#panele layred

[wnetrzazklasapodlogikalisz]

🔥 Jak się już dowiedzieliście z poprzedniego wpisu - mamy aktualnie promocję na panele podłogowe winylowe LayRed, dlatego też postanowiliśmy je Wam opisać, aby łatwiej było podjąć decyzję jeżeli chodzi o ich zakup. Czym się charakteryzują? Idealna akustyka - środkowa warstwa akustyczna pochłania wszystkie odgłosy kroków, więc irytujące skrzypienie czy trzeszczenie paneli nie ma miejsca jeżeli chodzi o panele winylowe LayRed. Bardzo dobrze tłumią hałas, w dużo większym stopniu niż płytki ceramiczne, podłogi laminowane, parkiet czy inne podłogi winylowe. Łatwe w pielęgnacji - wszystko dzięki ochronnej warstwie wierzchniej, która ma za zadanie odpychać wodę i roztocza. Dlatego idealnie nadaje się do każdego pomieszczenia, nawet do łazienki. Do ich czyszczenia potrzebujemy jedynie zwykłej wody, nie potrzebujemy żadnych silnych środków czyszczących. Wieloletnia gwarancja - producent jest pewny swojego towaru, dlatego też udziela na nie dożywotniej gwarancji. Jest to znak, że produkt jest najwyższej klasy. Stabilność - podłogi gwarantują minimalną kurczliwość, są odporne na wyblaknięcia pod wpływem promieni słonecznych oraz na wahania temperatur. Realistyczne wzory - panele podłogowe są tworzone w taki sposób, aby jak najbardziej przypominały naturalne drewno. Zarówno w dotyku, jak i w wyglądzie. Dostępnych jest dużo niepowtarzalnych wzorów - 7 wzorów drewnianych, 40 odcieni, 2 rozmiary. Wzór w jodełkę - jeżeli standardowe podłogi do Was nie przemawiają, LayRed oferuje także panele w wersji Jodełki klasycznej. Posiadają bardziej przemyślany system zatrzaskowy - Unizip, który jest jednym z nowych systemów na rynku. Wcześniej wymagane było stosowanie dwóch typów klepek, z system zatrzaskowym Unizip, podłoga w jodełkę układana jest przy zastosowaniu jednego typu klepki. To jedynie część zalet jakie posiadają panele winylowe LayRed. Więcej dowiecie się w naszym salonie w Kaliszu lub poprzez wiadomość na fanpage. 🎯 Zapraszamy do naszego salonu - Kalisz, ulica Nędzerzewska 16 🔥 Strona internetowa: Podlogi.Kalisz.pl ☎️ Telefon kontaktowy: 725-401-600

[cosmicanger]

Lena Henke, Combustions 18 [Two Wheeler], 2024, Laser etched leather, pigment on wooden panel 250 x 170 x 15 cm, Courtesy the artist & Layr, Vienna, Photo: Kunst-Dokumentation.com

[scraplette]

Lost Light #11 Thoughts & Feels

Lost Light #11 is called Filling in the Blanks but I think a more fitting title would’ve been Spotlight: Getaway. Let’s find out why!

Under a read more for spoilers.

+These opening pages.... Yeah, knowing who Getaway is talking to, my eyes are rolling so hard.

+It's Froid btw. Since my Rung radar is permanently set to eleven I saw this a mile off but this was a cool set-up and reveal. Starting in Rung's office, leaving him off-screen, then we see the box of models ships, and because we know how important they are to Rung, alarm bells start to ring. Something is wrong.

It's a nice reveal, is what I'm saying.

+Now, back to the meat of the issue. We're finally getting Getaway's side of the story. SQUEEEE!

+Roberts has already admitted to there being an timeline error. I'm surprised the editor didn't pick up on it. I bet Barber wouldn't have missed it. I miss him.

+I love these panels of Getaway in the bar, his skills as a manipulator are on full display here. Stroking egos, creating an us Vs them narrative, exploiting their weaknesses and insecurities. Glorious!

+Love the added detail of Atomizer with the gun under the table.

+Oh! So Tailgate was the setup for the mutiny to follow, now the Plan A.

+I find it really interesting that Getaway used THUNDERCLASH'S (sigh, what a guy) isolation to convince him to join his side. It adds a nice layre to THUNDERCLASH'S character, one that makes totally sense when you think about the pedestal the poor guy has been placed on.

Ah, see this? I'm just going to put a pin in this for later.

Speaking of THUNDERCLASH.

Sigh, what a guy...

+Hi Froid

Something tells me if was probably Prowl.

+It’s so cool to see the #50 transmission from Getaway’s point of view!

+So, all those people in the #50 big reveal panel were there because they wanted Megs off the ship, and thought they were were doing the right thing. Thank God @_@

... Hound, THUNDERCLASH, after hearing this why the feck didn't you lock Getaway up?! He's admitted to brainwashing you!

Hm, having second thoughts, are we?

+Getaway stealing command from Hound was slicker than a wet weasel on a linoleum floor.

Time for another pin.

+This issue may be Spotlight:Getaway but Atomiser is getting some excellent character work, too. I love his relationship with Getaway, how he seems to understand and anticipate his needs. They're a really good time. If only they'd use their powers for good.

+Physics has a crush on Preceptor.

+Physic's crush is one-sided because Preceptor has a crush on Brainstorm.

+So this is the Warren that was mentioned last issue...

+The map still makes no sense to me. I'm glad Getaway can read it.

So Rodimus' map is different to THUNDERCLASH'S... I wonder if that means anything. We still don't know where these visions are coming from.

OH OH OH! Prepare, confront, repel! Whatever Cyberutopia is I doubt it's anything good.

I wonder how Scorponok got roped into all this clan business.

+Getaway's panic and relief at the SOS is fantastic. He's just waiting for the penny to drop.

+Refusing to help innocents, Getaway. Really? How did you think the others were going to take that info? THUNDERCLASH saves an orphanage at least once a month.

+OH MY GOD

THIS IS IT! We've reached peak Rodimus! This is the most Rodimus thing he's ever done! I honestly love his speech so much.

Suffering asteroids, cutting his own arm off just to show up destiny, PFFFFT! Small potatoes. Having you corpses dismantled and rebuilt into a gun(that matches his colour scheme, no less) that is to be used to kill your murderer... That's so metal.

+Also, puh-leese! Rung's eyebrows are unmatched throughout the entire galaxy.

+Gotta admit, I don't like the fake news line. It's a little too on the nose.

+And here is where it all starts to unravel.

+Wow, thing you got enough shots in there, Getaway.

+Nooooo! Riptide!

I laughed at this and I feel terrible for doing so.

YAAAAAAAAAAAY!

Froid and Sunder! The Murder boyfriends are back together. Froid seems pretty chill with the fact that Sunder turned him inside out.

+Sunder looks awesome in Lawrence's style. Look at those teeth! Oh! Did he always have an Autobrand [checks back issue] He didn't.

+Pfft! Boaty McBoatface. Odd enough, I'm don't find this reference as grating as fake news was.

+I guess that answers all my questions for the last issue. The crew weren't lying about the rod Squad leaving, they'd been brainwashed into believing that happened.

Right, time to gather up all those pins. Here we go! Getaway wants to become a prime and believes it is his destiny to do so, he also wants the respect and admiration of others and feels threatened and insecure around those who have what he desires. Does this sound familiar? It should, you could say the exact same about Rodimus. The only difference between them is Rodimus has a solid moral core. Getaway is a dark reflection of Rodimus, and I’m pleasantly surprised about learning this.

I'm fascinated by the signs of affinity and what that means for an MTO. I wonder if it was something that was hushed up because a CC showing signs of Primehood is a pretty big deal.

And the mystery of the braincords is solved! Bloody Hell, Getaway. I know you're a dick but I can't believe you agreed to this O_O

Sunder continues to be deliciously creepy. Just, bbbbbrrrrrrrr, chills. His preferred method of entry reminds me a bit of something Chromedome said allllllll the way back in the Sparkeater issues. With corpses, CD preferred to enter through the eyes. It's kinda cool to see how the different methods and techniques among Mneomosurgeons.

+I've got some mixed feelings over Getaway's moment of hesitation. It's an important crossroads for the character, the actual point of no return. That in itself is interesting and I have no problem with it, what I'm not keen on is that Getaway, master manipulator and shit-stirrer extraordinaire, was played by Froid.

Okay, okay. Froid is a criminal psychoanalyst, and is no slouch himself when it comes to mind games, but it feels so much like Froid is going “Oh, you're just a big chicken, Cheep-cheep-cheep-cheep!”

Oh! Same way Prowl convinced to take on Overload. Another parallel!

+Mixed feelings aside, I'm ticked by Froid. He's just here for the drama. Oh sure, he says he's interested in Getaway from purely an academic point-of-view. But we all know he's here to see it all fall apart.

+BTW I ship Froid x Getaway now. Sunder can join them for a threesome.

Riptide really came into his own these last few issues. I hope he makes it past this trilogy.

+EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE! SCRAPLETS! How cut- I mean, horrifying! … >_>... [tiny squee]

+Getaway is quite cruel in these final pages. This isn't something new, he was always this petty and malicious when mocking Whirl, but this stings.

+Please let Riptide be okay. I'm hoping that because the Nudge Gun is low on nudge juice it will give him a chance of escape.

Looks like someone is having some doubts.

Can we just take a moment to applaud Lawrence's skills. Atomizer has no mouth(and he must scream) or eyes, but his growing doubt and reluctance is beautifully expressed through the art.

+Okay... See you all next issue for the final instalment of the Mutineer Trilogy :)

[fakeddreams]

How to make a GIF from a game for Tumblr.

Step 1 : Record your game with any game recorder to your liking . I'm gonna be ussing Adobe Photoshop CC‎ 2017. *Make sure it's Adobe Photoshop CC‎ 2017 becouse older versions of Photoshop will not contain some of the features i'm gonna be showing in this tutorial. open Photoshop

Step 2: Go to file > open > browse to where your recorded game file is . *Make sure i'ts in a format Photoshop can read. I'm recording my videos with ShadowPlay - Nvidia . Open your file .

Step 3: Find the part of the clip you want your gif to start. Use the trim option under timline (the small scissors symbole) delete the part before you want your gif to start by choosing the layer you want to delete under layres. Do the same step for where you want your gif to end. keep trimming your clip until you happy with the result.

Step 4 : Select the image panel from the photoshop menu . from the drop down menu select image size. il'l be changing the size to 480 pixles by 270. the reason is you can only upload to tumblr up to 3mb for each gif . *Optional - to make your gif look better: In the image size menu under the image size make sure Resample option is ticked and from the drop down menu select Bicubic Smoother(enlargment) click OK.

step 5 : Select the Layer panel from the photoshop menu . From the drop down menu select New Adjustment Layer > Brightness/Contrast Under the layers panel select your Brightness/Contrast layer and click the auto button. and again from the drop down menu select New Adjustment Layer > Color Lookup Under the layers panel select your Color Lookup Layer and from the drop down menu next to 3dlut file select a filter to your liking. *at this point you can add more Adjustment Layers but in order to make this tutorial simple i'm not gonna go in depth to all the effects you can add.

Step 6: Select the File menu from the photoshop menu. From the drop down menu select Export > Save for web (Legacy) From the drop down menu under preset make sure the file format is set to gif > selective > pattern. make sure transparency is ticked on and no transparency dither is selected. colors should be on 256 and interlaced is ticked off. Preview should be on monitor color and quality on Bicubic Smoother.

Step 7 : Uder Animation > Looping options select from the drop down menu > forever. Click the save button and save your gif . Select the File menu from the photoshop menu. open > browse to where your saved gif is and open it. at this point your GIF file should be open as frames.

step 8 : Choose the first frame than click the shift button and select your last frame . make sure all your frames are selected and than click the small arrow on the last frame. a menu will open , from the menu select other . under set frame delay set the time to 0.07 to make your gif slower. If you want your gif to be faster than choose 0.02 or no delay .

step 9 : Select the File menu from the photoshop menu. From the drop down menu select Export > Save for web (Legacy) Play your animation , as you can see the size of the gif in total is more than 3mb. anything under 3mb will be a good size. start deleting frames from your gif either from the start or the end until you reach less than 3mb. Select the File menu from the photoshop menu. From the drop down menu select Export > Save for web (Legacy) make sure your gif size is under 3mb and save your gif . Photoshop will than ask you if you want to replace the existing file , click replace.

Step 10: browse to where your gif is saved and drag it into your browser. make sure you are happy with the result and Voilà your done! remember to be creative and most importantly to have fun with your gifs ;) thank you for watching!

Link to the video on YouTube :

*Note- this is the method I’m using to make a gif, I would love to hear how other people make their gifs since I noticed allot of my gifs load very slow and glitch .

as suggested by  hustlemeanokay you can use instead Instagiffer GIF Maker found in this link : http://instagiffer.com/

[plasticplatingguide-blog]

Chrome Plating For Chrome Rims and Other Parts of the Car

The chrome rims as well as other chrome parts are most of the time, taken advantage so as to enhance the appearance of cars. The dazzling decorative finish of the chrome plating is incredibly familiar and improves the appearance as no other means of personalizing your car can. The chrome plating is not just utilized for decoration on the other hand, it also has a protective coating of chrome that would make the technique of chrome plating beneficial for other uses.

The chrome plating is composed of application of a thin layer of chromium on to a copper, iron or other base metal to generate a decorative and protective finish. Take into account that chromium is a reactive metal that would react right away with oxygen that is present in the air. And unlike iron which creates an incredibly unstable oxide that falls and flakes apart from chromium oxide is stable and hard and would form a protective layer which will prevent the underlying metal from rusting. Get in touch with the Mueller Corporation to know more. 

Black chrome - with regards to black chrome, the underlying metal base is plated with a mate or bright nickel and topped with a chromium plating. The black chrome is not as bright and as hard chrome and does not last so long. It is, most of the time, waxed or oiled in order to enhance its appearance. In addition, it is taken advantage in a couple of car parts, some gun sights, solar panels and other optical elements.

Hard chrome - compared to the other forms, hard chrome is not utilized to create a decorative finish, but then again, to provide an incredibly long lasting protective coating for cylinders, hydraulic rods, pistons and other parts of the engine. The chrome is thicker in contrast to the decorative finishes in order to give a stronger protective layr.

Electroplating procedure - before the object is plated, it is vital that it is cleaned very well by means of degreasing the cleaning by manual to take away any impurities or debris. Sulfuric acid or other types of strong acids can also be utilized. Other pretreatments can also be taken advantage. Once it is cleaned, the object is then dangled in a plating solution. When it comes to bright chrome, a solution of sulfuric acid as well as chromic acid are utilized. For the black chrome, chromic acid with barium acetate and acetic acid are utilized. Look up Mueller Corp chrome plating online to know more. 

Learn more about Chrome plating at https://en.wikipedia.org/wiki/Chrome_plating.

[caveartfair]

The 20 Best Booths at Art Basel in Basel

After a marathon six-week circuit—spanning the Venice Biennale, documenta 14 in Athens and Kassel, and the once-a-decade sculpture projects in Muenster—the art world arrives for Art Basel, the Swiss mega-fair whose 48th edition opened to VIPs this morning.

This year’s fair brings together 291 galleries from 35 countries, including newcomers from Egypt and New Zealand who are among a slew of promising first-time exhibitors. As ever, many galleries have made a concerted effort to bring their best to Basel—from standout solo presentations by emerging artists to historic showings of rare work that hasn’t been seen in decades. Below, we highlight 20 booths you should be sure not to miss as you make the rounds.

Galleries Section, Booth L20

Sadie Coles HQ

With works by Urs Fischer

Installation view of Sadie Coles HQ’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

If you weren’t among those who carefully re-sculpted (or carved your name into) Urs Fischer’s clay replica of Aristide Maillol’s La Rivière (1938) last summer at New York’s JTT Gallery, you have a second chance to get your hands dirty. At Art Basel, London gallery Sadie Coles HQ presents another iteration of Fischer’s malleable sculpture: a rendition of Auguste Rodin’s steamy The Kiss (1889), in which the two enduring lovers are now at the mercy and imaginations of fairgoers.

Galleries, Booth R16

Galerie Isabella Bortolozzi

With works by Anne Imhof, Jos de Gruyter and Harald Thys, Oscar Murillo, Stephen G. Rhodes, Aldo Mondino, Symonds, Pearmain, Lebon, Anthony Symonds, Betty Woodman, Yuri Ancarani, Wu Tsang

Installation view of Isabella Bortolozzi’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Aldo Mondino, who once famously crafted a likeness of Marcel Duchamp using 70 kilos of chocolate, takes center stage at Isabella Bortolozzi’s booth. The late Italian artist’s giant facade tiled with sugar, Muro del Pianto (Wailing Wall), 1988, resembles an urban cinderblock wall, complete with sprouting weeds. The work was first mounted at Villa Pignatelli in Naples; at press time it was on reserve for €130,000.

Galleries, Booth K8

neugerriemschneider

With works by Ai Weiwei, Pawel Althamer, Billy Childish, Olafur Eliasson, Andreas Eriksson, Mario García Torres, Sharon Lockhart, Renata Lucas, Michel Majerus, Mike Nelson, Jorge Pardo, Elizabeth Peyton, Tobias Rehberger, Rirkrit Tiravanija, Pae White

Installation view of neugerriemschneider’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

The relationship between man and nature is the focus here for Berlin gallery neugerriemschneider, whose booth features both Rirkrit Tiravanija’s 3D-printed bonsai tree and a pair of Ai Weiwei’s twisting, cast-iron tree root sculptures. Installed across booth floors and walls that are painted a dramatic matte black, the installation seems to suggest a universe in which all of these entities are infinitely connected.

Galleries, Booth R4

Buchholz

With works by Anne Imhof, Wolfgang Tillmans, Michael Krebber

Installation view of Buchholz’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

With a giant painting by Venice Biennale star Anne Imhof and a series of photographs by Wolfgang Tillmans, who’s just mounted a solo at Basel’s Fondation Beyeler, Berlin’s Buchholz stokes the momentum of two artists currently receiving well-deserved accolades. Don’t miss the gorgeous crushed and folded abstract works by Tillmans which open the booth, on offer for $60,000 apiece and representing a rarer, but extremely influential, aspect of his practice.

Galleries, Booth H13

David Nolan Gallery

With works by Barry Le Va, Jorinde Voigt, Jim Nutt

Installation view of David Nolan Gallery’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

In the late 1960s, with the swipe of a sledgehammer, Barry Le Va created a sculpture from a stack of glass that would reimagine the idea of what a sculpture could be. This seminal work, On Corner, On Edge, On Center Shatter - Two Layers at a Time (Within the Series of Layered Pattern Acts) (1968–71/2017), is an easy highlight of David Nolan’s booth, where it’s on offer complete with the artist’s instructions.

Galleries, Booth G14

Anthony Meier Fine Arts

With works by Donald Judd, Gerhard Richter, Jim Hodges, Donald Moffett, Sigmar Polke, John Chamberlain

Installation view of Anthony Meier Fine Arts’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Judd’s signature stacks are a mainstay of art fairs, but this rare work will stop you in your tracks. On offer for $18.5 million, the large, 10-unit sculpture is the only one ever created in this colorway, combining green plexiglass with panels of radiant copper.

Galleries, Booth R7

Victoria Miro

With works by Milton Avery

Installation view of Victoria Miro’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

A series of paintings and works on paper by influential American master Milton Avery mark Victoria Miro’s debut exhibition of the artist. It’s a rare opportunity to peer into the practice of the late artist, whose paintings were prefaced by study drawings and watercolors that are lesser-known but equally beautiful. Particularly notable: a small sketch made with oil crayon in 1953 (Sand, Sea & Sky), revealed as inspiration for two 1958 paintings that also picture three-part seascapes depicting the horizon, ocean, and shore. Milton made these works during summers spent in Provincetown, Cape Cod, amongst artist friends like Mark Rothko.

Statements, Booth N1

Magician Space

With works by Wang Shang

Young Chinese artist Wang Shang also happens to be a certified gemologist, so it’s little surprise to find that his abstract sculptures, which reimagine traditional motifs of Chinese gardens and landscape paintings, appear to feature a multitude of rocks. However, despite their geological forms, the sculptures are actually rendered from stainless steel that has been printed with high-resolution digital images of marble textures. They’re hypothetical markers for a very contemporary meditation zone.

Galleries, Booth S17

A Gentil Carioca

With works by João Modé, Vivian Caccuri, Maria Nepomuceno, Arjan Martins, Rodrigo Torres

Installation view of A Gentil Carioca’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

This tropical-inflected installation by Rio de Janeiro-based gallery A Gentil Carioca is, in fact, conceived to counter the idea that Brazilian culture is all about its landscape. Instead, amongst tropical foliage and a wooden path constructed by artist João Modé, a series of artworks is installed to represent the country’s meaningful artistic output, as varied as the country itself, which boasts 274 languages.

Galleries Section, Booth R12

Goodman Gallery

With works by Nolan Oswald Dennis, Misheck Masamvu, Kudzanai Chiurai, Tracey Rose, Kendell Geers, Gerhard Marx, Sue Williamson, Ghada Amer, William Kentridge, Alfredo Jaar, David Goldblatt

Installation view of Goodman Gallery’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

This mural by 29-year-old South African artist Nolan Oswald Dennis takes Western perspective and flips it on its head. The artist, who grew up in exile in Zambia and is currently studying art, science, and technology at MIT, has created a site-specific work that reimagines astrological zodiac constellations, typically designed from a northern perspective, through a Southern view. Constellations (Black Liberation Zodiac) sold to Jean Pigozzi, keeper of the world’s largest private collection of African art, for 20,000 euros on the fair’s opening day.

Statements, Booth N15

Galerie Emanuel Layr

With works by Cécile B. Evans

Installation view of Galerie Emanuel Layr’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Climb the steps of a Brutalist-inspired architectural sculpture to experience Cécile B. Evans’s new film, Amos’ World: Episode One (2017), in a truly immersive way. Inside, the video installation screens an episode of a television show Evans created that chronicles an architect (named Amos) as well as the tenants of a housing project he’s built. (Soon enough, you’ll realize that you’re one of them, too.)

Galleries, Booth F13

Tornabuoni Art

With works by Lucio Fontana

Installation view of Tornabuoni Art’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Spotting an iconic Lucio Fontana slashed-canvas painting at an art fair isn’t uncommon. But in this solo booth by Tornabuoni Art, four of the Italian artist’s extremely rare “Concetto spaziale, La fine di Dio (Spatial Concepts, The End of God)” paintings warrant a considerable pause. They’re among only 38 such shaped paintings created over the course of two years between 1963–64. They are the most expensive among Fontana’s works, with an example from the series having reached an auction record of $29 million in 2015. Be warned: The works here are priced even higher than that.

Features, Booth J12

James Cohan Gallery

With works by Nam June Paik

Installation view of James Cohan Gallery’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Video art is once again on the rise, evidenced by strong showings in Muenster and a flurry of excellent installations across Unlimited. This solo booth is a timely reminder of the father of the medium himself: Nam June Paik. Works on view span from 1973 to 1994, including a television-gazing Buddha (TV Buddha,1992; $375,000) and a shrine that conflates worship with television (Portable God,1989; $550,000). “He was a sage,” says the gallery’s senior director David Norr. “He saw what was to come.”

Galleries Section, Booth B15

Sprüth Magers

With works by Kaari Upson, Louise Lawler, Otto Piene, Jenny Holzer, Thomas Demand, John Baldessari, Peter Fischli & David Weiss, Andreas Gursky, Otto Piene, Pamela Rosenkranz, Rosemarie Trockel, Bernd & Hilla Becher, Thomas Scheibitz, Llyn Foulkes, Thomas Ruff, Craig Kauffman, George Condo, Barbara Kruger, Cindy Sherman, Gary Hume, Sterling Ruby

Installation view of Sprüth Magers’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

This stunning photograph by Andreas Gursky sees a bed of solar panels overpopulating a rolling landscape in France. Les Mées (2016) foregrounds the intersection of nature and technology; while not intended as a political statement, it’s an image that finds even greater resonance in the wake of Trump’s abandonment of the Paris Agreement.

Galleries, Booth B7

Peter Freeman, Inc.

With works by Franz Erhard Walther, Mel Bochner, Catherine Murphy, Dove Allouche, Lucy Skaer, Jan Dibbets, Michael Heizer, Richard Pettibone, Richard Serra, Mel Bochner, Thomas Schütte, Robert Filliou, Alex Hay, Dimitrije Bašičević Mangelos, Silvia Bächli, Richard Tuttle, Pedro Cabrita Reis, Sigmar Polke, David Adamo, Josephine Halvorson

Installation view of Peter Freeman’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Peter Freeman presents a large canvas wall sculpture by Franz Erhard Walther, on the heels of his Golden Lion win at the Venice Biennale. The German artist, who also shows with Berlin’s KOW, has pioneered interactive and performative sculpture since the 1960s. Indeed, like many of his works on view in Venice or in his ongoing retrospective at Spain’s Museo Reina Sofía, this piece is designed to be touched. Offering an assortment of canvas elements to play with—from a jacket you can slip on, to a cone you can step into—Modellsammlung (1983) is only fully activated once the viewer chooses to oblige.

Galleries, Booth H6

Galerie 1900–2000

With works by Johannes Baargeld, Hans Bellmer, Victor Brauner, André Breton and Arshile Gorky, Salvador Dalí, Nicolas De Staël, Óscar Domínguez, Jean Dubuffet, Marcel Duchamp, Max Ernst, Al Hansen, Jacques Herold, Hannah Höch, Marcel Jean, Ray Johnson, Tetsumi Kudo, Wifredo Lam, Man Ray, Wolfgang Paalen, Richard Pettibone, Francis Picabia, Pablo Picasso, Pierre Roy, Yves Tanguy, Raoul Ubac, Robert Whitman, Wols  

Installation view of Galerie 1900–2000’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Within a booth perfectly jam-packed with a who’s-who of Dada and Surrealism—from Hans Bellmer to Marcel Duchamp—one small painting by Picasso shouldn’t be missed. Gifted to André Breton in 1941, the painting was Picasso’s attempt to help his friend out financially during the war—but Breton kept it instead. The 1939 painting, priced between €5 million and €10 million, is titled Portrait de Dora Maar, after Picasso’s lover and muse. It has never before been on the market and comes to Art Basel directly from Breton’s family.

Statements, Booth N12

Antenna Space

With works by Guan Xiao

Installation view of Antenna Space’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Guan Xiao’s latest installation was created in the dark of winter in Beijing, when the up-and-coming Chinese artist was in his studio dreaming of spring. Titled Air Freshener, Spray (2017; $48,000), it assembles artificial materials into a synthetic landscape—complete with a lightbox sunset foregrounded by characters constructed from plastic plants, projectors, car exhaust pipes, among other things. It’s work like this that has landed the 34-year-old artist at this year’s Venice Biennale.

Galleries, Booth S1

Esther Schipper

With works by Tino Sehgal, Pierre Huyghe, Roman Ondak, Daniel Steegmann Mangrané, Gabriel Kuri, Tomás Saraceno, David Claerbout

Installation view of Esther Schipper’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

One of the fair’s best presentations is also one you might miss: Behind an unmarked door in Esther Schipper’s booth, Tino Sehgal presents Ann Lee and Marcel (2016), a performance first shown at Palais de Tokyo in 2016 in which a young boy and girl enact the characters of Marcel Duchamp and Ann Lee (Pierre Huyghe and Philippe Parreno’s conceptual manga character) respectively. Listen as the children chat about alternative dimensions or their love of chess—and don’t be surprised if they turn a question your way.

Statements, Booth N18

ChertLüdde

With works by Zora Mann

Installation view of ChertLüdde’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

This solo presentation by British artist Zora Mann, the just-announced winner of the Baloise Art Prize, beautifully collides fragmented aspects of the artist’s life. The mixed-media installation examines her nomadic childhood—Mann traveled between Europe, Africa, and the U.S. thanks to her parents, members of the Rajneesh spiritual movement—as well as her 11-year-long modeling career and drug use. Step through a plastic-bead curtain, fashioned from recycled flip-flops by Kenyan artisans, and you’ll discover a giant psychedelic painting covering two of the booth’s walls. At its center, a mandala made from eyes and hands invites the viewer into a meditative and reflective state—helped along by giant, eye-shaped cushions scented with mint and lavender.

Galleries, Booth P16

Sies + Höke

With works by João Maria Gusmão and Pedro Paiva

Installation view of Sies + Höke’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

If you do a double take on this installation by masters of illusion João Maria Gusmão and Pedro Paiva, their mission has been accomplished. The Portuguese duo has long turned the tables on reality and visual perception, and here, they combine a handful of sculptures to greatly amusing effect. In addition to playing cards that shoot from the wall and a hanging rope that could pass for a snake, the strongest work (Washing Machine with Leopard, 2013) stuffs a leopard suit into a spinning front-loading washing machine.

—Molly Gottschalk

from Artsy News

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Jak obiecaliśmy - jest to jedna z kolejnych promocji w naszym salonie. Tym razem są to panele winylowe LayRed. Oferta jest ograniczona czasowo - obowiązuje od 30 stycznia do 17 marca 2023 roku. Dlaczego warto skorzystać z promocji? LayRed to podłoga, która została zaprojektowana, aby sprostać najbardziej ekstremalnym warunkom. Charakteryzuje się idealną akustyką, jest bardzo łatwa w pielęgnacji codziennej dzięki specjalnej warstwie ochronnej, a ich jakość jest na takim poziomie, że producent zapewnia dożywotnią gwarancję. Jest bardzo łatwa w montażu - ich grubość wynosi zaledwie 6mm oraz wypełnia luki i nierówności w istniejących posadzkach.

🎯 Zapraszamy do naszego salonu - Kalisz, ulica Nędzerzewska 16 🔥 Strona internetowa: Podlogi.Kalisz.pl ☎️ Telefon kontaktowy: 725-401-600

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🌿 Blackjack Oak - Synonim Klasy i Elegancji Zamknięty w Jodełce 🌿

Odkryj niezwykłe podłogi inspirowane naturą! Ich realistyczna i naturalna struktura górnej warstwy doskonale naśladuje prawdziwe drewno, które zostało zamknięte w winylu. 🍃✨

Nasze panele LayRED to kwintesencja doskonałości: ✨ Klasa użytkowa 23/33, ✨ Warstwa ścieralna: 0,55 poliuretanu (TwinGuard) na powierzchni warstwy użytkowej, ✨ Wymiar: 303,3 x 609,6 mm, ✨ Niepowtarzalny wzór, który pozwala ułożyć 25m2 podłogi bez żadnego powtórzenia nadruku na panelu, ✨ Subtelna 4-stronna (4-krawędziowa) V-fuga, ✨ Najnowszej generacji sztywne panele winylowe z zatrzaskowym złączem typu klik. 💪🏡 ✨ Zintegrowany podkład w kolorze czerwonym to standard w naszych panelach - i to w cenie! 🎁🔴

Najlepsze jednak jest to, że są nie tylko wyjątkowo eleganckie, ale także łatwe w montażu, nawet w trakcie remontu. Ich tolerancja na nierówności podłoża to aż 5mm na 2 metry długości. 🛠️📏

To jeszcze nie koniec zalet: 🎨 Matowe wykończenie, 💦 Odporność na plamy, 🏠 Kompatybilność z ogrzewaniem podłogowym "zatopionym w posadzce", 👣 Doskonałe właściwości wytłumiania odgłosu chodzenia.

Odkryj Blackjack Oak i poczuj harmonię natury w Twoim domu! 🌳🏡

Zapraszamy do naszego salonu - #Kalisz, ulica #Nędzerzewska 16 🔥 Strona internetowa: https://podlogi.kalisz.pl ☎️ Telefon kontaktowy: 725-401-600

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Przedstawiamy kolejne panele winylowe od firmy Moduleo, tym razem z kolekcji Classic Oak. LayRED to kolekcja zaawansowanych technologicznie podłóg firmy Moduleo. Wytwarzane są w fabryce w Belgii, w mieście Avelgem. Jest to światowy lider w dziedzinie projektowania i produkcji podłóg winylowych, wyznaczają standardy przyszłych generacji podłóg winylowych. Podłogi LayRED składają się z 12 warstw! Dzięki temu są niezwykle wytrzymałe na uszkodzenia, są niezwykle delikatne i ciche, a sama warstwa użytkowa przypomina z wyglądu prawdziwe drewno. 🎯 Zapraszamy do naszego salonu - Kalisz, ulica Nędzerzewska 16 🔥 Strona internetowa: Podlogi.Kalisz.pl ☎️ Telefon kontaktowy: 725-401-600

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Artist: Tillman Kaiser

Venue: Emanuel Layr, Vienna

Exhibition Title: Harmolodic Substi

Date: March 12 – April 25, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Emanuel Layr, Vienna 

Press Release:

In the exhibition Harmolodic Substi, Tillman Kaiser presents new works that are all composed of the same base material – painted cardboard. Yet they could scarcely be more different in their relationship between gravity and weightlessness, open and enclosed form, dynamism and tranquility. Collectively they combine to form a polyphonic spatial composition, while the gallery space painted in RAL 5014 – dove blue – creates an optical bracket connecting the sculptures with the rooms. Informing the work is Kaiser’s ongoing engagement with the human figure and its relationship to space and architecture, along with his intensive preoccupation with structure and composition, which in turn correlate to corresponding issues in music. The exhibition title refers to Harmolodics, the compositional and improvisational method developed by American jazz musician Ornette Coleman, which strives for immediate and open expression in music and treats harmony, melody and rhythm as equal elements.

A sculpture standing on black hairpin legs, constructed predominantly out of triangular cardboard elements and a few glass plates, unfolds into a kind of gigantic flower bud. It is generously and haphazardly coated in white oil paint. The glass panels serve as a reference to the religious and folkloristic practice of reverse glass painting. A hanging work based on an octagonal star is inspired by an architectural detail from St. Stephen’s Cathedral in Vienna: the ring of stars at the base of the organ above the bust of master builder Pilgram. Kaiser repeats this fragile form by incorporating paper cutouts made by his son, whereas the column-shaped sculpture made out of interlocking, evenly ascending cardboard triangles is something he found in a former car factory. Another modular piece made of cubes stacked inside and on top of one another have children’s drawings embedded. A complex formation rising up from two leg-like columns is the most humanoid, echoing familiar motifs from earlier works such as masks or eyes. Offering a counterpoint to these new, almost entirely white works is Vampir (2005), a hanging sculpture made out of two silver metal cans and a geometric cardboard body painted black.

The fact that the artist does not conceal anything and leaves traces of his working process visible often lend Kaiser’s sculptures the provisional quality of models or prototypes: components are joined with glue or metal clamps, usually coated in oil paint. Chance and plan, design and improvisation intersect in his works. By incorporating everyday items and found objects he connects different spheres of life and subverts hierarchies. Art and life collide unpretentiously in his practice, as his children’s drawings and other creative output flow seamlessly through his works.

Bettina Spörr

Link: Tillman Kaiser at Emanuel Layr

from Contemporary Art Daily https://bit.ly/34hi3bI

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Artist: Plamen Dejanoff

Venue: Galerie Emanuel Layr, Rome

Date:  November 28, 2019  – January 25, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Galerie Emanuel Layr, Rome

Press Release:

Veliko Tarnovo is a small town in the centre of Bulgaria with a turbulent history. It was the scene of numerous battles between the Slavs and Ottomans and the site where the nation’s first democratic constitution was drawn up in 1879. Le Corbusier came to Veliko Tarnovo in 1911 to study the architecture of the town, lined up along the foothills of the Balkan Mountains with the houses connected to one another like a modular system.

The Slav Palace stands in the town centre. Built around 1720, it remains the tallest building in town (excepting the churches, of course). The forty closely staggered window arches on the top floor are clearly visible from afar. During the communist era the palace was owned by the state and interior walls were erected to divide the spacious rooms into smaller residential units. For many years plasterboard fixtures concealed the stucco, historic structure and in some cases, entire rooms.

Plamen Dejanoff’s family, following a restitution procedure, consolidated the Slav Palace and others of the city’s historic buildings into the “Foundation Requirement” trust, and during the renovation work, Dejanoff uncovered some of these old features. By removing historical layers, he unmasks the political past of his homeland while at the same time quoting art historical examples such as Gordon Matta-Clark and Laurence Weiner. While in their work, the emptiness on the walls or in the space brought about through reconstruction, attacks urban or institutional narratives, Dejanoff takes the stories of the uncovered structures even further.

The German plasterboard panels installed in the historic Bulgarian palace in recent years to continue the fulfillment of a socialist-communist ideal of a fair distribution of living space have been painted in various colours. Dejanoff has cut out pieces of these panels, in sizes varying from human-scale to dimensions reminiscent of traditional portrait paintings. He also removed the metal structure of the supporting profiles in order to reassemble them in Rome. It is thereby less about reconstructing the Bulgarian room than about highlighting another level of alienation and reinterpretation of the building material. What do the dismantled components of plasterboard panels and metal profiles represent today and in this (foreign) place?

A similar question is raised by the porcelain trophies presented on the metal profiles in their new function, as hybrids of sculpture and display unit. In collaboration with the venerable Viennese porcelain manufactory Augarten, whose handmade products are recognized worldwide, Dejanoff has designed a total of nine different cups and trophies. They are partly based on his preoccupation with the football player Trifon Ivanov, known as the Bulgarian wolf, who, like himself, comes from Veliko Tarnovo, and about whom myriad eccentric rumours abound. In the context of this exhibition, they once again combine with Dejanoff’s investigations into diverse representational forms, which do not remain trapped in the objects, but inscribe themselves in the many interstitial spaces of history, architecture, the sites and in the viewers themselves.

Link: Plamen Dejanoff at Emanuel Layr

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from Contemporary Art Daily http://bit.ly/2t8fHO9