2022) Consortia: cities Halle and Mannheim, HafenCity University and University of Stuttgart, Drees&Sommer and Malik Management Gmbh 6 URBAN GOVERNANCE TOOLBOX The operation Development of a socio-technical control model for climate-resilient urban development (urban governance toolbox) Testing of the control model in the Halle (Saale) and Mannheim real-life laboratories The objective to support municipal decision-makers and actors* in taking efficient climate action 7 SMART TOOLS AND WORK PACKAGES Control, planning and implementation of climate protection and climate adaptation measures are data- based. -
Is Marina Abramović the World's Best-Known Living Artist? She Might
Abrams, Amah-Rose. “Marina Abramovic: A Woman’s World.” Sotheby’s. May 10, 2021 Is Marina Abramović the world’s best-known living artist? She might well be. Starting out in the radical performance art scene in the early 1970s, Abramović went on to take the medium to the masses. Working with her collaborator and partner Ulay through the 1980s and beyond, she developed long durational performance art with a focus on the body, human connection and endurance. In The Lovers, 1998, she and Ulay met in the middle of the Great Wall of China and ended their relationship. For Balkan Baroque, 1997, she scrubbed clean a huge number of cow bones, winning the Golden Lion at the Venice Biennale for her work. And in The Artist is Present 2010, performed at MoMA in New York, she sat for eight hours a day engaging in prolonged eye contact over three months – it was one of the most popular exhibits in the museum’s history. Since then, she has continued to raise the profile of artists around the world by founding the Marina Abramović Institute, her organisation aimed at expanding the accessibility of time- based work and creating new possibilities for collaboration among thinkers of all fields. MARINA ABRAMOVIĆ / ULAY, THE LOVERS, MARCH–JUNE 1988, A PERFORMANCE THAT TOOK PLACE ACROSS 90 DAYS ON THE GREAT WALL OF CHINA. © MARINA ABRAMOVIĆ AND ULAY, COURTESY: THE MARINA ABRAMOVIĆ ARCHIVES / DACS 2021. Fittingly for someone whose work has long engaged with issues around time, Marina Abramović has got her lockdown routine down. She works out, has a leisurely breakfast, works during the day and in the evening, she watches films. -
Mind Over Matter Artforum, Nov, 1996 by Hans-Ulrich Obrist
http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ Mind over matter ArtForum, Nov, 1996 by Hans-Ulrich Obrist At the Kunsthalle Bern, where Szeemann made his reputation during his eight-year tenure, he organized twelve to fifteen exhibitions a year, turning this venerable institution into a meeting ground for emerging European and American artists. His coup de grace, "When Attitudes Become Form: Live in Your Head," was the first exhibition to bring together post-Minimalist and Conceptual artists in a European institution, and marked a turning point in Szeemann's career - with this show his aesthetic position became increasingly controversial, and due to interference and pressure to adjust his programming from the Kunsthalle's board of directors and Bern's municipal government, he resigned, and set himself up as an Independent curator. If Szeemann succeeded in transforming Bern's Kunsthalle into one of the most dynamic institutions of its time, his 1972 version of Documenta did no less for this art-world staple, held every five years in Kassel, Germany. Conceived as a "100-Day Event," it brought together artists such as Richard Serra, Paul Thek, Bruce Nauman, Vito Acconci, Joan Jonas, and Rebecca Horn, and included not only painting and sculpture but installations, performances, Happenings, and, of course, events that lasted the full 100 days, such as Joseph Beuys' Office for Direct Democracy. Artists have always responded to Szeemann and his approach to curating, which he himself describes as a "structured chaos." Of "Monte Verita," a show mapping the visionary utopias of the early twentieth century, Mario Merz said Szeemann "visualized the chaos we, as artists, have in our heads. -
1. PERSONAL DETAILS Piekkari, Maiden Name Marschan, Rebecca, Born 1967, Finnish Citizen, Researcher ID L-2736-2016, ORCHID 000-0002-4026-5850 2
1. PERSONAL DETAILS Piekkari, maiden name Marschan, Rebecca, born 1967, Finnish citizen, Researcher ID L-2736-2016, ORCHID 000-0002-4026-5850 2. EDUCATION AND DEGREES COMPLETED 10.5.1996 DSc (International Marketing, Helsinki School of Economics, Finland 27.5.1994 LSc (International Marketing), Helsinki School of Economics, Finland 25.5.1990 MSc (International Marketing, Helsinki School of Economics, Finland 3. CURRENT POSITION 2016– Head of International Business Unit, Aalto University School of Business, Finland 2004– Professor of International Business, Aalto University School of Business, Finland 4. PREVIOUS POSITIONS 2011–2015 Vice Dean, Research and International Relations, Aalto University School of Business 2007–2010 Head of International Business Unit, Aalto University School of Business 2002–2004 Research Fellow, Hanken School of Economics, Finland 2000–2000 Lecturer, University of Bath, School of Management, UK 1999–1999 Research Associate, Sheffield University Management School, UK 5. CAREER BREAKS 19.11.2000–1.12.2001 (12 months),19.1.2005–1.12.2007 (24 months) Maternity leave 6. PERSONAL RESEARCH FUNDING AND GRANTS 1.8.2014–31.7.2015 Sabbatical grants from Professoripooli (27 000e + 5 000e for travels); Marcus Wallenberg Foundation (10 000e); HSE Foundation (2 800e) 7. LEADERSHIP AND SUPERVISION EXPERIENCE Supervisor of post-doctoral researchers (5), Aalto University School of Business; Supervisor of doctoral dissertations as Committee Chair, Aalto University School of Business: Rauni Seppola (2004), Kristiina Mäkelä (2006), -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
US Helsinki Commission
Commission on Security & Cooperation in Europe: U.S. Helsinki Commission “U.S. Priorities for Engagement at the OSCE” Committee Members Present: Senator Roger Wicker (R-MS), Co-Chairman; Senator Ben Cardin (D-MD), Ranking Member; Representative Joe Wilson (R-SC), Ranking Member; Senator John Boozman (R-AR); Senator Sheldon Whitehouse (D-RI); Representative Emanuel Cleaver, II (D-MO); Representative Marc Veasey (D-TX); Representative Richard Hudson (R-NC); Representative Sheila Jackson Lee (D-TX) Committee Staff Present: Rebecca Neff, State Department Senior Advisor, Commission for Security and Cooperation in Europe Witness: Ambassador Philip T. Reeker, Senior Bureau Official, U.S. Department of State The Hearing Was Held From 10:04 a.m. To 11:34 a.m. via Videoconference, Senator Ben Cardin (D-MD), Ranking Member, Commission for Security and Cooperation in Europe, presiding Date: Tuesday, December 8, 2020 Transcript By Superior Transcriptions LLC www.superiortranscriptions.com CARDIN: (In progress) I participated, Senator Wicker participated, I think Senator Hudson also participated in some of the side meetings that we’ve had during this period of time within the OSCE Parliamentary Assembly. And we had a meeting virtually to reaffirm our commitment to the OSCE moving forward. So, it was a commitment by parliamentarians from the OSCE states that we recognized we needed to do more. Last month we celebrated the 30th anniversary of the Charter of Paris. We had a Parliamentary Assembly gathering to help celebrate the Charter. It was the fall of the iron curtain that brought that about. And one of the great opportunities that I’ve had in my lifetime was to be in Berlin and actually take home a piece of the wall, and to see the fall of the iron curtain. -
Hollywood Pantages Theatre Los Angeles, California
® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA PLAYBILL.COM 04-03 Love Never Dies Cover - Retro.indd 1 3/9/18 12:29 PM HOLLYWOOD PANTAGES THEATRE TROIKA ENTERTAINMENT PRESENTS Music Lyrics ANDREW LLOYD WEBBER GLENN SLATER Book BEN ELTON Based on The Phantom of Manhattan by FREDERICK FORSYTH Additional Lyrics CHARLES HART Orchestration DAVID CULLEN & ANDREW LLOYD WEBBER Starring GARDAR THOR CORTES MEGHAN PICERNO KATRINA KEMP RICHARD KOONS CASEY LYONS JAKE HESTON MILLER RACHEL ANNE MOORE BRONSON NORRIS MURPHY MARY MICHAEL PATTERSON STEPHEN PETROVICH SEAN THOMPSON and KAREN MASON Chelsey Arce, Erin Chupinsky, Diana DiMarzio, Tyler Donahue, Yesy Garcia, Alyssa Giannetti, Michael Gillis, Tamar Greene, Natalia Lepore Hagan, Lauren Lukacek, Alyssa McAnany, Dave Schoonover, Adam Soniak, John Swapshire IV, Kelly Swint, Lucas Thompson, Correy West, Arthur Wise Set & Costume Design Sound Design Lighting Design Wig & Hair Design GABRIELA TYLESOVA MICK POTTER NICK SCHLIEPER BACKSTAGE ARTISTRY Design Supervisor Technical Director Music Supervisor Casting by EDWARD PIERCE RANDY MORELAND KRISTEN BLODGETTE TARA RUBIN CASTING LINDSAY LEVINE, CSA Tour Booking, Press & Marketing Production Manager Music Coordinator General Manager BROADWAY BOOKING ANNA E. BATE DAVID LAI KAREN BERRY OFFICE NYC TALITHA FEHR Company Manager Music Director Production Stage Manager AARON QUINTANA DALE RIELING DANIEL S. ROSOKOFF Associate Director Executive Producer Associate Choreographer GAVIN MITFORD RANDALL A. BUCK SIMONE SAULT Choreographed by GRAEME MURPHY AO Directed -
Hope in the Dark
Hope in the Dark untold histories, wild possibilities Rebecca Solnit "Nothing that has ever happened should be regarded as lost for history." —Walter Benjamin "If you don't like the news, go out and make some of your own." —newsman Wes Nisker's closing salutation on radio station KTIM in the 1970s 1 1: Looking Into Darkness 2: Other Ways of Telling 3: Despair and Discontent, or the Wall and the Door 4: What We Won 5: The Millenium Arrives: Nov. 9, 1989 6: The Millenium Arrives: Jan. 1, 1994 7: The Millenium Arrives: Nov. 30, 1999 8: The Millenium Arrives: Sept. 11, 2001 9: The Millenium Arrives: Feb. 15, 2003 10: Changing the Imagination of Change 11: On the Indirectness of Direct Action 12: The Angel of Alternate History 13: Viagra for Caribou 14: Getting the Hell Out of Paradise 15: Across the Great Divide 16: After Ideology 17: The Global Local 18: Interruption: The World Catches Fire 19: A Dream Three Times the Size of Texas 20: Doubt 21: Journey to the Center of the World acknowledgments notes 2 1: Looking Into Darkness On January 18, 1915, six months into the first world war, as all Europe was convulsed by killing and dying, Virginia Woolf wrote in her journal, "The future is dark, which is on the whole, the best thing the future can be, I think." Dark, she seems to say, as in inscrutable, not as in terrible. We often mistake the one for the other. Or we transform the future’s unknowability into something certain, the fulfillment of all our dread, the place beyond which there is no way forward. -
Nora's Second Pre-Caucus
Party -D irecteD MeDiation : F acilitating Dialogue Between inDiviDuals gregorio BillikoPF , university of california ([email protected] , 209.525-6800) © 2014 regents of the university of california n o i t a r o p r o C l e r o C © 10 Nora’s Second Pre-Caucus the mediator opens with a general question about how things are going and then asks if nora has any feelings about the mediation process in which she has been participating. nora : things are fine . the process is fine. uh, rebecca was nice to me the other day. [laughing.] i was floored. it was wonderful! MeDiator : so, maybe there have been . nora : i think so. MeDiator : . some changes . already. nora : i think so. yeah. this type of improvement is typical in PDM, when there is more than one set of pre-caucuses, or when there is a lapse of time between these meetings and the joint session. the PDM process allows the parties to take some definitive steps toward reconciliation on their own. MeDiator : that has been the goal, but we haven’t brought you together, so hopefully . those steps can be taken . nora : yeah. we’ve had some pleasant exchanges, and that’s excellent. MeDiator : yes, well, good. if you don’t have anything else, i just want to go back, because it’s been a little over a 196 • Party -D ireCteD MeDiatioN month since we met, and review a few things with you. the mediator summarizes nora’s comments from her first pre- caucus. nora corrects a few notions but mostly agrees with the mediator’s understanding of the situation. -
Catalogue 234 Jonathan A
Catalogue 234 Jonathan A. Hill Bookseller Art Books, Artists’ Books, Book Arts and Bookworks New York City 2021 JONATHAN A. HILL BOOKSELLER 325 West End Avenue, Apt. 10 b New York, New York 10023-8143 home page: www.jonathanahill.com JONATHAN A. HILL mobile: 917-294-2678 e-mail: [email protected] MEGUMI K. HILL mobile: 917-860-4862 e-mail: [email protected] YOSHI HILL mobile: 646-420-4652 e-mail: [email protected] Further illustrations can be seen on our webpage. Member: International League of Antiquarian Booksellers, Antiquarian Booksellers’ Association of America We accept Master Card, Visa, and American Express. Terms are as usual: Any book returnable within five days of receipt, payment due within thirty days of receipt. Persons ordering for the first time are requested to remit with order, or supply suitable trade references. Residents of New York State should include appropriate sales tax. COVER ILLUSTRATION: © 2020 The LeWitt Estate / Artists Rights Society (ARS), New York PRINTED IN CHINA 1. ART METROPOLE, bookseller. [From upper cover]: Catalogue No. 5 – Fall 1977: Featuring european Books by Artists. Black & white illus. (some full-page). 47 pp. Large 4to (277 x 205 mm.), pictorial wrap- pers, staple-bound. [Toronto: 1977]. $350.00 A rare and early catalogue issued by Art Metropole, the first large-scale distributors of artists’ books and publications in North America. This catalogue offers dozens of works by European artists such as Abramovic, Beuys, Boltanski, Broodthaers, Buren, Darboven, Dibbets, Ehrenberg, Fil- liou, Fulton, Graham, Rebecca Horn, Hansjörg Mayer, Merz, Nannucci, Polke, Maria Reiche, Rot, Schwitters, Spoerri, Lea Vergine, Vostell, etc.