#Kiln Child (Botan)

[bd-wireroses]

"I'm giving him severance pay, but he's welcome to come back when he's better." She says, trying very much to avoid telling Eijiro about how Akira went slack on her.

The clay ear is scootching under the door but Mrs. Hayabusa pokes it back under with her foot. They can hear Botan sqeak.

"eh-excuse me? muh-mrs. hayabusa?" A small voice came from slightly behind the woman. [poorly-drawn-akira]

@poorly-drawn-akira

"Hm? ye-yeah, yes?" She is trying very hard to keep it together for the sake of the kids. She still has to finish making this spaghetti - they can talk about it over dinner... Sips and Beat's little gift to Akira has gotten her all choked up about letting him go.

[wikitopx]

It is fair to say that Limoges was always good with his hands:

First with luxury enamel paints in the middle ages, and then when the city became one of the world's porcelain centers. Fine Arts Museum and Adrien Dubouché will help you face this special heritage. Limoges The Quartier du Château has enchanting history bags, like the Rue de la Boucherie, home to the old butchers’ guild, and the Cour du temple, a pretty renaissance courtyard. Spend a day in the New Episcopal City, linger in the botanical gardens, look across the Vienne River, glide through the Fine Arts Museum and walk past the silent church. Discover the best things to do in Limoges.

[toc]

1. Musée National Adrien Dubouché

Limoges is one of the world's porcelain capitals and is the legal home of the French National Museum for this craft. The appeal is a paradise for fans, with around 300,000 ceramic items, many of which are incredible elegance.

The newly renovated galleries chart the history of ceramics, with examples from all the major stages of its development. The first works produced in the Limoges kiln, here, dating back to the 1770s, and the local porcelain exhibition went to the pioneering creations performed by the 21st designer.

2. Limoges Cathedral

Limoges has the kind of gaudy gothic church that you normally only go north of the Loire. And even though it was started in the 1200s and not completed for another six centuries there’s a satisfying consistency to the building.

The interior’s most valuable decorations are from the renaissance. First, you've got a rood screen, a decoration that can separate chants from the nave, dating back to the 1500s. It is sculpted with images from the Book of Revelation and commissioned by Bishop Jean de Langeac, the tomb carved in another mosque of precious artwork.

3. Jardin Botanique de l’Evêché

After leaving the church, you can wander in the 5-hectare park arranged on the terraces on Vienne's steep right bank. The views from the rooftop walls are beautiful and you'll pass an hour or two to investigate the various gardens.

With more than 1,000 species the botanical gardens are laid out by theme, so you’ll see plots of plants for food coloring, medicinal plants, a vegetable garden and plants used in traditional trades like tanning and dyeing.

There is also a French florist with precision-trimmed lawns, fountains, boxwoods, sculpture gardens for the Museum of Fine Arts and plenty of places to sit and think for a few minutes.

4. Cour du Temple

Connecting Rue de Temple and Rue du Consulat is a fabulous 17th-century public courtyard that you have to enter through a dim passageway. This soon opens out onto a lovely cobblestoned space enclosed by four-story timber-framed mansions.

On the ground floor, there is an entertainment area, with the capital carved, linking each building, now full of shops. And then on the first floor, on the Rue du Consulat side, is a fine renaissance stone gallery with a communal stairway.

5. Musée des Beaux-Arts

Every French city has an Art Museum, but a few are indispensable as in Limoges. First of all, the scenery is interesting, in the old palace of the Church next to the cathedral. Galleries have also been updated and have a layout that appeals to you and fascinates you for hours.

You’ll get to see one of the world’s richest collections of enamel, which was a Limoges specialty from the 1100s onwards. Then there were paintings by Matisse, Renoir, and Fernand Léger, to name three of the most famous painters.

For ancient history, you have 4,000-year-old funerary artifacts from the Egyptian Middle Kingdom, donated by a local industrialist, and all of the major finds from the Roman city of Augustoritum, which became Limoges.

6. Rue de la Boucherie

A street filled with the medieval atmosphere is the Rue de la Boucherie (Street of Butchers) in Quartier du Château. You won’t need telling that this is where the butchers’ guild used to be, but you may be interested to know that the entire guild was descended from just six families.

The Maison de la Boucherie will show you how they went about their jobs, with a slaughterhouse, livestock enclosure, cabinets for knives and saws and a large chopping block.

7. Musée de la Résistance

Limousin was a hotspot of the Resistance during World War II, and the massacres at nearby Tulle and Oradour-Sur-Glane were sadly charged for this rebellious spirit. It is therefore desirable to have a museum in Limoges dedicated to Maquis du Limoges, one of the largest groups of French Resistance fighters.

There is plenty of information about the invasion and the Vichy government to give you some context, and then all sorts of antiques related to Morocco.: An Underwood typewriter, temporary torture device At the same time, a Weirod gun was used by the British SOE and uniform expelled by the réististante captives, Thérèse Menot.

8. Chapelle Saint-Aurélien

When this shabby chapel in the Butchers district, sold out as a national property after the Revolution, it was bought by a member of the old butcher's guild (disintegrated during the Revolution) and still in hand. surname.

The chapel was built in the 1400s, and though it is so small you can easily miss it passing by, there are some valuable liturgical decorations inside. There’s a 15th-century statue of St. Catherine, and a composite sculpture of St. Anne and the Virgin with Child, from the same time.

9. Gare des Bénédictins

OK, so a railway station may not usually be high on your itinerary, but the Gare des Bénédictins is one of the most beautiful places in Europe and has a few unique characteristics.

One is the entire structure built on a giant platform of 90 × 70 meters suspended just above the ten railway lines.

Its halls and towers were completed in 1929 with artistic and neoclassical features and were designed by Roger Gonthier, who equipped Limoges with several other art deco buildings in the '20s. Inside, check the stained-glass skylight in a copper dome restored after a fire in 1928.

10. Église Saint-Pierre-du-Queyroix

This modest-looking church in the Quartier du Château was built between 1200 and 1500 and has many interesting features to look for. The steeple has a format that is replicated across Limousin, with a square base and an octagonal design at the top.

Then you have to pause by stained glass windows, made in the 1500s by Léonard Pénicaud, one of the Limoges Renaissance enthusiasts. Inside are gilded wooden statues in the baroque style from the 1600s and 1700s.

More ideals for you: Top 10 things to do in Levallois Perret

From : https://wikitopx.com/travel/top-10-things-to-do-in-limoges-708899.html

[nofomoartworld]

Hyperallergic: Isamu Noguchi’s Voluntary Stay in a Japanese-American Internment Camp

Isamu Noguchi, “Yellow Landscape” (1943) (all photos by the author for Hyperallergic)

In 1941, Isamu Noguchi was living in Los Angeles, sculpting portrait busts for Hollywood stars while getting increasingly acquainted with the rich and famous. Then the attack on Pearl Harbor happened — and five months later, the Japanese-American artist was residing in the incarceration camp of Poston, Arizona, enduring unforgiving dry heat, afternoon dust storms, and bouts of despair. His entry, unlike that of the other prisoners, was voluntary: as a resident of New York, Noguchi was not subject to Franklin D. Roosevelt’s Executive Order 9066 that forced those of Japanese background living on the West Coast to guarded camps further inland; but as an activist who felt he had responsibilities to fellow Nisei and Issei whose lives were torn asunder, he envisioned using his art to at least improve their living conditions.

Isamu Noguchi, detail of 1942 blueprint of Poston cemetery

His ideas, at the start, were limitless and detailed. Noguchi wanted to organize lectures on Japanese art as well as arts and crafts activities, figuring that such vocational training could prove helpful after the war. He designed blueprints for the camps that carved out spaces for an arts center, a market, a cemetery, a Japanese garden, a botanical garden, a zoo, and even a miniature golf course. He had also taken the time to select various species of flowering plants to beautify the area, noting which colors would appear best during different season.

His plans for Poston are explored at the Noguchi Museum, where the exhibition Self-Interned, 1942: Noguchi in Poston War Relocation Center pulls together sculptures and archival documents that speak to Noguchi’s experience at the camp and its enduring impact on his own art. Taken in alone, the blueprints could be the most heartening works on view, outlining an urban space built with cultural sensitivity. Yet in the context of Self-Interned, they are tragic artifacts, as none of Noguchi’s designs, of course, were ever realized.

The exhibition does feature many of Noguchi’s other creations in the form of two dozen sculptures he made prior to, during, and after he entered Poston. Dating from 1937 to 1988, they reveal clear shifts in his practice not only in subject, form, and material but also in sentiment. The earliest objects on view speak to his occupation with commissioned work, including a serene, white plaster bust of theater actress Lily Zietz and a maquette for a frieze for a medical building. Among the latest are spartan sculptures made of bronze, stainless steel, and other heavy materials that turn one gallery into a landscape of his signature voids. These are suggestive of portals, of gateways that can’t transport your body but stir your mind towards openness and possibility. For Noguchi, sculpting these holes was a way to exercise control over his state of being — a means to move his mind towards a better world.

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

At Poston, he was trapped, stripped of the agency he’d thought he’d have when he first entered under an arrangement with government officials. The array of documents on view at the museum — the most fascinating portion of the exhibition — most explicitly speak to his spiraling experience there, comprising letters he sent to friends, family, and bureaucrats about his impressions and goals to establish art programs; statements from Japanese-American activist groups with which he worked, such as the Nisei Writers’ and Artists’ Mobilization for Democracy; and articles he penned for publications while at Poston.

Just few weeks after his entry, he wrote, in a letter to Man Ray: “This is the weirdest, most unreal situation — like I’m in a dream — I wish I were out. Outside, it seems from the inside, history is taking flight and forever. Here, time has stopped and nothing is of any consequence, nothing of any value, neither our time or our skill.” Noguchi added that he was trying to start pottery and woodworking shops and that he was in charge of landscaping. Other correspondence with suppliers and order forms show that he requested all sorts of tools for arts and crafts projects, a thousand pounds of clay, slacks of plaster, and a kiln. He persisted, as he wanted all his programs to help humanize the incarcerated if their work was ever to be exhibited beyond the fenced community.

Isamu Noguchi, detail of 1942 blueprint of Poston Park and Recreation Areas at Poston, Arizona

As time passed, however, Noguchi’s tone quickly changed. He realized he would receive no support from the War Relocation Authority or from Poston officials, despite the encouragement of his sponsor, the Commissioner of the Bureau of Indian Affairs John Collier. One document from August records Noguchi’s pleas to Collier to secure his release. Not only did he feel like he had made any contribution he could, but he also felt isolated and unwanted, finding essentially no companionship in the camp.

Isamu Noguchi, “Katchina” (1943)

“From his point of view, [entering Poston] was an act of patriotism,” the museum’s senior curator Dakin Hart said. “But the moment he got there, some people viewed him as a tool of the government and as the creature of the camp administration. So he put himself into this incredibly tenuous situation on many levels, and he really did it because he was an incredible idealist … he really believed he could make a difference. He really believed he could make the camps more humane.”

It took Noguchi five months longer to leave Poston than he anticipated; documents pertaining to his release reveal the bureaucratic complications involved in receiving permission to leave. A questionnaire he had to fill out was a test of his loyalty to the United States, posing questions about his ties to Japan and Japanese communities. While he waited to exit the camp, Noguchi walked the desert and sculpted with wood, the material most readily available. One document from a shipping company reveals he was sending 475 pounds of possessions gained in Poston to New York: most of it was likely ironwood roots he picked up for future use. Two branches rest on a table in the exhibition, representing these morose souvenirs that never made it into complete works.

“It’s so indescribable, the life here, so removed from the reality of New York,” Noguchi wrote to his sister that November. “I feel like Rip Van Winkle.”

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

That weariness evolved into deep frustration and anger with the nation’s treatment of its immigrants, which he channeled into his works. The sculptures made immediately after his exit were explicitly political, exemplified by a pair of works on one wall. “Yellow Landscape” (1943), composed of delicately balanced wood and fishing weights on string, depicts a world filled with anti-Asian sentiment, in a constant state of precariousness. “This Tortured Earth” (1942-43) resembles punctured, disfigured skin; it’s a proposal for an earthwork, depicted from above, with the land to be scarred with deep pits and lacerations by bombardment. 

Isamu Noguchi, “This Tortured Earth” (1942-1943)

Noguchi, who regarded the entire planet as an artwork, saw potential in all its landscapes. Though relatively sparse and unvarying, the Arizona desert was emblazoned in his mind and emerged in many abstracted forms in the decades after his release. A synthetic landscape in one gallery recreates an industrial desert, bringing together works made between the 1960s and ’80s. Obsidian fragments and sheets of galvanized steel remind of the low, textured ridges of the red wilderness; hanging above the severe floor works is an iconic Akari light sculpture, representing a large, hot sun.

While Noguchi’s artworks continuously reflected his experience at Poston, he didn’t talk or write about it often until his 1968 autobiography, A Sculptor’s World. This exhibition provides an important context that may be lesser-known to many, to read Noguchi’s works in a different light. It also presents, though, necessary food for thought for our world today, best summed up in an article Noguchi penned in 1942 for Reader’s Digest that was never published.

“To be hybrid anticipates the future,” he wrote. “This is America, the nation of all nationalities … For us to fall into the Fascist line of race bigotry is to defeat our unique personality and strength.” 2017 marks 75 years since Roosevelt signed his racist order, but America’s new president has introduced new threats to the country’s immigrants that frighteningly echo its attitudes. Noguchi saw the xenophobia that pulled apart the country. But rather than hide or carry on as a protected citizen, he chose to engage with and speak out against injustices, even when all hope seemed lost.

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Isamu Noguchi, “Remembrance” (1944)

Isamu Noguchi, “Mother and Child” (1944–47)

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Installation view of Self-Interned, 1942: Noguchi in Poston War Relocation Center at the Noguchi Museum

Self-Interned, 1942: Noguchi in Poston War Relocation Center continues at the Noguchi Museum (9-01 33rd Rd, Astoria, Queens) through January 7, 2018.

The post Isamu Noguchi’s Voluntary Stay in a Japanese-American Internment Camp appeared first on Hyperallergic.

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[bd-wireroses]

(I have no idea if the first attempt to post this worked)

[bd-wireroses]

She sighs. "I really am sorry, Akira."

She was looking down in her mixed feelings before spotting a colorful clay ear under the door. She jams her finger into the earlobe of it.

"Botan, this is a grownup talk. Please put Dr. Zaius away."

"But Beat said to." The youngest mumbles through the door before the very audible Beat shushes him.

"Well Beat isn't a grownup either. Go sit at the table."

Botan doesn't say anything, but the little clay ear wriggles it's way back under the door.

There was a knock on the orphanage door. [poorly-drawn-akira]

@poorly-drawn-akira

Sips is the one to answer. The already quiet boy looks somber - been that way since he realized Akira has been gone for a while.

"Mrs. Hayabusa is making dinner." He says. "Can I help you?"

[bd-wireroses]

Fimi wants to go trick or treating, she really does...but she doesn't like the scary part... Maybe she can just buy candy and hand it out...and keep the leftovers :)

Beat, Sips, Botan, and Saria are in a little Orphan Squad. Saria managed to convince Botan to wear a Micheal Meyers mask instead of the big clay glob.

[bd-wireroses]

Botan Mogura - [Dr. Zaius Dr. Zaius]

Ability: Clay Manipulation What it says on the comically large container of play dough

Pronouns: He/Him

Age: 4

Birthday: 3/8/1995

Height: 3ft

Likes: Fire watching, sandboxes, cheese, running around and climbing

Dislikes: Peppers, Mushrooms, Being picked up without permission, people trying to take his mask

[bd-wireroses]

The boy is on route to the orphanage with the news of the other staff member's recovery.

"Botan, there's gonna be other kids here," the driver tells the little boy. "And meals every day and all the cartoons you could ever want to watch. Doesn't that sound good?"

The boy says nothing - playing with the lumps of playdough that encase his hands.

[bd-wireroses]

“Hey bud - you didn’t come up for breakfast.”

Saria sits in front of the little clay hut Botan has shaped in the basement.

“Anything wrong?”

Botan, cuddled up in a bed of blue playdough, squishes to the entrance. He mumbles, whatever he wanted to say made even less audible behind the clay.

“Did you want me to bring down some food for you?” “...goldfish...” “You want goldfish crackers?” “...yesplease...” “Well okay, I can get you that. Want some water too?” “yeah...”

He hears her leave and sighs. He keeps the mask on even in his little hut... She doesn’t use one, why not? He huddles up, knowing an answer already...she’s still mostly fine.

[bd-wireroses]

Saria descends to the basement, finding Botan making a hut out of his play dough in the laundry room. When he notices Saria, he freezes up, but she puts a hand up.

“Heyheyhey it’s cool, it’s chill. Don’t bolt on me.”

She goes to a bit of storage and grabs a folding chair and sets up.

“I just wanted to say sorry if I scared you when you-” “Hooves.” “Huh?” “You have hooves...and horns...” “Yes. Yes I do.” “And they like you?” “...yes?” “...” “...do...do you have hooves and horns, Botan? Is that why you froze up?” “...”

Botan closes the hut with more clay, but writes a message on the outside.

Sorry 4 Staring :<

[bd-wireroses]

(cont)

The boy doesn’t feel like yelling but he also doesn’t have enough clay to bridge over to the other trees and escape for real... He dangles a wad of clay down with a little message embedded in it.

Chocolate Milk.

“We can’t give you a glass up there - we don’t want you to drop it and break it.” The clay message changes.

Bottle >:(

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...

[bd-wireroses]

“...I can pour some into an empty water bottle? It’ll take me a second.”

She gets up and goes in to bottle some chocolate milk...if this kid is gonna be like this, she might invest in thermoses for him.

Botan pulls up his demands slate.

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...

[bd-wireroses]

The clay slab descends again, the only word on it being simply “Dunno”

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...

[bd-wireroses]

The sign ‘nods’, but keeps the Dunno.

Mrs. Hayabusa emerges from the house with the water bottle full of chocolate milk and puts it by the slab. The clay slab takes it before slinking up the tree like a very fast slug.

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...

[bd-wireroses]

“Yup.”

She looks up at the little guy opening the bottle, the slab now back to the mask wrapped around his face. A hole in the mask opens just big enough to fit the bottle’s opening, and he starts to sip the chocolate milk.

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...

[bd-wireroses]

“...canijustgetfood?” He squeaks out when Saria catches him looking at her again. “Here you g-”

As Mrs. Hayabusa hands him a plate with a PB&J on it, he scampers off to the basement...

“...Sooooo what’s his deal?” Saria asks. “With the mask? No idea. Seems his stand controls it so he’s fine to wear it, I suppose; if it makes him more comfortable.” “Hm.”

Akira paced the floor nervously as the phone rang. [poorly-drawn-akira]

@poorly-drawn-akira

Mrs. Hayabusa picks up.

"Akira, is everything okay?"

She's filing the paperwork for the arriving child - at least this one had a birth certificate at the very least...