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Archive for the 'Upcoming' Category
Online Salons
For 2020-21, the Stanley Picker Gallery is hosting a series of Online Salons to facilitate exchange and dialogue between the creative community around the Gallery.
With COVID-19 changing how we operate as a cultural venue, our digital platforms have become ever more vital as ways of engaging with each other and with our audiences. We hope these gatherings will enhance our role as an "expanded studio", where creative work is shared during its production, by inviting practitioners to gather online to share their working practice in an informal manner.
Thurs 26 November 2020 6.30-8pm
with Larry Achiampong, Maeve Brennan & Erika Tan
Thurs 17 December 2020 6.30-8pm
with Dani Admiss, The Decorators & Ben Judd
Thurs 18 March 2021 6.30-8pm
with Oreet Ashery, Nadia Hebson & Judy Rabinowitz Price
Yemi Awosile, Ben Kelly, Mike Nelson and Elizabeth Price at Town House
Important: Town House is now open to the general public. Please wear a face-mask, unless exempt, and maintain social distance of at least one metre when visiting the building.
Stanley Picker Gallery is curating a series of major art installations by leading contemporary practitioners associated with Kingston University, staged around its spectacular new Town House building. Winner of the prestigious RIBA Stirling Prize 2021, the building was designed by 2020 Pritzker Prize and RIBA Gold Medal awardees Grafton Architects.
Kingston School of Art Professors Ben Kelly, Mike Nelson, Elizabeth Price and former Stanley Picker Fellow Yemi Awosile are each presenting ambitious works that will enhance the University's impressive new public library over the course of 2020-21 and beyond. A series of short films, featuring the artists talking about their work for Town House, will be made available here online accompanying the programme.
March 2020 – December 2021:
Mike Nelson presents a selection of recent works from his acclaimed Tate Britain Commission The Asset Strippers (2019). For this ambitious project, Nelson scoured online auctions of UK based company liquidators, sourcing a range of decommissioned manufacturing machinery and equipment to create a collection of 'monuments' to post-WW2 Britain. Professor of Fine Art at Kingston School of Art, Nelson was nominated for the Turner Prize both in 2001 and 2007, and represented Britain at the Venice Biennale in 2011. As originally conceived and commissioned for the Tate Britain Commission, 2019
from August 2021:
Yemi Awosile has fused together traditional craft techniques from both Nigeria and Britain in a new commission for Town House. Gele takes its name from the word used for a women's loosely folded head-dress in the Yoruba language, spoken in Nigeria and West Africa. Nigeria and the UK are aligned through their shared history and same sense of 'local' time. Awosile likens the pair of wall-based textiles to clock faces at two moments in time, which she sees as "an expression of a universal diasporic experience; exploring what it means to be momentarily connected and then disconnected from multiple locations". Other recent projects include collaborations with Tent Rotterdam, Tate Gallery, Contemporary And (C&) magazine and The British Council. Awosile was appointed to the Stanley Picker Fellowships at Kingston University in 2015 and is currently a member of the Stanley Picker Gallery & Dorich House Museum Advisory Group. Commissioned for Town House, Kingston University, London, 2021
2021-22 dates to be announced:
Elizabeth Price was awarded the prestigious Turner Prize in 2012 and the Contemporary Art Society Annual Award in 2013. A recent major survey exhibition of her work A LONG MEMORY at The Whitworth Manchester, included her Stanley Picker Fellowship commission AT THE HOUSE OF MR X (2007), filmed entirely on location at The Picker House in Kingston. With a major solo presentation of her work staged by Artangel in London in Autumn 2020, Price is creating a new permanent work for Town House to be launched during 2021. She is Professor of Film and Photography at Kingston School of Art.
Ben Kelly is one of the UK's most influential designers. He is best known for his interior design of the legendary Manchester nightclub The Haçienda, and his work for The Sex Pistols, Vivienne Westwood and Malcolm McLaren, Factory Records, 4AD, The Science Museum, The Design Council, the V&A and 180 The Strand. Kelly was awarded an Honorary Doctor of Design from Kingston University in 2000 and an Honorary Fellowship from the Royal College of Art in 2018. He is a Royal Designer for Industry and Professor in Interior Design at Kingston School of Art.
As part of the University's Kingston Spotlight celebrations in September 2020, Town House, The Picker House and Dorich House Museum also participated in the Open House Festival online.
Judy Price
The End of the Sentence presents artist Judy Price's research on Holloway Women's Prison and the impact of the criminal justice system on women. It features new work by Price, archival material, and works by other artists and writers invited by Price. The End of a Sentence develops Price's research-led practice concerned with how artists can produce different ways of thinking about contested sites and engage with collective struggles.
Holloway Women's Prison (1852-2016) was the largest women's prison in Western Europe. Its prisoners included "some of the leading freedom fighters of our age, such as the suffragettes, but the vast majority were always imprisoned because of poverty and injustice, addiction and abuse". Since its closure, Reclaim Holloway has been campaigning for a Women's Building to be included in the site's redevelopment. The Women's Building would be a service hub helping vulnerable women stay out of the criminal justice system, a transformational space for the local community, and a positive legacy for the thousands of women held in HMP Holloway. The End of the Sentence draws on the networks, collaborations and relationships developed by Price through her involvement in Reclaim Holloway. The 10-acre former prison site was purchased by Peabody Trust in 2019, and there is a consultation currently underway to determine how the Women's Building will be delivered.
The photographs by Price are from her time spent in the decommissioned prison building, which she lives directly behind, and her exploration of the intimate objects from the prison archived by Islington Museum. Phoenix Rising shows the griffin mosaic on the base of the swimming pool in HMP Holloway, which resembles the two stone griffins that stood outside the prison entrance. Photographs of hair and a fire plug offer a close examination of some of the less obvious traces of prison control – in the event of a fire in a cell at HMP Holloway, the small yellow plug was removed and a hose was inserted to blast water into the cell, before allowing the inmate to evacuate.
Examining archival material has played a central role in Price's research. The architectural models and plans demonstrate the changes in the design of the prison before and after its 1970s redevelopment: how the emphasis shifted from punishment to rehabilitation and how the "intimate and everyday lives of incarcerated women are shaped and controlled by prison architecture". An archival image photograph taken in 1985 shows two women looking out over the grounds of HMP Holloway from a prison balcony. A vinyl text lists some of the service and support organisations that operated in HMP Holloway at different points in time. This archival material and the new works presented here will form part of a long form film by Price that explores the multiple narratives and redrawn boundaries of Holloway Women's Prison, and this has been awarded funding by Arts Council England and the Elephant Trust for its completion in the coming year.
There are a number of other artists and writers in the exhibition including two paintings and a game by Erika Flowers, who spent three years in HMP Holloway. The Gym Tree depicts one of the oldest trees in the Prison grounds, which Reclaim Holloway are in the process of applying for a Tree Protection Order to preserve. The climbers and swimmers represent the focus on physical activity which came to characterise prison life following its redevelopment. The Closure of HMP Holloway marked the prison's closure, and shows land-grabbing politicians, protesters, and the artist on her bike. The Holloway Women's Building Game playfully references the Suffragettes' satirical Pank-a-Squith game (1909). While the end-goal for their game was votes for women, Flowers' game leads the players to the forthcoming Women's Building.
Time and Time Again – Women in Prison by Nina Ward & Women and Law Collective focuses on the lives of women incarcerated at HMP Holloway through interviews with ex-prisoners about their experiences and their re-assimilation into society. Katrina McPherson's Symphony documents a five-week contemporary dance project at HMP Holloway involving over 200 women. Burning Salt's Dirt EP was recorded following Hannah Hull's artist residency at the Echoes of Holloway research project at Islington Museum in 2018, and draws on testimonies and transcripts from the prison. The colours of the walls, putty pink and pale cream, are taken from a Holloway Palette, devised by Hull at the same time. These two shades reference the colours of the mats on which the women were taught to clean, which are included in the booklet of poetry also on display in the exhibition. Carly Guest & Rachel Seoighe poems are made up of extracts of interviews with two women who were once imprisoned in Holloway. To construct the I-poems, Rachel and Carly selected the 'I' statements from the interview transcripts and arranged them, line by line, to form poems.
As part of The End of the Sentence, Price presents a new moving-image work online The Good Enough Mother. Commissioned in collaboration with Dorich House Museum, the piece features a bronze sculpture of a baby by Dora Gordine (1895-1991) acquired for the first Mother and Baby Unit at HMP Holloway in 1948. The soundtrack to the film explores the incarcerated pregnancy, drawing on transcriptions of interviews by midwife Dr Laura Abbott, as well as the work of forensic psychotherapist Pamela Windham Stewart. The script, developed with artist & writer Andrew Conio, is re-voiced by actors from Clean Break, a women's theatre company that uses theatre to keep the subject of women in prison on the cultural radar and whose members have lived experience of the criminal justice system.
For the duration of the exhibition at Stanley Picker Gallery, the original bronze sculpture by Gordine, on loan from the National Justice Museum, will be on display at Dorich House Museum in Kingston, Gordine's former studio home.
For further information on how you can contribute to the Peabody consultation for the Women's Building, please visit: hollowayprisonconsultation.co.uk
To support the Reclaim Holloway campaign, please visit: reclaimholloway.mystrikingly.com
Judy Price is a London-based artist who works in photography, moving image, sound and installation. Her practice involves extensive field research where she often draws on images and sounds from archival sources, as well as from a sustained study of place to explore sites and locations that are interweaved and striated by multiple histories, economies and forces. She is course leader for MA Photography at Kingston School of Art and senior lecturer in BA Moving Image at the University of Brighton. Recent solo exhibitions include Mosaic Rooms, London; Danielle Arnaud Gallery, London; Wingsford Arts, Suffolk; Stiftelsen 3,14 and USF Centre, Bergen, Norway. Group exhibitions and screenings include Delfina Foundation, Imperial War Museum, Barbican, ICA and Whitechapel Gallery. Price is an active member of Reclaim Holloway.
Andrew Conio
Andrew Conio is a writer, artist, and scriptwriter. He has published on a range of subjects including philosophy, architecture, language, artist's film, institutional critique, creativity and painting and is currently editing the volume, Occupy a People Yet to Come for the Open Humanities Press, and writing a monograph entitled The Anatomy of Money.
Nina Ward
Nina Ward has had a varied career working as a teacher, actress, filmmaker and lawyer. In 1986, she set up the Women and the Law Collective, which examined and explored the state of the UK legal system. Time and Time again was one of three short films made in 1986, which arose from Nina's experiences of working as a lawyer and the participants' experiences of prison. She holds an MA is in Social Anthropology from SOAS, University of London.
Hannah Hull
Hannah is a process-based, socially-engaged artist. She uses text, drawing, film, song, dialogue, and performance intervention. Burning Salt is a collaborative music project headed by Hannah. She is also currently a PhD Candidate (Practice-Based) at Institute for Creative and Cultural Entrepreneurship, Goldsmiths, University of London. She was artist-in-residence at the National Lottery Heritage-funded project Echoes of Holloway at Islington Museum in 2018-19.
Erika Flowers
Erika is an artist and illustrator. 'Recorded in Art' was a website initially set up to showcase and provide a platform for Erika's journey through her prison sentence at HMP Holloway, which you can follow on her Instagram @postcardsfromprisondiary. An active member of Reclaim Holloway, she sits on the board for the Community Plan For Holloway (CPFH) and the Steering Group of the National Criminal Justice Arts Alliance.
Katrina McPherson
Having trained as a dancer and choreographer at Laban, Katrina works in screen dance. Katrina was a director of arts programmes for BBC, Scottish Television and Channel Four and co-director of Goat Media Productions from 2001-2015. Her works are held in collections including Lux Artists' Moving Image UK and the British Council. Katrina is an Associate Artist at Dance Base in Edinburgh and a Dance North Associate Artist.
Carly Guest & Rachel Seoighe
Dr Carly Guest is a senior lecturer in Sociology at Middlesex University, and Dr Rachel Seoighe is a lecturer in Criminology at the University of Kent. Together they have developed an innovation, emotion-led methodology to explore photographs of the decommissioned Holloway Prison building. Carly and Rachel are active members of Reclaim Holloway.
The title of the exhibition is borrowed from The End of the Sentence: Psychotherapy with Female Offenders, ed. Pamela Windham Stewart and Jessica Collier, Routledge, 2018. The editors have generously given the artist permission to use the title.
Caitlin Davis, Bad Girls: A History of Rebels and Renegades, John Murray (2018)
Laura Abbott, The Incarcerated Pregnancy: An Ethnographic Study of Perinatal Women in English Prisons, unpublished thesis (2018) and Pamela Windham Stewart in various unpublished writing and recorded conversations between Stewart and Price.
Carly Guest & Rachel Seoighe, Familiarity and strangeness: Seeing everyday practices of punishment and resistance in Holloway Prison, Punishment & Society (2019)
We Are Publication
Exhibition Launch: Wednesday 25 September | 6pm-8.30pm
t h e H O L D is an exhibition by the artists' group We Are Publication (WAP) featuring contributions from over 50 artists. It consists of posters, a soundscape, a hand-woven carpet, and a series of live events all set within an expansive sculptural display structure occupying the gallery space.
The poster is a key production site for WAP and provides an important working-tool for collective visual and conceptual dialogue. Contributed materials are grouped and regrouped, with salient conversations between component parts gradually taking hold. At the Stanley Picker Gallery,this process of contingent reassembling is accentuated through a multiplicity of spliced and overlapped poster material.
The exhibition's primary structure is formed from steel decking of the type commonly used for theatrical stage and exhibition design; its modular character mirrors WAP's own combinatory approach to artistic production. Suggestive of a schematic mountain-scape, the structure grips and scales the gallery's own vertiginous architecture, encouraging metaphoric ascents, descents and transversal movement.
Preoccupations with mountainous landscapes are further taken up by t h e H O L D's soundscape whose indeterminate atmospheres take their cue from the secluded alpine sanatorium described by Thomas Mann in The Magic Mountain (1924). Individual sonic contributions are here re-imagined as if circulating within the spaces of a remote mountain refuge, where acoustic fragments pass and mingle via a series of rest-cures, breakfasts, luncheons and dinners, eventually to disperse in slumber.
Part home-furnishing, part-collage,a custom-made hand woven rug was central to WAP's Notes on a Carpet project between 2017-18. The carpet itself re-alights here, as well as in the form of live-stream video documentation of one of its previous manifestations.
Throughout the duration of the exhibition, t h e H O L D will host a series of live events with key performances taking place on the 6th of November and the 4th of December.
t h e H O L D features contributions from Sadegh Aleahmad, Jonathan Allen, Holly Antrum, Bill Balaskas, Sarah Bennett, George Charman, Rachel Cattle, Jenna Collins, Ilsa Colsell, Craig Cooper, Edward Dorrian, Volker Eichelmann, Abbe Fletcher, Adam Gillam, Keira Greene, Melissa Gordon, Bruce Haines, Felicity Hammond, Mark Harris, Ayano Hattori, John Hughes, James Irwin, Maureen de Jager, Gareth Jones, Simon Josebury, Marianne Keating, Dean Kenning, Lau Chak Kwong, John Lawrence, Bill Leslie, Anna Lucas, Stine Ljungdalh, Katy Macleod, Rachel Mader, Russell Miller, Christian Newby, Louis Nixon, Rupert Norfolk, Tom O'Dea, Alex Pollard, Elizabeth Price, Mónica Rivas Velásquez, Joey Ryken, Daniel Shanken, Andrea Stokes, Stephen Sutcliffe, Charlotte Warne Thomas, Andy Tam, Erika Tan, Maryam Tafakory, Mandy Ure, Sebastian Utzni, Roman Vasseur, Mark Aerial Waller, Steven Warwick, Matt Williams
We Are Publication aims to test innovative forms of contemporary art publishing. Originating at Kingston School of Art's Contemporary Art Research Centre in 2014, the group consists of a changing constituency of current and past PhD candidates, staff members and invited contributors who share a sense of the possibilities inherent in collaborative research. We Are Publication is a shape-shifting laboratory. Its multi-layered publishing experiments relay the group's interactions and exchanges. In flux and iterative, the group's configuration as well as its outputs, signal divergent approaches to jointly conducted research.
The group has produced speculative publications in the form of a launch event (ICA, London, 2014), a 5-minute video (Stanley Picker Gallery, 2015), the 60-minute radio broadcast Diagram of an Hour (Resonance FM, London, 2016) and a vinyl record documenting the broadcast event (Curved Pressing, 2017). Between 2017 and 2018 We Are Publication produced Notes on a Carpet, a project that took the shape of a hand woven rug. In 2018 the carpet was presented alongside a series of readings and performances at Five Years, London, Black Tower Projects, London, Focal Point Gallery's Unit Twenty-One, Southend-on-Sea and the London Art Book Fair, Whitechapel Gallery. Earlier in 2019 We Are Publicationpresented the exhibition We.Are.Cut.Up. at Pratt Institute, New York. The We.Are.Cut.Upsoundscape has been transmitted as part of Radiophrenia, CCA Glasgow in May and will feature on Art Licks Weekend radio station, run in partnership with TACO! and RTM from 17–20th October 2019.
Revital Cohen & Tuur Van Balen
Event: Wed 26 June 7pm Revital Cohen and Tuur Van Balen in conversation with Elizabeth Price and Filipa Ramos. Free entry, no booking required. Click here for details.
The exhausted body of a thoroughbred horse, soil upturned through geopolitical voodoo, blinking lights conjuring irrational thinking, the song of sirens, the demise of a linear future.
Luna Eclipse, Oasis Dream is the culmination of Revital Cohen and Tuur Van Balen's Stanley Picker Fine Art Fellowship and first act of their long-term project, Nearly Winning, which considers gambling as a contemporary condition. Imagining the exhibition as an organism, the artists bring together sculpture, film, light, sound, scent and text to create a space inspired by the subliminal strategies which induce self-delusion as a way of seeing.
Taking inspiration from Brown and Venturi's 'Learning from Las Vegas' as much as Brian O'Doherty's 'Inside the White Cube' – both examining how spaces are conferred symbolic meaning and structures – the exhibition is arranged as a space in which the lighting, sound, scent and atmosphere all follow subliminal strategies devised by the gambling industry.
A trance-like soundscape hangs in the air, oxygen levels are raised as the lights occasionally break into blinking patterns echoing the 'siren song' of a slot machine display (The Dancefloor, 2019). A scent commissioned from a marketing company (The Restraint, 2019) overlays musk with synthetic molecules that mimic human pheromones and the stress-like smell of the Dead Horse Arum Lily.
The new film work The Odds (part 1) brings together racehorses anaesthetised and collapsed on ketamine in a 'knockdown box', showgirls from a casino in Macau belonging to the world's biggest political donor, and Steve Ignorant from anarcho punk band Crass performing in a bingo hall originally built as a cinema designed to look like a church. Produced specifically for a large LED screen, the footage is overlaid with pulsating light formations inspired by Vegas techniques of visual seduction. The interconnections evoked draw logic from apophenia – a psychiatric term describing the tendency to perceive meaning connections between unrelated things or patterns in random information. The resulting assemblage is eternally based on luck, and responsive to the other elements in the space.
Elsewhere is a constellation of objects, a sculpture made from scans of the collapsed bodies of thoroughbred racehorses (The Fall, 2019), casino chips made in China from clay dug out in Jerusalem (The Circuit, 2019), a subtitle track projected on the wall and a glass replica of one of the artists' eyes (The Opening, 2019), hovering somewhere between commodity and amulet.
Revital Cohen and Tuur Van Balen (b.1981, based in London) work across objects, installation and film that explore process of production as cultural, personal and political practices. Their work was presented at The Renaissance Society, Chicago; Serpentine Cinema, London; Mu.Zee, Ostend; Fotomuseum Winterthur; Para Site, Hong Kong; Thyssen-Bornemisza Art Contemporary, Vienna; Haus der Kulturen der Welt, Berlin; Museum of Contemporary Art, Tokyo and Congo International Film Festival, Goma. It is part of the permanent collections of the Museum of Modern Art, New York and M+ Museum, Hong Kong.
Many thanks to Stan Bidston-Casey, Stella Bottai, Oisin Byrne, Chris Cairns, Francine Chan, Naomi Esser, Hannah Fasching, Daniel Fernández Pascual, Adam Gibbons, Fabienne Hess, Yasmin Hepburn, Lily Mccraith, Alexander Pavely, Lucia Pietroiusti, Elizabeth Price, Georgina Rae, Daniel Rothschild, Alon Schwabe, Dani Smith, Pierre Tardif, Jan Van Balen, Jan Wade, Jeremy Waterfield, Steve Williams.
Katrin Plavčak
Free Associated Events Listed Below
Democracy is in a state. This first UK solo exhibition by Vienna-based artist Katrin Plavčak comes at the start of the year that sees the United Kingdom on the verge of a dramatic break with the European Union. The exhibition of new and recent works will conclude with a live event on Friday 29 March, that will feature the musical trio Chicken (Plavčak, Hoffman, Ganglberger) who will play out the final day – or not – of the Brexit process.
Haus der Lose / House of Lots refers to systems of democracy, practiced since ancient Athens, whereby citizens selected by lot – through random sortition, rather than by public election – actively participate in what still function in certain countries as 'People's Assemblies' that are convened to resolve the major issues of the day. The exhibition is partly inspired by the writings of the Belgian author David Van Reybrouck, whose book Against Elections: The Case for Democracy (pub. Die Bezige Bij, 2013) offers a convincing diagnosis for the failures of contemporary democracy, and makes the argument that our reliance upon present forms of electoral systems to provide us with representative leadership, has led to growing voter disillusionment with an increasingly narrow field of career-politicians jockeying for positions in power, across Europe and beyond.
"Elections are the fossil fuel of politics…if we don't urgently reconsider the nature of our democratic fuel, a huge systemic crisis threatens. If we obstinately continue to hold onto the electoral process at a time of economic malaise, inflammatory media and rapidly changing culture, we will be almost willfully undermining the democratic process." from Against Elections: The Case for Democracy by David Van Reybrouck.
Directly engaged within this broad political context, Plavčak works with a sense of both urgency and optimism, offering through her paintings personal visual responses to current events as they occur. As Silvia Eibmayr comments on the artist's work: "She has a keen sense of the bizarre dystopian and barbaric aberrations that characterize current world events, and without becoming cynical she finds poignant symbolisations for prevalent fears, traumas, aggressions, for malice, helplessness or repression, but also for empathy and political commitment, to specific agendas or individuals" (from On the Mirror of Twilight, Katrin Plavčak, pub. Snoeck 2017).
For Haus der Lose / House of Lots the artist paints a contemporary political landscape of carnivalesque horror; a world populated by a cast of grotesquely humorous characters, including real-life politicians, 'sci-fi' aliens, refugees, anthropomorphic objects, maps and cartoon beasts. Plavčak, nonetheless, remains critically constructive in her own political beliefs: "The European Union is a unique concept, which started as an important peace project. Yet the European Council seems, more and more, to be the institution which is working against the integration of a unified Europe, unable to find collective answers to the problems the world is facing, like migration, climate change and environmental pollution, digitalisation and the changing working environment. There is an urgent need to come up with solutions for the whole European continent and, by extension, what Buckminster Fuller called our spaceship earth."
Over the course of the exhibition, in response to ongoing events in the political landscape, the Gallery will be publishing an online dialogue of correspondence between Katrin Plavčak and Dr. Egle Rindzeviciute (Kingston University), with a live discussion on Wednesday 27 February 2019 (see below).
Katrin Plavčak (b.1970) is an Austrian painter and musician based in Vienna. She studied painting with Sue Williams at The Academy of Fine Arts, Vienna, and holds a Diploma from The Social Academy, Vienna. Plavčak has shown at many international galleries and institutions including: the Secession Vienna; Kunsthalle Wien; Deutsche Bank Kunsthalle, Berlin; Kunsthalle Basel; Galerie Mezzanin; Geneva; Marc LeBlanc Gallery, Chicago; Dispari & Dispari, Berlin & Reggio Emilia. From 2012-14 she formed part of the feminist artist group ff and, together with Caro Bittermann and Claudia Zweifel, runs the website The History of Painted Revisited; a growing archive of female painters from art history. Plavčak performs with M.O.G, a sewing machine improvistation duo with Swedish artist Ulrika Segerberg, and founded the band Chicken in 2018 with Nicholas Hoffman (vocals, bass) and Hari Ganglberger (drums), Katrin Plavčak (vocals, guitar). Chicken are currently recording their debut album in collaboration with the Visconti Studio at Kingston University.
Free Associated Events at the Stanley Picker Gallery:
Wed 16 Jan 6-8.30pm: Exhibition Launch / All Welcome
Wed 27 Feb 7pm: Katrin Plavčak in conversation with Dr. Egle Rindzeviciute and Prof. Ilaria Favretto (Kingston University). Drinks from 6pm / All Welcome
Fri 29 Mar 6.30-9pm: Live set by Chicken (Plavčak, Hoffman, Ganglberger) and DJ set by Stanley Picker Fellow Yuri Suzuki. Staged at the Stanley Picker Gallery, in collaboration with the Visconti Studio (Kingston University) / All Welcome
Also: Accompanying the exhibition, Kingston University's Dorich House Museum is displaying Katrin Plavčak's painting Is She a Lady? (2015) – a fictional group portrait of historical European women painters. Dorich House Museum is the former studio-home of sculptor Dora Gordine (1895-1991), and now operates as a specialist centre supporting women creative practitioners and thinkers. Special thanks to Marlene Haring & Anthony Auerbach, London, for the generous loan.
Many thanks to: Charlotte Cullinan and Jeanine Richards; Marlene Haring and Anthony Auerbach; Michael Gatt and Pol Jesperson, Liam Guest, Louis Peckham, Ben Williams and Samuel Johnson at Visconti Studio (Kingston University); Ilaria Favretto and Egle Rindzeviciute.
The following email dialogue between artist Katrin Plavčak and Dr. Egle Rindzeviciute (Kingston University) is published below online, as it develops over the course of the exhibition. A live discussion between Katrin Plavčak, Dr. Egle Rindzeviciute and Prof. Ilaria Favretto (Kingston University) takes place at the Stanley Picker Gallery on Wed 27 Feb from 7pm / All Welcome.
Dear Katrin,
Congratulations on the opening of Haus der Lose / House of Lots at the Stanley Picker Gallery.
I am very keen to hear more about the background of this project – what led you to choose this topic?
Also, I was wondering, in what ways can painting as a form of "high culture" participate in the debates on the character and state of liberal democracies?
Dear Egle,
A year ago I moved back to Vienna after 15 years living in Berlin. One reason why I went to Berlin in 2002 was that the right wing party of Austria (FPÖ) got so many votes by the people living and allowed to vote in Austria, that they could establish a coalition with the conservatives (ÖVP), and then formed a centre-right government. Even though the ÖVP didn't get the most votes (the social democrats won the elections), they landed a coup with building a coalition with the right wing party (W.Schüssel / J.Haider). For me, it was unbelievable that in a country which was also responsible for the Holocaust, one third of the population was voting again for a party (FPÖ) with a racist and discriminating ideology that is the home of the 'fraternities' which, via the FPÖ, have been able to get into Parliament. These fraternities are the home of the Nazis in Austria, and the relationship of the fraternities and the right wing party FPÖ is very close.
Now, 15 years later, Austria again has a centre-right government. People seem to forget how quickly this coalition of a centre-right government enriched itself the last time with the money from taxpayers, and how their criminal activities are still keeping the courts busy in Austria today.
S.Kurz (ÖVP) changed the colour of the conservative party from black to turquoise and again, like Schüssel, chose a coalition with the right wing party FPÖ (H.C.Strache) to gain power. Since this government has been in charge, they immediately changed laws, rebuilding the state institutions, reversing the aims of progressive education, cutting rights for foreigners, and pushing the borders of language in a direction which should have been forgotten a long time ago.
The Austrian composer Georg Friedrich Haas explains well, in his text 'Monolog für Graz' 2018 (a piece he wrote for the Musikprotokoll), how the Nazi ideology survived in Austria and how the parties have managed to put their people in places of power.
So this is the background of the country I happen to live in now, and the passport I carry. I consider myself a citizen of Europe, and every Thursday in Vienna there is a big public demonstration against this government, organised by great people of different occupations and backgrounds.
All over Europe right-wing ideologies are gaining power; or to be more precise, nationalism in the form of right-wing populism. I was looking for authors with critical minds and with answers to what could cause such a drift to the right of so many citizens of the European Union. I came across the writer David van Reybrouck and his book 'For a Different Populism', where he describes how more and more people in Western societies, of lower education and income, are rejecting taking part in voting as a democratic process or follow right-wing populists, as they no longer see themselves represented by their parliaments.
This led me into the topic of how democracies are legitimized, and how the democratic process has changed over its long period of existence. In his book 'Against Elections' Van Reybrouck suggests some kind of lottery as an additional tool for voting and find a democratic way to translate the will of citizens into laws. He talks about deliberative democracy to develop public discourse about all political topics. In this way citizens are provided with direct access to democratic participation and this returns their faith in the system.
(ER: Also, I was wondering, in what ways can painting as a form of "high culture" participate in the debates on the character and state of liberal democracies?)
I hope that painting doesn't float away up in the skies, far away from practical political developments. I think one of the most noble, and therefore 'high', cultural achievements of our society is the political construction of a democracy. It assures citizens that they are equal, that they have the right to vote, and be a part of the process of defining their own government.
I have always thought of painting as a form of communication, as information, and in this sense it is able to talk about political circumstances. And it always did. A long list of painters over the centuries have produced images of the contemporary 'powerhouses' of their times – in part because they were the ones paying for it – and painting big political events. If we think of Goya, he painted the Spanish royal family in a very ironic way, and also the cruelties of war, which can be easily read as social critique. Painting is deeply connected with capital and the political powers in charge.
Painting is a tool for me to deal with topics I am concerned with, to help me think about them, and for me to provide quick reactions to political developments and express the status quo.
Friendly greetings,
You mentioned that you paint in response to the events happening around you, reflecting on the issues that are presented as the most burning ones on the political agenda. One thing that struck me particularly when seeing your exhibition was the bright colours and the vivid, painterly quality of your works. There is, I think, a very bright energy pulsing from your canvases. How do you make aesthetic choices when approaching such charged topics as the failures of the political systems?
Painting is a method to think about certain topics for me. I guess it's all about charging a work, during the painting process, with content and form. I try to understand something, and while painting it, I can get very close to the subject matter. I guess it's also a way for me to digest politics.
Colour relationships are very complicated. Like Bridget Riley has stated, as soon you change one parameter of one particular colour, the whole enterprise starts moving. Also, colours make a strong physical impression on me, and hopefully to other observers, especially in the presence of bigger paintings, which I believe not only happens through the eyes but also through the body, where colours talk to my cells directly, like music.
In the painting The European Republic (The Lady Facing Afrika), I chose many different shades of blue – Paris Blue, Prussian Blue, Coelin Blue, Indigo – to paint one woman as a personification of Europe. There are many ways to describe and understand the same situation, so by representing Europe as a person, it is perhaps possible to develop an emotional response towards her; to try to fall in love with an idea, as Ulrike Guerot puts it in her book 'Why Europe Should be a Republic; A Political Utopia' (Piper 2017). Chantal Mouffe also talks to my understanding of this idea, when she points out that art could play an important role in establishing a left populism, because art is able to create affects or emotions:
"This is the big power which lies within art; the ability to show us things in a different light and to make us realise new possibilities." Chantal Mouffe 'For a Left Populism' (Edition Suhrkamp, 2018).
In my painting, Europe is a woman who is hoping that the progress of emancipation and feminism will create new solutions for a European Republic, not dominated by one nation pursuing hegemonial power. One human body; the arm, the leg, the head and the heart all need to work together. Every part on its own is very specific – like the different regions of Europe – but they would have a sad and isolated existence on their own.
A very important role that Europe has to define anew, is its relationship with Africa, and the historical responsibilities we have towards our neighbouring continent. We have to find a solution which is not a concrete wall with barbed wire, or a sea where people who try to escape from no future, face death. We are obliged to deal, in a human way, with refugees coming to us from this continent, and in my painting Europe is unsure how to face Africa, and she looks, afraid, into the eyes of the black continent, which is so close on the map, yet so far away in the hearts and heads of European people. Colonialism then and exploitation now; African workers held like slaves in Southern Europe today, and nations, like France, not acknowledging the population of their former colonies as citizens of their own.
With friendly greetings,
Thank you for your thoughtful and stimulating response, and apologies for my delayed answer.
I was, coincidentally, travelling in Brussels, visiting the House of European History among other things. This museum is indeed trying to engage with the history of Europe as a totality of the nation states that comprise it. The exposition starts with the myth of Europa and ends at a hall, situated on the top floor, which already contains a display of Brexit voting ballots and campaign materials for both Leave and Remain. There is also an exhibit of safety vests, to acknowledge the ongoing crisis of refugees crossing the Mediterranean Sea.
While the museum speaks through objects arranged into illustrative sequence, to flesh out narratives scripted by historians, your paintings attack all senses and taking the command of the viewer by their sheer size, as you said earlier.
This made me think about the invisible, but important, role of technology, that determines the way in which we sort our information and images. I do not remember the last time I printed out a photograph, let alone a large size print. Images come to me in a screen size, and screens are compact, small and portable; perhaps like stereotypical judgements that are quickly and conveniently produced by the mind. A large size painting demands one to pause and to physically orient oneself in the space. Not so with the screen.
I heard that you reflected on social media by painting a few pieces that were intentionally smaller in size, in comparison to your large paintings not to the size of my laptop screen. I would love to hear more about the idea behind these paintings and how they originated.
That's a beautiful comment you make here, about the difference of perception between paintings and photographs, in delivering political content. It has to do with the time it takes to look at a painting and the physical presence of the image-object. You can't scroll over a painting (yet!). The size, plus the time it takes the observer to look at an image and think about it, makes a big difference.
We still tend to believe that if we see a photograph we are confronted with facts and reality. A painting doesn't promise to talk about truth and reality. Here we are in the realm of paint. As a viewer of a painting you are always aware that you look at the opinion of a painter – as long this painter is not called e-David (AI).
The fact is, we live in times of fake realities. Well-founded journalism is so important for democracy, but needs time for research and investigation. Journalists need to get paid well and need the support of a free society. Increasingly, citizens are getting information from Facebook and such, misinterpreting this for truthful information, and getting more easily manipulated.
I am not on Facebook, but I do use Instagram. When I started posting things, I got so curious about reactions; it's such a strong trigger, very human. What a weird mixture of curiosity, advertisement, public and private. And you give away a lot of information of yourself and your habits, even if you try using social media as a publicity tool for exhibitions and music-shows. I started feeling very uncomfortable about it.
Actually, just one of these three small paintings in the exhibition is called Social Media – a more or less stressed-out face trying to idealize itself with tiny hands. The other two are called Pepsi and Lean On. If you want, you can read these three together as function-images when looking at Instagram: self-manifestation, desire for human closeness and product-placement.
Our data gets collected, processed and analysed, and these masses of data are not sorted out by humans, but by algorithms. I believe that these tons of data are also used by self-learning algorithms, to understand how humans work, how we think and how we feel. I think they want to learn how our emotions are functioning. In the present, social media is used to influence political decisions and voting habits of the citizens. I guess in the future data-information will deliver a tranparent image of humankind for real and virtual machines.
Thank you for your thoughts. I am typing this in a hushed reading room at the Cambridge University Library, a beautiful place where a few old-fashioned card catalogues are kept in the corridors. However, the algorithms are everywhere and need to be reckoned with. The University of Cambridge hosts the Future Intelligence Institute, which gathers many scholars from what could be considered as traditional fields of humanities and social sciences to re-think the meanings of human and non-human agency, the history of intelligence assessing the political impacts of the increasingly effective algorithmic technology.
At Kingston University, Prof Felicity Colman led an important research project that investigated what she and her colleagues described as "the algorithmic condition". Drawing on both Hannah Arendt and Francois Lyotard, Colman and her team assessed the origins of the algorithmic condition and probed the ways in which this ever expanding digital reality could be subject to ethical judgments and regulations. Their wise suggestion is to develop a basis of "ethical environment" – a social and material system of awareness of the algorithmic condition itself. Such an ethical environment could emerge as the result of education, but also of a "societal ethos". It strikes me that there is an important role for the art to play in the development of a societal ethos for our politically disturbed and disturbing algorithmic condition.
This said, the relative feeling of containment that paper card catalogues and neat rows of books communicate is a deceptive one. History is only too full of examples of mass violence, the implementation of which was mediated by lists of names printed on paper…
The link to the report is here: https://ethicsofcoding.wordpr ess.com/2018/02/20/ethics-of-coding-the-algorithmic-condition/
Yes that's indeed a very uncanny aspect, that machine learning is being used to deploy bots on social media (social bots) so that can build misplaced trust, harvest personal information, and spread propaganda; how Dr. Thomas King, of the Digital Ethics Lab at the Oxford Internet Institute, writes in the report you sent. And that these machine learning techniques, which can be beneficial to society, in the fields of crime prevention and medicine, are being used to harm the infosphere. So the first big step is to become aware of the algorithmic condition we are living in and then ascertain and implement ethical regulations.
Maybe another reason to think of extending our democratic tools in the direction David van Reybrouck is suggesting in his book Against Elections. He is arguing for a stronger participation of citizens in democratic procedures, which also means a deeper involvement in the knowledge of topics of politics and society. He writes about finding the opinion of the population not only through elections, because they can be manipulated by misinformation, but also by sortition or election through lot.
Deliberate democracy means more participation of the citizen, and if we as citizens are more involved in the act of naming and working on topics which have to get organised by the state, then these decisions will be backed much better by the population.
How do you think that art could play a role in the development of a societal ethos for our politically disturbed and disturbing algorithmic condition, as you put it? Do you think art could create more awareness for this problematic development? Through creating images which are circulating not in the digital but in the real world? Lots of places where art is shown are rather elitist and just a small segment of the society dares to step into a gallery or contemporary art institution. Also, many artists don't want their art to be seen as a tool for propaganda, and don't want to get labelled as political artists. Making art doesn't make you an ethical person. I think its crucial nowadays, where right-wing populism is growing like a disease everywhere, that politics has to construct a frontier between 'us and them' like Chantal Mouffe says, and that its necessary in these critical times to point out that our opponents are not the refugees coming in but the oligarchy.
I think a very important human strength for the future will be fantasy and resultant innovation. This could be a role for artists, who are able to imagine things and, as a consequence, invent things. I guess algorithms collect information, compare it and build variations. Also humour is a big human benefit, which machines, I guess, are not capable of.
But maybe machines don't need humour, because they don't have taboos and suppressed memories. Yet.


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The Qatar World Cup 2022 Opening Ceremony Details
Qatar World Cup 2022 started with a grand and different opening ceremony. Qatar World Cup 2022 is the 22nd edition of World Cup football. Qatar's Islamic heritage and culture were showcased through dance and song at the opening ceremony at the Al Bayt Stadium in Qatar.
France's former football defender Marcel Desailly, who won the 1998 World Cup, posed next to the Football World Cup trophy. The World Cup trophy is kept in a showcase at the Al Bayt Stadium.
After this episode, veteran and popular American actor Morgan Freeman came on stage. He briefly talks about the history, route, and circuit of the Football World Cup. He was accompanied by popular Qatari YouTuber and celebrity Ghanim Al Muftah. Muftah inaugurated the FIFA World Cup by reciting verses from the Quran. Ghanim Al Muftah is a physically challenged boy.
After Morgan Freeman left the stage, the song started again. The artists came wearing different traditional clothes of Qatar. It was accompanied by music and lighting. The artists were holding traditional Qatari swords. At the Al Bayt Stadium in Qatar, a variety of interesting displays continue with the music. These are accompanied by moments including theme songs from previous World Cups.
The performers danced in the flags and jerseys of all the 32 countries participating in the Qatar Football World Cup 2022. The gallery filled the audience with various performances. Famous pop singer Ricky Martin's 'Ale! Ale! Ale!' song is also widely performed.
After that, pop singer Shakira's song 'Waka Waka' was also performed at the 2010 Football World Cup opening ceremony. Apart from this, the song 'Ole Ola' sung by Pitbull and Jennifer Lopez was also performed at the World Cup. Which was sung at the 2014 World Cup.
SEE ALSO: The History Of The Golden Boot Award In Football?
Jungkook, the youngest member of the popular South Korean music band BTS, performed 'Dreamers', the official song of the Qatar 2022 World Cup. Qatari singer Fahad Al Qubaishi sang more songs with Jungkook.
Finally, Qatar's Emir Sheikh Tamim bin Hamad Al Thani welcomed the gallery-filled audience. He said, "People forget all the differences and see this unity and similarity! Welcome to Doha, the capital of Qatar."
The biggest surprise of the Qatar World Cup event was the thousands of fireworks that flashed light. Qatar's Al Bayt Stadium is lit up with these fireworks. All in all, the Qatar Football World Cup 2022 has been launched in a royal fashion.
Topic Under: Entertainment
nabila 10 December, 2022

redpajama_set_name: RedPajamaCommonCrawl


Do you have a couple of friends who are soon to be celebrating their silver wedding anniversary? Are you a bit stumped about finding the perfect gift? However long you've known the happy pair, you don't need to worry because there are heaps of lovely, attractive, beautiful, fun, and practical gifts to choose from. A 25th wedding anniversary is known as the silver one because that is the symbol that has been associated with enjoying 25 years of marriage for hundreds of years. Going back as far as the Holy Roman Empire and medieval Germany, husbands have been giving their beloved wives gifts made of silver. Back then it was a wreath that she wore on their anniversary, but things have moved on since then and friends, family, neighbours and co-workers often get in on the act.
As you've found your way to this page, we think it's a safe bet that you're on the lookout for a perfect gift ideas for silver wedding anniversary for friends you know.
Picture frames are the most obvious choice when it comes to buying silver wedding anniversary gifts for a couple. One each or one to share, filled with some memorable photos. A silver plated carriage clock would look marvellous on their mantelpiece. If the anniversary is close to Christmas how about considering some silver baubles for their tree. A set of intertwined silver key rings might also go down a treat. Matching silver bracelets, necklaces, or rings.
If you want to keep within a certain budget, you might want to think about something coloured silver, in which case your options are almost endless. There are many kitchen gadgets you can buy with an option of being silver coloured, rather than the traditional white. So why not an espresso maker, ice-cream or bread maker, or a deep fat fryer? While these sort of gifts are undoubtedly practical, the happy couple might not really want or need more things for their home. In which case you're going to have to think out of the box and come up with something completely different.
If your friends are planning a big celebration, why not get together with a few of their friends, and come up with something that will be more memorable than a trinket box, glasses, photo frame or piece of jewellery? A gift hamper is always a great idea for a silver wedding anniversary present idea for a couple of friends. If there are a few of you contributing this this particular gift, then you should be able to come up with plenty of ideas on how to fill it. DVD's, CD's, books, booze and foodie items. If everyone contributes just a few items, the gift hamper will soon be full to overflowing.
Another great idea is to put your money together and organise a party, send them on a holiday or book a short anniversary experience. Racing supercars, riding motorbikes, racing golf-carts, golfing or afternoon tea at a swanky London hotel. The variety of different experience days to book for a couple of mates is really quite astounding.
And if you think they deserve a holiday, after 25 years of married life who wouldn't, pack them off on a little vacation. Their kids are probably old enough to take care of themselves, so give them the opportunity to enjoy each others company. No distractions, no commitments and definitely no responsibilities.
The traditional way to celebrate a 25th wedding anniversary is with a gift made from silver. A handmade gift on the other hand will be far more memorable.
Create a Time Capsule – make a decorative box and fill it with items from the year that they got married. You could pop in some movies, music from the era, food and candy, and see if you can get an authentic newspaper.
Scrapbook – tell the happy couples relationship story by including photos of happy moments they've both shared, such as the birth of their children, memorable holidays, birthdays and other happy events.
Candleholder – make the coupe a handy candle holder, so they can gaze lovingly over a candle at their anniversary dinner. Decorate the holder with silver details and wrap it all up with silver wrapping paper and a ribbon.
Being asked to celebrate a silver wedding anniversary with friends is quite an honour, regardless of whether they are family or friends. Sharing the festivities for such an important occasion is always worthy of a silver wedding anniversary gift. We hope we've helped you find one.


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In 1883 the Warsaw Music Society, under the presidency of the famous Polish composer Stanislaw Moniuszko, decided to establish its own music school. The school diplomas were recognised as official licences, giving the status of a professional musician in both the Kingdom of Poland and the Russian Empire. The School directed by the composer Piotr Maszyński included classes of solo and choir singing, classes of wind instruments, cello, organ, piano, and violin, also harmony, counterpoint, and music forms. A few years later, Wiktor Piątkowski organised the classes of diction and declamation. This specialisation flourished from 1905 to 1916, because it was the only Polish language drama school in Warsaw. The best Polish actors of the period were its pupils, to list only the famous Helena Modrzejewska (Modjeska), Mieczysław Frenkiel, Jozef Kotarbiński, Wincenty Rapacki, Władysław Szymanowski, Roman Żelazowski, Maria Przybyłko - Potocka, Stanisława Wysocka, Antoni Fertner and Aleksander Zelwerowicz.
It is worth to note that during 1892-1897 the School has one of the most prominent Polish composers, renowned writer and establisher of the National Philharmony - Zygmunt Noskowski - as its Director. The School reached the highest European level of musical education and was a genuine counterpart for the Warsaw Conservatory.
In the beginning the School was placed in the Great Theater ballrooms ("Sale Redutowe"), during following years changed locations till 1909, when finally received a steady venue in the new Warsaw Philharmonic building. Teaching scheme included three courses: the lower, the intermediate and the upper one. In result of growing success and achievements, in recognition of its distingushed role for the national culture, the School was granted official name of the "Frederic Chopin Higher School of Music " in 1919.
Between World Wars the School was in its blooming period. It flourished mainly by dominating piano classes taught by such artistic and pedagogical personalities as: Bolesław Wojtowicz, Aleksaner Michałowski and - above all - Jerzy Żurawlew. Violin classes were developing too, especially when Adam Wieniawski worked as School's Director. At the same time organ and vocal classes became famous, as well as classes of composition and orchestral conducting.
The School was known for its ambitious projects - for example the first exchange students' concerts, presenting achievements of various higher schools of music in Poland. It also was a venue where two most famous, still existing international music competitions were born. Following initiative of Professor Jerzy Żurawlew School started the International Frederic Chopin Piano Competition in 1926 and following Adam Wieniawski's idea - International Henryk Wieniawski Violin Competitions in 1935. These two events made the School famous around the world. Not many people realize today, that these two, major international music competitions were established at the Frederic Chopin School of Music in Warsaw.
The Second World War didn't break activity of the School. Despite of serous damage of Warsaw Philharmony building, where the School was sited, teaching was continued. Towards the end of 1942 occupying German authorities closed the School. Soon afterwards it started to work in conspiracy. Concerts and lectures, which helped the nation to survive, stand the test of time and save its cultural identity were arranged. Regular lessons were started as soon as during Warsaw Uprising in 1944. They were held in a temporary venue found in less destroyed Praga, on the right side of Vistula River.
In 1945 Adam Wieniawski became a School Director again. Following growing interest many branches of the School were established in Warsaw and in surrounding suburbs. In 1950, during Stalinist rule, the School was nationalized and officially named the "Frederic Chopin Secondary School of Music". Great, pre-war traditions were continued by old, experinced teachers: Józef Śmidowicz, Paweł Lewiecki, Wiktor Bregy, Maria Haftner, Mikołaj Orłow, Zofia Drexler-Pasławska. In following years the School was rapidly growing, number of students was constantly increasing, new departments and sections were being established. The faculty was enriched by internationally renowned Polish performers like: Irena Dubiska, Zenon Brzewski, Kazimierz Wiłkomirski i Roman Jabłoński. Later on many outstanding graduates accomplished notable successes on concert and opera stages in Poland and around the world. The following names can be mentioned: Zdzisława Donat, Jerzy Artysz, Jadwiga Rappe, Jerzy Knetig, Anna Malewicz-Madey, Leonard Andrzej Mróz, Jadwiga Kotnowska, Wanda Głowacka, Paweł Skrzypek, Leszek Potasiński and Sławek A. Wróblewski. Most of them have returned to the School to join faculty staff and today they work as its renowned teachers.
Referring to pre-war theater tradition of the School its Vocal Department has been extended by the Song Section, focused both on actors' song as well as on lighter music, pop and musical. The Song Section of Vocal Department professionally prepares singers to their career in show and entertaining business. Among its graduates such popular names like Edyta Geppert and Andrzej Rosiewicz can be mentioned.
Thanks to the efforts of Mr. Henryk Majewski, the president of the Polish Jazz Society and the Frederic Chopin State Music School director, Paweł Skrzypek, in 1992 the Frederic Chopin State Music School in Warsaw inaugurates the Jazz Department with the co-operation of the best Polish jazzmen: trumpeters Henryk and Robert Majewski; saxophonist Zbigniew Namysłowski; big band leader Jan Ptaszyn Wroblewski; pianists Andrzej Trzaskowski, Andrzej Jagodzinski, Pawel Perlinski and Michal Tokaj; trombonist Grzegorz Nagorski; drummers Czesław Bartkowski and Kazimierz Jonkisz; guitarist Piotr Lemanski, as well as bassists Adam Cegielski, Zbigniew Wegehaupt and Piotr Rodowicz.
In 1997, the Frederic Chopin State Music School opened a two-year postgraduate jazz studies program that expanded the Jazz Department. It is designed for advanced music students and concentrates only on the jazz music program and thus is at a semi-academic level.
1883-1889 – Piotr Maszyński
1889-1892 – Wiktor Piątkowski
1892-1897 – Zygmunt Noskowski
1897-1902 – Adam Münchheimer
1902-1925 – Bolesław Domaniewski
1925-1927 – Witold Maliszewski
1927-1940 – Adam Wieniawski
1941-1942 – Józef Śmidowicz
1949-1951 – Czesław Szenk
1951-1964 – Jerzy Wasiak
1964-1971 – Halina Dzierżanowska
1971-1972 – Zenon Brzewski
1972-1982 – Elżbieta Artysz
1982-1989 – Jan Kaniewski
1989-1992 – Danuta Olechnowicz
1992-2004 – Krystyna Bentkowska
od 2004 – Paweł Skrzypek


From a small farm with a big heart, Doke Tea is all about the pleasure of handcrafted tea.
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Pre First Flush 2017 at Doke.
A quite, early summer evening at Doke in Bihar, India.
Various blogs about us, our teas and our activities.
In the foothills of the Himalayas, the Doke Tea garden is producing fine teas that are winning global awards and rivalling traditional giants.
David, an intern at Lochan Tea, visits Doke in 2005.
Vincent Moreau's visit to Doke almost 10 years ago!
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This is the one and only event that thrives as a result of our focus and encouragement for work AND community.


The BHS Dual Transfer Carriage (DTC) converts an existing pallet truck into an efficient, portable battery changer. A hydraulic-powered extractor arm makes the change-out process quick and ergonomic, saving your staff time and energy.
The DTC is equipped with three battery compartments which allow two battery change-outs anywhere in your facility. The carriage's combination of lead rollers and friction strips provides increased battery stability while transporting batteries to and from charging stations. A durable powder-coat finish helps the DTC resist acid and scratches in harsh warehouse conditions.
The DTC mounts easily to any powered pallet truck with forks that are 60 inches or longer. A dual SB-175 gray connector harness plugs into the pallet truck and battery, which powers the Dual Transfer Carriage and pallet truck simultaneously.
The pass-through design of the Dual Transfer Carriage conveniently allows battery exchange to and from stands on either side of the unit. Lift truck servicing can be accomplished from the right side of the DTC (arm reach side is from pallet truck operator's perspective).
Turn your pallet truck into a mobile, industrial battery extractor with the Dual Transfer Carriage. Contact our sales team at 1.800.BHS.9500 to learn more about Battery Carts & Carriages or to locate a dealer.


Irvington High School serves 1,265 students in grades 9-12.
The percentage of students achieving proficiency in Math is 4% (which is lower than the New Jersey state average of 40%) for the 2015-16 school year. The percentage of students achieving proficiency in Reading/Language Arts is 23% (which is lower than the New Jersey state average of 50%) for the 2015-16 school year.
Irvington High School placed in the bottom 50% of all schools in New Jersey for overall test scores (math proficiency is bottom 50%, and reading proficiency is bottom 50%) for the 2015-16 school year.
Irvington High School's student population of 1,265 students has stayed relatively flat over five school years.
Irvington High School is ranked within the bottom 50% of all 2,236 schools in New Jersey (based off of combined Math and Reading proficiency testing data) for the 2015-16 school year.
The diversity score of Irvington High School is 0.26, which is less than the diversity score at state average of 0.43. The school's diversity has stayed relatively flat over five school years.
"IRVINGTON HIGH SCHOOL CLASS OF 2012"
ASG!!!! Performing in Irvington High School!!! in N.J!!!! the Crowed was Great Thank you!!!


Together EXIT and Sea Dance Festival combine to create the unique EXIT Adventure, that in 2016 saw nearly 300,000 fans party across the Balkans. Kicking off in Serbia with the famed EXIT Festival, before making the journey to Montenegro for Sea Dance Festival, check out the official aftermovie below now.
EXIT Festival returns for 2017, again taking over Novia Sad, Serbia, 6th - 9th July to celebrate the 50th anniversary of 1967's Summer Of Love.
Early Bird Tickets will go on sale Friday 18th November.


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In the bus industry, paying a driver to travel as a passenger on a bus service is frowned upon. In the privatised and deregulated bus industry, the operator's finances are a key factor - overriding many things that it didn't, under a nationalised framework. Efficient scheduling is something the bus industry knows a lot about, often to some employees' distaste. It is very rare to see a bus driver travelling as a passenger on board a bus as part of their shift, unless he/she is travelling to/from his base, which may be located some distance from the town/city centre changeover point.
In the scheduled coach industry, services are forced to comply with EC Drivers' Hours Regulation 561/2006, requiring a driver to have a break after 4.5 hours. If a second driver is conveyed, this is the reason why. Ensuring an attractive end-to-end journey time for the passenger can help business, so this inefficiency is a small price to pay in the grand scheme of things. Even when a second driver is needed, he/she is diagrammed as intensively as possible. It is nothing to see some coach drivers 'jumping' a coach along the M1 for an hour, where he/she will then leave at the next motorway services, before doing the same to a coach heading in the opposite direction. It is very rare to see a scheduled coach service with the same two drivers throughout (I can immediately think of two but as a percentage of every single scheduled coach service that operates today, this isn't even 1%). Company cars are sometimes used to enable drivers to change near to their base but to prevent an unnecessary diversion to the coach journey, taking a fleet car is, again, the lesser of two evils.
The railway industry is an altogether different beast. A letter in the latest RAIL details how taxis are used on a daily basis to convey a Virgin Trains driver between Liverpool and Chester and how one is used to transport an Arriva Trains Wales conductor between Holyhead and Chester. I wonder if it is the same one? A retired train driver friend of mine who lives in Lincolnshire was sent home by taxi each and every night he was rostered to work lates (one week in 3) from Waterloo station in central London. He was not the only one: a taxi took an employee from Norfolk home, too.
This kind of wastage is all too apparent in the rail industry. Part of me agrees with the line taken by hardened unionists, that being a member of a heavily unionised workforce and standing your ground from the start ensures that, more often than not, you'll win and that particular derogation to your contract of employment will be retained. But then the nature of the railways meant that privatisation was never going to be a carbon copy of that with buses and coaches. The prescriptive nature and micro-management by the DfT has, in my opinion, assisted the industry's workers in maintaining almost identical contracts of employment fifteen years after privatisation got underway.
The McNulty Report essentially recommended everyone sitting down and chatting about how best to turn the tide on the railway's spiralling costs. More efficient scheduling that removes the use of taxis on a daily basis must surely be a starting point. The public is largely shielded from this area of wastage but less so when it affects them directly: the cancellation of all Sunday services because either drivers or guards (or in some cases both) are not contractually obliged to work on the Sabbath. Colloquially known as Barbecue Days, these debilitating incidents have affected me on a number of occasions with Central Trains and now East Midlands Trains. This should also be one of the first things that need to be addressing. Arriva Trains Wales and London Midland have also suffered over the past couple of years.
The very fact they're known as Barbecue Days has a number of unpalatable undertones to me. This can have a knock-on effect to the following day as trains are often positioned incorrectly and a reduced service with yet more replacement buses are the order of the day on the busy Monday morning - costing many thousands of pounds. Coaches used to provide replacement road transport are usually paid a set fee per day, of around £500. Consider, say, Wales being without any trains for a day, and the cost is not inconsiderable.
Tackling these inefficiencies first are going to be relatively easy - when you consider McNulty would like to see the removal of safety-critical guards from virtually all trains - and they will make tangible savings. In the scheme of things they won't go anywhere near tipping the balance, but they will be a start. If movement can't be made in these areas, the thorny issue of Driver Only Operation will never, ever be resolved.
Personally i think they should just sack all the staff and start over. Pushing and pulling a lever to drive a train is hardly difficult to learn is it?
Don't feed the trolls
@Anon 00:45 - good luck with that one.
Sacking all the staff would be a great idea wouldn't it? NOT!
Rescheduling of shift patterns would actually help. Cutting through the excessive 'red tape' would also be another way forward.
If you think it's a simple act of pushing and pulling a lever to drive a train (safely) then I suggest you do more research and homework!
I could say alot more but hey!
greenline 727 said...
My understanding is that, compared with the overall cost of running a TOC, the cost of a couple of extra drivers or guards is miniscule, and accordingly staff rosters and diagrams are not compiled with much regard to cost.
Compared with the bus and coach industry, where the drivers still account of around 40%-50% of the costs of running a local bus service, and the pressure to schedule cost-efficiently is accordingly much higher.
Horses for courses, I guess!
@Greenline 727 - Bus drivers are paid significantly less than train drivers and slightly less than guards, so with this in mind if the proportion of cost to the TOC for their employees is so low, I think it hits the nail on the head about the rail industry's runaway costs since privatisation.
So many efficiencies have taken place in the bus industry since privatisation, they're running as efficiently as possible, on the whole.
One such example is the removal of the need to 'double man' as the original post states. And certainly the removal of the use of taxi drivers.
And unlike the bus industry, we taxpayers contribute around 25% of the money given to the railway industry. I don't like the thought of my money going to pay for replacement coaches when a load of drivers choose to have a barbecue.
@ Anon 11.43 - the Labour govt started the ball rolling with the proportion of state money being given to run the operation of the railway from a 50:50 split to an eventual 25:75 split.
Their argument was that a higher proportion of funding from the fare box (i.e. by the people who use the railways, not those who don't) is a fairer way in which to fund the railway.


Last month in one of my blogs, "How to Successfully Leverage IoT; It's Not Technology," I discussed the value of a strong network of integrator partners, such as the EcoXpert network. I also discussed the role people play in executing technology solutions for buildings where IoT and the convergence of Operational Technology (OT) and Information Technology (IT) deliver new opportunities for optimization of automation and power distribution.
More recently, I had an opportunity to talk about this with the owner of a system integration company in China, and collect his view on trends related to optimization of automation and energy systems. He accepted that a partner network, like Schneider Electric's EcoXpert™ program, provide him with value by offering protection on his investment in skill development for his team of engineers. He also made the argument that the real opportunity being delivered through IoT and the convergence of IT and OT is his company's ability to market themselves as a single provider of technology solutions that touch every aspect of a building's infrastructure: electrical, mechanical, fire and associated monitoring and power control systems.
Illustrating his point, he talked about a project being developed by his team for a very large healthcare center. An aging population, economic growth and expansion of health insurance has driven massive expansion in healthcare demand in China, and resulted in annual growth in healthcare spending of over 17% for the last 9 years. This growth has created a proliferation of private investment in hospitals and their supporting infrastructure: universities, clinics, da ta centers, power and logistic stations, medical imaging centers, etc. The healthcare center referenced by this particular EcoXpert partner will include 1,400,000m2 of building area on both a physical and digital campus that stretches across the Shaanxi Province. The digitization of the campus is driven very much by IoT, and the need for centralized facility and data management. His company's ability to successfully integrate the building management system (BMS), a mission-critical electrical power management system (EPMS), and a data center infrastructure management (DCiM), provides him not only with a differentiated competitive advantage, but with greater control over the subcontracting process to help influence the technology that will enable his success.
Despite the strength of local manufacturers in China, Schneider Electric maintains a strong advantage in projects like this healthcare center. System architectures supported by Schneider Electric's EcoStruxure™ technology are provided by a foundation layer of intelligent products ideally suited to complex facilities like a healthcare center, along with interoperable software and cloud-connected digital services. An EcoXpert that becomes certified across disciplines, develops a competitive edge while gaining access to a variety of technology from Schneider Electric that works within the EcoStruxure Platform to integrate seamlessly. The result? Optimized automation and energy distribution.
In speaking about his philosophy on how his company drives success with customers like this healthcare center, he claims "product stability [quality] and strong relationships" ultimately help him close deals. He extrapolated, his successful partnership with Schneider Electric survives based on technology that enables him to deliver complete solutions via innovation at every level, and on a shared commitment to competency and business development he receives in the EcoXpert program.
Have you seen trends that support this kind of multi-disciplinary approach to deploying systems in buildings?


text:
Wallflowers at The Orgy: Mary Ann Sieghart
By Team Propeller
Propeller was delighted to welcome author and journalist Mary Ann Sieghart to our latest Wallflowers at The Orgy, our event series that puts senior journalists in the spotlight and flips the script to ask them the questions.
Wallflowers at the Orgy is a reference to the late US writer and novelist Nora Ephron who once said: "Working as a journalist is exactly like being the wallflower at the orgy… everyone else is having a marvellous time, laughing merrily, eating, drinking, having sex in the back room, and I am standing on the side taking notes."
The topic of conversation for this virtual gathering was Mary Ann's book published in July titled "The Authority Gap: Why women are still taken less seriously than men, and what we can do about it".
The hour-long discussion highlighted widespread innate biases and psychological conditioning which affect our outlook and treatment of women both in the workplace and wider society. And provided advice on how to tackle these issues.
Our gathering of senior leaders had a chance to discuss the topic and pose questions to Mary Ann, while the event was chaired by Propeller Group Director of Clients and Strategy Rose Bentley.
The impact of a powerful story
There's an ingrained assumption present in most people that "a man always knows what he's talking about, unless he proves otherwise. Whereas for women it's always the other way around." says Mary Ann, "You are assumed to be the entertainment for the night, rather than the authority in the room."
She recalled a 1999 encounter between then president of Ireland Mary McAleese and Pope John Paul, where the latter ignored the president's handshake and went directly to her husband instead, exclaiming: "Would you not prefer to be the president instead of your wife?" While shocking, this incident will be familiar to many women.. It's a common form of misogyny, and it shows that even women holding society's highest form of authority, can still be victims of the authority gap.
Falling on deaf ears
"You make this point and nobody notices, and then when a man makes it (and is praised) you think, maybe I wasn't articulate enough or eloquent enough… No you were just too female!" And there are research studies to prove it. One such study set in a courtroom scenario found that subjects in a group were six times more likely to deliberate on information presented by a man and ignore the same information brought forward by a woman. "Six times, that's how much harder it is for a woman to influence a group, a group of both women and men! Women resist female influence too."
Biases we all hold
We all nurture unconscious biases against women that widen the authority gap, and these biases are even present in women. Mary Ann points out that our nurturing from a very early age affirms the false existence of an innate authority men hold over women both in the workplace and consequently wider society.
"We've probably seen our fathers going out to work more than our mothers, perhaps earning more, or having more authority at home. We've looked at the world around us and seen men disproportionately in charge."
As a result, associating a man to dominance and authority comes far more naturally to people than the inverse. So while women are not to blame for feeding into societal conditioning, it is the role of both men and women to challenge these conceptions and in turn narrow the authority gap.
One thing to stop doing, one thing to start doing
"Stop mistaking confidence for competence."
Boys are often brought up and socialised to be more confident than girls. In the workplace this translates to men being perceived as far more competent than their women counterparts. By taking the time to dig deeper and going beyond a person's word, companies can ensure a fairer work environment.
"Start to think about the conversational time, make sure it's proportional."
By ensuring all receive a fair say in meetings and discussions, companies can ensure no team member is left feeling disillusioned and let down regardless of race, creed and gender. Establishing set parameters leaves no room to second guess the motivations behind a person's interruptions.
You can purchase Mary Ann Sieghart's book "The Authority Gap:Why women are still taken less seriously than men, and what we can do about it" on the following link: https://www.maryannsieghart.com/the-authority-gap/
You can tune into the full podcast interview here.


Whirlow looks forward to welcoming the Muskoka Wind Quintet and its audience on September 23rd.
The concert, at 7.30pm, will feature ensemble pieces and flute solos by Poulenc, Haydn, Mascagni and more.
The concert is the fourth of Whirlow's new (for 2017) Music for the Spirit series. The centre, home to the highly successful 'We who sing pray twice' events for many years, is introducing chamber-style, classical music to its programme.
The spirituality inherent in music and human creativity complements and celebrates the unique atmosphere and ideal setting of our 'hidden' Chapel venue.
The Muskoka Quintet has been together since 2001, giving frequent recitals in Sheffield and Derbyshire. They play a wide range from the exciting and demanding wind quintet repertoire – from Haydn to Elbow – and aim to present music in accessible and enjoyable ways. Flute soloist Kathryn Hathaway will be accompanied by Tom James.
Tickets range in price from £12 (full price) to free (for children) and include an interval drink. Please book below or call 0114 2 353704 for more information.
Book online below or download a booking form and post with your cheque to Whirlow Spirituality Centre.


text:
Kent Gliding Club Weather
|now| |live| |today| |yesterday| |this month| |this year| |records| |monthly records| |trends| |archive|
Latitude N 51° 12' 29" Longitude E 00° 49' 49" Elevation 620 ft
Records began on 28 May 2016. Here are the extremes recorded since then.
Records Since 28 May 2016
Highest Temperature 33.6 °C at 15:49 on 31 July 2020
Lowest Temperature -7.2 °C at 05:14 on 28 February 2018
Highest Dew Point 22.0 °C at 09:28 on 10 August 2020
Lowest Dew Point -15.5 °C at 05:14 on 30 November 2016
Highest Apparent Temperature 38.4 °C at 18:01 on 25 July 2019
Lowest Apparent Temperature -12.7 °C at 05:14 on 01 March 2018
Lowest Wind Chill Temperature -15.5 °C at 05:14 on 01 March 2018
Highest Heat Index 37.1 °C at 16:54 on 25 July 2019
Highest Minimum 21.1 °C at 07:39 on 24 July 2019
Lowest Maximum -3.3 °C at 12:30 on 28 February 2018
Highest Humidity 100 % at 00:30 on 02 June 2016
Lowest Humidity 21 % at 09:46 on 30 November 2016
Highest Daily Range 15.2 °C on 11 May 2017
Lowest Daily Range 0.0 °C on 16 April 2021
Highest Rain Rate 268.0 mm/hr at 23:43 on 26 May 2018
Highest Hourly Rainfall 123.4 mm at 13:16 on 25 August 2021
Highest Daily Rainfall 123.4 mm on 25 August 2021
Highest Monthly Rainfall 166.9 mm August 2021
Longest Dry Period 17 days to 04 July 2018
Longest Wet Period 17 days to 24 December 2019
Highest Wind Gust 52.2 kts at 13:16 on 09 February 2020
Highest Wind Speed Average 32.2 kts at 05:36 on 18 January 2018
Highest Daily Wind Run 528.9 nm on 09 February 2020
Lowest Pressure (sl) 950.73 mb at 07:14 on 20 November 2016
Highest Pressure (sl) 1050.39 mb at 23:24 on 19 January 2020
Page updated 19/01/2022 02:20:00
powered by Cumulus v1.9.4 (1099)


I am Italian and I have long eyebrows to the point it causes me to have a uni brow. I hate that so much. I have tried many tweezers and not of them seem to get all the hair especially the unibrow. The other ones the end of the tweezers and the pointy or sharp which these better tweez – eyebrow works wonders. They have a nice sharp safe pointy end. When You are using them , they don't pinch as hurt. I fell in love with them. Best part of all they have a nice grip to them so they won;t slip out of my hand. Also, when you are twee-zing it just dont pull 1 or 2 hairs , it grabs and good amount." IN MY OPINION COMPARED TO OTHERS THESE PULL MORE HAIRS OUT THEN OTHERS I have tried. But these are my opinions , they may not work for everyone but they worked for me.
Declaimer : I recieved these as a discount rate for this honest review!!!


Another gathering of Moodlers that we are proud to be sponsoring! Looking forward to hearing from people at the Moodle Moot UK & Ireland running March 26-28.
It's official! We are exhibiting at the Canada Moot on February 22-24 and we are looking forward to meeting more members of the Moodle community in our home country.
Looking forward to sponsoring our first iMoot on Friday, November 17th. Come join the 24hr non-stop Moot!
Both our mobile app and web dashboard now support English, Spanish, Portuguese, French, German, Italian, Greek, and Russian languages.
Our plugin has now been updated so you can customize the coin values for activities marked complete.
Thanks Moodle News for showcasing our Motrain platform!


Chinese take-out restaurants tend to be minimally furnished, with oversized light boxes depicting far derivatives of traditional Chinese landscape paintings almost always featuring mountains and water. These illuminated displays advertise to potential customers an idea of what is Chinese while amplifying an outright facade of authenticity under a fluorescent glow of cultural placeless-ness. In successfully bridging the gap between the everyday and the ideal, even in this more washed out sense, the re-contextualization that occurs in the printing, production, and material structure of these more prevalent modern variants, relates to the seamless combination of content and action prized in traditional Chinese paintings.
Canvas and linen continue to conjure a sense of stability very much associated with the historicity of the medium of painting. The artist, interested in lightly circumventing the prevailing choice of surface so as to contend with far less control over the visible surfaces, has generously applied house paint as primer in multiple coats on thick fibrous burlap cloth. The priming is continued with a plaster-like mixture of powdered marble and acrylic medium until the crevices that make up the mesh surfaces are filled, providing the artist with a rigidified and overwhelmed ground on which to work. In Waterfall (Skógafoss Falls) and Waterfall (Mine St. Michel Falls), the corpuscular accretions visible on the surface, create pixelated nubs that extend outward in atypical sizes and shapes, a consequence of their drying and hardening along the warped dimensional plane of the burlap mesh cloth.
The unevenness of the misshapen, fragile painted surfaces, teeters between a pixelated analog screen from up close, to a gaudy image-laden beach towel or postcard image from afar. Less a trivialization of the medium of painting however, than a divestment in its seemingly intrinsic sense of durability and permanence, the double act implies different levels of finish and compositional integrity while simultaneously toying with stylistic variations. These overpainted and overwhelmed surfaces are also placed alongside paintings whose lack of finish resemble underdrawing and underpainting.
The overt stylistic variations within the five works on display are intended not so much to question modernism's emphasis on originality, but as a way to hint at the new image regimes that have left painting and photography fundamentally transformed. As personal identities are increasingly defined through the photographic image, and as layered meanings are further hollowed out by the endless stream of imagery, reflecting the accompanying degradation and image loss that continues to pervade alongside all manner of screens, both analog and digital.


text:
Selim new president and Nasim general secretary again
ELECTION OF OBHINOY SHILPI SANGHA
DL Desk, Dhaka
Actor Shahiduzzaman Selim is the new president of the Obhinoy Shilpi Sangha, a platform for the artistes of television drama. Besides, actor Ahsan Habib Nasim has been elected as the general secretary for the second consecutive time.
The result of the bi-annual election of Obhinoy Shilpi Sangha was announced around 8:30pm on Friday night after the day-long voting from 10am to 5pm on the premises of Bangladesh Shilpakala Academy in the capital. Among the 606 members of the organisation, a total of 518 members cast their votes.
Selim got 325 votes for the post of president against his opponents, actor Tushar Khan and Mohammad Mizanur Rahman.
As the general secretary Nasim got 422 votes, while his nearest opponent Mohammad Hannan got 35 votes.
The three posts of vice-presidents were won by Azad Abul Kalam (344), Iqbal Babu (278) and Tania Ahmed (243). Actors Rawnak Hasan (284) and Anisur Rahman Milon (216) were elected to the two posts of joint-secretaries.
Actor Lutfor Rahman George was earlier elected uncontested to the post of organising secretary as there was no opponent candidate against him.
Other elected members for the different posts in the new committee are: finance secretary-Mohammad Nur A Alam (322), office secretary-Sheikh Merajul Islam (177), programme secretary-Rashed Mamun Apu (229), law and welfare secretary-Shamima Tusty (202), publicity and publication secretary-Pran Roy (242), information and technology secretary-Sujat Shimul (310).
Seven-elected executive members of the new committee are: Nadia Ahmed (363), Selim Mahbub (355), Zakia Bari Mamo (276), Bonna Mirza (268), Munira Begum Memi (243), Shams Sumon (238) and Razib Salehin (229).
This year, the election commissioners were Khairul Alam Sabuj, Masum Aziz and Brindaban Das.
Actor Shahiduzzaman Selim is the new president of the Obhinoy Shilpi Sangha, a platform for the artistes of television drama. Besides, actor Ahsan Habib Nasim has been elected as the general secretary for the second consecutive time. The result of the bi-annual election of Obhinoy Shilpi Sangha was announced around 8:30pm on Friday night after the day-long voting from 10am to 5pm on the premises of Bangladesh Shilpakala Academy in the capital. Among the 606 members of the organisation, a total of 518 members cast their votes. Selim got 325 votes for the post of president against his opponents, actor Tushar Khan and Mohammad Mizanur Rahman. As the general secretary Nasim got 422 votes, while his nearest opponent Mohammad Hannan got 35 votes. The three posts of vice-presidents were won by Azad Abul Kalam (344), Iqbal Babu (278) and Tania Ahmed (243). Actors Rawnak Hasan (284) and Anisur Rahman Milon (216) were elected to the two posts of joint-secretaries. Actor Lutfor Rahman George was earlier elected uncontested to the post of organising secretary as there was no opponent candidate against him. Other elected members for the different posts in the new committee are: finance secretary-Mohammad Nur A Alam (322), office secretary-Sheikh Merajul Islam (177), programme secretary-Rashed Mamun Apu (229), law and welfare secretary-Shamima Tusty (202), publicity and publication secretary-Pran Roy (242), information and technology secretary-Sujat Shimul (310). Seven-elected executive members of the new committee are: Nadia Ahmed (363), Selim Mahbub (355), Zakia Bari Mamo (276), Bonna Mirza (268), Munira Begum Memi (243), Shams Sumon (238) and Razib Salehin (229). This year, the election commissioners were Khairul Alam Sabuj, Masum Aziz and Brindaban Das. BK