text:
"We have achieved what we set out to do", said Federal Chancellor Angela Merkel following the conclusion of the talks on Saturday morning. Europe, she said, had broken the deadlock; the new mandate was a "community effort".
The intergovernmental conference is to establish by the end of the year which amendments are needed for the new treaty basis. This is to enter into force, as planned, in 2009.
What were the sticking points?
One of the most problematic points concerned the future system for reaching majority decisions in the EU Council of Ministers. The draft constitution had envisaged the double majority principle, according to which decisions require the approval of 55 percent of the Member States with at least 65 percent of the EU population.
The Summit almost failed because of this issue. Poland was extremely reluctant, and even planned to veto the proposal.
According to the Treaty of Nice currently in force, Poland, with its population of around 40 million, has 27 votes in the Council. Germany, which has almost twice the number of inhabitants, has 29 votes. Under the double majority system, Poland loses votes in the Council, while Germany gains influence.
Solution: the double majority system will only enter into force in 2014. Furthermore, in the event of a dispute, Member States may invoke the Treaty of Nice and demand the postponement of an undesired decision until 2017.
The United Kingdom, for its part, had reservations about the legal status of the EU Charter of Fundamental Rights. It argued that the Charter should not become legally binding in British law and should thus not be incorporated into the reformed treaty basis.
Solution: the Charter of Fundamental Rights is no longer part of the Treaties. However, it is to be rendered legally binding by a reference in the latter. An exception applies in the case of the United Kingdom.
The appointment of an EU Foreign Minister as the chief diplomat of the EU was also the subject of reservations on the British side.
Solution: the functions of the EU High Representative for the CSFP and the External Affairs Commissioner will be merged into the new office of High Representative of the European Union for Foreign Affairs and Security Policy. The former posts are currently held by the Spaniard Javier Solana and the Austrian Benita Ferrero-Waldner. With the creation of the new office, EU foreign policy will be given a single profile for the first time.
The intergovernmental conference is to establish by the end of the year which amendments are needed for the new treaty basis. This is to enter into force, as planned, in 2009.
From Constitution to Treaty
The negative referenda outcomes were perceived in some Member States as an expression of citizens' fears of a European super state. This fear needed to be addressed. The 27 Member States were in agreement from the beginning of the Summit that the term "constitution" was no longer to be used.
The European Treaties will instead be reformed by an amending treaty. The new treaty basis will also contain no references to state-like symbols or an anthem.
Further reforms
The EU will in future have a full-time Council President, who will chair the European Council for two and a half years. This will replace the system of the rotating Presidency, and allow for greater continuity.
National competences are to be strengthened: national parliaments will now have eight weeks in which to raise objections against draft legislative acts, should they feel that these infringe national competence. The European Parliament and the EU Council of Ministers will in future have equal powers in deciding the EU budget.
The number of Commissioners is to be reduced: from 27 to 15, by 2014.
Member States – such as the United Kingdom – will be able to opt out of EU decisions on closer cooperation in judicial and police matters. They may also opt out of the common policy in social affairs. If no agreement has been reached within four months, Member States wishing to move forward may do so.
Germany had been given the mandate to draw up a road map for treaty reform back in the middle of 2006. The background to this was negative outcome of referenda on the draft constitution in France and the Netherlands in spring 2005. This had been followed by a two-year period of reflection, which had come to an end. A new treaty needed to be ratified by all the Member States before the election of the European Parliament in 2009, in order to ensure that the enlarged EU would remain able to act beyond this point.
At the beginning of the week, the German Presidency had outlined the status of negotiations on treaty reform to the other 26 Member States. In turn, each of these had expressed its views and wishes. The search for compromises could then begin.


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Weyland the Smith
Not British as such, he was imported by the Anglo-Saxons from the continent. He is known in Teutonic sources, Frankish sources, and in Scandinavia, where he is called Volund. The gist of his tale is that he loved a swan-maiden who lived with him for seven years, but disappeared at length. He pines for her, but awaits her return, making wondrous jewelry and artifacts in the meantime. Set upon by an outlaw king and his sons, he is hamstrung and marooned on a small island with a smithy at his disposal. He encompasses the death of the sons, the violation of their sister (who wears the ring he gave to his own love, stolen from him), and escapes the isle on a pair of contrived wings... He became a byword for the art of the smith, and the forging of miraculous objects; and he seems to have had a geas placed upon him with respect to his craft, to the effect that he could not refuse any commission, no matter how impossible the task, once he had been offered a payment.. Note the very typical thread of the maimed smith.
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Expo Naval Valparaíso
29 Nov. - 02 Dec. 2016 | International Maritime Exhibition and Conference for Latin America
In 33 Days
professional visitors only
29.11.2016 - 02.12.2016*
Tuesday - Friday, 4 days
02. - 05. December 2014
- 6000 visitors
Expo Naval in Chile is a meeting point for official heads from naviy and armed forces, for military attachés, directors of military organizations, public and government civil servants, defense contracting companies from all countries of Latinamerika. Also a growing number of professional worldwide visitors from foreign navies and companies of related industries are to be expected. Seminars, technical conferences, meetings with official delegations, naval demonstrations, professional visits to visiting ships, social events and a regatta will complete the programme.
On the whole the organisers welcomed on the 4 days of the fair, from 02. December to 05. December 2014, about 6000 visitors from 30 countries on the Expo Naval in Valparaíso.
The Expo Naval will take place on 4 days from Tuesday, 29. November to Friday, 02. December 2016 in Valparaíso.
Display e-mail address
Local time:
23:29 h (UTC -4)
Fisa S.A.
Moneda 1160/Piso 11
11111 Santiago, Chile
Tel: +56 (0)2 5307000
Fax: +56 (0)2 5307272
Display e-mail address
Product groups: arms, combat systems, command control technologies, communications systems, equipment for marine infantry, machinery maritime, maritime equipments, maritime technologies, maritime transport, naval defense systems, navigation systems, services for ports, surveillance systems, …
Industry sectors: Arms, Defence, Defense Technology, Military Technology, Shipbuilding, …
Fairs of these Sectors: Arms Fairs, Defence industry exhibitions, Military & Defence Exhibitions, Trade Fairs for Defense & Security Technology, Trade Shows for Shipbuilding & Marine Technology, …
Disclaimer: No responsibility is taken for the correctness of this information. Errors and alterations excepted! Fair dates and exhibition sites are subject to change by the respective trade fair organiser.
Region Valparaíso
- zur Merkliste hinuzfügen
- Transfer to Outlook
- < 1000 Interessenten
for trade fair date in Valparaíso
Fair location*:Valparaiso International Terminal of Passengers,
Av Argentina, 05632 Valparaíso, Valparaíso, Chile


text:
In memory of ancient humans, God issued commandments to Moses on Mount Sinai and said, "can not kill." However Nietzsche tells us that God has been dead already. Human beings created God, but also exterminated God. We childbirth themselves, but also slay ourselves.
Ding Shiwei was born in Heilongjiang Province and graduated from China Academy Of Art with BFA in 2012. He currently lives and works in Hangzhou, China. Main in Experimental Animation, Experimental Video. His works were presented in Montreal Museum of Fine Arts, Quebec, Canada; Li Xianting Film Fund, Beijing, China; OCAT Contemporary Art Center, Shenzhen, China; A4 Contemporary Art Center, Chengdu, China. His works had been selected out in the international competition section and media art section of Tampere Film Festival; Up and coming Int. Montreal International Film Festival of Films on Art; Image Forum Film Festival in Japan. His works were collected by Li Xianting Film Fund, Beijing, China.
librement inspirée du village de propagande nord coréen, Kijong-dong, Hayoun KWON révèle un « lieu-décor » et nous plonge dans la fiction, accomplissant son voyage par procuration. Le film témoigne de ce village fantôme dans son véritable état : un mécanisme de fiction. La réalité dune frontière face à sa mise en scène... Un village inatteignable autrement que par limagination.
Hayoun Kwon est née à Seoul (Corée du Sud) en 1981. Elle a commencé ses études dart à lEcole des Beaux-Arts de Nantes, puis a été diplômée du Fresnoy Studio national des Arts contemporains en 2011. Le travail de Hayoun Kwon traite principalement de la mémoire (individuelle comme collective) et des limites en ne cessant de brouiller les pistes. Elle confronte lintention à son interprétation, la construction à la fiction, la remémoration à linvention. Elle interroge les rapports ambivalents entre réalité et fiction, entre théatre et réel.
A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazars [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isnt anyone to see and hear this newcomer modernitys heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.
Micael was born in 1974 and graduated in Directing at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in Editing, in 1999. He is a partner at the production company Roughcut, where hes been developing documental projects, television series, fiction and animation short films, being also responsible for the companys post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series Tradições Retalhos da Vida de um Povo, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play Old Times, staged by Duval Pestana, for ONIMED, and directed the video for the performance The Lusiads by António Fonseca, which premiered at Guimarães European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).
The Nazis set up a concentration camp in Ebensee. Nürnberg and Peuker wonder what conclusions they can draw from the topography about dealing with the past. The takes remain static; a womans voice dryly contributing information from off screen is all that clarifies the context within contemporary history. A site that looks like a dirt road turns out to be the Löwengang (Lions Walk), which the camps prisoners were driven down like animals to reach a tunnel that had to be dug. As soon as the film moves to the residential area that was founded on the site of the concentration camp shortly after the end of the war, surprise at the lack of sensitivity in dealing with the past mixes into the off-screen commentary. What Zement aims to get at is the ambiguity of this proximity of commemorative site and settlement.
Dirk Peuker * 1970 in Friedrichroda 1998 2005 Studium experimentelle Filmgestaltung an der Universität der Künste Berlin und bildende Kunst an der Akademie der bildenden Künste Wien. 2006 Stipendium der Stiftung Kulturregion Hannover und der Nordmedia Filmförderung, Villa Minimo. 2007 DAAD Jahresstipendium 2008 Postgraduiertenstipendium des Freistaates Thüringen 2008 Meisterschüler der Universität der Künste Berlin 2009 NaFÖG Stipendium des Berliner Senats seit 2009 künstlerischer Mitarbeiter an der Kunsthochschule Berlin Weißensee
The project Two within close range is an investigation of urban spaces that remain private or inaccessible despite their public significance. The urban structures and familiar places - a park and a construction site with a disputed past - are used to reflect the socio-political issues in the area outside the walled city of Jerusalem. Instead of remaining invisible and unnoticeable in the everyday environment, aspects of contemporary experience of place are revealed through observations of the usage patterns of the selected sites, the Rockefeller Garden and the Nusseibeh building. In this way, they become the centre of attention. In the work, the two sites are represented through still images, video and 8 mm film corresponding with written narratives weaved together in an attempt to re-write and expand what already exists as the oral history of these places. The written narratives deal with the recent past of the area, as well as historical and political narratives, through a more descriptive and spatial approach. By using official information, personal stories collected from the area and fictional elements, a mix of voices and positions appear in order to reproduce and examine recent, at times unnoticed, history.
Maj Hasager is a Danish artist and filmmaker based in Copenhagen, Denmark. She studied photography and fine art in Denmark, Sweden and the UK, earning an MFA from Malmö Art Academy, Sweden. Her work deals with power structures, identity, memory, the construction of history, and architecture, looking at how these interlinked phenomena are interpreted and represented culturally and spatially. Her artistic approach is research-based and interdisciplinary, and she works predominantly with text, sound, video and photography. She has exhibited her work internationally in events and institutions such as; Society Acts, Moderna Museet Malmö (2014), A voice of ones own, Malmö Konstmuseum (2014), Past Upon Past, Red Barn Photo Gallery, Belfast, Ireland (2013), Decembers, LAZNIA Centre for Contemporary Art, Gdańsk, Poland (2012), Liverpool Biennial, UK (2010). She has been awarded grants in support of her work from the Danish ArtsCouncil, The Danish Arts Foundation, Arab Fund for Arts and Culture (Beirut, Lebanon), ArtSchool Palestine, Danish Centre for Culture and Development and the Danish Arts Agency. She is the programme director of Critical and Pedagogical studies at Malmö Art Academy, and is a guest lecturer at the International Academy of Art Palestine, Dar al-Kalima College, Bethlehem and University of Ulster, Belfast.
There is a huge amount of well-known media reports recorded in Sarajevo during the Siege (1992-1996). Media framed those events, streets, places and people into well-known images, common representations of war. Audience around the world was/is able to watch such imagery, over and over again. Adla Isanović erased the whole urban scene and context out of it, leaving only images of people. In that way, she explores how does the audience`s relationship to such imagery of people, whose context is erased-change. After pictures, what remains? What is our relationship with such images, representations, subjectivity, knowledge, with facts, feelings, emotions and experiences?
Adla Isanović Born 1977 in Sarajevo (Bosnia and Herzegovina). Lives and works in Sarajevo. She holds a MA in New Media, as well as a MA in Critical, Curatorial, Cybermedia Studies (Geneva, Switzerland). She works at the Academy of Fine Arts Sarajevo as Assistant professor on the courses on Multimedia. Furthermore, she was a visiting lecturer at the International University Sarajevo, as well as at the Academy of Performing Arts Sarajevo. Her previous engagements include a work as a researcher/analyst at the Mediacentar Sarajevo. She has been engaged on numerous local and international projects in the fields of culture and art. Her artworks were presented in Bosnia and Herzegovina, Austria, Switzerland, Slovakia, Montenegro, Ireland, Netherlands, Great Britain, Latvia, Italy, Germany, Greece, France, Canada, Japan, Columbia, etc.
Last Person Shooter examine a range of both human and mechanical modes of vision. By way of a series of historical scenes reconstructed as 3D architectural models, the historical context of machine vision and its underlying concepts are conjured. These models are explored by an invisible protagonist, embodying the familiar, yet antiquated aesthetic of a first-person shooter. The work opens with a reconstruction of the assassination of Ahmed Jabri, a Palestinian militant who was targeted by an Israeli drone in November 2012. The assassination was documented simultaneously both by Palestinian passersby and by the IDFs drone, creating two parallel, conflicting narratives: these were then uploaded to Youtube and tweeted, in what was in effect a war of images. The video leads into a dreamlike digital desert, evoking the Cuban Missile Crisis and its significance for the development of satellite reconnaissance during the 1960s. The protagonist embodies a birds-eye view, exploring the blind spots and prejudices of such varying perspectives. Finally, the film concludes with a reenactment of a video shot by an American soldier in Afghanistan in a first-person perspective. The footage offers an immersive, bleak representation of 21st century warfare and its mediation.
Adam Kaplan is an artist, a graduate of the Fine Arts department in Bezalel Academy in Jerusalem and the Academy of Fine Arts Vienna. Born in Jerusalem, he currently lives between Montreal and Berlin where he is studied under Hito Steyerl as a guest student in the Universität der Künste. Boaz Levin is an artist and writer based in Berlin. He studied at the Bezalel Academy of Arts and Design in Jerusalem and under Hito Steyerl at the Universität der Künste in Berlin.
WAR ZONE explore les tensions entre les technologies et leur héritage militaire. La majorité des ruptures technologiques profondes étant issues de la recherche militaire, leur diffusion dans le domaine public n`est-elle pas une propagation des valeurs idéologiques dans lesquelles elles ont été produites? "Il nest pas superflu de rappeler [...] le lien originel entre technologies militaires et technologies du réseau (larpanet, ancêtre dinternet, a été développé par la DARPA, lagence américaine chargée des projets en recherche avancée pour la Défense). [...] Lartiste reconstitue en vision subjective trois trajectoires de missiles dans le logiciel Google Earth, à partir des coordonnées réelles. Celle dun missile V2, développé par les nazis, tiré de la Hollande vers lAngleterre en 1945 (dont limpact est encore visible dans les images satellites actuelles), un Scud tiré du Koweït vers lArabie Saoudite pendant la guerre du golfe et, enfin, un missile air sol tiré dIsraël vers Gaza en 2014. «Cest grâce à la fusée V2 équipée dune caméra quon a pu voir la première image de la Terre vue de lespace et lincurvation de la planète». Le résultat est hypnotique, générant un sentiment mitigé de fascination et deffroi. En train de chevaucher notre missile à la manière dun Docteur Folamour, on observe pensif lévolution de ces instruments de mort, de la précision médiocre des V2 aux frappes chirurgicales dIsraël, la nation qui compte le plus grand nombre de start-up, notamment dans la cyberdéfense, et où larmée est le principal creuset de linnovation." Marie Lechner
The artist Nicolas Maigret exposes the internal workings of media, through a reflection on their errors, dysfunctions, limitations or failure thresholds. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. After completing studies in intermedia art, Maigret joined the LocusSonus lab in France, where he explored networks as a creative tool. He teaches at Parsons Paris and cofounded the Art of Failure collective in 2006.
The Toxic Camera is a new short film for cinematic screening by British artists Jane and Louise Wilson, former Turner Prize nominees. The film reflects on the 1986 Chernobyl disaster, inspired by the film Chernobyl: A Chronicle of Difficult Weeks made by Soviet filmmaker Vladimir Shevchenko in the days immediately following the accident. On processing his film, Shevchenko noticed sections of it were heavily pockmarked and affected by static interference, coinciding with the sound of his Geiger counter measuring radiation, and realised that radiation was effectively visible on the film material itself. The Wilsons film explores interconnecting stories from the interviews conducted with Chernobyl veterans and with Shevchenkos film crew, 25 years after the incident. The narrative includes the story of the camera that Shevchenko used which became highly radioactive that it was subsequently buried on the outskirts of kiev. The film is a reflection on the material nature of the film and considers the human impact of disasters such as Chernobyl.
JANE AND LOUISE WILSON BORN 1967 Great Britain They live and work in London. EDUCATION 1996 Deutscher Akademischer Austauschdienst Berliner Kunstlerprogramm (Jane and Louise) 1993 Barclays Young Artist Award 1990-92 Goldsmiths College, London, MA Fine Art (Jane and Louise) 1986-89 Duncan of Jordanstone College of Art, Dundee, BA Fine Art (Louise) Newcastle Polytechnic, BA Fine Art (Jane) TWO PERSON EXHIBITIONS 2010 Gul Benkian, Lisbon Helga de Alvear, Madrid EMPAC, Troy, New York 2009 Animate, British Film Institute Gallery, Southbank, England Talbot Rice Gallery, Edinurgh, Scotland Musée d'Art Contemporain de Montreal 2008 303 Gallery, New York 2006 "The New Brutalists", Lisson Gallery, London Haunch of Venison, Zurich JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 2004 De Appel, Amsterdam Bergen Art Museum, Bergen, Norway Socrates Sculpture Park, New York Erewhon, 303 Gallery,New York Fondazione Davide Halevim ʻA Free and Anonymous Monument', Pori Art Museum, Pori, Finland Umea Bildmusset, Umea, Sweden 2003 ʻA free and anonymous monument, BALTIC, England (travelling to Kunsthaus, Bregenz) Lisson Gallery, London Centro de Fotografia, Salamanaca 2002 Kunst-Werke, Berlin, Germany 2000 Las Vegas, Graveyard Time, Dallas Museum of Art, Dallas, Texas Star City, 303 Gallery, New York Bernier/Eliades, Athens, Greece Stasi City & Crawl Space, MIT List Visual Arts Centre, Cambridge, MA 1999-2000 Turner Prize, Tate Gallery, London 1999 Jane & Louise Wilson, Serpentine Gallery, Kensington Gardens, London, U.K. Gamma, Lisson Gallery, London, U.K. 1998 Stasi City, 303 Gallery, New York, NY Hamburg Kunsthalle, Hamburg, Germany Milwaukee Art Museum, Milwaukee, WI H & R Projects, Brussels, Belgium Film Stills, Aki-Ex Gallery, Tokyo, Japan 1997 Stasi City, Kunstverein Hannover, Germany, travelling to Kunstraum Munich, Germany; Museum of Contemporary Art, Geneva, Switzerland; and Kunstwerke, Berlin, Germany Jane and Louise Wilson, LEA, London JANE AND LOUISE WILSON TWO PERSON EXHIBITIONS (continued) 1996 Galleria S.A.L.E.S., Rome, Italy, as part of the British Art Festival (exh. cat.) 1995 Normapaths, Chisenhale Gallery, London, U.K., and Berwick Gymnasium Gallery, Berwick-upon-Tweed, U.K. (exh. cat.) Crawl Space, Milch Gallery, London, U.K. 1994 Routes 1 & 9 North, AC Project Room, New York, NY Crawl Space, British Project II, Galerie Krinzinger, Vienna, Austria JANE AND LOUISE WILSON GROUP EXHIBITIONS 2010 ʻStar City The Future Under Communism, Nottingham Contemporary, England Imaginario da Paisagem, Centro de Artes Visuais, Coimbra, Portugal The Science Of Imagination Ludwig Museum, Budapest, Hungary 2009 "Of Other Spaces", Columbus College of Art & Design, Columbus, OH Sharjah Biennial 9, United Arab Emirates 2008 Quad Gallery, Derby, England 2007 Sounding the Subject, MIT List Visual Arts Center, Cambridge, Massachusetts, October 11December 21 "Crossing Walls", Centro Atlantico de Arte Moderno, Grand Canary Palms, Spain "Temptation of Space", Louis Vuitton, Paris "Reconstruction #2", Sudeley Castle, Winchombe, Gloustershire "Double Vision", Deutsche Bank, New York 2006 "Out of Time", Museum of Modern Art, New York "Serpentine Gallery Marathon", London "Space is the Place", Cranbrook Art Museum, Bloomfield Hills, Michigan 2004 The Raft of the Macumba, Les Abattoirs, musée d`art moderne et contemporaine, Toulouse Dream Extensions, S.M.A.K. Museum of Contemporary Art, Belgium Printemps du Septembre, Toulouse Shhh ., Victoria and Albert Museum JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2003 Unlimited Edition, Millais Gallery, Southampton VideoMix, Arario Gallery, Korea Here is Elsewhere, MOMA, Queens, NY Crosscurrents at Century's End: Selections from the Neuberger Berman Art Collections, Henry Art Gallery, University of Washington, Seattle, WA (travelling To Norton Museum of Art, West Palm Beach, Florida; Tampa Museum of Art, Tampa, FL; and the Chicago Cultural Center, Chicago, IL) Bewitched, Bothered, andBewildered, Migros Museum fur Gegenwartskunst, Zurich 25 Hours, TheVideoArtFoundation & UNXposed, Barcelona, Spain 2002 Baltic Centre for Contemporary Art, England, inaugural exhibition The GAP Show; Young Critical Art from Great Britain, Museum am Ostwall, Dortmund, Germany Screen Memories, Contemporary Art Center, Art Tower Mito, Japan Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Artcurated by John B. Ravenol, Virginia Museum of Fine Arts, Richmond, VA Wallflowers, Kunsthaus Zurich, Switzerlan 2001 Beau Monde, curated by Dave Hickey, SITE Sante Fe, NM W, Musée des Beaux-Arts, Paris, France Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland Public Offerings, MOCA, Los Angeles Double Vision. Galeri für Zeitgenössische Kunst, Leipzig EGOFUGAL, The 7th International Instanbul Biennial, Instanbul, Turkey (traveled to Tokyo Opera City Art Gallery, Tokyo, Japan),(exh.cat) Zero Gravity: Art, Technology and New Spaces of Identity, Palazzo delle Esposizioni, Rome, Italy Magazin 3, Stockholm, Konsthall, Stockholm The Wastland, Desert and Ice: Barren Landscapes in Photography, Atelier Augarten, Wien, Austria, (exh.cat) No world without you Reflections of identity in New British Art, Herzliya Musuem of Art, Israel 2001 A Space Oddity, The Colony Room Club, London (exh. cat) JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 2000 Art Science & Technology, New Greenham Enterprise, Newbury Point of View Works from a Private Collection, Richard Salmon Gallery, London, UK Age of Influence: Reflections in the Mirror of American Culture, curated by Francesco Bonami and Elizabeth Smith, Museum of Contemporary Art, Chicago Dream Machines, curated by Susan Hiller, Dundee Contemporary Arts, Scotland, touring to Mappin Art Gallery, Sheffield and Camden, Arts Centre Images Festival, Toronto MIT List Visual Arts Center, Cambridge, MA Film/Video Works Lisson Gallery at 9 Keane Street, Lisson Gallery, London, A Shot in the Head, Lisson Gallery, London, U.K. Annika von Hausswolf, Jane & Louise Wilson and Weegee, Magasin 3, Konsthall, Stokholm, Sweden Media City Seoul, Korean Biennial Vision and Reality, Lousiana Museum for Modern Art, Copenhagen, Denmark Historisches Museum Frankfurt, Germany Trace, Liverpool Biennial, Tate Gallery, London This Other World of Ours, TV Gallery, Moscow Chac Mool Contemporary Fine Art, in collaboration with Lisson Gallery, West Hollywood, CA Clues, Monte Video Netherlands Media Art Institute, Amsterdam 1999 Carnegie International 1999/2000, Carnegie Museum of Art, Pittsburgh, PA Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art, San Francisco Museum of Modern Art, San Francisco, CA Gamma, Serpentine Gallery, London, UK View 1, Mary Boone Gallery, New York, NY In the meantime, Galeria Estrany de la Mota, Barcelona, Spain Spectacular Optical, Thread Waxing Space, New York, NY Earth, Water, Air, DC Moore, New York, NY Then and Now, Lisson Gallery, London, UK Mise en Scène, Grazer Kunstverein, Austria (exh. cat.) Black Box, touring exhibition (exh. cat.) Malos Habitos, Soledad Lorenzo Gallery, Madrid, Spain Poor Man's Pudding; Rich Man's Crumbs, AC Project Room, New York, NY Turner Prize Exhibition, Tate, Britain JANE AND LOUISE WILSON GROUP EXHIBITIONS (continued) 1998 View 1, Mary Boone, New York In the meantime, Galeria Estrany de la Mota, Barcelona Spectacular Optical Threadwaxing Space, New York Earth, Water, Air, DC Moore, New York Then and Now, Lisson Gallery, London 1997 Mise en Scène, Grazer Kunstverein , Austria (exh cat). Black Box, touring exhibition (exh. cat) Malos Habitos, Soledad Lorenzo Gallery, Madrid, Spain, (cat.) Hyperamnesiac Fabulations, The Power Plant, Toronto, Canada (exh. cat.) Remake -- Re-model, Centrum Beeldende Kunst, Rotterdam, The Netherlands (exh. cat.) Ein Stuck vom Himmel, Kunsthalle Nuremburg, Nuremburg, Germany Follow Me, Britische Kunst an der Unterelbe, billboards between Buxtehude and Cuxhaven, Germany Pictura Britannica, Museum of Contemporary Art, Sydney, Australia; Art Gallery South Australia, Adelaide, Australia; and City Gallery, Wellington, New Zealand Broken Home, Greene Naftali, New York, NY Hospital, Galerie Max Hetzler, Berlin, Germany Instant, Green Room, Manchester, UK Young British Artists, Roslyn Oxley 9 Gallery, Paddington, Australia More Than Real, Palazzo Reale, Caserta, Italy (exh. cat.) 1996 Co-operators, Southampton City Art Gallery, Southampton City, U.K.; and Huddersfield Art Gallery, Huddersfield, U.K. (exh. cat.) Ace! Arts Council New Purchases, Hatton Gallery, Newcastle, U.K.; Harris Museum, Preston, U.K.; Ikon Gallery, Birmingham, U.K.; Mappin NowHere, Louisiana Museum, Humlebaek, Denmark (exh. cat.) Auto Reverse 2, Le Magasin, Grenoble, France Trailer, Ynglingagatan Gallery, Stockholm, Sweden Der Umbau Raum, Künstlerhaus Stuttgart, Germany British Artists, Rhona Hoffman Gallery, Chicago, Il Nach Wiemar, Kunstsammlungen zu Weimar, Germany (exh. cat.) JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1996 Quatros Duplos, Fundaçao Calouste Gulbenkian, Lisbon, Portugal (exh. cat.) Files, Bunker, Berlin, Germany Full House, Kunstmuseum Wolfsburg, Germany (exh. cat.) Attitude Adjustment, 5th New York Video Festival, Lincoln Center, New York, NY Dei Popoli, Filmfestival, Florence, Italy (exh. cat.) 1995 The British Art Show 4, South Bank Exhibition Centre, Edinburgh, Scotland; Manchester, U.K.; and Cardiff, U.K. (exh. cat.) Young British Artists, Eigen + Art, Independent Art Space, London, U.K. Corpus Delicti: London in the 1990's, Kunstforeningen, Copenhagen, Denmark (exh. cat.) Kine Kunst ʻ95, Casino Knokke, Belgium Speaking of Sofas..., Soho House, London, U.K. Mysterium Alltag, Kampnagel, Hamburg, Germany, with Jane Wilson, Gillian Wearing, Tracey Emin, and Tacita Dean (exh. cat.) 1994 General Release, British Council selection for Venice Biennale, Scuola San Pasquale, Venice, Italy (exh. cat.) Here and Now, Serpentine Gallery, London, UK Fuori Uso, Stabilimenti Ex-Aurum, Pescara, Italy Wild Walls, Stedelijk Museum, Amsterdam, The Netherlands (exh. cat.) Interno 1, Galleria Raucci/Santamaria, Naples, Italy Gang Warfare, Independent Art Space, London, UK Kunst aus London, Mysterium Alltag, Hammoniales Festival der Frauen, Hamburg, Germany Beyond Belief, Lisson Gallery, London, UK Domestic Violence, Gio Marconi, Milan, Italy Facts of Life, Galerie 102, Düsseldorf, Germany Audience 0.01, Trevi Art Museum, Trevi, Italy New Reality Mix, 18 Högbergsgatan, Stockhom, Sweden The Ecstasy of Limits, Gallery 400, University of Illinois, Chicago, IL; and Galerie Valeria Belvedere, Milano, Italy Use Your Allusion: Recent Video Art, Museum of Contemporary Art, Chicago, IL Le Shuttle, Künstlerhaus Bethanien, Berlin, Germany JANE AND LOUSIE WILSON GROUP EXHIBITIONS (continued) 1993-94 BT New Contemporaries, Cornerhouse, Manchester, U.K.; Orchard Gallery, Derry, U.K.; Mappin Art Gallery, Sheffield, U.K.; City Museum and Art Gallery, Stoke-on-Trent, U.K. (exh. cat.) 1993 Barclays Young Artists, Serpentine Gallery, London, U.K. (exh. cat.) Underlay, Renwick Street, New York, NY The Daily Planet, Transmission Gallery, Glasgow, Scotland Over the Limit, Arnolfini, Bristol, U.K. (exh. cat.) Summer Show, David Zwirner Gallery, New York, NY Wonderful Life, Lisson Gallery, London, UK Lucky Kunst, Silver Place, London, UK Close Up, 42nd Street, New York, NY Walter Benjamin's Briefcase, curated by Andrew Renton, Moagens, Oporto, Portugal 1992 Inside a Microcosm, Summer Show, Laure Genillar Gallery, London, U.K. Into the Nineties 4, Mall Galleries, London, U.K. JANE AND LOUISE WILSON BIBLIOGRAPHY 2010 Jane & Louise Wilson Art Review, April Schwabsky, Barry, review, Artforum, January 1 2009 Sherwin, Skye, Jane & Loise Wilson, Art Review, March, p.25 Brown, Mark, Kubrick Holocaust Film to be told in installation, The Guardian, January 3 2008 Review, War Works in Walsall, Art World, Dec. 2007-Jan. 2008 2006 Hubbard, Sue, "What`s Behind the Screens?", The Independent, May 24, p. 20 Ebner, Jorn, review, Frieze Jan/Feb 2004 Avgikos, Jan, review, Artforum, December, p. 192 Vanderbilt, Tom, Best of 2004, Artforum, December, p. 170 Schwendener, Martha, review, Time Out, Oct 28-Nov4, p. 77 Smith, Roberta, review, The New York Times, Oct 29, p. E38 Driel, Anne van, Het mooie van falende architectuur, de Volkskrant, January 22nd, p. 16-17 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2003 Smith, Roberta, When an Artist's Eye Guides a Museum Show, The New York Times, December 12th, E43 Dillon, Brian, Frieze, issue 78, October, p.129-130 Jane and Louise Wilson: A free and anonymous monument, The Art Newspaper Searle, Adrian, You are here, The Guardian, September 16 Lunn, Felicity, Bewitched, Bothered, and Bewildered, Artforum, September, p. 234 Glover, Michael, review, ARTnews Summer, Vol. 102, No.7, p.170-171 2002 Metzger, rainer, The Waste Land, Kunstforum International, January-March, No. 158, Lamm, April Elizabeth, review, tema celeste, May-June, No. 91, p. 87 Simmermon, Jeff, (interview), the ghosts of paranoia, Punchline, June 27, Is.203, p. 8-11 Gopnik, Blake, Here&Now, The Washington Post, June 16, p. G3 Art in Review (date book), The New York Times, Friday June 28 Jones, Steven L., Art Meets Technology, Style Weekly, July 10 Katy Deepwell, Egofugal, Woman artists at the 7th Istanbul Biennal, n. paradoxa, international feminist art journal, (Eco) Logical, vol. 9/2002, p. 74-83, interview with Louise Wilson, p. 79-81 Paul Usherwood, B. Opened, Art Monthly, No. 259, September 2002, p. 1-4 Campbell, Clayton, Spotlight: Beau Monde, Flash Art, October, Vol XXXIV, No. 220, p. 98 Israel, Nico, review (ʻPublic Offerings', MOCA,L.A.), Artforum, September, Vol. XL, No. 1, p. 189 V Magazine, No. 11, May-June, p. 38 2001 Cash, Stephanie, review (303 Gallery), Art in America, Vol. 80, No. 5, May, p. 175-6 Ichikawa, Akiko, review, NYArts, Vol. 6, No. 2, February, p.30 Bonascossa, Ilaria, review (303 Gallery), tema celeste: contemporary art, XVIII, No. 83, January -February, p.92 Clifford, Katie, review, Art News, January, p.149 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Schwendener, Martha, review (303 Gallery), Artforum, Vol. XXXIX, No. 4, December, p. 144 Arning, Bill, Carnegie Dilly: A Remarkable Exhibition in Pittsburgh Breathes New Life into the Mega-Show, Time Out New York, November 25 Luyckx, Filip, Critical Review: Jane and Louise Wilson, Sint-Likasgalerij, Brussel, No 2, November, p.10-11 Levin, Part: Jane & Louise Wilson, review, The Village Voice, October 31, p. 102 Young, Laura, Stargazing (review), Washington Square News, New York, NY, October 27-29, p.9 Griffin, Tim, Back in the U.S.S.R, Time Out New York, October 26, Is. 266 Johnson, Ken, Art in Review (303 Gallery), The New York Times, Friday, Caniglia, Julie, New Sensation, Harper's Bazaar, September, pp. 436-38 Williams, Gilda, Jane & Louise Wilson in the Light of the Gothic Tradition, Parkett, No. 58, pp. 15-18 Godfrey, Tony, London, Roni Horn, Craigie Horsfield, and Contemporary Artists' Video, Burlington Magazine, July, p. 456 -58 McQuaid, Cate, review, Art News, June, p. 152 Hillman, James, Plural Art, tema celeste, Italy, May-June, p. 108-182 Glover, Michael, The Back Half, New Statesman, May 22, p. 43 Dixon, Andrew Graham, The Art od Success, Vogue, London, May, p. 179-92 Packer, William, Screening Time, Financial Times, London, May 6 Cocker to Judge New Brit Art Award, D-Pict, London, April/May This World of Ours, Contemporary Visual Arts, Is. 25, p. 8 Moynes, Jojo, Film of car trip win £24, 000 art award, The Independent, London, April 19, p. 7 IO'R, The New Brits on the Block, Tate, The Art Magazine, London,Spring, p. 8 JL, Dream On, Tate, The Art Magazine, Spring, p. 14 1999 Carnegie Itnternational, Masterpiece, Spring, p. 88 2000 Kissick, John, Feelin' Mighty Real: The 1999/2000 Carnegie International, New ARTE Examiner, March, p.38 Lubbock, Tom, Has Modern At Lost its Bottle, The Independent Review, London, March 11, p. 11 Leffingwell, Edward, Carnegie Ramble, Art in America, No. 3, March, p. 86-94 Temin, Christine, Disquiet, please, The Boston Globe, February 11 Mc Milan, Duncan, Like a Dream, The Scotsman, February 11, p. 24 Jones, Jonathan, Warning: this woman is inside your head, The Guardian, London, February 10, p. 10 Siegel, Katy,Carnegie International, Artforum, pp.106 Jones, Jonathan, Liverpool Biennial, frieze, Is. 50, January/February, p. 96-7 Biennale di Liverpool, Tema Celeste, February Boyer, Charles-Arthur, Je est un Autre, Beaux Arts, Nr, 189, February, p. 48 Carrier, David, Pittsburgh Carnegie International, Burlington Magazine, Feb. Lewison, Cedar, Turner Prize, Flash Art, January February, p. 61 Gorucheva, Tanya, This World of Ours, Flash Art, January February, p.62 Schwabsky, Barry, Twins who share an enigmatic vision , The New York Times, January 2, p.44 Very New Art 2000, Bijutsu Techo, Japan, vol. 52, no. 782, January Hickey, Dave, Double or Quits, frieze, pp. 65-66, Issue 50, Jan-Feb Sherman, Mary Twin Brit Video Artists Delight in Shades of Dark Visual Arts, The Boston Herald, January 30 Schwalb, Harry, Carnegie International: Carnegie Museum of Art, Pittsburgh, Art News, January Dailey, Meghan, Pittsburgh, 1900/2000 Carnegie International, Art Press nternational, Is. 253, January, p. 12-14 Wu, Chin-Tao, Special Report, Art China, January 1999 1999 Turner Prize Feature, Zoo, Lonson, January, Is. 4, p. 155 Leith, Caoimhin Mac Giolla, Liverpool Biennial Of Contemporary Art, Artforum International Special Issue ʻBest of the 90's', December, p. 158 Turner, G, Pittsburgh: The Carnegie International, Flash Art, Nov Dec, Is. 209, p. 57 Villers, Sarah, A Thought that Counts, The Herald, Glasgow, Dec.16, p. 19 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) Thomas, Mary, 11 videos, Two-Films Are Among Highlights, Post Gazette, November 28 Shearing, Graham, Reviewing the Carnegie International, Tribune Review, Londond, November 28 Arning, Bill, Carnegie Dilly, Time Out New York, November 25 1999 Falkenstein, Michelle, What's So Good About Being Bad, ART News, November , p.159-163 Reardon, Valerie, Trace, Art Monthly, November, No. 231, Potter, Chris, The Carnegie International Explores Boundaries in a Complicated World, Pittsburgh City Paper, November 3 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Smith, Edward Lucie, Edward Lucie Smith is sickened by the rumors over ʻSensation' [ ], Art Review, November 1, p. 26 Clay, J, Artist Aiming to Clean Up, Leicester Mercury, London, October 29, p. 19 Walter, Natasha, It's Time for Emin to make her bed and to move on, The Independent, London, October 25, p. 5 McEwen, John, Eminence Without Merit, Sunday Telegraph, London, October 24, p. 11 Miler, Catherine, Real Turner stands up to prize namesakes, Sunday Telegraph, London, October 24, p. 11 Gibbons, Fiachra, Controversy Over Bed will not rest, The Guardian, London, October 23, p. 10 Johnson, Paul, For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all, Daily Mail, London, U.K., October 23, p. 12 Lusher, Tim, All Aboard the Turner Bandwagon, Evening Standard, London, October 23, p. 34 Searle, Adrian, Tracey's pants but McQueen's the real pyjamas, The Guardian London, October 20 Alberge, Dalya, It's not a dirty bed, it's a Turner prize enrty, The Times London, October 20 Watson-Smyth, Kate Artist's abortion tape and unmade bed lead Turner prize short list, The Independent, London, October 20 Kitchen, Clare, The dirty bed that could bring Emin a Turner prize, The Daily Mail , London , October 20 Smith, David, Is this art? We think we'll just sleep on it, The Express, London, October 20, p. 35 Gibbons, Fiachra, Scandal sheets envelop Turner prize, The Guardian, London, October 20, p. 5 Cork, Richard, Celluloid Heroes and Video Villains, The Times, London, October 20th Dormant, Richard, Pick me, I'm Tracy, Daily Telegraph, London, October 20, p. 23 Reynolds, Nigel, Soiled bed shortlisted for Turner art prize, Daily Telegraph, London, October 20, p, 5 Alberge, Dalaya, It's not a dirty bed, it's a Turner Prize entry, Daily Telegraph, London, October 20, p. 7 Sumpter, Helen, Off the Walls, The Big Issue, October 18, p. 25 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 2000 Double Take, The Daily Telegraph, London, October 13, p. 11 Magnetic North attracts the crowds, The Journal, Newcastle, October 12, p. 17 Fame's mized blessing when your house is destroyed, Sunday Herald, London, October 10, p. 6 Adams, Tim, Eyes on the Prize, The Observer, Life Magazine, London, October 10, p. 30 The Lowdown, Mail on Sunday, London, October 10, p. 39 Glazebrook, Mark, Keep it Underground, The Spectator, London, ctober 9 Wired Magazine, review, October Searle, Adrian, Venice on the Mersey, The Guardian, London, September 28 Cumming, Laura, Stasi headquarters twinned with greenham common, The Observer, London, September 26 La Biennale di Liverpool: Tracce, Flash Art, Sept Oct, Is. 218 Kent, Sarah, Twin Peeks, Time Out London, September 22 Dorment, Richard, Down the corridors of power, The Daily Telegraph , London, September 22 Cork, Richard, A marathon of horrors - but is it safe? ,The Times, London, September 22 Lubbock, Tom, Dreams in the corridors of power , The Independent, London, September 21 Kent, Sarah, Who dares twins, Time Out , September 15-22, 1999 Darwent, Charles, Are you seeing double yet?, The Independent London, September 19, Januszczak, Waldemar, Having a bad trip, The Times, London September,19 Moore, Rowan, Fearful symmetry, Evening Standard , London, September, 19 Russel, John, The Big Show: Jane and Louise Wilson, The Times, London, September 18, p. 42 Glancey, Jonathan, A rat's eye view of the commons, The Guardian London, September, 15 Caplan, Nina, Jane and Louise Wilson, Metro, September 13, p. 18 Williams, Murphy, Double Exposure, The Daily Telegraph, London September 4 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Van der Wyck, Edina, Double Exposure, Telegraph Magazine, London, Sept. 4 Jones, Jonathan, Cover Ghostbusters, article Seeing double, The Guardian, London, Friday review cover story, September 3 Shone, Richard, preview, Artforum, September, p. 45 Shone, Richard, Turner Points, Artforum, September, p. 48 Brenson, Michael, Fact and Fiction, Artforum International, September, p. 67 Graham-Dixon, Andrew,Twin Peaks, British Vogue,Sept. pp.316-321 Poynter, Phil, Twin Peaks. Vogue, September, 1999, pp. 318-321. Manby, Joe, Dossier of a Madwoman, Make ʻUnder Surveilance', London, August , No. 84 Leith, William, We are a Camera, The Independent , London August 29, 1999 Bishop, Claire, review, Flash Art, summer, p. 13 Marlow, Tim, Gamma, Sight & Sound, London, July 28 Wainwright, Jean, Dual Perspectives, Hot Shoe International, London, July Krygler, Irit, Letter fromm L.A., artnet.com Cumming, Laura, The jury's still out , The Observer, London, June 6, p.10 Thorncroft, Anthony, Turner contendors focus on moving image, Financial Times, London, June 4, p. 12 Gibbons, Fiachra, Artists in camera for Turner prize, The Guardian, London, June 4, p.7 The art rebels are turning respectable, Daily Telegraph. London, June 4, p. 10 Alberge, Dalya, Turner Prize officially round the bend, The Times, London, June 4, p.5 Burdon, Jackie, Painters shunned as Turner Prize short list favours moving images, The Scotsman, June 4, p.8 Vine, Andrew,Shortlist adds to the role of notoriety, Yorkshire Post, June 4, p.10 Artists chase £20,000 prize, Daily Post, (Liverpool), U.K. June 4, p.10 Slotover, Mathew, Young British Art: The Saatchi Decade, frieze, Is. 47, June, July, August, p. 112 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1999 Schwabsky, Barry, review, Artforum,May, p. 187 Williams, Gilda, Jane & Louise Wilson, Art Monthly, April, No, 225, p. 26-7 Coronelli, Marconi and Chiara, Le Gemelle Wilson Nel Labirinto della Paranoia, photo (Edizione Italiana), April, No. 25 Buck, Louisa, UK artists Q & A: Jane and Louise Wilson, The Art Newspaper, London, March Smithson, Helen, Legacy that's not common, Hampstead & Highgate Express, London, March 26 Costa, Maddy, Jane and Louise Wilson, Hot Tickets / Evening Standard,4/ 25 Kunstmarkt, Frankfurt Allgemeine Zeitung, Germany, March 20, p.52 Exhibition diary, World of Interiors, London, March Jane and Louise Wilson: Gamma, The Guardian, London, March 2 Jones, Jonathan, Meet the Wilson sisters, with Stasi in their eyes, The Observer, London, February 14 Kent, Sarah, Art, Time Out, London, February 17, No. 1487, p.5 IO'R, Twin Peak, Tate Magazine, Spring, issue 17, pp. 6-7 Installation Gamma, The Times/Metro, London, February 13, p.4 Searle, Adrian, Absolutely Bunkers, The Guardian, London, February 20, p.5 Aldersey-Williams, Hugh, Bunker Mentality, New Statesman, London, February 26 Jones, Jonathan, Be confident. Be happy. Splash it all over, The Observer, London, January 3 1998 Adams, Brook, review, Art in America, October, p. 131 Wakefield, Neville, Jane & Louise Wilson, Artforum, October, p.112-113. Smith, Roberta, review, The New York Times, June 5, p. E37 Review, The New Yorker, June 15 Voice Choices review, The Village Voice, June 9, p. 102 Newton, Douglas, review, New York Contemporary Art Report, June, p. 82 Review, New York Now, http://www.nynow.com/arts_eats/ 1997 Kyriacou, Sotiris, The Rise and Rise of British Video, Contemporary Visual Arts, Issue 14 Jane & Louise Wilson, Stasi City, Kunstverein Hannover, No. 1, pp. 8-9 Barrett, David, First LEA Gallery Exhibition, Art Monthly, London, Issue 212, p. 33-34 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1996 Williams, Gilda, review, Art Monthly, London, No. 193, February, pp. 25-26 Savage, John, Jane and Louise Wilson, Frieze, Issue 27, March-April, p. 66-67 Bevan, Roger, Lotta Action with Jake and Max, The Art Newspaper, London, March, p. 37 Tozer, John, Co-operators, Art Monthly, London, No. 194, March, pp. 26-28 Stange, Raimar, Im Banne des Mediums?, Kunst-Bullettin, Zurich, No. 5, May, p. 16-21 Barrett, David, Co-operators, Frieze, Issue 28, May, p. 64 1995 Jane + Louise Wilson, Blok Notes, Paris, No. 8, Winter, pp. 62-63 Norman, Geraldine, Turning the Tide in Venice, The Independent on Sunday, London, U.K., March 12 Baerwaldt, Wayne, Crawl Space: Jane and Louise Wilson, Art and Text, No. 52 Newman, Michael, Beyond the Lost Object: From Sculpture to Film and Video, Art Press, Press, Paris, No. 202, May, pp. 45-50 Archer, Michael, Home and Away, Art Monthly, London, No. 188, Jul-Aug, p. 8-10 Speciale Anteprima Fuori Uso ʻ95, Segno, Pescara GuignoLuglio, No. 141, June-July, p. 20-25 Kent, Sarah, Sound and Vision, Time Out, London, No. 1306, Aug 30-Sept 6, p. 24-27 Di Raddo, Elena, General Release, Tema Celeste, No. 53-54, Autumn, p. 88 Lutyens, Dominic, Jane & Louise Wilson, Chisenhale Gallery, What's On In London, London, December 13, p. 17 1994 Mooring, Letty, Sister Act, Women's Art, No. 56, Jan/Feb, pp. 10-11 Choon, Angela, Rebels of the Realm, Art and Antiques, April, pp. 56-64 Lillington, David, Monkey Business, Time Out, London, U.K., No. 1235, April 20-27, p. 41 Wigram, Max, British Art Special, The Face, No. 68, May, pp. 56-72 Graham-Dixon, Andrew, The dying of the light, The Independent, Tuesday, April 26, p. 23 Cork, Richard, All human life is misssing, The Times, Tuesday, April 26, p. 37 JANE AND LOUISE WILSON BIBLIOGRAPHY (continued) 1994 Stallabrass, Julian, Beyond Belief, Art Monthly, No. 177, June, pp. 29-30 Kastner, Jeffrey, Beyond Belief, Flash Art, Vol. XXVII, No. 177, Summer, p. 61 Tales of Not So Unexpected, Hampstead and Highgate Express, May 6 Hilty, Greg, Beside Themselves, Frieze, Issue 18, Sept-Oct, pp. 40-43 Muir, Gregor, Beyond Belief, World Art, Vol. 1, No. 2, June, p. 109 Wonderful Life, Nikkei Art, Japan, No. 61, October, p. 97 Jaio, Miren, Construyendo la Identidad, Lapiz, Spain, No. 106, pp. 12-19 1993 Lillington, David, True Brit, David Lillington on Wonderful Life at the Lisson, Time Out, London, U.K. , July 28 Dorment, Richard, Hypnotised by a Handful of Stars, The Daily Telegraph, London, U.K., August 11 Cottingham, Laura, Wonderful Life, Lisson Gallery, Frieze, Issue 12, September-October Wilson, Andrew, Wonderful Life, Lisson Gallery, London, Forum International, Belgium, Vol. IV, No, 19, Oct/Nov It's a Wonderful Life at the Lisson, Flash Art News, Vol. XXVI, No. 172, p. 60 Harada, Ruiko, From London, Bijutsu Techno Monthly Art Magazine, Vol. 45, No. 678, pp. 148-9 Jones, Gareth, Ouverture: Jane and Louise Wilson, Flash Art, Vol. XXVI, No. 173, Nov/Dec, p. 103 JANE AND LOUISE WILSON BOOKS AND CATALOGUES 2004 Jane and Louise Wilson: A Free and Anonymous Monument, Film and Video Umbrella, Baltic, Lisson Gallery UK. text by Giuliana Bruno Jane and Louise Wilson, De Appel Amsterdam (exh catalog) 2003 Crosscurrents at Century's End: Selections from the Neuberger Berman Art Collection, Neuberger Berman, New York Lajer-Barcharth, Ewa, Spaces of the Self: Some Recent Video Installations and the Notion of the Woman Artist, Biographien des organlosen Korpers, p. 133-150 JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 2003 Installations II l'empire des sens, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, Thames & Hudson, Paris, 136 2002 Outer & Inner Space: Pipilotti Rist, Shirin Neshat, Jane & Louise Wilson and the History of Video Art (exh.cat) curated by John B. Ravenol, with texts by Laura Cottingham, Eleanor Heartney, and Jonathan Knight Crary, Virginia Museum of Fine Arts, Richmond, VA The GAP Show, Young Critical art from Great Britain, Mueseum am Ostvall, Dortmund, text by Claire Doherty and Alexander Broun Beau Monde: Toward a Redeemed Cosmopolitalism, SITE Santa Fe's Fourth International Biennial (exh. cat.), curated by David Hickey, text by Louis Grachos 2001 Hypermental Rampant Reality 1950-2000 from Salvador Dali to Jeff Koons, curated by Bice Curiger, Kunsthaus Zurich, Zurich, Switzerland, p. 124, 141 2001 A Space Oddity, The Colony Room Club, London, UK, text by George Melly and Louisa Buck 2000 Carnegie International 1999/2000: Artists Reader, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA, p. 213 Jane and Louise Wilson: Las Vegas, Graveyard Time, Dallas Museum of Art, Dallas, Texas, (exh.cat), text by Suzanne Weaver Das Gedächtnis der Kunst, Historisches Museum Frankfurt, in colaboration with Kunsthalle Schirn Jane & Louise Wilson, Serpentine Gallery, London, U.K. (exh. cat) Young British Art, The Saatchi Decade, Both Clibborn Editions Video cult/ures, ʻGamma', Museum for Contemporary Art, Karlsruhe, Germany The British Art Show 4, National Touring Exhibitions, Arts Council Collection and Hayward Gallery, Cornerhouse Publications, London, (exh.cat) 1999 Seeing Time: Selections from the Kramlich Collection, San Francisco Museum of Modern Art, pp. 66-69 1998 Black Box, Film and Video Umbrella, touring exhibition (exh. cat.) 1997 Jane and Louise Wilson: Stasi City, (exh.cat), Kunstverein Hannover, Germany JANE AND LOUISE WILSON BOOKS AND CATALOGUES (continued) 1996 Co-operators, exhibition catalogue, Southampton City Art Gallery, Southampton, U.K. and Huddersfield Art Gallery, Huddersfield, UK NowHere, (exh.cat), Louisiana Museum, Humlebaek, Denmark 1996 Artisti Britannici a Roma, (exh.cat), Turin, Umberto Allemandi & C. 1995 Here and Now, (exh.cat), text by Sarah Kent, Serpentine Gallery, London, U.K. General Release, (exh.cat), British Council selection for the Venice Biennale, Scuola San Pasquale, Venice, Italy (exh.cat), Chisenhale Gallery, London, U.K. The British Art Show 4, (exh.cat), South Bank Art Centre 1994 New Contemporaries, (exh.cat), text by Stuart Morgan, New Contemporaries, London, U.K., Cornerhouse, Manchester, U.K., Orchard Gallery, Derry, U.K., Mappin Art Gallery, Sheffield, U.K. (exh cat.) 1993 Over the Limit, (exh.cat), text by Andrew Renton, Arnolfini, Bristol, U.K. MAGAZINE PROJECTS 1994 Aitken, Doug, Fashion, Ray Gun, Santa Monica, CA, Issue 22 VIDEO PROJECTS 1994 Use Your Allusion: Recent Video Art, Museum of Contemporary Art, Chicago, IL
An architect talks about the city he has built. Gradually we realise that the city is imaginary. His account is an attempt to give his ideas a fixed shape. This, in a nutshell, is the story of Thing. Screened at a very large scale, Thing, is an architectural universe that ceaselessly reveals its own virtuality for it exists only as a nebula of points wherein the camera, or actually, the point of view, wanders. Indeed, the technology used in Thing does not allow talking about a camera since it is made of 3D scans of urban spaces. Instead, we could talk about a point of view, a gaze, or even a body (that wanders). Thereby, a tension is generated between the mechanical register of space and its embodied perception. A tension or overlap between two sensing interfaces: the scanner and the body, without any need to determine whether there is a desire to reproduce the mode of sensing of the latter through the technology of the former. Unlike other works in which the animation is for the artist an occasion to create spaces without memory (precisely because animation does not capture anything), in Thing, the virtual universe does have a memory; the scanner does capture. The same memory that a body has or that is required in the learning of perception. Calling it Thing is a resistance to provide connotation beyond the signalling of a paradoxical for it is virtual materiality. Notwithstanding the nuances between authors and periods, the word "thing" in philosophical and psychoanalytic traditions has often been used to refer to the inaccessible, a stronghold of inexplicable emptiness on which meaning is built. Thing, is a film that is built from a text that progressively describes, creates, or builds a space. The dot and the word become thereby, parallel compositional elements. (Anna Manubens)
Anouk De Clercq studied piano in Ghent and film at the Sint Lukas Brussels University College of Art and Design. Her works explore the audiovisual potential of computer language to create possible worlds, many of which have a strongly architectonic character. She has received several awards, including the Illy Prize at Art Brussels in 2005 and a Prix Ars Electronica Honorary Mention in 2014. Her work has been shown in Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia, MAXXI, Centre dArt Contemporain Genève, International Film Festival Rotterdam, Ars Electronica, among others. Anouk De Clercq is affiliated to the School of Arts University College Ghent as an artistic researcher.
Hiding in plain sight, the photograph skims across the skin of reality. The work plays with the surface of the photographic image. Looking at how perceptual attention affects the surface of the image, revealing fractures on the infra slim surface.
Theodore Tagholm is a London based artist who has been working with time based media for over 15 years. Trained at Chelsea School of Art and Middlesex University.
First Fugue is an experiment to find a way of putting documentary images together as if in a fugue like state. A fugue is a dissociative disorder like amnesia, although it also compels the subject to drift both in space and in identity. A fugue is caused by extremely traumatic events.
Arjuna Neuman was born on an airplane, thats why he has two passports. He shows his work internationally with recent exhibitions in Germany at State of the Art and Haus Der Kunst der Welt; in Lebanon at Ashkal Alwan and Beirut Art Centre; in Canada at the Canadian Centre for Architecture and the Richmond Art Gallery; in France at Le Gaite Lyric; in Australia at Verge Gallery Sydney University; in Russia at the Moscow Museum; in USA at the Torrance Art Museum, Machine Projects and Human Resources amongst others. As a writer he has published articles in Relief Press, Into the Pines Press, The Journal for New Writing, VIA Press, Concord Press, Art Voices, and he is currently working on a text for E-Flux.com on the profit of smiling. Arjuna Neuman is based in Beirut and Los Angeles, where he founded the artist-run gallery and collective Concord.
Prima Vita is part of a series about mechanized landscapes. A short piece recorded in Barcelona´s container terminal from Montjuïc, a nearby hill overlooking the city. Huge tired cranes roll along aisles made of thousands of containers stacked on top of each other in an otherwise rigid matrix that provides for efficient storage and transport between large ships and trucks. The cranes are operated by a single driver assisted by computers in a carefully choreographed dance thru the meadows of invisible goods. Landscape is a machine part of larger machines, where humans, surface rolling vehicles and ships are gears in permanent interaction.
1974, photographer and architect. Graduated from the PUCMM in Santiago, Dominican Republic. I´m a founding member of Grupo Fotográfico de Santiago since 1996, a group of photographers from different backgrounds committed with promoting photography through exhibitions, lectures and workshops. I moved on to study architecture and urbanism at the Berlage Institute in Rotterdam in 2000 focusing on recent urban transformations through the landscapes of Rotterdam and Zuid Holland and eventually went on to work for the photographer Francesco Jodice and Multiplicity, in projects like Secret Traces and Uncertain States of Europe at the Triennale di Milano. Among other distinctions is the Wilfredo García international photography prize, first prize at the 2005 Rotterdam Architecture Biennale (Al_Caribe with Supersudaca) and being selected for the XXIV Bienal Eduardo León Jimenes. I`ve taught at several institutions in Latin America and Europe while working in collaborative projects and workshops as an independent architect and visual artist in projects on architecture, landscape and photography.
Timelessness is the key of this video. The quality is not referring to ignore time rather; its capacity to ignore the influence of Time-a vital ruler of our life. Every era carries thousands of master pieces. With the passage of time, number of pieces of a particular era reduces for less occupancy to the people of the following era. Its because the time changes reality. What can travel more must less influenced by time. From the first human to now, what is still constant? Human body and Nature. The video is about relationship of body with nature. Figure used in the video represents only body; actions are natural. The actions of figures are in playing mode, the purpose is absent but the pleasure is inevitable. The purposeless is meaningless- The truth that we are here and will not be. The audio exactly carries the screaming of the truth of that we are passing. The video with creates insecurity as it demolishes meaning of security. A very melancholic feeling of death but hints how to face? And finally how it brings color to life? The ending commentary- Body is for usage ..-depicts how the video is Optimistic about nothing.
Rafiqul Shuvo was born in 1982 in Dhaka, Bangladesh. He was from a national cricket academy and initially started his career as a cricketer but later on he moved in the field of visual arts and studied sculpture (B.F.A and M.F.A) in Dhaka University Faculty of Fine Arts. Back in 2012 he curated a major show named Only God Can Judge Me an art event in a abandoned factory which ran parallel to the Dhaka Art Summit. In the following year 2013 he curated another collective multimedia and avant-garde show called Mourn. He is the founder of OGCJMart a non-organizational collective along with his 12 artist friends. He works with his OGCJMart friends and he helps to develop and promote their works. He has, over the last ten years, participated in numerous exhibitions at home and abroad. He is a conceptual artist works in various media his practice mainly focusing on paintings, sculptures, videos and photography. Recently he is making several videos and finished working on his first film.
Connected,a video/drawing of a short journey through fragments of intuitive moments. The work is about following, exploring known/unknown directions, registering, leaving traces,emerging into patterns, maps of the free spirit.
Paul Ritt was born in the Netherlands (1957). He studied monumentale vormgeving at the Academie Beeldende Kunst, Maastricht, (1980-1984). He lived and worked in Australia from 1984 -1999. After studying for the Advanced diploma of Arts in Electronics, design and interactive media at the Royal Melbourne Institute of Technology Melbourne (1997-1998), he started making short films.
Sequenza is an experimental film project by Manon de Boer and George van Dam based on the composition Sequenza VIII for solo violin by Luciano Berio . From a long history of cooperation - to include the soundtrack of Manon de Boer's film trilogy Sylvia Kristel - Paris (2003), Resonating Surfaces (2005) and Think about Wood, Think about Metal (2011) and her portrait of George van Dam in Presto, Perfect Sound (2006) - came the desire to work together to make a movie based on Sequenza VIII . This piece is for its crystalline structure one of the most beloved compositions by George van Dam . Together with Manon de Boer, he wants to explore how rhythm and structure of this composition can be articulated in conjunction with moving images to penetrate. So even deeper into the composition Manon de Boer is fascinated by the image of the intimate contact of the chin, the ears, the face of the violinist with the violin, which extends in the movement of his arms and hands to the body and space, the instrument - body of the violin as a material, physical transition between two abstract elusive poles : that of the mental construction of the composition and experience of its sounds in space. Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space.
Manon de Boer (°1966 in Kodaicanal, India) completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), Sao Paolo Biennial (2010), Documenta (2012) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), London South Gallery (2010), Index in Stockholm (2011), Contemporary Art Museum of St Louis (2011) and Museum of Art Philadelphia (2012), among others. De Boer currently teaches at the School of Arts in Ghent and ERG in Brussels. She lives and works in Brussels.
Le défi que se/nous propose Jean-Marie Straub est bien d'ordre cinématographique. Tous ses films ont toujours été constitués de blocs. Et ces blocs qui s'entrechoquent, blocs denses de textes, de paysages, de visages, ont toujours eu pour nécessité de donner à voir à travers ces chocs l'invisible des sentiments et du politique. Mélangeant les blocs de temps (40 ans séparent les différents extraits), les blocs de textes (Malraux, Fortini, Vittorini, Holderlin) et les blocs de langues (français, italien, allemand), pour que de ce fracas émerge l'histoire du monde, oui l'Histoire, et du même mouvement l'espoir politique de son dépassement. La première chose que nous dit Kommunisten, cest que Straub pense ici son cinéma comme un fonds darchives personnel dans lequel puiser, si bien que ce film devient une leçon où les fragments des films passés plus un « nouveau », en ouverture, inspiré de Malraux, avec la voix de Straub lui-même (hors champ) qui interroge des communistes en prison peuvent être utilisés comme objets détude. Kommunisten, cest Straub et cest Danièle Huillet, mais cest surtout leur cinéma qui a traversé le XXe siècle, ses conflits et ses utopies impossibles, en cherchant dans le pli des mots et des images qui les tissent ce qui est resté suspendu, caché, enfoui avec les oublis imposés par ceux qui écrivent et déterminent lHistoire. Chaque « bout » de film nous emmène en terrain découvert, dans un passé qui paraît actuel, parce que ces questions sont restées sans réponse si ce nest avec une image, qui continue à les poser sans relâche, avec détermination. (Cristina Piccino, Il Manifesto, 19 août 2014)
An Ealing Trilogy is a response to selected portraits from the collection of the National Portrait Gallery, London. Commissioned by the gallery, the film re-invents the lives of inspirational people who have links to Ealing, West London including Dusty Springfield, Charlie Chaplin and Freddie Mercury. Tableaux imagery is combined with an abstract soundscape to create a captivating slow motion film portrait of people and places from a west London borough.
Eelyn Lee is an award-winning artist-filmmaker who had works screened across London including Tate Modern and Whitechapel Gallery as well as internationally in Paris, Berlin and Toronto. Using processes of devising and collaboration her films use rich imagery and soundscapes to tell multi-layered stories about people and place. She is interested in groups of people, both in the making of the work and the subject of the work itself. The vision, energy and experience she brings to the creative process builds an environment conducive to making bold and original work. www.eelynlee.com
The short film UNCERTAINTY is like Ouroboros, has no beginning and no end. The important aspect of the plot is constant change of the perspective between the observer and the observed person. This endless inversion and slow close-ups create the atmosphere of uncanny epidemic. Uncertainty is the effect of being infected by a microbe which forced a victim to intense observation of the surrounding world. The final aim is to not get concentrated on any specific element or quality but to exceed the cognitive habits. The suspended certainty of the existence forces all observers to look through the images of so-called reality. Their behavior may look absurdly, although its based on the promise given by our culture: there must be something beyond the visible world.
Born in 1980 in Wroclaw, Poland where he lives and works. Since 2004 studied at The Academy of Fine Arts and Design in Wroclaw. Received MA Degree in Media Arts in 2011. Founder and director at EMDES gallery which existed between 2009 and 2011.
Ella Raidels video Play Life Serie exposes its own methods right from the start. We see film shoots and film sites where Chinese soap operas are produced. As the camera pans to film teams and cameramen, the fictional content of the rehearsed scenes is interrupted and revealed as the process of making-of. At the same time, through editing, Raidel replays particular movements, handholds, and gestures of the characters, thus intensifying their serial level. The repetitions make clear the extent to which sword fights, wine, love, and revolt are part of a medially represented repertoire of gestures. Ella Raidels work deals ironically with the Chinese soap opera as fake-factory of collective desires, which in the interplay of fiction and making-of, forces its way through reality, scrutinizing itas site of image making and image controlling.
Ella Raidel, born 1970 in Austria, studied at Art University Linz, lives and works in Taipei. She is currently Post-doc Researcher at Academia Sinica in Taipei/Taiwan. Ella Raidel is artist, filmmaker, presents her works internationally at Video- and Filmfestivals as well as exhibitions, such as Transmediale 2013 (Haus der Kulturen der Welt, Berlin), Floating Islands (Shanghai Biennale 2012/13 Kinmen/Taiwan), Asian Triennale Manchester, Discovering the Other (National Palace Museum Taipei), Based Upon: True Stories (Witte de Wit Rotterdam) Filmfestivals: CPH:DOX, Dok Leipzig, International Filmfestival Rotterdam, Crossing Europe, Duisburger Filmwoche, etc.
Finale is a short film that follows one man's journey to the silver screen, inspired by and starring un-sung local hero Evan Knoble alongside senior marching ladies, motorcycle clubs, community orchestras and primary school students. Finale merges the essence of a musical with contributions from a diverse range of local community groups located in the Mornington Peninsular of Victoria, Australia. The nostalgia associated with Drive In Cinemas unfolds alongside the local wild natural landscapes to create a journey of longing and commitment. Finale merges the surreal with wild natural landscapes to create a dark portrait of our longing for that one moment of fame. Finale was created by Aphids with its key artists collaboratively writing, creating and producing the work.
Aphids creates epic contemporary art projects using performance, music, site-specificity and new technologies. Collaborative and driven by a passionate belief in the social role of art, Aphids investigates what is current and urgent in contemporary culture. Aphids is led by Artistic Director Willoh S.Weiland in collaboration with Artistic Associates Martyn Coutts, Elizabeth Dunn, Tristan Meecham, Lara Thoms and Thea Baumann (Shanghai). Based in Melbourne, Australia, Aphids has created and presented collaborations across Europe and in Japan, China, South Africa, USA, Mexico and Australia. Current projects include the large scale Forever Now inspired by the Golden Record sent into space in 1977 on the Voyager Space Probe.
The piece "Ocean" was originally a conceptually designed, visual statement for a song by dutch musician, Olivier Heim. Looking for a connection between lyrics and aesthetics, we found main inspiration in the masterpiece by Alain Resnains "Last year in Marienbad". As we didn't want to copy and repeat exactly the same sequences of shots, we were just searching for an universal code, which made that kind of poetics legendary and original. The most important became, how to transfer contemporary sound and looks (meaning ; cinematography, style) into something classic and the other way round. What makes the classics attractive? We consider elegance in filmmaking as our motto and something that should be popular again.
Katarzyna Pacura, born 1986 in Lodz, Poland. Studied at University of Arts in Poznan, Poland, Douglas Gordon Filmclass at Stadelschule, Frankfurt am Main and German Film and Television Academy in Berlin (Dffb - directing). Film and video maker, scriptwriter and visual artists. Jan Szewczyk - born 1986 in Bialystok, Poland. Graduated from University of Arts in Poznan, Poland where currently he continues his Phd studies in contemporary art. Film and video maker, visual artists, cinematographer.
Public and private spaces make people develop political and social questions reaching beyond localities, widening questions about their role in the formation of political subjectivity. "Everywhere´s local" intends to examine how conventions about mobility as counter resistance affects identities of individuals and small communities as well as in working places and private locations; how these conventions speak about subjectivity ; their way of quest political and social visibility, and whether actions of reciprocity might be the source of mutual support allowing civilians to activate endurance in the development of social structures. The piece investigates the role of the aesthetic vision within the process of objectification, juxtaposing documents of daily practices where individual actions become the apparatus that institutions use to master control and by doing so reducing civilians as objects. Spaces create distinctive features for subjectivity to be activated where meanings of defiance alongside civil resistance are deepened inside description of subjectivity within differentiation of forms. Where actions are endorsed by connotation and not by their visible value. Interpretation of actions are investigated as potential fields, where their manifestations compared coloured smokes, aim to empower people visibility and at the same time longing to dismiss a system.
education: 1989/9 Institute for Arts and Restoration, Palazzo Spinelli. MA(Diploma) in Painting Conservation and Restoration on wood and canvas, Florence Italy, 1999/02 Academy of Arts, Painting department Bologna, Italy. 2004/06 LHÍ University of Arts, BA in Fine Arts Reykjavík, Iceland. 2006/07 LHÍ University of Arts, MA (I grade) Art Education, Reykjavík, Iceland. 2012/14 Goldsmiths University of London MFA in Fine Art. awards: 2010- 1 Year Research Prize from the Visual Artists Foundation of Iceland 2010- Art Prize from the Guðmunða Andresdottir Cultural Foundation for Postgraduate studies in Art. 2012-Visual Art Award Icelandic Prize as the best artist of the year 2012. 2013- 6 Months Research Prize from the Visual Artist foundation of Iceland grants: 2007- Travel Grant from the Icelandic Ministry of Education and Culture, for cultural exchanges between Greenland, Iceland and Foræ Islands. 2010-Travel Grant from MUGGUR, Artist Foundation of Iceland 2011-CIA International Travel grant, from the Centre for Icelandic Art residency/ workshops: 2008 Kangerullussuak Atuarfiat, Nuuk, Greenland. Two weeks workshops with pupils from secondary local schools, deepening questions around issues on memories and cultural connotations. 2008 Silamiut Theatre Nuuk, Greenland/ Theatre rehearsals with students from schools 2010/11 Circle Scandinavo in Rome/ Hosted performances and seminars on the rhetoric of language. group exhibition: 2008 After Urban - University of Pennsylvania in Philadelphia, PA USA. New Media & Video Festival at the Indiana University Art Gallery, USA. Art & Architecture event at Monkey town in Williamsburg Brooklyn, New York. The law of dialectic at The New Branch Grassroots 2008, the Icelandic emergent artist Exhibition in Hjalteyri, Iceland. The entropy of landscape /God words Municipal Art Museum of Akureyri. 2009 Communism didn´t happen /Solitude Landscape, Exhibition at the Kulturhaus in Ahrenshoop, North-east Germany. Sometimes theyll return Exhibition at the Natural History Museum of Kopavogur in Reykjavik, Iceland. ATTITUDE Festival- Centre for Contemporary Public Arts - Bitola, Macedonia. 2010 Anamnesis/ be known to knowledge, at the Árnesinga Art Museum in Hveragerði, Iceland DRA the Dieter Roth Academy in Hjalteyri Iceland 2011 In between ,Hafnaborg Hafnafjörður, Iceland 2012 The painting site Akureyri Municipal Art Museum 2014 Big Screen/Latitude Festival Southwold , Suffolk UK. 2014 6th Cairo Video Festival. Medrar films Cairo, Egypth
Washingtonia starts when the giraffes heart can no longer be heard. Washingtonia is an alternative name for Athens, a place where people, like animals, fall into summertime sadness because of the heat. Washingtonia is the only palm tree which heart is not devoured by the red beetle. Because its heart is small and dry and no one likes small and dry hearts.
Konstantina Kotzamani was born in Komotini in 1983. She has studied Pharmacy and then Cinema at Aristotle University of Thessaloniki, Department of Fine Arts. She has participated at Berlin and Sarajevo Talent Campus as a director. Her short movies have been selected in several International Festivals and have gained many awards.


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Sunset on the LiJiang
created by: Crazed D.
The image of mountains over the Li River is depicted on China's 20 RMB bill. The mountains are iconic. Take a boat ride at sunset along the river to see the fisher birds preform. Then sit with a cup of tea and enjoy the warm nights.
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ingredients & lore
blended with white tea, gunpowder, rose hips, apple pieces, hibiscus, natural pear flavor, natural strawberry flavor, strawberries, orange peels, natural wild cherry flavor, lemon grass, marigold flowers
teas: gunpowder, fruit medley, white pear
accented with apple pieces and apricot
A fruity blend to sip on the banks of the river. Life and Tea is based off my travels and experiences.
steep at 190° for 3 mins
This tea contains a low level of caffeine
this tea is part of the LIFE AND TEA fandom
Love Sunset on the LiJiang? This is just one of 16 teas in this fandom. Check out the whole series.
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cane armitage
FREERUN THE WORLD EP.1 MEXICOJanuary 28th, 2013
FREERUN THE WORLD EP.1 Mexico CLICK HERE TO WATCH! Follow the 3RUN TEAM as they travel the world performing Parkour and Free running in the most exotic places. This Episode they start off in Mexico City shooting an epic commercial with local Athletes. Joining forces they begin a road trip to seek out Mexico's wonders. [...]
Posted in News | Tagged 3run, cane armitage, chase armitage, episode 1, freerun, freerunning, mexico, mike wilson, parkour, scott young, the, travel, world


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Picked this one up from a Spotify playlist I've been following for a little while now. It's curated by Spotify so I can confirm most songs are legit.
TRAAMS are sponsored and brought to you by Fat Cat Records, who also dish out tasty chicken dinners from PAWS and the likes. If you are into this current trend of paced guitar music then Fat Cat is a good shout to pick up some sweet new acts.
Over and out!


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Roundtable On Iraq: Katrina Vanden Heuvel of the Nation, Alexander Cockburn of Counterpunch, Michael Albert of Z Magazine and AFP Reporter Nayla Razzouk in Baghdad
This is viewer supported newsDonate
The International Committee of the Red Cross said yesterday the number of casualties in Baghdad is so high that hospitals have stopped counting.
ICRC staff in the capital said that during the fiercest fighting, hospitals were receiving around 100 casualties per hour.
The ICRC also said hospitals urgently need more water supplies. Given the general power outage in Baghdad, most hospitals and water installations are now being powered by backup generators.
In town after town in the Iraq war zone, hospitals trying to cope with hundreds of wounded are cut off from medical re-supply, aid officials reported Sunday.An aid convoy destined for one overwhelmed hospital south of Baghdad was canceled because of U.S. military operations.
- Nada Doumani, spokeswoman for the International Committee of the Red Cross.
The original content of this program is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. Please attribute legal copies of this work to democracynow.org. Some of the work(s) that this program incorporates, however, may be separately licensed. For further information or additional permissions, contact us.


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Ooh and Cambel, when we all froze on siegn and when you got back in you played on my side. I didn't hear you crying about how our side had better players. So why use it as an excuse when you went along with it?Why do you guys join my server when you just wanna cry about it after?
Nice to know that te only way or a topic to be in the popular topics section is to flame eachother...Please continue...
SilentXwing posted...Anyone here that is under 12 years old? Come on...don't be shyI'm not. I'm actually 11.
Anyone here that is under 12 years old? Come on...don't be shy
You are not allowed to request a sticky.


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Christophe Decarnin may no longer be at the helm of Balmain, but his essence remained in the first outing from 26-year-old new creative director Olivier Rousteing. Clearly having worked closely with Decarnin for over two years rubbed off, but impressively, the designer managed to infuse notes of his own style. More than just a parade of the brand's now signature skin-grazing slim trousers, bejeweled fitted jackets, and prominently structured power shoulders, Spring 2012 brought with it a number of unexpected twists. In fact, Rousteing mixed in some pale denim via pants, a blazer, a button-down and more for what resulted in cowboy-meets-rocker looks that surprisingly worked. More surprising yet, there were some loose silhouettes in the mix including leather trousers, slouchy tops, and a denim maxi skirt. Similarly, Rousteing opted to show some high-waisted trousers along with the ultra-low styles most often associated with Balmain.If there's any brand that could do casually decadent luxury it would be Balmain, and Rousteing was able to do just that without losing the distinctive "Balmain look." Nevertheless, speaking of that distinctive look, die-hard devotees need not fear because there were plenty of embossed gold and black leather looks and heavily embellished mini dresses and separates to justify the brand's notoriously exorbitant price points.
Balmain Spring 2012 Runway Review
Sharon Feiereisen
Read more about Sharon Feiereisen articles...
TheFashionSpot's Lifestyle Editor, Sharon Feiereisen, is a freelance lifestyle writer based in New York City. Her work has been published in Newsday, The Knot, AM New York, WHERE New York, Dan's Papers, and Hamptons Magazine, among many other print and online outlets. Check out her tumblr blog, Random Happenings.


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The Great Wall—Scaling Agile on a Multi-Team Project
Category: Commentaries
Written by: Tom Looy
If you are launching a large-scale agile project (e.g. one that requires more than a couple of Scrum teams) then careful consideration should be given to how you scale the management of the project. Starting off by applying standard scaled agile management solutions (i.e. Scrum of Scrums or SAFe) may help you feel like you are getting off to a good start. However, with those solutions comes the danger of creating a management structure that focuses on optimizing the project structure primarily for management's benefit rather optimizing the project's structure for the delivery of a valuable, usable and feasible solution.
This paper describes a lightweight yet powerful approach to scaling agile management for a multi-team project. 'The Great Wall' is an approach that enables the emergence of a scaled management solution that focuses first on promoting the delivery of the solution but also satisfies the needs of management.
Goals for a Scaled Agile Approach
In setting up a scaled agile management approach for a new project you need to make sure that your scaling efforts support the things that make Scrum effective:
- Deliver working software each sprint across the full technology stack of the solution.
- Produce a single product showcase at the end of each sprint that includes the work of all teams. The showcase should not demo work done in siloes but rather a coherent customer experience that is the result of the work done by all the teams.
- Provide complete transparency and visibility into the project. There can be no room for ambiguity, misinterpretation or obfuscation as to the status of the project.
- Allow 'just enough' and 'just in time' scaling structures to emerge from self-organized teams based primarily on the needs of the teams.
- Focus on building networks (relationships) and not hierarchies in your project structure.
- Disintermediate planning data and project status. You need to minimize the number of intermediaries (e.g. versions, summaries or abstractions) of project status and planning data that stand between the project team and the organization's management structure. With any project of this size there is a tendency to want to report status upwards with summarized or aggregate data. But aggregations or summaries of the data often introduce biases and hide information. Therefore, minimize the use of 'project dashboards' in favor of using the same data in the same format that the project teams use to manage themselves.
'The Great Wall' – A Tool to Help Scale Agile
It may seem like a tall order to create a management structure for a large-scale agile project that meets all the goals listed above. But there is a simple and elegant solution, one that has been used successfully on large-scale projects, a solution that has become known as 'The Great Wall'.
The Great Wall starts off as a physical wall that holds the User Experience Map of your solution. The map is first organized from the customer's perspective, telling the customer's story in reading the User Stories on the map going from left to right. The map is then layered into MVPs (Minimal Viable Product) based on the priority of the User Stories on the map. These layers correspond to the releases of the product. (For more details on User Experience Maps see Jeff Patton's article at http://www.agileproductdesign.com/presentations/user_story_mapping/.)
Next, The Great Wall is organized as a Sprint planning tool and a status-reporting tool. Each of the User Stories on The Great Wall is written on a color-coded card that represents the status of the story: Completed, In Progress, Planned or To Be Decomposed.
Using The Great Wall
Now that the Great Wall is set up to tell the customer's story and to tell the status of the project it's ready to be used on a regular basis.
- All release and sprint planning sessions should be done using the Great Wall. This is especially important when you have teams with interdependencies.
- Conversations with your product owners should be done using the Great Wall in order to give context to the conversation.
- When your team grooms the backlog they should also groom the Planned stories and decompose the Epics on the Great Wall.
- Any and all status reporting for the project should be done using The Great Wall.
- Do your Sprint showcase in close proximity to your Great Wall. Refer to the wall and not a PowerPoint when you talk about what has been accomplished and what is planned for the upcoming Sprint. Give context of the work just accomplished in the Sprint in the context of the system as a whole.
Tips on Creating Your Own Great Wall
- It takes discipline to keep The Great Wall up to date. If it isn't kept up to date people will stop relying on it and stop using it. Use it and update it every day.
- Expect some redundancy between your Great Wall and the Team's Task Board. Don't be tempted to use a tool to try to manage this redundancy. It is a minimal amount of effort to keep your Great Wall up to date and the effort is especially insignificant when compared to the benefits you will get from it. The very act of physically updating your Great Wall serves to actualize what can otherwise become abstract and remote.
- If you are required to have an electronic story tracking system don't complain about the work needed to keep it in sync with your Great Wall. Just do it - serve your teams by providing them with a tool like The Great Wall that they will use. Shield them from having to deal with any redundancy – do it yourself.
- It's okay for The Great Wall to have a mixture of Epics and User Stories. Decompose the Epics into User Stories 'just in time'. Use your backlog grooming session for this.
- Leave completed stories on your Great Wall. Remember that one of the things we are doing with The Great Wall is telling the story of the user's experience so leave the story there for people to read. It's also great encouragement for the teams to see the progress that they are making together.
- Don't expect to get the structure of your Great Wall right the first time. And don't wait to get you think you got it right before you create your Great Wall. The only way you are going to know if your Great Wall is working is by trying to work with it. (In the example story below we tore down our Great Wall twice because its structure wasn't serving the teams. It was easy to see that it wasn't serving the teams – they weren't using it!)
- Handwrite your cards on your Great Wall. Having the cards printed out makes the team less likely to update the wall real-time. Handwritten cards also make your Great Wall feel more organic and approachable.
- Always be mindful of the 'Noise to Signal' ratio on your Great Wall. Everything on the wall should provide information to those using it. The color of the cards, the shape and size of the cards, the position of the cards even the color of the pen used to write on the cards should all mean something. I don't even use different shades of the same color for what you intend to have the same thing. Every element and every aspect of the Great Wall must have meaning.
- Be careful to not put too much information on the cards on your Great Wall. I don't use the "As a…I want to…in order that…" format on the cards. I try to use short phrases to describe the story so the card can be read from a distance of about 10 feet. I'll also include the Sprint Number on Completed and In Progress cards and only on those Planned cards that I will play in the next Sprint. (I won't put Sprint Numbers on any other Planned cards as they will likely change as the stories get re-prioritized.) As you size your stories you can include the story points on the card. The only other thing I have put on the card is the story tracking number from an electronic tool if one is used.
- I prefer to use different colored cards rather than putting different colored dots on the card to indicate status. This does mean that I will have to re-write each card at least three times as the card goes through its different status changes, but I think it's easily worth the effort based on the readability of the wall from a distance. My rule of thumb here is I should be able to get a big picture view of the status of the project from a distance of 25 feet, something that is much easier to do with different colored cards than with different colored dots.
The Power of The Great Wall
There's something special and empowering about working together as a team using a physical wall. This is best told in Tom Wujec's TedTalk on "How the Mind Works": http://www.ted.com/talks/tom_wujec_on_3_ways_the_brain_creates_meaning.html.
The Great Wall is an organic entity as it continually reflects the current status and scope of the project. The fact that the Great Wall is so easy to change makes it so empowering for the teams. Things like re-prioritizing stories are done by simply moving cards on the wall, dropping stories by just removing them from the wall and adding new stories as they are discovered drives home the point that teams are empowered to be more adaptive in their approach.
I've used The Great Wall approach several times in my agile career. Most recently I implemented it at a Fortune 100 financial company. There I participated in the launching of a large agile project (projected for 5 years, US $200M budget, anticipated scaling to 20+ Scrum teams). It was hard work getting it set up and getting people to rely on it but The Great Wall became 'command central' for the project, the place where all meaningful conversations related to the project took place.
Final Thoughts
Is your large-scale agile project not delivering as you were expecting? Are you unsure about the real status of your project? Do your dashboards show that you are on track with delivery but you still have this unsettled feeling that it's not all coming together? Do your teams lack engagement with one another? Is there a general lack of engagement by people on the project?
All these symptoms are often the result of a management structure that attempts to optimize for managements sake teams rather than optimizing for the development of the whole system. Management all too often tries to achieve maximum resource utilization or optimization of the parts of the system rather than the system as a whole. That's why tools like The Great Wall are so powerful – they provide a way for you to continually focus on the whole rather than its parts.
Creating a Great Wall, a physical User Story Map and Project Status tool in a prominent place for all teams to access is a great way to optimize for delivery while providing a status and management tool for the organization. Let your teams know that they own The Great Wall. Drive all planning, backlog grooming, Sprint demos and status conversations to take place in front of The Great Wall. You'll find that your meeting will be more engaging, shorter and more effective. Your teams will be more engaged with each other. Finally, management will have a truer picture of what is happening. Any ambiguity about the project is driven away as they rely on The Great Wall to see the bigger picture of the solution.


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The problem is if you buy short term PUTs and hold, MMs may not even drop it other than the daily ranges. Same with CALLs. MMs may not rally it higher either and may even drop it, you just dont know
so do not buy & hold anything (Calls or Puts) but daytrade both aggressively to pocket daily profits.
lock in those profits. For example, if this opens at $169 on Mon at 930 am and immediately MMs run this up to $175ish or so, I would buy PUTs at that level and then sell those PUTs when it drops to say $165 or so. If I sense a LOD at $165 then, I will buy CALLs at $165 and sell those calls when the stock reaches say $168-169 again.
If you have good trading filters and can monitor the VWAP, MACD and Bollinger bands of NFLX on an intraday basis, you can easily catch such intraday dips and rips and play each one for a few bucks in Options premium profit.... its much better than just buying a call & holding, or buying a Put and holding for weeks
Which trading filters would you recommend to spot VWAP, MACD and Bollinger bands for intraday?
Sentiment: Strong Sell
I use Trade-Ideas