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humanistisch · 2 months ago

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Global Peace Photo Award 2024 im Parlament verliehen

"Dreams of Childhood" von Elisa Iannacone ist Friedensbild des Jahres Wien (OTS) - "Dreams of Childhood" von Elisa Iannacone aus Großbritannien ist das Friedensbild des Jahres 2024. Die Fotografin und Multimedia-Künstlerin verbildlichte in ihren Werken Orte der Fantasien und Träume von chronisch kranken Kindern im Nelson-Mandela-Kinderhospital in Südafrika. Ihre Werke zeugen von der Freude und Verspieltheit derjenigen, die von einer Kindheit träumen, die sie nicht haben können, die sie aber für einen Moment in einem Rahmen festhalten konnten. Das Kind im Friedensbild 2024 "schwebt" in einem Krankenzimmer in einer märchenhaft gestalteten Collage in einer Art Luftballonfahrt. Die Künstlerin erhielt zudem für ihre gleichnamige Bildserie einen weiteren der Awards. Das Friedensbild des Jahres soll für ein Jahr im Auditorium im Parlament ausgestellt werden. Auf Einladung von Nationalratspräsident Wolfgang Sobotka zusammen mit der Vienna Peace Foundation wurden gestern Abend im Rahmen der Verleihung des Global Peace Photo Award 2024 im Parlament insgesamt fünf Bilder bzw. Bildserien zum Thema Frieden ausgezeichnet. Der ebenfalls jährlich verliehene Award für das Kinderfriedensbild ging dabei an Daria Heß aus Deutschland für "Happiness". Es zeigt die 15-Jährige bei einem Sprung in einer bewaldeten Kulisse. Frieden stehe für sie für jene Kraft, sich mehr von den schönen Dingen als von Schwierigkeiten leiten zu lassen. Die weiteren Awards gingen für "Women, Life, Freedom" an Maryam Saeedpoor (Iran), die in ihren Bildern mit subtilen Mitteln den Hijab, das Kopftuch, thematisiert, Für "Inversion" an Danila Tkachenko (Italien/Russland), der großformatige Bilder von zerstörten Gebäuden in der Ukraine vor Touristenattraktionen in Europa zeigt. In "The Dancer" von Antonio Aragón Renuncio (Spanien), das als Einzelbild einen Award erhielt, tanzt ein Kind mit Behinderung im Rollstuhl in Vorfreude auf eine neue Orthese. Insgesamt waren für den jährlich stattfindenden Bewerb dieses Jahr 21.220 Bilder aus 112 Ländern weltweit eingereicht worden. Sobotka: Konflikte im Dialog überwinden Heute einen Friedenspreis auszuloben ist nicht anachronistisch, sondern das Gegenteil davon. sagte Nationalratspräsident Sobotka in seinen Begrüßungsworten. Der Fokus werde sonst durchwegs auf Kriegsszenarien gerichtet - dennoch gebe es immer wieder Friedensbewegungen durch Einzelinitiativen und durch politisches Engagement. Was Konflikte generell betrifft, werde es nur im Dialog gelingen, diese zu überwinden, so der Nationalratspräsident. Der Rahmen dafür könne nur eine liberale Demokratie sein, die die unterschiedlichen Standpunkte ohne auszugrenzen mit Klarheit zu beantworten wisse. Aus Sicht von Sobotka ließen die Global Peace Photo Awards das Thema Frieden in das tägliche Leben einfließen, indem Fotograf:innen ausgezeichnet würden, die mit der Linse den Finger "in die Wunde gelegt" haben. Das Thema Frieden wird ernster und ernster sagte der Gründer und Organisator des Awards, Lois Lammerhuber, der die Preisverleihung einleitete und moderierte. Der neue Rekord an heuer eingereichten Bildern sei auch ein trauriger, zumal er auch die steigende Sehnsucht nach Frieden widerspiegle. Im Hinblick auf enorme Zahlen an Abholzungen, neue Wüsten, giftige chemische Abfälle, CO2 und Rüstungsausgaben würden die Fotograf:innen der Friedensbilder dazu auffordern, mit ihnen die Hoffnung auf eine friedliche Welt zu teilen, so Lammerhuber. Es gelte, die strahlenden Farbtöne wie in der Fotografie wiederzufinden. Das sei die Herausforderung der kommenden Jahre und des Global Peace Photo Award. Logar: Friedenspolitik braucht Mittel und eigenes Ministerium Frauen- und Friedensaktivistin Rosa Logar, Gründungsmitglied von WILPF - Women’s International League for Peace and Freedom Austria, hielt eine Keynote zum Thema "Warum wir den Frieden ins Bild rücken müssen". Wir müssen es, um dem Thema Frieden Raum und friedlichen Entwicklungen ihre Chance zu geben so Logar. Der Global Peace Photo Award stelle einen Gegenpol zur Dominanz des Kriegerischen dar, indem er sich bewusst dem Thema Frieden widme. Gegenüber enormer militärischer Aufrüstung sei der Frieden unterfinanziert, bedauerte Logar. Die WILPF fordere daher die Bereitstellung von 500 Mio. Ꞓ - so viel habe die Erneuerung der österreichischen Panzerflotte gekostet - sowie ein eigenes Friedensministerium. Beides brauche es, damit es überhaupt Friedenspolitik gebe. Logar dankte den Preisträger:innen, die mit ihren Werken zeigen würden, dass Frieden möglich sei und Kriege ausweichlich seien. Zum Kinderfriedensbild sprach Hubert Schultes, Präsident von UNICEF Österreich, unter dem Titel "Peace for every child". Es geht um zwei wesentliche Dinge, die auch in den Bildern angesprochen werden: um das Wohlbefinden und um die Kinderrechte. Kinder müssen in Frieden und Partizipation aufwachsen können so der UNICEF-Präsident. Die Teilhabe sei auch ein zentrales Element, wenn beim Kinderfriedensbild eben Kinder ihre Sicht auf Kinderrechte, Frieden und Wohlbefinden richten können. Display Global Peace Award Medaillen und Urkunden Begrüßungsworte Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Blick in den Saal Eröffnungsworte Nationalratspräsident Wolfgang Sobotka (ÖVP) Rede über den Global Peace Award durch Gründer und Organisator Lois Lammerhuber Film über Friedensnobelpreisträger Alfred Fried, am Rednerpult Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Film über Friedensnobelpreisträger Alfred Fried Film über Friedensnobelpreisträger Alfred Fried, Interview mit Jugo Portisch Beitrag zu den nominierten Bildern Einleitende Worte Präsident von UNICEF Österreich Hubert Schultes Laudatio für Daria Heß durch Jurymitglied Gisela Kayser, Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Laudatio für Daria Heß durch Jurymitglied Gisela Kayser, von links: Daria Heß, Gisela Kayser, Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Enthüllung des Gewinnerbilds von Daria Heß durch von links: Vorstandsdirektor Vienna Insurance Group Harald Riener und Nationalratspräsident Wolfgang Sobotka (ÖVP) Gruppenfoto, von links: Vorstandsdirektor Vienna Insurance Group Harald Riener, Preisträgerin Daria Heß, Jurymitglied Gisela Kayser, Nationalratspräsident Wolfgang Sobotka (ÖVP) Rede der Preisträgerin Daria Heß Gruppenfoto beim Preisbild, von links: Jurymitglied Gisela Kayser, Vorstandsdirektor Vienna Insurance Group Harald Riener, Preisträgerin Daria Heß, Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Laudatio für Preisträger Antonio Aragon Renuncil durch Jurymitglied Luzia Strohmayer-Nacif Verleihung der Global Peace Photo Awards an Preisträger Antonio Aragon Renuncil durch Jurymitglied Florence Drouhet Gruppenfoto, von links: Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber, Jurymitglied Florence DrouhetPreisträger Antonio Aragon Renuncil und Jurymitglied Luzia Strohmayer-Nacif Rede des Preisträgers Antonio Aragon Renuncil Laudatio für Preisträger Danila Tkachenko durch Jurymitglied Peter-Matthias Gaede, Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Rede der Vertretung des Preisträgers von Danila Tkachenko: Anna Zaefsova Gewinnerbild der Preisträgerin Elisa Iannacone Rede der Preisträgerin Elisa Iannacone, von links: Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber, Jurymitglieder Gregor Auernhammer, Luzia Strohmayer-Nacif und Peter-Matthias Gaede Laudatio für Preisträgerin durch Geschäftsführerin Edition Lammerhuber Silvia Lammerhuber, Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Gruppenfoto, von links: Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber, Jurymitglied Michael Biedowicz Preisträgerin Maryam Saeedpoor, Jurymitglied Claudia Dannhauser, Geschäftsführerin Edition Lammerhuber Silvia Lammerhuber Gründungsmitglied von WILPF-Women’s International League for Peace and Freedom Austria Rosa Logar: Keynote „Warum wir den Frieden ins Bild rücken müssen“ Gruppenfoto vor dem Gewinnerbild, von links: Vorstandsdirektor Vienna Insurance Group Harald Riener, Geschäftsführerin Edition Lammerhuber Silvia Lammerhuber, Preisträgerin Elisa Iannacone, Nationalratspräsident Wolfgang Sobotka (ÖVP), Gründer und Organisator des Global Peace Photo Awards Lois Lammerhuber Gruppenfoto, erste Reihe von links: Preisträger:innen Antonio Aragon Renuncil, Daria Heß, Elisa Iannacone, Maryam Saeedpoor, Vertreterin von Danila Tkachenko, Anna Zaefsova Preisträgerin Daria Heß mit Gewinnerbild Preisträgerin Elisa Iannacone mit Gewinnerbild Read the full article

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tilbageidanmark · 1 year ago

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Movies I watched this Week #133 (Year 3/Week 29):

First watch, finally: Louis Malle’s seminal debut feature Elevator to the gallows shot when he was only 24. Blacker than the blackest French Noir and with the groundbreaking, stand-alone score by Miles Davis, "The loneliest trumpet sound you will ever hear".

4 years after Agnès Varda made 'La Pointe Courte', but still a year before Truffaut's 'The 400 blows', 'Ascenseur pour l'échafaud' opened the gates for the 'French New Waves'. All the drama was on Jeanne Moreau's face, as she wanders desperately all night across the dark streets of Paris.

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2 more from Iceland:

🍿 "Welcome to the world"....

My 4th re-watch of Rúnar Rúnarsson's Icelandic masterpiece Echo. It is now one of my all-time favorite great movies. 10/10.

(Photos Above).

🍿 Godland, my 2nd film by tremendous director Hlynur Pálmason (after 'Seven boats'). This ambitious story dominated last year's Danish Bodil awards. It's slow-moving visionary epic, like some of cinema's greatest works.

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Limbo, a new Australian thriller shot in stark black & white in the vast, sparsely-populated outback. A laconic film with even more laconic people. Simon Baker, who was so suave as Jared Cohen in 'Margin call', plays here a character as far from suave as possible, a broken-down, dope-shooting, heavily-tattooed police investigator, sent out to re-open a 20-year-old cold case of a missing aboriginal woman. And the people he encounters are pained like the dying opal-mining town they occupy. Haunting, empty slow-burner. 7/10.

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2 by Louis C.K.:

🍿 Surprise! I love you, daddy was an accomplished and funny look at a father and daughter relationship. Some crude CK humor + a story about creepy 68-year-old John Malkovich seducing a 17-year-old girl, it still stayed warm and real. Very much like the best of Woody Allen, he even wore his traditional glasses, filmed it in artistic black and white, referred to themes from 'Manhattan', and even used the music with a similarly superb ear. But like Allen himself, art followed life, it opened with a jerk-off scene at the office, and you have to separate the 'artist' from his 'art'.

This is my second Outrage CK from the period after his Me-too Masturbatory Fall From Grace (The first was 'Sorry'). He must be an unpleasant jerk to be around, but the two films were great. 8/10.

🍿 Apparently he made a bunch of short films in the 90's. Ice Cream was his second, an absurd piece about a man, a woman, 3 babies and a Mariachi band.

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Re-watch: In 2011(?) Philips ran an international contest called 'Parallel Lines' in which they asked people to create a three-minute short film using only six lines of dialogue: “What is that?”, “It’s a unicorn”, “Never seen one up close before”, “Beautiful”, “Get away, get away”, and “I’m sorry”.

Director Ridley Scott picked the winner, Porcelain Unicorn out of 600 entries. One of his protegees submitted The Gift, a Russian-based sci-fi about a mysterious box. I've always loved them both.

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While waiting for Alexander Payne's latest film, The Holdovers, I watched his debut feature Citizen Ruth, the last of his films I haven't seen before, about religious fanaticism in America. But even though it's a black comedy, my dislike for religious extremism is so intense, I couldn't take it at face value.

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Also, while waiting for Nolan’s 'Oppenheimer', I watched the 1980 documentary The day after Trinity, to fill up on history I didn't know. A useful overview done in informative & sober oral history style. 9/10.

“Peanut butter and Vienna sausages and whiskey…”

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Thirty Two Short Films About Glenn Gould is a 1993 Canadian anthology about the famed pianist. It's true that Gould was a God walking among us mortals, and listening to him play Bach any time of the day or night is the best thing one can ever do. But this artsy, stagey literary hand-job was boring and tedious. Like a religious veneration, it was not interesting. 2/10.

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Les Biches is supposedly one of Chabrol's most famous films from that period. Apparently it's loosely based on Patricia Highsmith's 'The talented Mr. Ripley', with the main characters genders being switched. But I found their motivations confusing and the bi-sexual love triangle shallow and unconvincing. WHY, indeed?

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Whenever I get bored by too serious films X2:

🍿 When my watch list of 1000 art films gets overwhelming, I just revisit the 2005 TED talk that chaotic Swedish doctor/magician Lennart Green gave in 2005. This rumpled sleight-of-hand master is one of a kind. 10/10.

🍿 Or I pop in Mike Judge's Office Space, and enjoy this perfect black satire one more time. "...The thing is, Bob, it's not that I'm lazy, it's that I just don't care..." 10/10.

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Wes Anderson visited the iconic JM Vidéo rental store in Paris, and pulled out a bunch of his favorite movies from their shelves. [This 20 min. tour was actually more enjoyable to me than any of the 8 films of his I had seen!]. I jotted down some of his picks for future watches (Kurosawa’s 'Drunken 'Angel', works by Rouben Mamoulian, musicals like 'Meet me at St. Louis', Renoir's 'The Crime of Monsieur 'Lange', Etc.)

The first from his list was Hollywood (1980), a 13-part history of the silent era in Hollywood, by British archivist Kevin Brownlow. Narrated by the distinct voice of James Mason, this YouTube series is, unfortunately, only available in low-res 360p, so I watched only the first episode. It reminded me that I never saw Griffith's 'Birth of a nation', which I need to, at one point. But not today, Satan, not today.

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I didn't like Adam McKay's Don't Look Up the first time I saw it, and I didn't like it again now. I wanted to see a comedy about the end of the world, but this was way too noisy and "Netflix-hip", and still very fake. 2/10.

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A recent 1-hour conversation between Paul McCartney and Conan O'Brien at the Tribeca Festival, in connection with McCartney's new books of own photographs from 1963-64. Lovely, in spite of Conan being extremely self-centered.

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First attempt to watch Empire of the sun, my 17th sentimental movie directed by Spielberg. A sweeping saga, with his usual epic scope & dramatic score, told from a child point-of-view. Also, 13-year-old Christian Bale's breakthrough role. But the distorted white Orientalist focus of the story made it unwatchable for me, and I had to stop after an hour.

🍿

Throw-back to the "Art project”:

Adora with Glenn Gould.

By the way, Adam Ellis, who drew the second-only Adora illustration in March of 2011, has a new horror film coming up in a few months, 'Dear David' - Yeah!

🍿

(My complete movie list is here)

#movies

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architectnews · 3 years ago

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European Prize for Urban Public Space 2022

2022 European Prize for Urban Public Space, Jury, Advisors, Architect, Winners, Prize News

European Prize for Urban Public Space 2022 News

9 February 2022

CALL FOR THE EUROPEAN PRIZE FOR URBAN PUBLIC SPACE 2022

The CCCB is announcing the call for the European Prize for Urban Public Space, a prime observatory of European cities that recognizes the best works to create, recover, transform and improve public spaces in Europe.

Agricultural engineer, landscape designer and lecturer at the ETH Zurich, Teresa Galí-Izard, will be the President of the Prize’s international jury.

Organised by the CCCB, the Prize involves the cooperation of a network of 10 architecture and urban planning institutions and over 50 experts from across the continent.

European Prize for Urban Public Space 2018 winner – Skanderbeg Square, Tirana, Albania: photo © Filip Dujardin

The Prize, the only one of its kind in Europe, has been renewed to promote debate about the future of European cities in the post-pandemic context.

Registration is open for submissions from 20 April to 17 May 2022. The conditions of entry and everything you need to know to take part in the Prize are available at www.publicspace.org

The Centre de Cultura Contemporània de Barcelona (CCCB) announces the eleventh European Prize for Urban Public Space. This biennial honorary contest, since 2000 acknowledging the best interventions to create, transform and recover public spaces in European cities, will recognise works carried out between 2018 and 2021.

In a context like today’s, where climate emergency and the crisis generated by the COVID-19 pandemic show that cities around the world are facing new climatic, technological and social challenges, the value of public space is greater than ever.

The Prize, which is the only one in Europe dedicated to public space and is awarded both to the authors of the project and its developers, aims to reflex the centrality of these issues and become an observatory of good practices that serves to come up with possible solutions to a future in which cities will have a primary role in defining society’s evolution.

photo © Filip Dujardin

International jury

The international jury of this eleventh edition is made up of renowned professionals from all over Europe.

President and representative of the CCCB Teresa Galí-Izard, agricultural engineer and landscape designer, currently lectures in Landscape Architecture and is director of the Master of Sciences in Landscape Architecture at ETH Zurich, Switzerland.

Jury members

Hans Ibelings, Dutch architecture critic and historian, editor of The Architecture Observer. Eleni Myrivili, Doctor of Anthropology, and Resilience and Sustainability advisor to Athens City Council. Andreas Ruby, Director of the Swiss Architecture Museum in Basel and co-founder of Ruby Press. Paloma Strelitz, British architect, creative director of Patch and founder of Assemble, London. Špela Videčnik, architect, founder member of OFIS architects, Ljubljana, Slovenia.

Secretary

Lluís Ortega, Doctor of Architecture (Polytechnic University of Catalonia-UPC), Philosophy graduate (University of Barcelona) and Master of Science-AAD (Columbia University).

photo © Filip Dujardin

Advisory Committee

The European Prize for Urban Public Space is an initiative of the Centre de Cultura Contemporània de Barcelona (CCCB), with the collaboration of the following European institutions:

Arc en Rêve, Bordeaux, France Architekturzentrum Wien – AzW, Vienna, Austria ArkDes, Stockholm, Sweden La Cité de l’Architecture et du Patrimoine, Paris, France CIVA, Brussels, Belgium Deutsches Architekturmuseum – DAM, Frankfurt, Germany Eesti Arhitektuurimuuseum, Tallin, Estonia Kortárs Építészeti Központ – Kék, Budapest, Hungary Muzej za Arhitekturo in Oblikovanje – MAO, Ljubljana, Slovenia The Architecture Foundation – AF, London, United Kingdom

photo © Filip Dujardin

The track record of an Award with a European and social vocation

The European Prize for Urban Public Space finds its natural space in the European city, which, despite its diversity, shares some common historical elements, such as human scale, compact design and the mixed nature of its uses. In this idea of European city, public space plays a key role in collective encounters, packed with social, economic and political values that cannot be taken apart from a physical design that accommodates them and makes them possible.

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In the course of its 22 years of history and 10 editions, the Prize has had 2,206 entries and awarded 19 accolades and 35 special mentions.

The award-winning projects include such varied and relevant interventions as Barking Town Square (2008 Prize), a civic space for a suburban district in East London, which, after years of marginality, was crying out for the recovery of its lost identity and the creation of a meeting space for the new community. The open-air library in the German city of Magdeburg (2010 Prize), where, by means of a participatory process, the residents of a socially deprived neighbourhood managed to build a library with the prefabricated parts of a demolished building. The development of the old port of Marseille, France (2014 Prize), an intervention to free the docks of obstacles and vehicles, making the presence of leisure boats compatible with access for all citizens. The recovery of the irrigation channels in the thermal allotments in Caldes de Montbui, Spain (2016 Prize), giving a new lease of life to agricultural activity and creating a network of footpaths. And the renovation of Skanderbeg Square in Tirana (2018 Prize), a nerve centre in the Albanian capital and a symbolic place for the whole country that was reformed to promote and highlight its diversity, and which, with the planting of a green strip, could be a starting point for more greening in the city centre.

The Archive of the European Prize for Urban Public Space, an online consultable resource, brings together the best works submitted to the competition. With over 300 experiences in some 200 towns and cities, it is a permanent witness to and observatory of the construction and evolution of public spaces throughout Europe.

photo © Filip Dujardin

Centre de Cultura Contemporània de Barcelona (CCCB)

The CCCB is a multidisciplinary centre devoted to exploring the big questions of contemporary society, using different languages and formats, with an extensive program of large thematic exhibitions, cycles of lectures and literary meetings, audiovisual projections and festivals. Since it was set up, the CCCB has promoted reflection on contemporary cities, understanding them as the prime space for the transformations and challenges of the world today.

All photos courtesy of CCB

Location: Barcelona, Catalunya, Spain, Europe

Previously on e-architect

European Prize for Urban Public Space

2018 European Prize for Urban Public Space photo © Filip Dujardin European Prize for Urban Public Space 2018

The European Prize for Architecture 2017 Winners Architect Manuelle Gautrand photograph : Joëlle Dolle

European Prize for Urban Public Space 2016

European Prize for Architecture

European Prize Architecture 2012

Europe 40 Under 40 Award Europe 40 Under 40

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International Architecture & Design Awards 2022

RIBA 2022 Gold Medal for Architecture

TECU Architecture Award 2022

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European Copper Architecture Awards

European Architecture Competition : 2nd European Prize for Urban Public Space met in Barcelona

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Comments / photos for the European Prize for Urban Public Space 2022 page welcome

The post European Prize for Urban Public Space 2022 appeared first on e-architect.

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gagosiangallery · 4 years ago

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Rachel Whiteread at Gagosian Grosvenor Hill, London

March 8, 2021

RACHEL WHITEREAD Internal Objects

April 12–June 5, 2021 20 Grosvenor Hill, London __________ As an artist you create a language, you create depth to a language, you change the language. —Rachel Whiteread Gagosian is pleased to present Internal Objects, an exhibition of new work by Rachel Whiteread. Whiteread employs the formal language of Minimalism, taking cues from its emphasis on geometric seriality, yet adds a quietly emotive aspect, maintaining an acute sensitivity to objects’ minor details and subtle markers of use and human irregularity. Over the past four decades, she has used the method of casting on both “low” materials such as concrete, resin, rubber, and plaster, as well as more traditional sculptural materials, such as bronze. Whether they take the form of monumental public installations or small, intimate objects, Whiteread’s forms imply hidden narratives and secret histories. She employs existing artifacts and spaces—including domestic objects like chairs and mattresses, interiors of rooms, and even, famously, an entire terraced house—to evoke and explore corporeal presence. Notably, her deft use of negative space can imply a thing that’s gone and been reincarnated. In this exhibition, this suggestion of haunting, or ghostliness, is manifested in a different way. In Detached 1, Detached 2, and Detached 3 (all 2012), which she installed at Gagosian London in 2013, Whiteread rendered the empty interiors of three garden sheds in concrete and steel. Now, in Internal Objects, she has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. Poltergeist (2020) and Döppelganger (2020–21), which will occupy the two main rooms of the Grosvenor Hill gallery, are made of found wood and metal that has been meticulously overpainted in white household paint.

While Whiteread’s sheds of a decade ago were closed, the new sculptures are open, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred, allowing nature to take over. Whiteread was inspired by her reading of John Steinbeck, and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us. The exhibition will also feature a new body of sculptures in resin and new works on paper, as well as recent cast sculptures in bronze, similar to works in bronze Whiteread made in 2000–10, and exhibited at a major retrospective at Tate Britain in 2017. A fully illustrated catalogue, including a short story by John Steinbeck and an essay by Richard Calvocoressi, will be published to accompany the exhibition. Rachel Whiteread was born in 1963 in London, where she lives and works. Collections include Tate, London; National Galleries of Scotland, Edinburgh; Centre Pompidou, Paris; Metropolitan Museum of Art, New York; and Museum of Modern Art, New York. Exhibitions include Serpentine Gallery, London (2001); Transient Spaces, Deutsche Guggenheim, Berlin (2001); Walls, Doors, Floors and Stairs, Kunsthaus Bregenz, Austria (2005); Museo d’Arte Contemporanea Donnaregina, Naples (2007); Drawings, Hammer Museum, Los Angeles (2010); and Tate Britain, London (2017–18, traveled to Belvedere 21, Vienna; National Gallery of Art, Washington, DC; and Saint Louis Art Museum, through 2019). Public commissions include House (London, 1993), Water Tower (New York, 1998), Judenplatz Holocaust Memorial (Vienna, 2000), Monument (Trafalgar Square, London, 2001), US Embassy (Flat pack house) (2013–15, installed at the US Embassy, London, in 2018), and Cabin (Discovery Hill, Governors Island, New York, 2016). She is the recipient of the 1993 Turner Prize, among other awards. _____ Rachel Whiteread, Poltergeist, 2020 (detail), corrugated iron, beech, pine, oak, household paint, and mixed media, 120 1/8 × 110 1/4 × 149 5/8 inches (305 × 280 × 380 cm) © Rachel Whiteread. Photo: Prudence Cuming Associates

#Rachel Whiteread #Gagosian

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virtualrenfaire2020 · 5 years ago

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Virtual Ren Faire 2020 Calendar

We have activities and themed days, plus we’ve compiled a bunch of livestreams from some fantastic performers to enjoy during our Faire. The calendar is updated daily, so stay tuned for more events!

Saturday, March 28

Opening day!

Join us on Opening Day for a day of faire activities. Share photos, videos, and stories relating to your ren faire experience!

Submissions will be open starting today for the Costume Contest!

O.W.L. Fest - 7:30 AM PDT

An all-day series of concerts with a wizardly theme. A new artist is live every half hour until 7:00 PM, so tune in anytime! Don’t forget to refresh the page between concerts to listen to the latest stream. The current lineup is: Tonks and the Aurors, Lauren Fairweather, Ashley Hamel, Hawthorn & Holly, Grace Kendall, Kalysta Flame, Pussycat Dolores, The Purebloods, Flitwick and the Charmers, Losing Lara, Muggle Snuggle, Percy and the Prefects, Ludo Bagman and the Trash, Draco and the Malfoys, The Mudbloods, The Lovegoods, Alas Earwax!, The Blibbering Humdingers, Abby Ritter, The Swedish Shortsnouts, Kirstyn Hippe, POTTÖRHEAD, The Arkadian, Karl-Johan, and Toucan Dubh.

Check out the Facebook livestream concerts here.

Ye Banished Privateers Virtual Release Party - 11:00 AM PDT.

“Let’s party like it’s 1720! Borders are closing, people are being forced to shut their doors. Our global world is growing smaller, but Ye Banished Privateers believes in staying connected through the crisis. On march 28th we were planning to throw a big release party for our new album Hostis Humani Generis in our home town Umeå, Sweden, which naturally had to be cancelled due to the corona pandemic. Instead we’ll be hosting a live streamed event, at 19.00 cet 28/3 that will be worthy of an official release concert. We want to try and make this something special and grand . . . let’s stand together in all safe ways possible.”

Check out the Youtube livestream concert here.

Pub Crawl - 1:30 PM PDT.

We’ll be hosting a BYOB pub crawl. Keep an eye out for the tag vrf2020 pub crawl for more info. Please follow local drinking laws and drink responsibly!

Cyrus Pynn (The Swordsman) - 2:00 PM PDT.

“I am a self taught professional sword swallower who perfected the art at the Coney Island Sideshow School, where I learned to present it in an entertaining and classy manner. Since then I have pushed the limit with this dangerous feat as I have traveled across the United States performing with Carnivals, Festivals and Variety Shows . . . Demonstrating the world's most dangerous stunt in an entertaining, classy manner featuring comedy, audience interaction and, of course, death defiance! ‘Down the Hatch without a Scratch!’“

Check out the Facebook livestream show here.

Andrea Beaton - 4:30 PM PDT.

“Andrea grew up in a musical family in Cape Breton, Nova Scotia. Both the Beaton and MacMaster sides of her family are well known and respected as some of Cape Breton's finest musicians, dancers and composers. She has made 6 solo CDs, a duo album with her father Kinnon, and published 3 books of tunes.”

Check out the Zoom livestream concert here.

The CRAIC Show - 5:00 PM PDT.

“The CRAIC Show is an intense & wildly entertaining act, made up of five international travelers who, in 1541AD, were banded together on an ancient battlefield. This unique merging of music from far away lands brings a sound that is unlike any other . . . Ever-changing and constantly blending styles, The CRAIC Show is always bringing a fresh, high energy blend of World Medieval Music to a modern audience.”

Check out the Facebook livestream concert here.

Erin Rae - 7:00 PM PDT.

“Gifted with a unique ability to fuse musical genres and influences to craft songs that feel fresh and wholly her own, with her new album Putting On Airs, Erin Rae has thrown down a direct challenge to the stereotype of what a Southern singer should be. Both lyrically and sonically, she strikes a fiercely independent chord, proudly releasing a deeply personal record that reflects her own upbringing in Tennessee, including the prejudices and injustices that she witnessed as a child that continue to impact her life to this day. According to Rae, ‘this album was born out of a need to do some healing work in my personal life, in order to address some fears and patterns of mine to allow my true feelings to come to the surface.’”

Check out the Instagram livestream concert here.

Sunday, March 29

Submissions remain open for the Costume Contest!

Alistair McCulloch - 11:30 AM PDT.

“Alistair is one of Scotland's best known fiddle performers and teachers. His trio features Aaron Jones of Old Blind Dogs, and former Capercaillie whistle wizard Marc Duff. Alistair has taught a generation of rising stars at the Royal Conservatoire of Scotland.”

Check out the Zoom livestream concert here.

Linda McRae - 1:00 PM PDT.

“Linda’s love of Canadian, American and British music early on in her career resulted in multiple band configurations from roots-rock to punk to folk . . . When Linda steps onto a concert stage, into a recording studio, workshop or mentoring session, there is an effortless passion, a love of what she does and a connection with fans and friendships built and treasured. A multi-instrumentalist Linda works tirelessly as a touring singing songwriter, performing at premiere venues across Canada, the US and Europe while turning out new works.”

Check out the Facebook livestream concert here.

The Glow Bubble Show (Meadow Perry) - 4:00 PM PDT.

“Meadow Perry is a Philadelphia based Magician, Bubble Artist and Actress. Known for her beloved children's character, Meadowlark the Faerie, Meadow has been performing in various genres from the stage to private events for over 15 years. The Bubble Magic of Meadow Perry is a show that takes the visual art of bubbles, theatrical storytelling, enchanting magic, thrilling music, & a touch of sophistication to create a unique and entertaining show that has been described as ‘A mesmerizing, spellbounding experience! Charming and interesting, Meadow takes the rules of bubbles outside the box!’”

Check out the Instagram livestream show here.

Monday, March 30

Submissions remain open for the Costume Contest!

Merchants’ Monday

Show our wonderful shops some extra love today!

Shannon Lay - 12:00 PM PDT.

“There is an entire sub-genre of poetry devoted to rivers and their persistent, meditative flow . . . For transcendent folk-pop artist Shannon Lay, the river is all of the above: It’s the metaphor driving her latest album, the exquisitely uplifting August (Sub Pop Records, out August, 23rd)—which doubles as an aural baptism renewing her purpose for making music. ‘I always picture music as this river. Everyone’s throwing things into this river, it’s a place you can go to and feed off of that energy,’ she says, ‘and feel nourished by the fact that so many people are feeling what you’re feeling. It’s this beautiful exchange.’”

Check out the Instagram livestream concert here.

Jesse Linder, Bard - 5:00 PM PDT.

“. . .'Singer of Songs, Teller of Tales.’ Jesse performs as a solo artist and as a member of 3 Pints Gone, and has been a member of Separated at Birth, CrossRogues, and Tippler's Way. Jesse sings at Renaisance faires, American reenactments, Irish pubs, and coffeehouses throughout the Midwest. He currently has three solo CDs and five group CDs in print.”

Check out the Facebook livestream concert here.

Steven Greenman - 6:00 PM PDT.

“Steven has worked with some of the world’s leading klezmer ensembles, is a founding member of Cleveland’s East European ensemble Harmonia, and has been a guest soloist with the Cleveland Pops Orchestra, performing his own arrangements of gypsy and klezmer music.”

Check out the Zoom livestream concert here.

Tuesday, March 31

Submissions remain open for the Costume Contest!

Time Travel Tuesday

Share your favorite photos and costumes from any time period, from Ancient Greece to 2265. After all, in quarantine, time all feels a little wibbly wobbly!

Jonathan Cannon - 5:30 PM PDT.

“Jonathan has studied klezmer, Romanian, Celtic, and American fiddling, performs regularly, with award-winning Boston klezmer band Ezekiel’s Wheels, and for contra dances.”

Check out the Zoom livestream concert here.

Wednesday, April 1

Submissions remain open for the Costume Contest!

Anne-Mari Kivimäki & Palomylly - 10:00 AM PDT.

“Anne-Mari Kivimäki & Palomylly is an impressive sound mix with stories, archive recordings, jouhikko, double bass, vocals and accordion. Kivimäki’s music has a hypnotic pulse and it’s made for the love of old stories. Kivimäki has gathered her Palomylly band from the musicians on her successful Lakkautettu Kylä (A Closed-Down Village) album.”

Check out the Facebook livestream concert here.

Troy MacGillivray with Sabra MacGillivray - 4:30 PM PDT.

“Troy is a brilliant fiddler, pianist and stepdancer from Nova Scotia. He’s been featured at many festivals including Celtic Connections in Scotland, East Coast Music Awards, Celtic Colours Festival in Cape Breton, the Barbados Celtic Festival and the Edinburgh Fiddle Festival.”

Check out the Zoom livestream concert here.

Thursday, April 2

Submissions remain open for the Costume Contest!

Cookie Segelstein with Josh Horowitz - 10:00 AM PDT.

“Founder of Veretski Pass, and fiddler with many other top klezmer bands, Cookie has taught workshops round the world, and has been featured in an ABC documentary and a film starring Robert DeNiro. Josh founded the band Budowitz and has played with Vienna Chamber Orchestra, Theodore Bikel, and accompanied Itzhak Perlman on PBS.”

Check out the Zoom livestream concert here.

Oshima Brothers - 3:00 PM PDT.

“Raised in a musical family in rural Maine, the brothers have honed a harmony-rich blend of contemporary folk and acoustic pop. On stage, Sean and Jamie create a surprisingly full sound with dynamic vocals, electric and acoustic guitars, octave bass, loops, and percussion. The brothers live in Maine but are often on the road performing, producing music videos, and dancing.”

Check out the Facebook livestream concert here.

Friday, April 3

Submissions remain open for the Costume Contest!

Furry Friends Friday

Ever dressed your pet up for the faire? Show us your photos and costume ideas! Or show us your faire-themed fursuit. You do you.

Let’s Get Traditional (The Minstrel Rav’n) - 4:00 PM PDT.

“The Minstrel Rav'n travels the lands Telling Songs and Singing Stories about Taverns, Pirates and Elven Lasses. Songs of Adventure, Drinking... and things a bit on the Naughty Side!”

Check out the Facebook livestream here.

HST (Ed, Lilly & Neil Pearlman) - 4:30 PM PDT.

“HST (Highland Soles Trio) is 3/5 of a family band, with dancer Laura Scott and Jesse on whistle. HST has toured the US and Scotland with new and old tunes in the Scottish tradition.”

Check out the Zoom livestream concert here.

Saturday, April 4

Gráinne Brady - 12:30 PM PDT.

“Gráinne is an Irish fiddle player from County Cavan in Ireland and currently based in Glasgow where she leads sessions and plays with Top Floor Taivers, string group The Routes Quartet, and Gaeilge/Gàidhlig supergroup LAS.”

Check out the Zoom livestream concert here.

Pub Crawl - 1:30 PM PDT.

We’ll be hosting a BYOB pub crawl. Keep an eye out for the tag vrf2020 pub crawl for more info. Please follow local drinking laws and drink responsibly!

Costume Contest Judging - 6:00 PM PDT.

Submissions remain open for the Costume Contest until 6:00. Winners will be chosen between 6:00 and 7:00 PDT.

Sunday, April 5

Jenna Reid - 11:30 AM PDT.

“Jenna is a member of the great fiddle bands Blazin' Fiddles, and RANT. Born & bred in Shetland, she learned fiddle from the late Willie Hunter. Following her music degree, Jenna performed with Dóchas and Deaf Shepherd before joining her current bands.”

Check out the Zoom livestream concert here.

Closing Day

We’re sad to see you go, but we hope to catch you at an IRL faire next season!

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greatworldwar2 · 4 years ago

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• Otto Skorzeny

Otto Skorzeny was an Austrian-born SS-Obersturmbannführer (lieutenant colonel) in the Waffen-SS during World War II. During the war, he was involved in several operations, including the Gran Sasso raid which rescued Benito Mussolini from captivity.

Otto Skorzeny was born in Vienna on June 12th, 1908 into a middle-class Austrian family which had a long history of military service. His surname is of Polish origin, and Skorzeny's distant ancestors came from a village called Skorzęcin in Greater Poland region. In addition to his native German, he spoke excellent French and was proficient in English. He was a noted fencer as member of a German-national Burschenschaft as a university student in Vienna. He engaged in fifteen personal combats. The tenth resulted in a wound that left a dramatic dueling scar known in academic fencing as a Schmiss (German for "smite" or "hit") on his cheek. In 1931 Skorzeny joined the Austrian Nazi organization and soon became a member of the Nazi SA. A charismatic figure, Skorzeny played a minor role in the Anschluss on March 29th, 1938, when he saved the Austrian President Wilhelm Miklas from being shot by Austrian Nazis.

After the 1939 invasion of Poland, Skorzeny, then working as a civil engineer, volunteered for service in the German Air Force (the Luftwaffe), but was turned down because he was considered too tall at 1.92 metres (6 ft 4 in) and too old (31 years in 1939) for aircrew training. He then joined Hitler's bodyguard regiment, the Leibstandarte SS Adolf Hitler (LSSAH). Skorzeny took part in the invasion of the Soviet Union with the SS Division Das Reich and subsequently fought in several battles on the Eastern Front. In October 1941, he was in charge of a "technical section" of the German forces during the Battle of Moscow. His mission was to seize important buildings of the Communist Party, including the NKVD headquarters at Lubyanka, and the central telegraph office and other high priority facilities, before they could be destroyed. He was also ordered to capture the sluices of the Moscow-Volga Canal because Hitler wanted to turn Moscow into a huge artificial lake by opening them. The missions were canceled as the German forces failed to capture the Soviet capital.

In December 1942, Skorzeny was hit in the back of the head by shrapnel; he was evacuated to the rear for treatment. He was awarded the Iron Cross. While recuperating from his injuries he was given a staff role in Berlin, where he developed his ideas on unconventional commando warfare. Skorzeny's proposals were to develop units specialized in such warfare, including partisan-like fighting deep behind enemy lines, fighting in enemy uniform, and sabotage attacks. In April 1943 Skorzeny's name was put forward by Ernst Kaltenbrunner, the new head of the RSHA, and Skorzeny met with Walter Schellenberg, head of Amt VI, Ausland-SD (the SS foreign intelligence service department of the RSHA). Schellenberg charged Skorzeny with command of the schools organized to train operatives in sabotage, espionage, and paramilitary techniques. Skorzeny was appointed commander of the recently created Waffen Sonderverband z.b.V. Friedenthal stationed near Berlin (the unit was later renamed SS Jagdverband 502, and in November 1944 again to SS Combat Unit "Center", expanding ultimately to five battalions). The unit's first mission was in mid-1943, Operation François. Skorzeny sent a group by parachute into Iran to make contact with the dissident mountain tribes to encourage them to sabotage Allied supplies of material being sent to the Soviet Union via the Trans-Iranian Railway. However, commitment among the rebel tribes was suspect, and Operation François was deemed a failure.

Throughout the war Skorzeny and his unit conducted several additional operations including Operation Oak (Unternehmen Eiche, September 1943) and operation planned to rescue of Italian dictator Benito Mussolini. Operation Long Jump a planned operation to assassinate the "Big Three" (Stalin, Churchill, and Roosevelt) during the 1943 Tehran Conference. The plot was uncovered before its inception. Skorzeny denied any plan existed. Operation Knight's Leap (Unternehmen Rösselsprung, May 1944) an attempt to capture Yugoslavian partisan leader Josip Broz Tito alive. Operation Griffin (Unternehmen Greif, December 1944) a false flag operation to spread disinformation during the Battle of the Bulge, and Operation Armoured Fist (Unternehmen Panzerfaust a.k.a. Unternehmen Eisenfaust, October 1944) the planned kidnapping of Miklós Horthy Jr. to force his father, Admiral Miklós Horthy, to resign as Regent of Hungary in favor of Ferenc Szálasi, the pro-Nazi leader of the Arrow Cross Party. As part of the German Ardennes offensive in late 1944 (Battle of the Bulge), Skorzeny's English-speaking troops were charged with infiltrating American lines disguised in American uniforms in order to produce confusion to support the German attack. For the campaign, Skorzeny was the commander of a composite unit, the 150th SS Panzer Brigade. As planned by Skorzeny, Operation Greif involved about two dozen German soldiers, most of them in captured American Jeeps and disguised in American uniforms, who would penetrate American lines in the early hours of the Battle of the Bulge to cause disorder and confusion. A handful of his men were captured and spread a rumour that Skorzeny personally was leading a raid on Paris to kill or capture General Eisenhower, who was not amused by having to spend Christmas 1944 isolated for security reasons. Eisenhower retaliated by ordering an all-out manhunt for Skorzeny, with "Wanted" posters distributed throughout Allied-controlled territories featuring a detailed description and a photograph. In all, twenty-three of Skorzeny's men were captured behind American lines and eighteen were executed as spies for contravening the rules of war by wearing enemy uniforms.

Skorzeny spent January and February 1945 commanding regular troops as an acting major general, taking part in the defence of the German provinces of East Prussia and Pomerania, and at the Defence of Schwedt Bridgehead. On March 17th, he received orders to sabotage the last remaining intact bridge across the Rhine at Remagen following its capture by the Allies, but the bridge collapsed that same day, and the naval demolitions squad prepared instead unsuccessfully attacked a nearby Allied pontoon bridge between Kripp and Linz. Hitler awarded him one of Germany's highest military honours, the Oak Leaves to the Knight's Cross. After the war was officially over Skorzeny was interned for two years before being tried as a war criminal at the Dachau trials in 1947 for allegedly violating the laws of war during the Battle of the Bulge. He and nine officers of the Panzerbrigade 150 were tried before a US Military Tribunal in Dachau on 18 August 1947. They faced charges of improper use of US military insignia, theft of US uniforms, and theft of Red Cross parcels from U.S. POWs. The trial lasted over three weeks. The charge of stealing Red Cross parcels was dropped for lack of evidence. Skorzeny admitted to ordering his men to wear US uniforms, but his defence argued that as long as enemy uniforms were discarded before combat started, such a tactic was a legitimate ruse de guerre. Skorzeny was detained in an internment camp at Darmstadt awaiting the decision of a denazification court. On July 27th, 1948 he escaped from the camp with the help of three former SS officers dressed in US Military Police uniforms who entered the camp and claimed that they had been ordered to take Skorzeny to Nuremberg for a legal hearing. Skorzeny afterwards maintained that the US authorities had aided his escape, and had supplied the uniforms.

Skorzeny hid out at a farm in Bavaria which had been rented by Countess Ilse Lüthje, the niece of Hjalmar Schacht (Hitler's former finance minister), for around 18 months, during which time he was in contact with Reinhard Gehlen, and together with Hartmann Lauterbacher (former deputy head of the Hitler Youth) recruited for the Gehlen Organization. Skorzeny was photographed at a café on the Champs Elysées in Paris on February 13th, 1950. The photo appeared in the French press the next day, causing him to move to Salzburg, where he met up with German veterans. Shortly afterwards, with the help of a Nansen passport issued by the Spanish government, he moved to Madrid, where he set up a small engineering business. In April 1950 the publication of Skorzeny's memoirs by the French newspaper Le Figaro caused 1500 communists to riot. In 1952 Egypt was taken over by General Mohammed Naguib. Skorzeny was sent to Egypt the following year by former General Reinhard Gehlen (who was now working indirectly for the CIA) to act as Naguib's military advisor. Skorzeny recruited a staff made up of former SS and Wehrmacht officers to train the Egyptian army. Among these officers were former Wehrmacht generals Wilhelm Fahrmbacher and Oskar Munzel; the head of the Gestapo Department for Jewish Affairs in Poland Leopold Gleim; and Joachim Daemling, former chief of the Gestapo in Düsseldorf. In addition to training the army, Skorzeny also trained Arab volunteers in commando tactics for possible use against British troops stationed in the Suez Canal zone. He stayed on to serve as an adviser to Egyptian President Gamal Abdel Nasser. According to some sources, he traveled between Spain and Argentina, where he acted as an advisor to President Juan Perón and as a bodyguard for Eva Perón. The Israeli security and intelligence magazine Matara published an article in 1989 claiming that Skorzeny had been recruited by Mossad in 1963 to obtain information on German scientists who were working on an Egyptian project to develop rockets to be used against Israel. According to their information, a Mossad team had started to develop a plan to kill Skorzeny, but chief Isser Harel decided to attempt to recruit him instead, as a man on the inside would greatly enhance their ability to target Nazis who were providing military assistance to Egypt. No confirmed source can explain Skorzeny's motives for working with Israel, but he may have craved adventure and intrigue and feared assassination by Mossad.

In 1970, a cancerous tumour was discovered on Skorzeny's spine. Two tumours were later removed while he was staying at a hospital in Hamburg, but the surgery left him paralyzed from the waist down. Vowing to walk again, Skorzeny spent long hours with a physical therapist; and, within six months, he was back on his feet. Skorzeny died of lung cancer on July 5th, 1975 in Madrid. He was 67 years old. At no point in his life did Skorzeny ever denounce Nazism. He was given a Roman Catholic funeral Mass in Madrid in August 1975. His body was cremated afterwards, and his ashes were later taken to Vienna to be interred in the Skorzeny family plot at Döblinger Friedhof. His funeral "was attended by dozens of German military veterans and wives, who did not hesitate to give the one-armed Nazi salute", according to former Mossad agents who also attended the funeral.

#second world war #world war 2 #german history #military history #espionage #military advisor #ww2 #wwii #biography #egyptian history #mossad #interesting story

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architectuul · 4 years ago

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Teatro del Mondo: An Odyssey

The Venice Biennale is an increasing magnet for professionals and laypersons alike, as evidenced by a stampede of hundreds of thousands of visitors quickly rolling over exhibitions in Giardini dell’Arsenale, and an exponentially growing number of various minor events during the Mostra.

Arnell, Peter and Scully, Vincent (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, Inc. New York.

People from all over the world travel to Venice to visit the Biennale. But it happened just once that a pavilion intended for Biennale went in the opposite direction. The motives for this voyage were reported on the sidelines of an exhibition, La Biennale di Venezia 1979-1980: The Theater of the World Singular Building. Maurizio Scaparro curated the show that was held in Ca’ Giustinian in 2010.

Read also “In Vino Veritas Biennale Style!” and Is It Possible To Exhibit Architecture?

It is always difficult to judge a piece of great contemporary architecture: From the vantage point of present, we usually lack proper temporal distance. But 30 years after its implementation, Il Teatro del Mondo (The World Theater) - a floating building designed by Aldo Rossi for the architectural Biennale once anchored in front of Punta della Dogana and created in 1979 for the Venice and the Stage Space exhibition, grew to become an architectural icon.

Il Teatro del Mondo by Aldo Rossi | Photo via Focusdamnit

British theatre director Edward Gordon Craig once said: “There is something so human and so poignant to me in a great city at a time of the night when there are no people about and no sounds. It is dreadfully sad until you walk till six o’clock in the morning. Then it is very exciting.”[1] In his stage designs, Craig used architectural language to design and articulate the relationships in space between movement, sound, line, light, and color, enabling actors to assume positions and spatial relationships that they could use in ordinary urban life.

A parallel to Rossi's architectural project is unmistakable - was that a coincidence or intention?

Venice-Dubrovnik, a diary of the international theatre lab 1980 from “Giornale di Bordo”. | Photo © Daniela Sacco

In Dubrovnik | Photo © Piero Casadei

Its legendary trip to Dubrovnik, (the theater was ferried in the summer of 1980 to the local Theatre Festival) is exciting and feels like reading Homer’s Odyssey. In the best tradition of Venetian mobility, Rossi wrote: "Just the image of Venice, a synthesis of gothic and misty landscapes and oriental inserts or transpositions, fixes the capital of the city on the water. Therefore, of the possible passages, not only physical or topographical, between the two worlds. Even the Rialto bridge is a passage, a market, a theater. "[2]

Arnell, P. and Scully, V. (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, New York.

Today, when we think about Venice, we conjure up a small peninsula in the northern Adriatic. It is hard to imagine that Venetians were able to rule such a vast cultural space. The key was their legendary mobility. They were always on the move. The Republic built on the water developed its eclectic cultural influence through its enduring presence in the Adriatic and the Mediterranean. The city was the final destination for the most important cultural and caravan route between the Orient and the Occident. No wonder The World Theater united in itself several references: Renaissance and Elizabethan theaters, lighthouse architecture, Venetian floating architecture, and temporary structures built for the carnival. [3] As Nadine Labedade wrote "Thus, it is the typology of the city that creates the scenario. And this mobile theater-boat became a fragment of the urban history, a quasi-metaphysical image tasked with representing architecture.”

The revision of modernity - as an abstract, functionalist, and timeless architectural language - was a common denominator of the Tendenza, the group formed by Also Rossi together with Carlo Aymonino, Paolo Portoghesi and Franco Stella among others. Rossi was undoubtedly the most influential member through his book L’architettura della città (The Architecture of the City, 1966). Through descriptions of Italian cities, he described his concept of architecture. He saw his work as part of an urban structure in constant dialogue with the countless layers of history, a city in continuous change in analogy to its buildings, and adapting to new social, economic, and cultural conditions.[4] His design language is generally understandable, using simple geometries and academic elements borrowed from the past. His layouts reintroduced imagination and poetry into the presentation of architectural work: colorful collage, wooden models, the mixed scales of shapes that can be both design objects and real houses.

There were just a few performances in the floating Teatro del Mondo that Rossi built for the Venice Biennale in 1979. After the short display in the lagoon and the voyage across the Adriatic to the Croatian city of Dubrovnik, the temporary theatre was disassembled. Nevertheless, this scenography-like building shaped the Italian architecture of the second half of the 20th century like no other project. The relocation to Dubrovnik, the famous medieval Republic and archrival of Venice in the Adriatic, inspired discussion about eclectic cultural influence and the complex historical layers of Adriatic cities. Those years coincided with the beginning of the Postmodern movement in former Yugoslavia. It probably was not Rossi’s primary focus of attention, but this Trojan Horse disguised as a theater that was shipped to Dubrovnik, was the first step in a politically delicate debate and movement towards a revision of Modernism in Yugoslavia - no easy feat in the ideologically colored cultural character of a country unconditionally committed to Modernism. Theater as a revolutionary tool in urban planning?Notabene: in 1956 the city of Dubrovnik even hosted CIAM X, the congress. which saw the start of the Team 10.

Peter Brook, who directed Hamlet in Dubrovnik, said that "a theatre should be like a violin, its tone coming from its period and age".[5] His daughter Irina took her Midsummer Night's Dream to the Old City of Dubrovnik’s Marin Držić Theatre, one of the oldest institution of its kind in Croatia.

Arnell, P. and Scully, V. (1985): Aldo Rossi-Buildings and projects. Rizzoli International Publications, New York.

The Dubrovnik Shakespeare Festival was founded in 2009 by American-Croatian author Michael Lederer. Suddenly, Dubrovnik and its architecture are increasingly associated with the stage on which everyone plays a distinct role in his or her daily live. On an urban scale, the morphology of the Old Town itself reminds us of a stage, surrounded by the natural slopes of the adjacent hills, with the eternal blue of the Adriatic in the back. The topography places the architecture in the foreground and the architecture has taken over the nature so dramatically that the two have become indivisibly connected.

Finally, Rossi´s vision worked out: cultural and geographic lines connected the Adriatic cities together over the last decades. The voyage of the Teatro del Mondo can coincidentally be seen as a rediscovery of the medieval stage setting of Dubrovnik, which serves as shooting location for renowned TV-series and a dream destination for thousand of tourists. Rossi must have had the words of Japanese playwright Yukio Mishima in his mind when he said that life is nothing but a theater. [6]

***

VAB 02: Mladen Jadrić

Photo © Jakob Mayer

Mladen Jadrić is teaching and practicing architecture in Vienna, Austria as the principal of JADRIC ARCHITEKTUR. He has realized a wide range of projects of different scales: architectural and urban design projects, housing, residences, art installations and Museums in Austria, USA, Finland, China and South Korea. He is teaching at the TU Wien and has gained extensive experience as a visiting professor and guest lecturer in Europe, USA, Asia, South America and Australia. His work has been awarded the Outstanding Artist Award for experimental tendencies in architecture in Austria. He is also a member of the Künstlerhaus in Vienna, and deputy Section Chair of the Federal Chamber of Architects.

Notes: 1. E. G. Craig (1998): A Vision of Theatre, Christopher Innes, York university, Ontario, Canada. 2. 1998 OPA N.V. Published by license under the Hardwood Academic Publishers imprint, part of The Gordon and Breach Publishing Group 3. Observations on the Fantastic Nature in the Architecture of Aldo Rossi, Alessandro Dalla Caneva, Architectoni.ca 2018, Online 4 4. Rossi - Autobiografia scientifica, Milano, Nuova Pratiche Editrice, 1999 5. Eyre R. (2004): National Service: Diary of a Decade at the National Theatre 6. Mishima Y. (2018): Bekenntnisse einer Maske, Kein&Aber, Zürich

#vab #Venice architecture biennial #cold cases

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jordi-gali · 5 years ago

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Saskia Te Nicklin

Work by Saskia Te Nicklin, part of So Fresh On Top So Rotten Below, Saskia’s second solo exhibition with us, held from 21 November 2019 to 18 January 2020, empowered through a sharp and open text by Victoria Dejaco. Saskia Te Nicklin, Compost, wood-glue on aluminum, plastics, marker pen and graphite stick,tape, silicon, 82x102 cm, 2019 - Saskia Te Nicklin (b.1979, Copenhagen) had solo and group exhibitions, among others, at: Christian Andersen, Copenhagen (2012); Rachel Uffner, New York (2013); Lenikus Collection, Vienna (2014); Galerie Naechst St. Stephan Rosemarie Schwarzwälder, Vienna (2015); Austrian Cultural Forum, Tokio (2017); Galerie der Stadt Schwaz (2018); Vin Vin at Ruyter (2018); Vestjyllands Kunstpavillon, Denmark (2019); Vin Vin Gallery (2019/2020). At Miart 2019, Milan, the International Fair for Modern and Contemporary Art, Saskia Te Nicklin has been awarded with LCA Law Firm Prize with a jury composed of Sarah McCrory, Director, Goldsmiths CCA, London; François Quintin, former Director, Lafayette Anticipations - Fondation d'entreprise Galeries Lafayette and Fonds de dotation Famille Moulin, Paris; Kathleen Reinhardt, Curator of Contemporary Art, Albertinum Dresden. Saskia Te Nicklin, furthermore, is assistant to Martin Guttmann at the Academy of fine Arts, Vienna @sasternix Photos: Flavio Palasciano @flavio_pesto

#saskia te nicklin

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soviet-history-detective · 5 years ago

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Legasov You Did Not Know

I am going to share an ingot of solid gold right now, the kind that will break your heart and ruin your day.

I have unearthed this some time ago from a book that’s been long out of print. It is the translation of a truly heart-wrenching eulogy written by his late widow, Margarita Mihailovna Legasova. There is a lot of new information about Legasov in this piece, the kind of things only the wife of 30 years would know.

Defenceless Victor—Margarita Legasova’s title of her reminiscences

This title in Trud was followed by a quotation by Valery Legasov:

There are two colour photos hanging in my office at work. One of them is of a Nuclear Atomic Plant, the other of storks. These photos hang near each other as a reminder of the close relationship between life, nature and technology, letting one know beforehand of the fragility of life, about the necessity to keep it. I recalled these photos when I worked in Chernobyl eliminating the consequences of the accident at the NPP. Really, could storks in the future, living on the earth, feel themselves to be safe with modern industry? Is such a peaceful coexistence possible? And if possible, then what should be done to achieve this?

It was not until 10 years after the accident and eight years after Valery Legasov’s death that his widow published a short memoir in Trud that unequivocally confirmed that her husband had committed suicide on 27 April 1988. They had first met when students in the same institute and together worked at a students’ building construction project in what were termed in the USSR as the virgin lands. Under the title Defenceless Victor she described her memories of Legasov’s troubled times at Chernobyl and the period afterwards when he was, to a certain extent, ostracized by the establishment. She also includes interesting comments on what life was like for a senior scientist and his family in the Soviet system: very different from the experiences of Western scientists.

***

Last year we at last completed erection of a gravestone on his grave. This was with thanks to my son and daughter and a few supporters and colleagues of the Academician who helped to cover the expenses. That day when the sculptor invited me to his workshop and showed me the completed work, Valery returned home in the form of his bronze sculpture. He often had to travel away on business trips, we tried to be patient and wait for his return, but on 27 April 1988 he was transported away, already lifeless, forever.

On Saturday 26 April 1986, Valery left for an ordinary business meeting where he learned about the Chernobyl NPP accident and that evening he was already 2 km away from the destroyed reactor. Life seemingly continued but terrible forebodings did not allow us to relax and stop worrying about his health. After 27 April our acquaintances began to say that badly irradiated victims of the accident had begun to be transported to Moscow to Hospital No. 6. Nobody could tell me when he would return.

On the morning of 5 May about 8am there was a ring at the door bell and Valery entered in a borrowed suit of clothes and carrying a polythene bag with belongings rather than his normal case. He was very thin, with a dark face, red eyes and the palms of his hands were tanned black. He only had time to wash, change, breakfast and ask about his two grandchildren before he had to leave at 10am for a meeting. There was no time to tell us what was the state of events at Chernobyl. Then at lunchtime one of his assistants telephoned and said that Boris Scherbina wanted him again at Chernobyl.

It was only when he returned home later that he was able to tell us that he had personally entered the most dangerous areas in the fourth reactor and how shaken he was at the criminal carelessness displayed at the NPP before the explosion.

He next returned home on 13 May and it seemed to us that the biggest difficulties were in the past: but we soon understood that we were mistaken. By summer Valery was already in poor health, suffering from frequent headaches, chronic insomnia, nausea and stomach illness. It was difficult to recognize the earlier Valery in this morally depressed man. He was taken many times for medical investigation to Hospital No. 6 of the atomic establishment. Heart insufficiency, serious leukocytosis, problems with his myelocytes and bone marrow were diagnosed, as well as neurosis. But no official diagnosis was made of radiation syndrome, although I had no doubt that it was so.

He became an Academician at the early age of 45 but some of the leading figures of Soviet science called him ‘A boy from the chemical suburbs’. However, he was interesting to work with and liked jokes, being famous as an amusing raconteur, although everyone knew that science was the principal interest of his life. His private family life was unknown to his colleagues.

For five years, 1964–69, we lived in a flat of 22 square metres at Nizhegorodskaya Street. Though we could use only communal transportation we often made trips together with our two little children to Kuskovo, Ostankino and Arkangelskoye. In Tsaritsino we enjoyed ski holidays. It now seems that these were the happiest times of our lives.

Valery was a car enthusiast for the last 10 years of his life and loved driving at very high speeds. He had always wanted a private car and his first, which was also his last, was a GAZ-25 Volga which we bought in 1977 for 9500 roubles when he was a Candidate Member of the Academy of Sciences. The initial capital for the purchase was his quota from his State Prize received for his achievements in the field of chemistry.

We usually celebrated New Year in the circle of our family, sometimes in a rest house. One of these days a pure bred chau chau puppy appeared in our family and it was assumed that it was my New Year’s gift. Ma Lu Thomas, as she was called, would recognize only Valery as his owner and loved being in our car. She was inseparable from him and died just after Valery’s death. He was also an adoring grandfather to Misha and Valerik and invented little poems for them and played charades.

As a boy he received a musical education and for many years was interested in listening and understanding classical music: Grieg, Sibelius, Shostakovich and Prokofiev. He was also fond of Schnitke. Over the years we bought tickets for many concerts in the Tschaikovsky Concert Hall of the Musical Conservatoire. Valery’s last concert was in Lithuania in the summer of 1987: for flute and organ. Little did I know that soon afterwards Valery would make a first attempt to commit suicide. He swallowed a handful of Triptizol tablets but that time the physicians managed to save him.

In one Soviet TV programme is was said that Academician Legasov was a sincere believer. It is not so. From autumn 1987 he began to read the Bible and thought much about what he read. He was not baptised a Christian, but respected religion even though he was brought up an atheist.

He considered that the East was weak and during his business trips he tried to see as much as possible of culture. He very much wanted to visit one of the sacred Islamic places, the mausoleum of Hoja Ahmed Iasavi, and the monument erected in honour of the ancient Turkish poet who lived in the twelfth century and was an advocate of Sufism. We visited the ancient city of Yami and worshipped at the grave of the philosopher, and Valery often recalled his verses:

Having met a man of another faith

Don’t be evil to him

The God does not like people

With a cruel heart...

After their death punishment

Waits for them...

On his return from the Chernobyl NPP Valery told very sparingly, with tears in his eyes, about the unpreparedness for the accident. Those days nobody could precisely estimate the number of victims, but Legasov understood better than others, the lack of necessary means of health protection: pure water, food products, iodine prophylaxis.

In August 1986 Valery Legasov presented a report to IAEA experts at a meeting in Vienna, about the causes and the consequences of the accident. His five-hour report was very well received and he returned home triumphal. But soon his mood changed. During the last two years after the accident he suffered great psychological trauma and his inner strength was broken.

Twice he was nominated for a high award from the State, and twice the nomination was cancelled. He received a suggestion that he might take up a position with the IAEA in the field of nuclear technology: again, obstacles appeared. There was also the planned nomination for Director of a Research Centre on the Problems of Industrial and Nuclear Safety: this came to nothing. His election as a Member of the French Academy of Sciences was apparently assured and although we went to Paris on 4 February 1988, his last business trip, he did not receive Membership. Also, just after his Paris trip he was hospitalized with acute leukocytosis, pneumonia and severe neurosis.

Chernobyl was not only a tragedy of international importance but it was also the personal tragedy of the gifted scientist Valery Legasov.

Source: Chernobyl Record- The Definitive History of the Chernobyl Catastrophe, R F Mould

Notes:

I had a feeling there was more to Legasov than what we see in the written material out there (I read Russian at upper intermediate level so I have access to quite a lot of info, and I have read the magnificent in-depth science-engineering reform articles of him which were absolutely jaw-dropping in their visionary quality. Yet some of the information in this article blew my mind. Legasov’s intellectual side is far deeper than anyone’s guess, that is evident.

All the documentary films and other material mention Legasov took sleeping pills in his first suicide attempt in 1987, but it turns out it was Triptizol, which is the brand name of Amitriptyline -a powerful antidepressant prescribed for major depression and where SSRI’s don’t work. It has been used as sleeping medicine in the US, but I have no clue if it had such use in the USSR. It is known Legasov developed a serious insomnia problem, but he was also diagnosed with major clinical depression.

Margarita Legasova was a professor of chemistry, they both graduated from the prestigious Mendeleev School of Chemistry, where they met (as mentioned in the beginning.)

The dog’s name sounds like it’s mistranscribed or something, in Russian language articles written by Legasov’s close friends she is mentioned as Tomka. Poor thing stopped eating after she realized he was gone forever and died shortly after.

#legasov #chernobyl #Valery Legasov

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thereviewsarein · 6 years ago

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The 2019 Juno Awards are over and done, with new winners, returning favourites, and great moments on stage in London, ON.

Between the Saturday night gala and the Sunday night awards show broadcast on the CBC, a ton of awards were handed out to the cream of the Canadian music crop this year. And while everyone has their own favourites and opinions on the awards, there is no doubt that the Junos have once again shone a bright light on the talent, excellence, and entertainment that this country has to offer to the music world.

Shawn Mendes won big, taking home trophies for Single, Songwriter, Pop Album, Album, and Artist of the Year. Arkells also added to their awards collection with wins for Rock Album and Group of the Year, plus Eric Ratz’s Producer of the Year for Rally Cry. And Avril Lavigne made a big splash in her mainstream comeback by taking home the Juno Fan Choice Award!

Note: Congratulations goes out to the newest member of the Canadian Music Hall of Fame, Corey Hart! If you missed his performance of Sunglasses At Night, hit play now!

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Throughout the show, deftly hosted by Sarah McLachlan, the Junos showcased performances, speeches, and memorable moments. The Reklaws, Arkells, Bülow, Jeremy Dutcher, Bahamas, Nav, Coeur De Pirate, McLachlan herself and more poured their hearts into their performances and showed Canada what they can do. Artists, maybe none more than Jessie Reyez, showed how much these awards and this recognition means to the Canadian music community. And the fans in the London arena did a fantastic job of showing love and being part of the show themselves.

It was a big night for music north of the border. A night of highlights and high fives and the hall of fame.

The highlight of the weekend though may have come on Saturday night when Arkells ceded their time to Jeremy Dutcher after winning Rock Album of the Year. Dutcher, the winner of Indigenous Album of the Year for Wolastoqiyik Lintuwakonawa was played off before he had finished his message about reconciliation in his speech, and the Hamilton rockers gave him their time to finish his thoughts. As Dutcher said, “this is what holding space looks like”, and we all need to be doing more of it.

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Congratulations to all of the winners, the nominees, their teams, loved ones, fans and supporters. This really is something that should be celebrated.

Check out the full list of 2019 Juno winners, some videos from the show and photos that we’ve snapped over the years, and leave a comment telling us who you think was the biggest winner of this year’s awards.

2019 Juno Award Winner!

Juno Fan Choice Award Winner: Avril Lavigne

Single of the Year Winner: Shawn Mendes, In My Blood

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International Album of the Year Winner: Post Malone, Beerbongs & Bentleys

Album of the Year Winner: Shawn Mendes, Shawn Mendes

Artist of the Year Winner: Shawn Mendes

Group of the Year Winner: Arkells

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Breakthrough Artist of the Year Winner: Bülow

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Breakthrough Group of the Year Winner: The Washboard Union

Songwriter of the Year Winner: Shawn Mendes: Lost in Japan — co-songwriters Nate Mercereau, Scott Harris, Teddy Geiger, Youth — co-songwriters Geoff Warburton, Khalid Robinson, Scott Harris, Teddy Geiger, In My Blood — co-songwriters Geoff Warburton, Scott Harris, Teddy Geiger (Shawn Mendes, Shawn Mendes)

Pop Album of the Year Winner: Shawn Mendes, Shawn Mendes

Rock Album of the Year Winner: Arkells, Rally Cry

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Country Album of the Year Winner: Brett Kissel, We Were That Song

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Adult Alternative Album of the Year Winner: Bahamas, Earthtones

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Alternative Album of the Year Winner: Dizzy, Baby Teeth

Rap Recording of the Year Winner: Tory Lanez, Love Me Now

Dance Recording of the Year Winner: Loud Luxury, Body

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R&B/Soul Recording of the Year Winner: Jessie Reyez, Being Human in Public

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Reggae Recording of the Year Winner: Dubmatix, Sly & Robbie meet Dubmatix — Overdubbed

Indigenous Music Album of the Year Winner: Jeremy Dutcher, Wolastoqiyik Lintuwakonawa

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Electronic Album of the Year Winner: Milk & Bone, Deception Bay

Metal/Hard Music Album of the Year Winner: Voivod, The Wake

Adult Contemporary Album of the Year Winner: Michael Bublé, Love

Contemporary Roots Album of the Year Winner: Donovan Woods, Both Ways

Donovan Woods

Traditional Roots Album of the Year Winner: Pharis and Jason Romero, Sweet Old Religion

Blues Album of the Year Winner: Colin James, Miles to Go

Vocal Jazz Album of the Year Winner: Laila Biali, Laila Biali

Jazz Album of the Year: Solo Winner: Robi Botos, Old Soul

Jazz Album of the Year: Group Winner: Andy Milne and Dapp Theory, The Seasons of Being

Instrumental Album of the Year Winner: Gordon Grdina, China Cloud

Francophone Album of the Year Winner: Loud, Une année record

Children’s Album of the Year Winner: Splash’N Boots, You, Me and the Sea

Classical Album of the Year: Solo or Chamber Winner: Gryphon Trio, The End of Flowers: Works by Clarke & Ravel

Classical Album of the Year: Large Ensemble Winner: Toronto Symphony Orchestra conducted by Peter Oundjian feat. Louis Lortie, Sarah Jeffrey, and Teng Li, Vaughan Williams

Classical Album of the Year: Vocal or Choral Winner: Barbara Hannigan with Reinbert De Leeuw, Vienna: Fin de siècle

Classical Composition of the Year Winner: Ana Sokolović, Golden Slumbers Kiss Your Eyes

Contemporary Christian/Gospel Album of the Year Winner: Lovecollide, Tired of Basic

World Music Album of the Year Winner: Wesli, Rapadou Kreyol

Jack Richardson Producer of the Year Award Winner: Eric Ratz: People’s Champ, Relentless (Arkells, Rally Cry)

Recording Engineer of the Year Winner: Shawn Everett: Slow Burn, Space Cowboy (Kacey Musgraves, Golden Hour)

Album Artwork of the Year Winner: Mike Milosh (art director, designer, illustrator and photographer) (Rhye, Blood)

Video of the Year Winner: Ali Eisner, No Depression (Bahamas)

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Comedy Album of the Year Winner: Dave Merheje, Good Friend Bad Grammar

2019 Juno Award Winners and Recap The 2019 Juno Awards are over and done, with new winners, returning favourites, and great moments on stage in London, ON.

#Arkells #country music #Jeremy Dutcher #Juno Awards #pop #rock #Sarah McLachlan #Shawn Mendes

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justlawsolicitors · 3 years ago

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The Malaga Consular Body has organised the commemorative events of the Vienna International Convention on Consular Relations signed in 1963. The Consular Body of Malaga is made up of almost 50 accredited consulates.

The Vienna Convention states that consular relations have existed between people for centuries and has taken into account the Purposes and Principles of the Charter of the United Nations relating to the sovereign equality of States, the maintenance of peace and security and the promotion of friendly relations among nations. The first consular representation in Malaga was a commercial agreement signed in 1641 with Denmark.

It seemed evident that an international convention on consular relations, privileges and immunities would contribute to the development of friendly relations between nations, regardless of their differences in constitutional and social systems of each country and awarding that the purpose of said privileges and immunities is not to benefit individuals, but to guarantee the consular offices the effective performance of their functions on behalf of their respective countries.

Among the commemorative acts of this 59th anniversary, the Consular Body of Malaga has organised an academic conference about the consular function for the morning of April 28th 2022, at Law School of Malaga University where the panelist talked about the diplomatic and consular relations and public international law. Likewise, the Consular Body of Malaga held a cocktail party in the Gardens of the Picasso Museum in Malaga.

In the photo with my colleagues, the German and Uranian general Consuls at the Picasso Museum.

Marisa Moreno Castillo

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architectnews · 3 years ago

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ATP architects engineers – Austria, Germany

ATP architects engineers, Building Photos, Design Studio Austria, Office News, Projects

ATP architects engineers Architecture

post updated 10 September 2021

ATP architects engineers News

This design office is delighted by the awards and prizes received by two outstanding buildings that they were able to successfully complete despite the difficulties caused by the lockdown:

The district and shopping center ALEJA in Ljubljana, which was completed in spring 2020, has won the ICONIC AWARD 2021 in the category “Innovative Architecture” and is also one of four projects worldwide nominated for the Global RLI Award in the category “International Shopping Center – New Build”.

The innovative Viega seminar and distribution center in Attersee, which opened this summer, generates more energy than it consumes. The ecological flagship project has been recognized by the award of platinum certification by the DGNB (German Sustainable Building Council) and Gold certification by the Austrian government’s “klimaaktiv” initiative.

Both projects were exclusively integrally and digitally designed with BIM (Building Information Modeling) by ATP architects engineers. BIM2FIM – which was used at Viega – is currently a major talking point in the sector.

27 August 2021 Viega Seminar Center Building in Attersee, Salzkammergut, Upper Austria image : ATP/Kuball Viega Seminar Center, Attersee, Upper Austria

16 Sep 2020 ALEJA shopping center, Ljubljana, Slovenia image : ATP/Pierer ALEJA shopping center Ljubljana The powerful and rigorously realized concept of ALEJA shopping center in the Slovenian capital of Ljubljana, which was integrally designed with BIM by ATP, has created the perfect platform for around 80 shops.

15 Sep 2020

Here is the latest news from the studios:

Prize for innovative architecture: • ATP wins the ICONIC AWARD for the IWC Manufacturing Center in Switzerland.

Terminal at Berlin-Brandenburg Airport: • T2 of BER was built in record time and is “ready for take-off”.

ATP TLP Moscow: •Kai-Uwe Reitmann joins the top management team. • ATP plans for Sberbank in Moscow.

ATP architects engineers are based in Innsbruck, Vienna, Munich, Frankfurt, Hamburg, Berlin, Nuremberg, Zurich, Budapest, Zagreb and Moscow.

An Iconic Building

IWC Schaffhausen honored with the ICONIC AWARD

image : ATP/Becker IWC Schaffhausen

As unpretentious, filigree, and contemporary as an IWC watch – ATP’s design for the IWC Manufacturing Center precisely meets the corporate design guidelines and the other requirements of the Swiss manufacturer of luxury watches. The building, integrally designed with BIM, is a manufacturing facility that is convincing in terms of both design and technology and is just as high performing as it is sustainable. With spacious and extremely flexible production areas and a showroom in which visitors can reinforce their passion for IWC.

Far from being a normal production building, this is an exquisite manufacturing facility for IWC. Photo: ATP/Jantscher

The German Design Council has honored the IWC Manufacturing Center, which was integrally designed by ATP Zurich, with the ICONIC AWARD 2020 for innovative architecture. In the words of ATP partner and Managing Director of ATP Zurich, Matthias Wehrle: “Visionary architecture and sustainable innovation can stimulate each other perfectly.”

T2 is designed to process six million passengers per year. Visualization: ATP

Coming soon …

Opening of Terminal 2 at Berlin Brandenburg Airport

image : ATP

Terminal 2 at BER Airport is already “ready for take-off” and can open together with the main terminal T1 at the end of October. The additional terminal was conceived and planned in record time by the planner team ATP/amd.sigma strategic airport development.

Read more at:

Berlin Architecture News

News from Moscow

Kai-Uwe Reitmann

The architect and urban manager is the new Managing Director of ATP TLP Moscow.

Already based in Russia for many years, the German expert Kai-Uwe Reitmann moved in June from Drees & Sommer to ATP TLP Moscow. In line with ATP’s successful dual management system he will lead the 90-strong team of the joint venture with TLP Tsimailo Lyashenko & Partners alongside the engineer Vladimir Horton. “My objective is to further develop the position of ATP TLP as one of the few international design offices in Russia and to build bridges with Europe,” says the new Managing Director.

Reitmann replaces the Austrian industrial engineer Karl Pein who, after five years, has now returned to Styria, where he continues to be active for ATP.

More about the new Managing Director: news.

The new headquarters of Sberbank in Downtown Moscow. Visualization: ATP

A City for the Bank

ATP TLP Moscow is planning “Sberbank City”

ATP is planning a new, state-of-the-art headquarters in Moscow for Russia’s most powerful financial institution. The futuristic giga-project brings together 40 office locations that are currently spread around Moscow and creates space for around 30,000 employees. ATP has designed Sberbank City as a dynamic office quarter with a full range of cultural, educational, leisure, and health facilities.

Integrally and digitally designed with BIM: Sberbank City in Moscow.

image courtesy of architects

Sberbank City Downtown Moscow

News:

Learning with BIM: High school graduation project for Africa

Lisa Kogler and Hanna Draxl, pupils of HTL Imst, chose a graduation project that combines references to traditional African building culture with all the requirements of climate-friendly construction. The design for a ward at the “Jordan Medical Center” (JMC) in Ghana, which is funded by donations, has received a number of awards and was created as a “digital twin” using Building Information Modeling in cooperation with ATP’s BIM manager Philipp Zimmermann.

BIM-QM: Learning from Mistakes

On this year’s – virtual – Heinze ArchitekTOUR, Lars Oberwinter, Managing Director of the ATP subsidiary Plandata, is lecturing on “BIM Quality Management 2.0”. As part of his lecture the BIM expert is presenting two tools developed by Plandata that will soon be available on the market and explained how one really can learn from mistakes (in BIM models).

Summer, Sun, ALEJA!

District center brings its own charm to the fore.

The skin of the Slovenian “dragon”, which reacts to rising temperatures, is shimmering and the green activity roof is luring visitors. In the warmer seasons, the “urban” forecourt and the shady terraces of ALEJA Sky are powerful attractions. The new SES shopping and entertainment center in Ljubljana, which was integrally designed by ATP, has been open since May.

22 July 2020 Development of Former Tonhallen Site, Villingen-Schwenningen, Schwarzwald-Baar district, southern Baden-Württemberg, Germany Design: ATP Munich image courtesy of architects IWC Manufacturing Center, Schaffhausen The authorities expect this new development to both revitalize the town center and create a significant architectural bridge between the old town and the banks of the River Brigach.

5 Feb 2020 IWC Manufacturing Center, Schaffhausen, northern Switzerland photography : ATP/Becker IWC Manufacturing Center, Schaffhausen The design of the IWC Manufacturing Center in Schaffhausen slips harmoniously into the landscape and recalls the pavilion-like buildings of the Modern Movement.

5 Feb 2020 Industrial Kitchen, 23rd district, Vienna, Austria photograph : ATP/Becker magdas Industrial Kitchen in Vienna A new building for magdas Social Business, a subsidiary of Caritas in the Archdiocese of Vienna, is ATP’s most unconventional industrial building.

30 Oct 2019 Markas Headquarters, North West Italy Design: ATP Architects Engineers photo : ATP/Becker Markas Headquarters in Bolzano

19 Feb 2019 ATP strengthens its experience-oriented interior expertise

ATP architects engineers acquired a majority shareholding in Mint Architecture at the beginning of the year.

ATP and Mint Architecture cement their partnership:

ATP has become the main shareholder in Switzerland‘s Mint Architecture AG. As Continental Europe’s leading integrated design office the move strengthens the ATP group with specialist experience-oriented architectural and design know-how while opening the door to further growth for the younger partner office. Mint Architecture will remain an autonomous company and an independent brand.

Bank Cler, Zürich, CH: Pilot branch and 31 redesigned offices. photos courtesy of architects

At the start of the year ATP acquired the majority share in the Swiss Mint Architecture AG. The shareholding represents a valuable boost for the ATP Group in the field of commercial interior design and reinforces the expertise of ATP’s in-house Design and Research (D+R) groups in its individual offices.

Shopping Center INSIDE, Volketswil, CH: Popular venue for fashion, beauty and lifestyle.

With its specialty of commercial and user-oriented architectural projects, Mint Architecture has developed a unique position on the Swiss market in just a few years. The Zurich office, which has around 50 employees, focusses on the retail, restaurant, financial, health, and hospitality sectors. According to Thomas Stiefel, Founder and Partner of Mint Architecture: “We are delighted to have

Le Chef, Flughafen Genf, CH: Experience-oriented gastronomic concept and restaurant conversion.

ATP architects engineers as a main shareholder – a strong, Europe-wide player with a professional network of over 800 experts, which will offer us the opportunity to apply our expertise to major international projects.”

Bank Cler, Uraniastrasse in Zurich, CH

16 May 2018

ATP architects engineers News in 2018

ATP architects engineers News 2018

Urban design Projects

TrioLiving, AT

The three new residential buildings are based on the design by ATP Vienna that was awarded first prize in the realization competition. A comprehensive needs analysis carried out together with the client defined the objectives for the densely developed site – high quality design in the apartments and the open spaces together with functional floor plans which optimize the usable residential space.

Location: Vienna, AT Completion: 09/2017 Integrated design: ATP Vienna Competition 1st Prize (2013)

27 Sep 2017

ATP architects engineers News in 2017

ATP architects engineers News from 2017

Urban design Projects

Im Lenz, CH

A new urban district with more than 500 apartments as well as office, commercial and retail space has been created on a former industrial site in the Swiss town of Lenzburg. The guiding principle for the design of the “Im Lenz” district is sustainable urban development. ATP Zurich was commissioned to design four of the twelve buildings.

Location: Lenzburg, Switzerland Completion: 07/2017 Integrated design: ATP Zurich Competition 1st Prize (2015)

Weberzeile, Ried i. I., AT

ATP’s Weberzeile is a newly built shopping center that has been extremely successfully integrated into the existing urban structure of a medium-sized town. The retail complex acts as an “anchor” between the old town and the commercial/industrial zone. The success of the strategy was recognized in Weberzeile’s reception of the ICSC Regeneration Award 2017.

Location: Ried im Innkreis, Austria Completion: 08/2015 Integrated design: ATP Innsbruck Competition 1st Prize (2011)

Curtis Fluentis, CH

Despite the high levels of noise pollution from two main transport axes ATP Zurich succeeded in creating a housing and commercial complex with high residential quality. A continuous five-part building provides noise protection to the internal courtyards and loggias.

Location: Cham, Switzerland Completion: 06/2016 Integrated design: ATP Zurich

Municipal Offices, Vomp, AT

A powerful and self-conscious ensemble of two separately accessed building volumes with a connecting wing cleverly exploits the height difference across the site. The roof and the façade play with the materiality of a Tyrolean village as a means of integrating the building complex into the surrounding urban structure.

Location: Vomp, Austria Completion: 09/2017 Integrated design: ATP Innsbruck Competition 1st Prize: (2015)

IN-Tower, DE

Ingolstadt’s first high-rise building acts as a link between the new station building and the “Glacis” – the green belt surrounding the old town. The striking complex accentuates the entrance to the site of the North Station and will act as a powerful symbol for rail passengers arriving in the town in future.

Location: Ingolstadt, Germany Completion: Summer 2018 Integrated design: ATP Munich Competition 1st Prize: (2014)

Competition successes

Headquarter Markas, IT

The central requirement of the invited competition was to meet the needs of the growing company and create a link with the heart of Bolzano to the west. The concept by ATP Innsbruck envisages a flexible, column-free office tower that is well-proportioned from an urban design point of view and which, despite its central location, makes it possible to “work surrounded by greenery”

Location: Bolzano, Italy Competition: 2016 ATP Innsbruck

Seestadt Aspern, DE

ATP Vienna was able to secure first place in this EU-wide, open realization competition in this urban development area in Vienna with a concept for a ‘Plus Energie’ building. The project is based on the concept of breaking down the traditional perimeter block.

Location: Vienna, AT Competition: 2016 ATP Vienna

Wohnpark Gebersdorf, DE

The complex requirements of the realization competition demanded the development of a concept for the district which combined high-quality urban design with an innovative residential approach oriented to the needs of children and old people. ATP’s design envisages a calm residential area protected from noise that will also act as a center for the district of Gebersdorf.

Location: Gebersdorf, Nuremberg, Germany Competition: 2016 ATP Munich with Logo verde

Neue Mitte Thon, DE

The concept behind the winning project by ATP Munich includes a reorganization of the area in urban design terms which focuses on reinvigorating the entrance to the district and providing a high quality user experience on the planned district squares. At the same time it seeks to establish a connection with the hardly perceptible and yet still very much present historic center of Thon.

Location: Thon, Nuremberg, DE Competition: 2016 ATP Munich with Logo verde

Bahnhofsareal Weßling, DE

ATP Munich and Logo verde convinced the jury in the ideas competition for the new center of Weßling with a high-quality overall concept that is in keeping with the existing townscape. The focus of the project was the retention of Weßling’s structure and village-like charm.

Location: Weßling, DE Competition: 2016 ATP Munich with Logo verde

2 Apr 2014 This practice has renamed their company to ATP architects engineers.

15 + 13 Aug 2012

ATP architects engineers News 2012

News from ATP architects engineers

– Completion of headquarters for Tönnies

– Nomination for the Austrian State Prize for the “Most family friendly company”

– Real Estate Brand Award 2012: ATP is number one in Austria again

Tönnies Headquartes, Germany Completion of Administration and Social Building photo © Stefan Schilling Tönnies Headquartes The new corporate headquarters of Tönnies, one of Germany’s largest food companies, in Rheda-Wiedenbrück, Nordrhein-Westfalen, was integrally designed by ATP N+M Frankfurt. The administration building is an example of successful Corporate Architecture for a food industry company. It speaks a clear architectural language and was designed using a sustainable design approach.

Shopping Centres ATP architects engineers are specialists in the field of retail architecture with BD listing ATP amongst the TOP 10 retail designers worldwide in its 2012 Global Ranking. Clients ask ATP studios to not only design new centres but refurbish existing ones. Competition wins and international awards such as the recognition by the ICSC of the ATRIO centre as the best sustainable centre and Shopping Centre of the Year 2009 or the nomination of VARENA in 2011 and BREEAM certification for G3 and Siska, etc, are confirmation of the innovative approach of our design teams as they create further successful sustainable centres: The following projects are currently being designed/built:

• “G3 Shopping Resort Gerasdorf”, A, Shopping Centre, New construction (2012) • “ZTC Rijeka”, Croatia, Shopping Centre, New construction (2012) • “Hasenbergl”, Local Centre, Munich, DE, New construction (2012) • “DOC Soltau”, DE (Design Outlet Centre), New construction (2012) • “Kitz Galleria”, Retail Store, Kitzbühel, A, New construction (2013) • “Kemmelpark”, Retail Park, Murnau, DE, New construction (2013) • “SCS Shopping City Süd”, Vösendorf/Vienna, A, Refurbishment (2013) • Maximarkt Flagship Store, Anif, Salzburg, A, New construction and remodelling, 1st Prize (2013) • “SC Siska”, SES Shopping and Local Centre, Ljubljana, SLO, New construction, 1st Prize (2014) • Retail Store Kampstraße, Dortmund, DE, Refurbishment • Retail Store Nürnbergerstraße, Erlangen, DE, Refurbishment, 1st Prize • “Schwabinger Tor”, Munich, DE

ATP architects engineers – Selected Projects

Building designs by ATP architects engineers on e-architect, chronological:

SISKA Shopping Centre, Slovenia 1st Prize, Invited Competition 2010- image from architect SISKA Shopping Centre Ljubljana

KOMM Kaufhaus Offenbach Main-Mitte Offenbach/Frankfurt, Germany 2010 photo : Jean-Luc Valentin Kaufhaus Offenbach Main-Mitte

Alpine Resort Fieberbrunn, Tyrol, Austria 2010- photo : https://ift.tt/2Vu5Joy Alpine Resort Fieberbrunn

The Peace Pentagon, New York, USA 2009- image from ATP architects engineers The Peace Pentagon design

West Gate – shopping centre, Croatia 2009 photo : Shopping City Zagreb West Gate Zagreb Building

Buildings by ATP architects engineers

Projects by ATP architects engineers, alphabetical:

Atrio, Villach, Austria 2009 photo : Elke Visciotti Atrio Villach Building

Crown Resort Montafon, Austria 2009- building image from ATP architects engineers Crown Resort Montafon

University of Innsbruck, Faculties of Architecture & Civil Engineering, Austria 2009 buildings image from ATP architects engineers University of Innsbruck Building

More architecture / building projects online soon

Location: Heiliggeiststraße 16, 6010, Innsbruck, Austria, Europe

Architects Engineers Practice Information

ATP Planungs- und Beteiligungs-AG are headquartered in Innsbruck, Austria.

Austrian Architects

COMPANY PROFILE ATP GROUP

ATP ARCHITECTS ENGINEERS • ATP Innsbruck, Austria • ATP Vienna, Austria • ATP Munich, Germany • ATP Frankfurt, Germany • ATP Berlin, Germany • ATP Nuremberg, Germany • ATP Zagreb, Croatia • ATP Budapest, Hungary • ATP Zurich, Switzerland • ATP Moscow, Russia

ATP architects engineers is Europe’s leading integrated design company, specialising in integrated design of complex construction projects.

• Founded 1951, Integrated Design Office since 1976 • Employees: approx. 750 • 10 european offices • Divisions: Production and logistics; Retail and entertainment; Offices and administration; Health; Education and research; Tourism; Housing; Multifunctional buildings; Urban planning • Partners (Shareholders): Christoph M. Achammer, Ulf Bambach, Gerald Hulka, Robert Kelca, Horst Reiner, Dario Travas, Matthias Wehrle

Awards:

2009 ICSC Best-of-the-Best Award/Sustainability (Atrio), 1st Prize 2008 The Ring – iC@ward, Interior Design, Honourable Mention (EDEKA, E-Center) 2008 International Design and Development Award, ICSC, Phoenix (Atrio) 2008 TRIGOS Prize for Sustainability and CSR/Ecology, 1st Prize (Atrio) 2008 ReSOURCE, Supporting Sustainable Development, ECSC (Atrio) 2008 Commendation, ECSC European Shopping Centre Award (Atrio) 2007 Energy Globe Award, 2nd Prize/Carinthia (Atrio) 2007 Real Corp Award, Prize for Innovative Urban Development (CEPIT)

CONSULTANTS

• REDSERVE GmbH real estate development services • CONVIVA participative and cooperative building • FOODFAB food industry (processes and buildings) • LIFELINE organizational planning in the health sector • PLANDATA IT services

Integrated Design

As an integrated design company ATP architects engineers offer “from a single source” all necessary planning design services – from the project idea to the completed building. This culture of simultaneous and interdisciplinary cooperation is highly influenced by the fact that architects and engineers work alongside full time on specific projects over a period of years.

ATP architects lead this Integrated Design Process. Their close cooperation with ATP engineers leads to innovations in all design phases which make a major contribution to the sustainable quality of the architecture of our buildings. ATP architects and engineers invest their experience and expertise in producing innovative, resource-saving and energy-optimised buildings of a higher aesthetic quality.

Our vision: We want to change our world positively with excellent buildings.

The ATP Partnership Model offers commercial responsibility – and the opportunity of sharing in the success of the company – to a wide number of employees. Partners, Associate Partners and Associates represent the corporate culture of ATP. Members of the partnership are recognisable as much for their commercial and professional ability as for the way in which their engagement transcends their own area of responsibility. In 2018 ATP has 8 partners (shareholders), 33 associate partners and 78 associates. This means that around 15% of employees are part of the partnership.

Website : www.atp.ag

Images / information from ATP architects engineers

Austrian Architecture

Austrian Architecture Designs – architectural selection below:

Austrian Architecture Design – chronological list

Vienna Architecture Walking Tours by e-architect

Austrian Architecture

German Architects

German Architecture

Austrian Buildings

Comments / photos for the ATP Architecture page welcome

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gagosiangallery · 4 years ago

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Anselm Kiefer at Gagosian Le Bourget

December 17, 2020

ANSELM KIEFER Field of the Cloth of Gold

February 7–March 28, 2021 26 avenue de l”Europe, Le Bourget __________ What interests me is the transformation, not the monument. I don’t construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again. The pictures become interesting when the subject matter is no more than an excuse, when the artist remembers the struggle, when he sets forth his own world in conflict with the self-secluding earth. —Anselm Kiefer Gagosian is pleased to present Field of the Cloth of Gold, an exhibition of four monumental new paintings by Anselm Kiefer. The tension between beauty and terror, alongside the inextricable relationship between history and place, has animated Kiefer’s work since the 1970s. Drawing on the literature of cultural memory—including poetry, the Old and New Testaments, and the Kabbalah—Kiefer gives material presence to myths and metaphors. He infuses the medium of paint with startling and unconventional gestures and objects, juxtaposing it with organic and abject materials such as straw, sand, charcoal, ash, and mud. Kiefer asserts himself as an iconoclast; his paintings undergo various processes—such as being cut, burned, buried, exposed to natural elements, splashed with acid, or poured over with lead—so as to be made anew. These strategies, along with the use of materials such as lead, concrete, glass, fabric, tree roots, or burned books, create a symbolic resonance, making palpable both the movement and destruction of human life and the persistence of the lyrical and the divine.

The exhibition’s title refers to the historic peace summit between King Henry VIII and King Francis I that took place five hundred years ago in a field in what is now Pas-de-Calais, France. The conference, centered around a strategic alliance between England and France, had the goal of outlawing war between Christian nations. The alliance was considered a key event in shaping Europe’s geopolitics—until it dissolved and war broke out, a year later. While Kiefer did not begin making these works with this event or title in mind, the connection became apparent and synchronous after their completion. As he stated in a recent interview, “the title is often not the explanation of the picture,” but is rather “an allusion.” History is one of the materials he uses and synthesizes in his work, “like clay for the sculptor or color for the painter.” Completed over the last two years, these works predate the COVID-19 pandemic, the ripple-effect crisis it created, and the international and cross-cultural relationships it has reconfigured. While history has been fractured and unpredictable since the Field of the Cloth of Gold conference, our cultural memory holds the violent unpredictability of human relations on a continuum. The layered and visceral character of these paintings, whose scale almost matches the landscapes they depict, evokes the surging capriciousness of European history and the effects and aftermaths of war. As in The Morgenthau Plan series of 2012, Kiefer affixes other elements to the surfaces of these paintings, from plant matter to industrial material, building a third dimension onto the painted canvas. Here the field of history is transfigured into a field of gold under a dark sky. As is customary in Kiefer’s work, each painting’s title and symbols contain a rich literary and historical set of references. Sichelschnitt (Sickle Cut) (2019) refers to the Manstein Plan (Sichelschnittplan), a war plan devised by the German Army during the Battle of France in 1940, while Beilzeit—Wolfszeit (Axe Time—Wolf Time) (2019) nods to “Völuspá (Prophecy of the Seeress),” the first poem of the Poetic Edda of Old Norse mythology. Verse 45 of this poem is translated as “Axe-time, sword-time, | shields are sundered, / Wind-time, wolf-time, | ere the world falls.” Ein Wort von Sensen gesprochen (One Word Spoken by Scythes) (2019–20) evokes the poem “From Hearts and Brains” by Paul Celan, whose poetry has been a point of reference for Kiefer for decades. Celan’s verse reads, “and a word, spoken by scythes / bends them into life.” On Sunday, January 24, to celebrate the opening of the exhibition, the gallery will be open from 2 to 6pm. Anselm Kiefer was born in 1945 in Donaueschingen, Germany, and lives and works in France. His work is collected by museums worldwide and has been permanently installed at the Musée du Louvre (2007) and the Panthéon (2020), both in Paris. Exhibitions and retrospectives include Louisiana Museum of Modern Art, Humlebæk, Denmark (2010–11), Shevirat Ha-Kelim (Breaking of the Vessels), Tel Aviv Museum of Art, Israel (2011–12); Beyond Landscape, Albright-Knox Art Gallery, Buffalo, NY (2013–14); Royal Academy of Arts, London (2014), Centre Pompidou, Paris (2015–16); l’alchimie du livre, Bibliothèque nationale de France, Paris (2015–16); and The Woodcuts, Albertina, Vienna (2016). In 2009, Kiefer directed and designed the sets for Am Anfang (In the Beginning) at the Opéra national de Paris. In 2017, he was awarded the J. Paul Getty Medal for his contribution to the arts. _____

Anselm Kiefer, Ein Wort von Sensen gesprochen (One Word Spoken by Scythes), 2019–20, emulsion, oil, acrylic, shellac, straw, gold leaf, wood, and metal on canvas, 15 feet 5 1/8 inches × 27 feet 6 3/4 inches (470 × 840 cm) © Anselm Kiefer. Photo: Georges Poncet

#Anselm Kiefer #Gagosian

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peckhampeculiar · 6 years ago

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A Stella performance

Peckham resident Stella Barnes has just taken over as artistic director of Longfield Hall in Camberwell. We met her to find out more about the role at the local institution

Words: Luke G Williams; Photo: Alexander McBride Wilson

As she approaches the debut season of her tenure as artistic director of Longfield Hall, Stella Barnes is positively bubbling with enthusiasm and artistic energy.

When I ask her to pick out the most exciting highlights of the upcoming offerings at the arts and community venue on Knatchbull Road, near Myatt’s Field park in Camberwell, the long-time Peckham resident laughs and declares: “It’s all exciting!”

Longfield Hall is, she admits, “a well-kept secret which has to stop being a secret now”.

And if anyone has the professional experience to ensure the institution scales new heights then it is Stella, whose track record in the arts industry is stellar, as evidenced by her recent award of a Fellowship of the Royal Society of Arts (FRSA).

The journey that has led Stella to Longfield Hall is a fascinating one, which begins with the amazing story of her mother, Beatrix Barnes.

“My mum arrived as an unaccompanied refugee in London in 1938,” Stella tells me. “She’s Jewish and was born in what’s now the Czech Republic but was living in Vienna with her family. My grandmother put her and her brother on a train in Vienna not knowing if she would ever see them again.

“My mum was six and her brother was seven-and-a-half. Initially, she was sent away to a boarding school in Gloucestershire. Eventually her mum also came over and they all lived in London together in one room on the Finchley Road in absolute poverty.

“Because my family had come from Austria, when Britain joined the war in 1939 they were classified as enemy aliens and were interned on the Isle of Man. So they lived most of the rest of the war, basically, as prisoners. My granny kept trying to get the family released by trying to prove she wasn’t a threat. Eventually she succeeded.”

After I express my astonishment that Jewish refugees fleeing the Nazis were treated in such a way by the British authorities, Stella points out: “It’s not part of the traditional narrative of World War II. There’s not very much written about these internment camps.”

I put it to Stella that the experiences of her refugee mother seem to have left an indelible imprint on her – an imprint that accounts for the emphasis on social justice which characterises her career, which has largely been spent working with refugees and other marginalised groups.

“Yes,” she agrees. “My mum’s work was all in the area of social justice too – she’s 86 now and still teaches English to refugees. Her family have always had a strong motivation to do something that mattered.

“Growing up I always knew about my mum’s story. We grew up in a very conventional and traditional village in Tyneside, and my mum was the most exotic person in the village! Nobody had a mum who had a story like my mum!”

Stella herself was born in Ethiopia in 1962 (“very random, I know! After my parents got married they went to Ethiopia to teach - I think they wanted to have an adventure!”) and gained a degree in Drama from Bretton Hall, Yorkshire (“a very experimental and radical college”) before moving to London in 1985.

“My sister was living in Camberwell in a council flat so I came down to London and my first home was literally within spitting distance of Longfield Hall on the Wyndham Estate.

“In the late 1980s, when I was pregnant with my first child, I moved to Peckham. That was 30 years ago and I’ve been living in the same flat ever since – while my mum lives in the flat downstairs!

“I love Peckham and I’ve loved it from the beginning. I love the diversity. The one thing that bothers me now is that Peckham is still very diverse, but it’s becoming less so. The whole gentrification thing I find quite difficult and a real loss in terms of cultural diversity.”

During those early years in Camberwell and Peckham, Stella threw herself into the youth theatre scene.

“I did all sorts of jobs in youth theatre and then in the 1990s I worked for an organisation called Greenwich and Lewisham Young People’s Theatre for over ten years. I also trained to be a teacher and worked as a drama teacher in Tower Hamlets for a couple of years.”

However, it was a nine-year spell as director of participation at the Ovalhouse theatre in Kennington that made Stella’s name in the local community, as well as establishing her reputation for working alongside refugee groups.

“I’d started my work with refugees in Greenwich and Lewisham in about 1999,” she explains. “There was hardly any sustained work in the arts for refugees at that point. No one had really developed a philosophy or methodology around that work. At that time there were a lot of unaccompanied young people arriving from Kosovo and Afghanistan especially and people didn’t really have as sense of how to deal with this.

“The Arts Council set up something called The Refugee and Arts Initiative and we started meeting up and developing this work with each other. It was particularly important that we worked with artists from refugee backgrounds and that it was a real collaboration.

“It was a really exciting time – the work felt new and innovative and my work at Ovalhouse built on that with our programme for young people and refugees. As my work has developed, I’ve been interested in working more cross-culturally, for example, working with refugees in groups which also include people from more established communities.”

As well as her work at Ovalhouse, Stella also jointly established Platforma, a national network for refugee related arts and founded Flight Paths, a London-wide programme for exiled artists which provided training in arts education practice.

Now she is relishing her next challenge as artistic director of Longfield Hall.

“Longfield Hall is really at the heart of the community and is very well loved by locals,” she enthuses. “One woman who attends our community singing group said Longfield Hall had changed her life making her much, much happier!

“This is what attracted me to the place. The organisation is really committed to being a resource for local people and is incredibly welcoming. We need more spaces like Longfield Hall, places that invite people in.”

What, then, will characterise the ethos of her tenure?

“A lot of the arts is subsidised by public money, by the Arts Council, the local authority, the National Lottery and so on,” she says. “Yet there’s a significant proportion of the population who don’t get the benefit of that money. They’re kind of excluded from the arts.

“You can put labels on those people and there are all sorts of factors that exclude people from the arts. But now I’m in the position of programming theatre I’m really interested in working with artists who are trying to make that change and are think about how theatre can be accessible to everybody so there aren’t those kind of barriers.

“One of our priorities is that the work at Longfield Hall has to be outward facing and that we can identify an audience for it. It can’t be someone’s pet ego project! It must be work that is relevant to 21st century Londoners and also considers diversity in its broadest sense. It can’t all be from the same voice. The season has to reflect that.”

Stella also hopes to gradually move away from the model of having a traditional artistic director calling the shots.

“My ambition is to ultimately have a community programming team including people recruited form the local community that really reflects the local community. People who are paid and trained who would have a pot of money to commission work from artists.”

Stella’s first season certainly seems to possess the variety, ambition and diversity one would expect.

One of the most eagerly awaited performances will be a play called ‘Borderline: Welcome to the UK’, a satire on the UK asylum system mounted by PsycheDelight, a theatre group consisting of an ensemble of refugees and European performers. [Performances 9, 10 and 11 November].

“I’m really excited about PsycheDelight,” Stella admits. “Their first show was brilliant and now they’ve created this second show, which is set in a fairground. It’s going to be riotous and there’s something for everyone in it.

“We’ve also got an event called ‘Youth Jam’ [30 November], which is an opportunity for local young people to come and perform anything they’ve created themselves – from singer-songwriters to spoken word artists to dancers.”

Time constraints prohibit the Peckham Peculiar from asking Stella about every event on the packed Longfield Hall calendar, although she does have time to add: “Our season ends with a lovely company we’re building a long-term relationship with called String Theatre, led by an Argentinean artist called Soledad Zarate, who hand carves long-stringed marionettes.

“It’s a show called ‘The Red Balloon’, which is an absolutely beautiful and enchanting story about a child’s friendship with his balloon. Children and adults will both love it.”

As our conversation draws to a close, I remind Stella that she is now the third member of her family to have featured in the Peckham Peculiar, with her sons Elliot Barnes-Worrall and Conrad Kira – an actor and musical artist respectively - having preceded her in these pages.

“You just have to do an article about my mum and you’ve got the full set,” she laughs. “I think Peckham Peculiar is brilliant at profiling inspirational young people who are doing brilliant and incredible things. “I’m really glad these young people are getting the profile they deserve and most of all I’m glad you featured my sons before me! That’s the right way around, I’m very proud of them!”

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