#eva-1 metal work cart

[corgiteatime]

Today in unexpected Evangelion merch (source)

[fitnessxpertshop-blog]

24" / 13" Firm Easy-to-Clean Sports Medicine Rollers OR 13" 2-in-1 Foam Roller Set (FREE Bag!): Muscle Massage Foam Roller to Increase Flexibility, Relieve Pain, PT Recommended for Physical Therapy

New Post has been published on https://www.fitnessxpertshop.com/product/24-13-firm-easy-to-clean-sports-medicine-rollers-or-13-2-in-1-foam-roller-set-free-bag-muscle-massage-foam-roller-to-increase-flexibility-relieve-pain-pt-recommended-for-physical-therapy

24" / 13" Firm Easy-to-Clean Sports Medicine Rollers OR 13" 2-in-1 Foam Roller Set (FREE Bag!): Muscle Massage Foam Roller to Increase Flexibility, Relieve Pain, PT Recommended for Physical Therapy

Ever feel like your muscles are tighter than they should be? Do you feel like you don’t have optimal flexibility, elasticity, and range of motion? Do you feel that your muscles are holding you back? Or do you just feel tense and could use a good massage to relax your muscles and your mind? As a matter of fact, you may not even know you have knots or tight regions in your muscle framework until you foam roll!

Here are a couple of definitions you need to know:

MASSAGE [mŭ·säzh]: therapeutic stroking, kneading, or rubbing of the body to relieve tension and increase circulation

MYOFASCIAL RELEASE [mī·ō·fā·shē·l rē·lēs]: use of sustained pressure to stretch soft tissue, believed to reduce pain and increasing range of motion by eliminating restrictions.

Peace of Muscle foam rollers give you the ability to utilize the techniques of both muscle massage and myofascial release every single day without having to give an arm and a leg for expensive therapists.

The “Honeycomb” is designed for deep tissue. It is constructed of a sturdy core that is meant to absorb sustained intense pressure without losing shape and is hand-wrapped with EVA foam. Its foam pattern is meant for a penetrating deep tissue massage. It’s the closest you can get to a real deep tissue massage without heading to your local massage therapist. Its uniform design allows it to roll smoothly unlike other, non-uniform designs.

The smooth roller is constructed of high density EVA. It is a relatively firm roller, but at the same time, it has a bit more give than the patterned roller.

At Peace of Muscle, our #1 focus is customer service, and our #1 goal is to provide our customers with the best product and the best buying experience. We don’t want to be just another provider of the same products out there. We want to give our customers what they actually need, and we want to do it better than anyone else can. REAL & IMMEDIATE RESULTS – Would it mean everything to you if you could relieve muscle pain and regain flexibility? Peace of Muscle massage rollers are recommended by Physical Therapists and are designed to release tension in your muscles. They are tested and proven by athletes for whom fitness foam rolling is a way of life. Foam rolling can help you increase flexibility, increase circulation, remove knots and hard trigger points, improve muscle recovery, release lactic acid, and reduce stress. INCREDIBLE VERSATILITY – The bumpy Honeycomb Foam Roller is designed for a PENETRATING, deep tissue massage. Combined with the solid, smooth, medium density foam roller, users can loosen up myofascial tissue before applying the Honeycomb or work on more sensitive/sore areas such as the IT Band. The small package snuggles inside a carry bag with strap and is perfect for travel or carrying to the gym. Whether you’re looking for an extreme massage or soft therapeutic relief, we’ve got it covered! HIGHEST QUALITY MATERIALS – The Honeycomb is hollow, which means less material and less of an environmental footprint. Made from EVA foam, the Peace of Muscle hollow and solid foam rollers are free of chlorides, heavy metals, phenols, latex and all toxics. The foam and 100% of the waste products from its production are 100% recyclable. The Honeycomb’s closed-cell EVA foam technology creates a smooth surface that is resistant to moisture and can be wiped clean with a moist paper towel or cloth. UNBELIEVABLE VALUE – Paying a massage therapist to do the same work of Peace of Muscle Foam Rollers would cost you $1500 a month! If you are suffering from injury, have chronic pain, or feel tense, add these high density triggerpoint grid therapy foam rollers to your collection of physical therapy equipment – rocker board, balancing board, stretch band, massage ball, handheld muscle roller stick, roller cushion – and we promise you won’t regret it! Take your TP therapy and PT to the next level! SATISFACTION GUARANTEED – We are dedicated to providing you the best service and want to make sure that you get the best foam roller experience possible! We feel so confident in the quality of our rollers, that if for ANY reason you are not satisfied with the product, we will give you your money back or send you a new one. Just contact us directly if you have any issues. What do you have to lose? Go ahead and click Add to Cart!

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Price for all: $83.90

This item: 24" / 13" Firm Easy-to-Clean Sports Medicine Rollers OR 13" 2-in-1 Foam Roller Set (FREE Bag!): Muscle Massage Foam Roller to Increase Flexibility, Relieve Pain, PT Recommended for Physical Therapy

$44.99

Idson Muscle Roller Stick for Athletes-18 Inches Body Massage Sticks Tools-Muscle Roller Massager for Relief Muscle Soreness,Cramping and Tightness,Help Legs and Back Recovery,Black Green

$12.95

NUMBER 1 RATED - Massage Ball - Spiky for Deep Tissue Foot, Back, Plantar Fasciitis & All Over Body Deep Tissue Muscle Therapy - Includes FREE Ebook Roller Instructions

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BrusFit Muscle Roller Stick Massager 18" and Spiky Foot & Body Massage Ball | Great For Trigger Point, Sports, Sore Muscles, Therapy, Deep Tissue, Muscle Pain Relief | Free Instructional Videos

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[nofomoartworld]

Hyperallergic: A German Art Space’s Inaugural Exhibition Transforms It into a Haunted Haus

Haus Mödrath (all photos by author for Hyperallergic)

KERPEN, Germany — There is a ghost in the German countryside. A new home for contemporary art has been erected here from the mossy ruins of a forgotten history. Haus Mödrath Räume Für Kunst (Haus Mödrath Space for Art) isn’t a museum and there’s no collection housed here, but it is one of the most alluring new art spaces in Europe. The inaugural exhibition, Lodgers, curated by Veit Loers, deals with the tensions shared among the mansion, its history, the landscape, and the home as a display space for art.

The history of Haus Mödrath plays into the curator’s vision for this show currently on view. A short drive or train ride from Cologne, the property dates back to the 1830s, when Mödrath mill was built to extract pigment from the wood in the surrounding forest, and the original house was erected to shelter mill workers. Today, the mansion is all that remains of Mödrath village, which was destroyed by strip coal mining around the turn of the 20th century.

Thomas Zipp, “Head Office” (2010)

After the town was dissolved, the house became a shelter for pregnant single women, and subsequently, in 1928, legendary composer Karlheinz Stockhausen was born here. Then the Nazis occupied the property until the end of World War II, after which it sat more or less abandoned until the 1980s.

Here the curators have cart blanche, as per the wishes of the anonymous entrepreneur who founded Häus Mödrath. Through curating Lodgers to include a group who may be considered outsider artists, such as autistic Berliner Adolf Beutler, Loers echoes the outside status of the art space itself, and heightens the dissonance between the space and the exhibition, veering from fairytale to horror story.

Ajay Kurian, “God’s Wisdom” (2016)

Despite the idyllic setting, the work turns dark before I even enter the building. Two pieces in a run-down tennis court behind the main house create a gloomy mood that carries through the exhibition. A work by Thomas Zipp, “Head Office” (2010), harkens back to wartime, and inside the army tent that frames the piece there’s a scene of debauchery: Alcohol and mysterious powders are scattered around the space where the artist created a performance for the exhibition inauguration on April 23. Ajay Kurian‘s installation, “God’s Wisdom” (2016), inside the ball house a few steps away, is even more harrowing than Zipp’s nod to the ridiculousness of war. Looking into the small structure from outside through windows tinted pink, a horrible image of a decaying Christ seems to be devoured by a humanoid robot. The apocalyptic scene is somehow humorous and cartoonish even while inviting terror into my heart.

Michael E. Smith, “Untitled” (2017)

Passing through the main entrance the strangeness continues. On the ground floor Andreas Slominski mixes pieces of coffins and cribs with quotidian Bauhaus furniture. Ed Atkins‘s video, “Hisser” (2015), a surreal narrative film shot in the style of David Lynch, is projected onto a double screen. Katja Novitskova‘s installation, “Pattern of Activation (sea lion)” (2015), surprises with a touch of cuteness: a large sandwich-board print of a napping sea lion, seeming to smile while he rests. But the tenderness is quickly lost in the realization that the animal sleeps beside an ominous red, fiberglass graph line rendered in 3D, and pointing toward an unknown exponential increase which seems related to humanity’s destructive impact on the natural world.

  Katja Novitskova, “Pattern of Activation (sea lion)” (2015)

The cuteness has certainly fled, as I notice, before heading upstairs, an entire room off the entrance, containing an elegant marble swimming pool. (Whose ridiculous idea was it to build a swimming pool attached to the foyer?) In an installation by Neïl Beloufa, “The analysts, the researcher, the screenwriter, the CGI tech and the lawyer in a swimming pool” (2017), the pool has been converted into a sort of passageway where projections and disembodied audio bathe the space in colored light. One of my favorite works in the show hangs here: a large painting by Ali Altin, “Mission Blue” (2016), mounted on the grey marble wall and illuminated by a single spotlight. In the darkness of the room the fantastic image seems to float in space and the cartoonish characters come to life — with killer Smurfs.

Ali Altin, “Mission Blue” (2016)

Upstairs is also infested with Frankensteinian animals: Stefano Cagol‘s video, “Stars & Stripes. Redouble” (2013), mimics the flapping wings of an eagle with the mirrored image of an American flag fluttering in the breeze, creating an ever changing Rorschach inkblot. In a small room off to the side, the windows are flung open, but a brick wall blocks the view of the green park below. The bricks are made out of baked birdseed and sugar grouting, and little beaks peck at the untitled artwork by Björn Braun from outside, eating their way into the exhibition. This whimsical performance by birds also embodies the struggle between humans and the natural world that the curator built into the show.

Björn Braun, “Untitled” 2017

Then the exhibition takes a turn toward the obsessive in a little nook taken up by the desk of Beutler — the autistic 80-year-old Berliner mentioned above. Everything is covered with relentless hatch marking, conveying a sense of paranoia and desperation within the enclosed space. Beutler’s marks are echoed in large paintings by André Butzer and Günther Förg, also containing their own hash mark gestures.

Günther Förg, “Untitled” (1996)

The curatorial vision of Loers, along with the work of many of the artists he selected, veers toward the dystopian and highlights the contrast between the works in the show and the pristine grounds of the mansion. But the tension created here also provokes a deeply introspective experience where the history of the building and the conceptual function of each work is heightened by uncertainty — things are not necessarily as they seem and I can’t look away.

Adolf Beutler, “Untitled” (works from 1999-2017)

Franz West, “Kain naht Abel” (2009)

Ascending toward the attic, with the mood set by the second floor, I was almost apprehensive to see what came next. Whatever was hiding in the attic, I had the sense that it wouldn’t be friendly. Here, in the loftiest space in the house, a cage by Eva Kot’átková, “Work of Nature” (2013), is at once a stage for performance and a torture chamber for naughty children. It’s unclear whether the objects inside the human-sized metal enclosure are playthings or weapons. But nothing is straightforward here. The cage is full of mystery, as are most of other works in Lodgers.

Eva Kot’átková, “Work of Nature” (2013)

Eva Kot’átková, “Work of Nature” (2013) (detail)

Eva Kot’átková, “Work of Nature” (2013) (detail)

Exiting through the basement, through a door cut into the swimming pool and down a corridor which leads to the kitchen where visitors are offered refreshments, a video work by James Richards, “Radio at Night” (2015), composed of found footage, closes the show out with a sensual and emotional illustration of the highlights and pitfalls of humanity — disease, pollution and destruction are woven into images of ecstatic ceremony and intimacy. All of the themes in the show are referenced again in Richards’s work, deep within the bowels of the Haus Mödrath.

Michael E. Smith, “Untitled” (2017)

Lodgers continues at Haus Mödrath (An Burg Mödrath 1, Kerpen) until November 15, 2018.

The post A German Art Space’s Inaugural Exhibition Transforms It into a Haunted Haus appeared first on Hyperallergic.

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